Artist: Paul Revere And The Raiders
Title: Just Like Us
Year Of Release: 1965/1998
Label: Sundazed Music
Genre: Garage Rock, Psychedelic Rock, Beat
Quality: APE (image, .cue, log)
Total Time: 43:23
Total Size: 251 Mb (scans)
Tracklist:01. Steppin' Out
02. I'll Be Doggone
03. Out Of Sight
04. Baby, Please Don't Go
05. I Know
06. Night Train
07. Just Like Me
08. Catch The Wind
09. (I Can't Get No) Satisfaction
10. I'm Cryin'
11. New Orleans
12. Action
Bonus Tracks:13. Ride Your Pony (previously unissued)
14. Just Like Me (alternate album mix)
15. B.F.D.R.F. Blues (single-only flipside)
Bass Guitar - Philip "Fang" Volk*
Drums - Mike "Smitty" Smith*
Lead Guitar - Drake Levin
Organ, Liner Notes - Paul Revere
Saxophone, Vocals - Mark Lindsay
Although Just like Us! was Paul Revere & the Raiders' fourth album overall, it marked a number of firsts. It was their first album to appear since they had become TV stars (and therefore AM radio staples and teenage magazine heartthrobs, especially Mark Lindsay) as a result of Where the Action Is; it was their first album to be produced entirely by Terry Melcher, a powerful influence and significant contributor to their sound; it was their first Top Ten album and their first to go gold. Actually, it's only a gradual development from their previous album, the half-live (in the studio) Here They Come! The group still had a tough R&B edge and still favored R&B covers like "Night Train," "Doggone," and, by way of England, "(I Can't Get No) Satisfaction" and "I'm Crying." (Melcher was already steering a stylistic course for The Raiders between The Rolling Stones and the Animals.) Even the two hit singles, "Steppin' Out" and "Just like Me," were intense, bluesy rockers. Unlike later albums, Just like Us! highlighted the whole band -- guitarist Drake Levin, bassist Phil "Fang" Volk, and drummer Mike Smith each took turns on lead vocals. (That would change as Lindsay's profile rose in the band.) Each was competent and entertaining, but Just like Us! was still an album by a group feeling its way from the dancehall circuit to the different and more creative demands of mass popularity.
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