#Paul Revere & the Raiders

[radiomaxmusic]

Feature LP / Paul Revere & The Raiders - Midnight Ride (1966) / 8pm ET / 10-14-24

Midnight Ride is the fifth studio album by American rock band Paul Revere & the Raiders. The album featured the U.S. top five single “Kicks” and also includes “(I’m Not Your) Steppin’ Stone,” which became a U.S. Top 20 hit for The Monkees in 1967. Released May 6, 1966. The album is unique in the band’s discography in that it contains songwriting credits by all five bandmembers. Stylistic…

[rockmusichistory]

Nashville Municipal Auditorium

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[esonetwork]

BatChums Episode 52 – Hizzonner the Penguin

New Post has been published on https://esonetwork.com/batchums-episode-52-hizzonner-the-penguin/

BatChums Episode 52 – Hizzonner the Penguin

Batman ’66 S2 Ep17 – Hizzonner the Penguin

When Penguin runs for Mayor of Gotham City, Batman is persuaded to run against him.

Episode aired Wednesday November 2, 1966

Director: Oscar Rudolph

Writer: Stanford Sherman

Cast:

Adam West – Batman

Burt Ward – Robin

Alan Napier – Alfred

Neil Hamilton – Commissioner Gordon

Stafford Repp – Chief O’Hara

Madge Blake – Mrs. Cooper

Burgess Meredith – The Penguin

Paul Revere & The Raiders – Themselves (as Paul Revere and the Raiders)

George Furth – Gallus

Woodrow Parfrey – Rooper

Murray Roman – Trendek

Joe E. Tata – Goon

Byron Keith – Mayor Linseed

Cindy Malone – Lulu

Judy Parker – Penguin Girl #2

Linda Meyers – Penguin Girl #3

Little Egypt – Dancer

Elaine’s Shout Out:

Elaine & Matt Watch TV

Veronica’s Shout Out:

Felt Nerdy

Charles’s Shout Out:

Earth Station Trek

Monkeeing Around

Mike’s Shout Out:

The Rayford Bros

Batband

Drew’s Shout Out:

Batman: Dark Detective #1

BatChums logo by Peter Cutler. https://www.instagram.com/cutler7666 Theme music by Ricky Zero. RadioCult.com https://youtube.com/@wehadthat

If you would like to leave feedback, comment on the show, or would like us to give you a shout out, please call the Bat-Chums feedback line at (317) 455-8411 leave us a message, text us, or feel free to email us @ batchumspodcast@gmail.com

[maximuswolf]

Paul Revere & The Raiders - Kicks [Rock]

Paul Revere & The Raiders - Kicks [Rock] https://youtu.be/HPcXChBatTs Submitted March 11, 2025 at 04:04PM by caffeine1004 https://ift.tt/ruImhP4 via /r/Music

[thejewofkansas]

SANTEE Review - ***

SANTEE Review – ***

Santee’s main claim to fame is that it was one of the earliest feature films shot on videotape and transferred to celluloid for theatrical release. That’s not much of a selling point, but Santee isn’t much more than a watchable little Western, a decent way to spend 90 minutes on a chilly Thursday afternoon, but nothing you need to go out of your way to watch—especially since, the tantalizing…

[radiomax]

Saturday 6pm ET: Feature Artist: Paul Revere and The Raiders Paul Revere & the Raiders was an American rock band that saw considerable U.S. mainstream success in the second half of the 1960s and early 1970s.

[floridaboiler]

One of the most interesting Barris cars was The Raiders Koach, built for the pop band, Paul Revere and the Raiders. It was set up as a dual-engine six-wheeled coach, equipped with the bands instruments and amps. The two Pontiac GTO motors were engineered to pull the coach with the front “truck” section while the driver steered hydraulically from the rear coach section. Nothing like it had ever been seen and again, the plastic models flew off the shelves.

[robmillistw2]

Understated-yet-slick perfection? (Lee Michaels ‘Barrel’, 1970)

Following on from Ken Hensley’s 1973 solo effort in my last post, we go back three years and cross the Atlantic; once again in the name of finding inspiration amid the limited back catalogue of classic-era album rock, fronted by a keyboard player.

