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Headquarters
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Headquarters (Deluxe Edition, 2 CD)
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1. YOU TOLD ME (2:22)
(Michael Nesmith)
Recorded at RCA Victor Studio C, Hollywood, March 3 & 9, 1967
2. I’LL SPEND MY LIFE WITH YOU (2:23)
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, March 4, 9 & 18, 1967
3. FORGET THAT GIRL (2:21)
(Douglas Farthing Hatlelid)
Recorded at RCA Victor Studio C, Hollywood, March 7 & 8, 1967
4. BAND 6 (0:39)
(David Jones/Michael Nesmith/Peter Tork/Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, March 2, 1967
5. YOU JUST MAY BE THE ONE (2:00)
(Michael Nesmith)
Recorded at RCA Victor Studio C, Hollywood, March 2, 1967
6. SHADES OF GRAY (3:20)
(Barry Mann/Cynthia Weil)
Recorded at RCA Victor Studio C, Hollywood, March 16 & 22, 1967
7. I CAN’T GET HER OFF MY MIND (2:23)
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, March 17 & 19, 1967
8. FOR PETE’S SAKE (2:10)
(Peter Tork/Joseph Richards)
Recorded at RCA Victor Studio C, Hollywood, March 23, 1967
9. MR. WEBSTER (2:02)
(Tommy Boyce/Bobby Hart)
Recorded at RCA Victor Studio C, Hollywood, February 24, 1967
10. SUNNY GIRLFRIEND (2:31)
(Michael Nesmith)
Recorded at RCA Victor Studio C, Hollywood, February 23 & April 18, 1967
11. ZILCH (1:05)
(David Jones/Michael Nesmith/Peter Tork/Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, date unknown
12. NO TIME (2:09)
(Hank Cicalo)
Recorded at RCA Victor Studio C, Hollywood, March 17 & 22, 1967
13. EARLY MORNING BLUES AND GREENS (2:00)
(Diane Hildebrand/Jack Keller)
Recorded at RCA Victor Studio C, Hollywood, March 22, 1967
14. RANDY SCOUSE GIT (2:35)
(Micky Dolenz)
Recorded at RCA Victor Studio C, Hollywood, March 4 & 8, 1967
Bonus Selections:
15. ALL OF YOUR TOYS (Previously unissued alternate mix)
(Bill Martin)
Recorded at Goldstar Studios, Hollywood, January 16, 1967
and RCA Victor Studios, Hollywood, January 19, 23, 30 & 31, 1967
16. THE GIRL I KNEW SOMEWHERE
(Previously unissued alternate version)
(Michael Nesmith)
Recorded at Goldstar Studios, Hollywood, January 16, 1967
17. PETER GUNN’S GUN (Previously unissued)
(Henry Mancini)
Recorded at RCA Victor Studio C, Hollywood, date unknown
18. JERICHO (Previously unissued)
(Traditional)
Recorded at RCA Victor Studio C, Hollywood, March 22, 1967
19. NINE TIMES BLUE (Previously unissued demo version)
(Michael Nesmith)
Recorded at RCA Victor Studio C, Hollywood, date unknown
20. PILLOW TIME (Previously unissued demo version)
(Janelle Scott/Matt Willis)
Recorded at RCA Victor Studio C, Hollywood, March 14, 1967
Personnel:
MICHAEL NESMITH: vocals, pedal steel guitar, 6-string guitar, organ
DAVY JONES: vocals, tambourine, jawbone, maracas, etc.
MICKY DOLENZ: vocals, drums, guitar
PETER TORK: vocals, keyboards, 12-string guitar, bass, 5-string banjo
CHIP DOUGLAS: bass
JOHN LONDON: bass on “The Girl I Knew Somewhere” & “All Of Your Toys”
VINCE DeROSA: French horn on “Shades Of Gray”
FRED SEYKORA: cello on “Shades Of Gray”
JERRY YESTER: additional guitar on “No Time”
KEITH ALLISON: additional guitar on “No Time”
Headquarters (tracks 1-14) was originally issued as Colgems #103, May 22, 1967
________________________________________________________________
Original 1967 Album Liner Notes
All selections published by Screen Gems-Columbia Music, Inc. BMI
“We aren’t the only musicians on this album, but the occasional extra bass or horn player played under our direction, so that this is all ours.
“Each one of us has some musical thing, from Manchester to Texas, the East Coast to the West, and when four people just go with their thing, what comes out is a whole. Don’t ask ‘a whole what?’, just listen. If only the smallest part of how much fun it was to make this record gets heard, it was all worthwhile.”
Mike Davy Micky Peter
Write to THE MONKEES Fan Club
c/o Screen Gems
1334 North Beechwood Drive
Hollywood, California 90028
________________________________________________________________
The origins of The Monkees’ Headquarters project lay in the group’s dissatisfaction with their second album, More Of The Monkees. The Monkees’ general discontentment stemmed from a strict Screen Gems edict that the group take a non-performing , vocal-only role in the production of their records. The instigator of this policy, and keeper of The Monkees’ musical reins, was publishing czar Don Kirschner. Although Kirschner’s guidance was key in The Monkees’ commercial ascension, the effects of his formulaic approach to music making was beginning to threaten the group’s overall emotional well being.
Proof of this was the “serious” rock community’s escalating hostility toward the TV “group.” As pop historian Lillian Roxon noted in 1969’s Rock Encyclopedia: “Nobody really minded that The Monkees were manufactured entirely in cold blood and for bluntly commercial reasons. But when, never having played together before, their records hit the top of the charts on the strength of what seemed like nothing more than TV exposure and a good sound financial push, the bitterness was overwhelming.” Unfortunately, this stigma has resulted in the failure of Monkees albums to be considered solely on their superlative music value.
When More Of The Monkees was readied for release, Kirschner made no attempt to consult the group over its contents or cover, nor did he bother to inform them when it was to be issued. “The second record was so angering, because Donnie almost militantly cut us out of the process,” Peter Tork recalls. “By that time we were playing our own music onstage, and we were righteously pissed with the fact that the album was released without our having heard it. We were on the road at the time, and somebody went across the street to the mall to get a copy. We had to buy the album just to hear it.”
In a bid to appease the group’s musical longings, Kirschner agreed to allow the foursome to create material for their future releases. “Mike came up to me in the Whiskey A-Go-Go one night when I was playing bass with The Turtles,” Chip Douglas recalls. “He said they wanted to get a new producer, and he wanted me to do it.” Douglas, who had no prior production experience but a new respectability for arranging “Happy Together,” was dumbfounded by Nesmith’s staggering offer to produce the nation’s #1 group. Even more stupefying was Nesmith’s next directive: “He said, ‘You’ll have to leave The Turtles.’ I said, ‘Really?’ That was the part I wasn’t sure about. We had a hit going with ‘Happy Together.’ But Mike said he would show me how to produce records, which I quickly picked up on.” