Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow
Everclear - So Much For The Afterglow

Everclear - So Much For The Afterglow

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Art Alexakis - Banjo, Guitar, Mandolin, Piano, Steel guitar, Keyboards, Vocals, Producer, Vocal Arrangement, Horn Arrangements, String Arrangements, Cover Art Concept, Cover Design, Toy piano

Greg Eklund - Percussion, Drums, Keyboards, Vocals, Assistant Producer, Slide whistle

Craig Montoya - Mandolin, Bass guitar, Keyboards, Sound Effects, Vocals, Assistant Producer

Paul Cantelon - Violin

Derron Nuhfer - Saxophone

Buddy Schaub - Trombone

Gerri Sutyak - Cello

Rami Jaffee - Vox Organ


1 LP, Old-Style "Tip-On" Gatefold Printed By Stoughton

Original analog Master tape : YES

Heavy Press : 180g Dead Quiet Vinyl

Record color : black

Speed : 33 RPM

Size : 12'’



Record Press : RTI

Label : Intervention Records

Original Label : Capitol

Recorded November 1996 – March 1997

Engineered by Jim Rondinelli

Mixed by Andy Wallace

Mastered by Kevin Gray At CoHEARent Audio

Originally released in 1997

Reissued in 2019



Side A:

  1. So Much For The Afterglow
  2. Everything To Everyone
  3. Ataraxia (Media Intro)
  4. Normal Like You
  5. I Will Buy You A New Life
  6. Father Of Mine
  7. One Hit Wonder

Side B:

  1. El Distorto De Melodica
  2. Amphetamine
  3. White Men In Black Suits
  4. Sunflowers
  5. Why I Don't Believe In God
  6. Like A California King

Reviews :

« Sparkle and Fade became a surprise hit thanks to "Santa Monica," a gritty, infectious grunge hit that captured Everclear at their best. Like many grunge and post-grunge rockers, however, Everclear's leader, Art Alexakis, felt constrained by his modest success and its implications, deciding to take his band in new experimental directions for their follow-up album, So Much for the Afterglow. As the title suggests -- as well as song titles like "One Hit Wonder," "White Men in Black Suits," and "Everything to Everyone" -- Alexakis is feeling a bit ambivalent about his success, believing that it's only a transient thing. He may be right -- So Much for the Afterglow lacks anything as catchy as "Santa Monica." He attempts to compensate by adding a more elaborate production, complete with Beach Boy harmonies and guest musicians. The result sounds cluttered, not symphonic, and distracts from Everclear's strength as a straight-ahead grunge trio. There are several songs on the album that do showcase the group at their best, but they aren't enough to excuse the confused attempts at progression that make So Much for the Afterglow a muddled affair. » AllMusic Review by Stephen Thomas Erlewine

« Kevin Gray's vinyl remastering throughout So Much for the Afterglow brings out more clearly small details that help open up this music. It's easier to hear that the guitar riff that begins 'White Men in Black Suits' is double tracked, and Alexakis's guitar triplets behind the vocals sustain longer and have more sparkle. The guitars in 'Sunflowers' sound less insistent but more expansive here, and it improves the song. The acoustic instruments in 'Why I Don't Believe in God' sound more natural, and Eklund's snare is not as aggressively bright. » Joseph Taylor, www.soundstagehifi.com


Ratings :

AllMusic : 4 / 5 , Discogs : 4.22 / 5

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