Lee Michaels: if you are British there is an 80% chance you will not have heard of him. Think of him like Steve Winwood: a sensation on Hammond organ and a big, ‘blue eyed white soul’ voice. So much so, often he would take the stage as a duo with his fantastic drummer Frosty, Michaels’ organ playing being ‘compete’ - that meaning he supplied the bass parts with his feet. Such was the manner of his previous (third) album from 1969: good bluesy organ and that big, soulful voice: no more and no less. And he was huge for a bit: the most commonly seen proof of his existence is, in the UK, a photo of the iconic awning at the Fillmore East which showed him headlining over Humble Pie. It is also said that John Bonham was particularly taken with, and subsequently influenced by, Frosty. Makes sense.

Michaels’ fourth album from 1970 is the platter of choice here and let’s move swiftly on in ‘..and this is where the story really starts’ fashion. I first encountered this when I was about 18, and borrowed it from the late great Mick Wayne, my guitar tutor; Mick had lived in the USA for a brief period in the early 70s, and brought it back with him: it was one of those glorious USA pressings with the thicker card covers bound by the wraparound printed outers. At the time, I was a non-singing, non-writing guitarist and I remember finding it a pleasant rather than essential listen. But there: ‘Life is change; how it differs from the rocks’ (Paul Kantner). Once I switched to keyboards, the name Lee Michaels all of a sudden meant so much more!

Like Hensley’s LP, revisiting ‘Barrel’ was guaranteed to hook me in from the start with just the cover! A shot of Michaels perched nonchalantly on his piano stool and ever-loyal Frosty next to him, in the enticing, funky timber studio (Michaels’ own; in Mill Valley, CA) with a selection of acoustic instruments strewn around, a Fender amp or two, an old 100-series Wurlitzer electric piano and Michaels’ piano -  a funky old upright with the lid up, mic’d. You want the photo to suck you in, warp time and beam you into that room making some music with them: just like you do with those great photos of The Band in the Sammy Davis Jr poolhouse and The Doors recording La Woman in their rehearsal space. It’s always home studios or makeshift spaces that do that; there is a sense of fun conveyed that the big ‘proper’ studios never match in photos.

Lee and Frosty are augmented by guitarist Drake Levin on this record and his stint in the hitmakers Paul Revere & the Raiders isn’t forgotten: by Californian standards of the day, this is ‘old school’ guitar playing, not stream-of-consciousness blowing. ‘Barrel’ is, in itself, a great album for grooves and sounds, and opener Mad Dog sets that mood straight away with a ‘The Weight’-like steady beat, applied to a 12-bar format, and Michaels’ tasteful, unshowy piano is complemented by Levin whose guitar is fed through a Leslie. Michaels’ vocals, as ever, gutsy and soulful.

I won’t go through this track by track and deny anybody who might be tempted to seek out a copy the sense of discovery, but the aforementioned opener and two other tracks (I could live without a brief romp through 'When Johnny Comes Marching Home'!) give a good overview: ‘Murder In My Heart For The Judge’ is (as many will know as soon as it is named) a cover of a Moby Grape song, written by Jerry Miller and Don Stevenson (from their 1968 second album ‘Wow’). It’s taken pretty faithfully, but a scrap slower and more emotion is wrung out of it as a result. Michaels is on piano, but is playing organ bass pedals and Levin’s guitar bursts in and out in the spirit of co-writer Jerry Miller. Hearing this tune immediately reminds you of where you’ve heard a singing voice akin to Michaels before: it is of course Moby Grape’s Bob Mosley.

My favourite track is ‘Day of Change’. It has it all: those late 60s smooth, luxurious verse chord changes with a static, pedal tone bass (meaning the musical technique, not the organ foot pedals, although it is both!), more of Michaels’ effortless singing and bursts of what can only be described as big, Billy Preston-inspired gospel organ chords driving the tune along between verses. It is fantastic.

So there: Lee Michaels. Never amounted to much in the UK, and all but retired by the mid to late 70s even at home. Apparently he owns a chain of shrimp restaurants: maybe he was just shrewder than many musicians in recognising when his star was waning, and investing his money wisely while he still had plenty of it!

