Recorded in 1966-67, this Oregon group's sole release is notable for two serious 60s pop classics ("Morning" and "Afternoon"), a 2:29 gem of farfisa, slide guitar, and vocal dementia worth snagging for a "freaky 60s" comp ("Susie's Gone"), and another outstanding pop cut only a step behind the two monsters ("Love"). As the remaining cuts are quite solid and satisfactory, it's an album that holds up well to a full play and repeat plays. The basic sound is dominated by thin, corny, effusive farfisa organ lines and fleshed out with electric guitar, bass guitar, and drumkit. The multi-part male vocals are very clean, pretty, and generic to the era. This 1995 reissue on Sundazed has four bonus cuts presenting alternative takes on some stronger numbers, including takes of "Morning" and "Afternoon" without vocals, which is a true pleasure and reveals how incredibly strong and catchy the tunes are even without their dreamy harmony vocals. It seems to be a reliable pleasure to hear high-rotation nuggets in vocal-less versions, expecting the vocals to come in at certain points and just vaguely hearing them in my head. I've had a similar experience with the Music Emporium reissue, which has cuts that go beyond the catchy pleasantries of Afterglow and into more profound realms of experimental pop.
Michael Anton Parker
Shadrack - Chameleon (1973 USA psych rock)
One of those "special" albums you'll either get and love or probably find as exciting as rice pudding. Very Neil Young/Crazy Horse vibe to the music, but there's a sort of garage-y desperation/enthusiasm thing going on. Very solid, simple songs and melodies with more straightforward folk elements here and there. "Granite Feast" is definitely tops. Much like the slightly similar Rayne this definitely could pass for late 80s/early 90s college rock.