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PAUL REVERE & THE RAIDERS

One of the most popular and entertaining rock groups of the 1960s, Paul Revere & the Raiders enjoyed seven years of serious chart action, and during their three biggest years (1966-1969), sold records in numbers behind only the Beatles and the Rolling Stones. And their hits -- "Steppin' Out," "Just Like Me," "Hungry," "Him or Me -- What's It Gonna Be," and "Kicks" in particular -- are now seen by compilers as bold, unpretentious pieces of '60s rock & roll with a defiant, punk edge...

"MIDNIGHT RIDE Featuring KICKS"

1966     LP     COLUMBIA RECORDS     CL 2508   MONO

PRINTED IN USA    ORIGINAL COPY

""TWO EYES NONBREAKABLE" COLUMBIA LABEL

SINGLE SLEEVE

THICK CARDBOARD COVER (AMERICAN STYLE)

Barcode and Other Identifiers

Barcode: none

LABEL:  COLUMBIA - RED "TWO EYES 360 SOUND" LABEL - BLACK & WHITE TEXT

Catalog on cover: (front & spine) CL 2508   (rear) Stereo CS 9308  Mono CL 2508

Catalog on labels: CL 2508 (XLP 113675) / CL 2508 (XLP 113676)

Matrix / Runout (Side A, Etched): XLP 113675 1A   (Stamped): o

Matrix / Runout (Side B, Etched): XLP 113676 1B   (Stamped): o

On labels: rim text reads <®"Columbia" Marcas Reg. Printed in U.S.A.>

Produced by Terry Melcher

Arranged by Terry Melcher & The Raiders

On back cover: Tracklist , Credits & Notes

Additional albums by Paul Revere & The Raiders:...........

®"Columbia" Marcas Reg. Printed in U.S.A.

tracklisting

Side A: KICKS - THERE'S ALWAYS TOMORROW - LITTLE GIRL IN THE 4TH ROW

BALLAD OF A USELESS MAN - I'M NOT YOUR STEPPING STONE - THERE SHE GOES

Side B: ALL I REALLY NEED IS YOU - GET IT ON - LOUIE, GO HOME

TAKE A LOOK AT YOURSELF - MELODY FOR AN UNKNOWN GIRL

  grading

RECORD VG+ but (please, read above description)

SLEEVE VG(+) but (please, see pictures and read above description)

 Midnight Ride marked just about the pinnacle of Paul Revere & the Raiders' history as a source of great albums. Even more to their credit, most of the music on Midnight Ride was written by the bandmembers themselves, and not just Mark Lindsay and Paul Revere, but Phil Volk, Drake Levin, and Mike Smith getting a shared songwriting credit. The irony is that this was the last album on which that egalitarian spirit was to dominate; alongside the tight, hard, eminently danceable rock & roll sounds that comprise about two-thirds of this album, there are signs of the softer, more introspective balladry that lead singer Mark Lindsay was starting to favor in his songwriting ("Little Girl in the Fourth Row," etc.). It was this stylistic break, coupled with disputes over which bandmembers were to get their songs represented on the group's albums, that led to Levin's departure following the release of this album, which helped precipitate a stylistic drift away from the sound that defined the group...(AllMusic)