[scentedkryptoniteballoon]

The Raiders Koach Devised by George Barris as a promo item for Paul Revere and The Raiders Powered by two 400 cubic inch Pontiac V8s, incorporating amp systems by Vox and a Vox Continental organ

[heartodaygrowntomorrow]

‪The Song of the Day is: Tommy James & The Shondells - “I Think We’re Alone Now”(1967)‬ ‪#SongoftheDay #musicblog #parenting #journal #tommyjames #shondells #oldies #RockAndRoll #sixties #tiffany #HearTodayGrownTomorrow Support the Blog - Click Below ‬ The Song of the Day is: Tommy James & The Shondells - “I Think We're Alone Now”

[rockmusichistory]

Oregon Music Hall Of Fame

Oregon Music Hall Of Fame

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[maximuswolf]

Paul Revere & the Raiders - Ups and Downs [Rock] [British Invasion] (1967)

Paul Revere & the Raiders - Ups and Downs [Rock] [British Invasion] (1967) https://youtu.be/ioufyn6j3cU?si=G5_s_gaxb0g2VTaZ Submitted June 29, 2024 at 09:33AM by henrywallace55555 https://ift.tt/8BVL0pn via /r/Music

[itsworn]

Deep Dive Into Classic Vinyl for Tunes Perfectly Matched to Detroit’s Finest Muscle Cars

The 1960s was a pivotal decade in popular music. The Beatles shook up the North American establishment, with music evolving at an unprecedented rate the instant the Fab Four arrived on our shores in 1964. Detroit was poised to ride that metamorphic wave; the 1964 1/2 Mustang fully embraced the emerging demographics and psychographics that were being transformed by the burgeoning Baby Boomer segment.

Despite being a low-compression kid, I enjoy both the music and the cars from the era. Having grown up with stellar Philly, Trenton, and NYC radio stations, plus access to a primo underground vinyl collection in my college radio show days, I am able to dig deep and create some unusual pairings (go to YouTube for a listen).

1966 Pontiac Bonneville A Bonnie ragtop doesn’t inspire high-performance pretensions, but throw in a 421 HO and four-speed and you’d have a cruiser par excellence. Imagine a scene that begins with a dose of fuzz and harmonica courtesy of Count Five’s Psychotic Reaction. The driver’s door opens, followed by the protagonist’s fingers inserting a key in the ignition. The rhythm guitar kicks in as the segment cuts to the front of the garage opening to display the Tri-power rumble and a pair of stacked headlights. Hollywood, are you listening?

1967 Ford Custom Adrian Clements’ Custom two-door sedan (the lowest fullsize Ford trim level) is the only one built with the four-barrel 427, as verified by Marti Auto Works. If a retired moonshine runner spec’d out a car, this would be it! Accompanying the Blue Oval is a slice of top-shelf garage from Corpus Christi’s Stereo Shoestrings whose On the Road South was a veritable guitar freakout, with a riff copped from the Pretty Things’ “Defecting Grey.”

1968 Dodge Hemi Dart This Hurst-prepped Mopar Super Stocker was the baddest car from Detroit in 1968. Everything about the dragstrip monster was utilitarian and with purpose. In the same year Blue Cheer burst onto the scene with a big, dense sound combining equal parts Cream, Jimi Hendrix, and lysergia. With the amp jacked up to 11, the San Fran band’s Just a Little Bit perfectly captures the Dart’s character.

1968 Buick GS 400 The 1968 GS 400 may be the redheaded stepchild of the muscle car era. While wholly capable of handling GTOs, SS396s, and 4-4-2s, the Buick’s styling unfortunately did not have the youthful appeal of its GM cousins. My auto-sommelier instincts suggest pairing the Buick with SRC’s Black Sheep, a heavy, moody number that encapsulates both the GS’s position and metro Detroit’s musical reputation.

1968 Dodge Charger R/T The movie Bullitt set the scene for car chases, but let’s be honest: The supporting star (a certain black, stripe-delete Charger R/T) didn’t need the police drama to elevate it to legendary status. By then the Summer of Love had given way to darker realities, yet “acid rock” continued to reign supreme in the Haight, with Moby Grape’s Murder in My Heart for the Judge representing Bay Area quintessence before the scene moved out to Marin.

1969 Beaumont SD 396 How about some Canadian love? The Beaumont looked like a Chevelle with Pontiac styling, a product of Automotive Products Trade Agreement tariffs and Canadian pride. Performance enthusiasts gravitated to the SD (Sport Deluxe) 396, which shared the Chevelle SS396’s engines save the L78. It seems wholly appropriate to suggest It’s All Meat’s Feel It, a garagey foot-stomper with an attitude suited for cruising around Yorkville.

