I began listening to Paul Revere & the Raiders in January 2023.
Here They Come (1965): B+
Just Like Us! (1966): A-
Midnight Ride (1966): B+
The Spirit of '67 (1966): B
Revolution! (1967): A-
Goin' to Memphis (1968): B+
Something Happening (1968): C+
Hard 'N Heavy (with Marshmellow) (1969): B-
Alias Pink Puzz (1969): B
Collage (1969): B
Indian Reservation (1971): C+
Here They Come (1965):
Paul Revere and the Raiders released two obscure albums in 1961 and 1963 as the Downbeats before this dress-up band really started kicking and were signed to Columbia, where they released this studio album with Bob Johnston (later a producer with Bob Dylan). No, bandleader Paul Revere is not the lead singer or even a backup singer, he's an passionate organist who takes more than a few queues from Jerry Lee Lewis. Vocal duties are left to Mark Lindsay, a passionate Northwesterner who sings with all the charisma and ease of an early Mick Jagger. If that weren't enough, he's also one helluva rock saxophonist. As with most albums of this time, there's a fair amount of filler but it's leveled out by funny quips between band members, raucous playing, and a 60s deep cut for the ages: the heavy "Sometimes." Here they come indeed. B+
Just Like Us! (1966):
Though they are just starting to have their breakthrough, the Raiders are elders to the Rolling Stones and Donovan and that's why it feels a little out of step for the band to be covering them. The album also seems to lose its direction when Lindsay isn't at the mike. That said, they are solidifying as a band on nearly every other song and their first real songwriting attempt ("Steppin' Out") is excellent. A-
Midnight Ride (1966):
The Lindsay and Revere songwriting partnership is working like clockwork but Midnight Ride falters slightly because the rest of the band wanted to record their own songs. Fortunately, this doesn't end in a total disaster because guitarist Drake Levin is proving to be a formidable songwriter in his own right. That said, the album is front loaded with garage rock essentials and side two totally bombs, culminating in Lindsay’s "Melody for an Unknown Girl," a mawkish ballad with a shocking number of queues from a dweeb by the name of Davy Jones. B+
The Spirit of '67 (1966):
It seems like the direction in which Lindsay is taking the band--this one is very Beatles influenced--is counter to the band's strength as a garage rock band. If it sells them more LPs, good for them. The two big charting singles are still great and they even tack a fantastic rocker at the very end, "The Great Airplane Strike," but the rest is filled with 60s artifacts that haven't aged as well. B
Revolution! (1967):
Not only does it harbor one of the best singles the band has released ("Him or Me - What's It Gonna Be?"), Revolution! is the Raiders' first complete album. Producer Terry Melcher and Mark Lindsay combine to create a brilliant songwriting team and an expertly produced psychedelic pop album. Unfortunately, with the introduction of sessions players from the Wrecking Crew as well as Lindsay's and Melcher's increasing influence, the core of the band would leave after the album was finished, putting an end to the band's classic lineup. A-
Goin' to Memphis (1968):
After several albums produced by Melcher, the Raiders--nay, Lindsay rather--hired Chip Moman for their next project. Moman refused to work without his house band so this album quickly became less of a Raiders album and more of a Lindsay vanity project. In the end, the Raiders only played on one song. Though it's disappointing to no longer have the Raiders playing, the Memphis soul is a nice change of pace, the songwriting from Lindsay is consistent as usual, and the power of Lindsay as a vocalist is isolated to worthwhile results. B+
Something Happening (1968):
I would prefer if I could completely write off this project but there are some decent moments that I'm sure many Raiders fans will appreciate. At the same time, there's so many moments when the band, particularly Lindsay who produced the record, gives in to irritating studio gimmicks that makes even the best songs on the record a mixed bag. C+
Hard 'N Heavy (with Marshmellow) (1969):
There is once again some annoying studio antics in between songs but quite a few of these songs are exactly as the title suggests: heavy with big, distorted guitars that sound great. For the songs that don't turn it up, the band proves to still be behind the curve on the current music trends. No need listen to this in full, but I implore you to check out "Mr. Sun, Mr. Moon," "Time After Time," and "Cinderella Sunshine." B-
Alias Pink Puzz (1969):
Although it is their worst album title by far, like their last album, most of the songs are memorable and it does harbor a few solid highlights: "Let Me!," "Frankfort Side Street," "The Original Handy Man," "I Don't Know," and "Freeborn Man." Once again, they prove to be versatile, skillfully transitioning to a folk-rock lean, which is pulled off because Lindsay is one of the most underrated frontmen and songwriters of the 60s. B
Collage (1969):
To change their image, the band shortened their name to the Raiders on this LP. Although there is something about it that often fades into the background, Collage is yet another Raiders album that features the standout songwriting of Lindsay and sees the band pushing their sound farther into psychedelia with much success. In particular, their instrumental talents are on full display as guitarist Keith Allison further cements himself in the lineup. B
Indian Reservation (1971):
When the band released the title track as a single and it surprised everyone by going to number one, the Raiders quickly recorded an entire album, which consists mostly of covers, to capitalize. The music is okay--most of the songs features horns and strings--but it doesn't sound like Raiders and the strange choices of covers don't either. C+
