Product Details

• Amazon Sales Rank: #165538 in Digital Music Album
• Released on: 2007-12-16
• Running time: 0 seconds

Customer Reviews

Not as bad as the last guy says!
Ouch, that last review stung! Seriously, I don't see what the problem is. This is a very catchy, hummable lyte-psych offering from the magical Golden State Recorders studio circa '66-'67. These guys weren't world-beaters in the league of some of their peers, but they've got a nice, Byrds-influenced sound and guitarist George Tecumseh writes some good pop songs-- "Dream Away", "Chasing Rainbows", "Morning" and "Afternoon" come to mind right away. Also, the bass player and the cat on the Farfisa are solid musicians. In short, if your bag is overlooked groups of the 1960's, you could do far worse than Afterglow!

Are these guys from another planet? YESSS!
Afterglow was a band from California from the mid-60's, and it is so painfully obvious. It's lyrical content, while sometimes questionable, is never too fluffy. What makes this album such a standout is it's organ. Never, I repeat, NEVER, have I heard so much organ on so many different levels. It bore a hole directly into my brain, inserted itself into my nerve cells, and gave me a "tingly" feel all over. There's that much organ. "Morning" is a killer organ-pop tune as is "Chasing Rainbows". You should hear this album at least once if you are a fan of ogan-pysch-mind numbing-taboo-faboo-mystic music; chalk up Afterglow on your "gotta have" list if any of the above apply to you.

+1/2 -- Varied lite-psych sounds of 1967
This little known Oregon band recorded one album with Leo Kulka at San Francisco's Golden State Recorders (home of the Beau Brummels and numerous West Coast psych-rock groups), borrowing sounds from all points around the Bay Area. They dipped into San Francisco ballroom psych, sunshine harmony pop, folk rock, and even a Red Krayola-styled studio freakout. The band's vocal harmonies far outstripped their instrumental and compositional abilities, with drum fills that occasionally lag the beat, and guitar and organ that give everything a garage band edge. Their melodies were catchy, though not at the radio hook level of the parallel Autumn Records teen sound, and the psych elements weren't as heavy as contemporaneous fellow travelers. Kulka's crisp engineering and production was superb, with the multipart vocals nuanced and perfectly set atop the instruments. The bonus tracks include a variation on the freak-out "Susie's Gone," and three instrumental backings that demonstrate the band's rudimentary instrumental skills. Recorded in '67 and released the following year on MTA, this is a listenable disc -- particularly if you like the high, whiney sound of a Vox organ -- but it's not hugely memorable. 3-1/2 stars, if allowed fractional ratings. [©2007 hyperbolium dot com]