1969 Pontiac GTO Judge The Goat with the goofy name and Peter Max–inspired logo could be the most psychedelic car of the era. Might as well end the 1960s with a bang, right? Paul Revere and the Raiders even performed a Judge song for a TV commercial, but a better musical accompaniment would be Bubble Puppy’s hippy-dippy ditty Hot Smoke and Sassafras. It was a Top 20 rocker full of guitar-driven fun while lacking the bubblegum that its name implies—kinda like the Judge.

1970 Mercury Cyclone Spoiler The NASCAR-inspired 1969 Cyclone Spoiler gave way to a completely redesigned Spoiler for 1970 that now was influenced by the street scene, a bruiser that came standard with everything you’d ever want, including a potent 429 Cobra Jet. And that in-your-face gunsight schnozz? As boisterous as Sir Lord Baltimore’s Hell Hound, an assault on the senses unlike anything else from that year (add shackles for best effect).

1971 Plymouth GTX Plymouth’s redesign of the Satellite line for 1971 was arguably the most contemporary redesign of the era’s twilight. The mature GTX wore the new duds best, whether unadorned or with eye candy like stripes and spoilers. A new, nifty cassette player option made it clear the 1970s were truly here, perfect for blasting Be Good and Be Kind by Florida’s Tin House. Maybe the Beatles were done, but the good music never stopped.

Adrian Clements’ 1967 Ford Custom would have made the perfect moonshine-runner in its heyday.

The post Deep Dive Into Classic Vinyl for Tunes Perfectly Matched to Detroit’s Finest Muscle Cars appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/deep-dive-classic-vinyl-tunes-perfectly-matched-detroits-finest-muscle-cars/ via IFTTT

[radiomax]

Sunday 9am/9pm: Vinyl Resting Place with Willie B This week; Sunday (9am or pm) we feature week one of the letter R on The Vinyl Resting Place - on RadioMax - in honor of the season, we kick things off with Bob Rivers - Walkin' 'Round In Women's Underwear, then stay around for Cliff Richard, Eddie Rabbitt, Helen Reddy, Jerry Reed, Johnny Rivers, Lionel Richie, Marty Robbins, Paul Revere & The Raiders, Rare Earth, Rascals,  Righteous Brothers, and the Rolling Stones.

[earpeeler]

Amps & Axes Podcast – This Week In Music – EP37 On this episode of This Week In Music the guys cover stories on…Ben E. King, River Phoenix, The Four Tops, Levi Stubbs, Michael Jackson, Gerry Goffin, The Ed Sullivan Show, Dean Martin, Jerry Lewis, Jimi Hendrix, Joe Cocker, CCR, Ike And Tina Turner, Jethro Tull, The Rascals, Steppenwolf, David Bowie, Stanley Kubrick, Neil Diamond, American Bandstand, Little Richard, Paul Revere And The Raiders, Three Dog Night, Cheech And Chong, The Kingsmen's, Paul McCartney, The Quarrymen, The Beatles, Wings, Jimmy Buffett, Rolling Stone magazine, Deep Purple, Pete Townshend, Warner Brothers, Steely Dan, Donald Fagan, Walter Becker, Roger Friedman, Led Zeppelin, Desert Trip Festival, The Rolling Stones, Paul McCartney, The Who, Neil Young, Adolphe Sax, Rod Davis, Eric Griffiths, Colin Hanton, John Lennon, The Surfaris, Mark David Chapman, Billy Joel, Elvis Presley, The Yardbirds, Motown Records, Smokey Robinson And The Miracles, Marv Tarplin, Johnny Rivers, Alice Cooper, Jefferson Starship, Marty Balin, Ringo Starr, Supertramp, Gary Busey, Buddy Holly, Gregg Allman, Pete Quaife, The Kinks, Rock And Roll Hall Of Fame, Jimmy Page, Robert Plant, Randy Wolfe, Spirit, The Lovin' Spoonful, Zal Yanovsky, Procol Harum, Johann Sebastian Bach, Clive Davis, Columbia Records, Kenny Gamble, Leon Huff, Eric Clapton, KISS.

[lisamarie-vee]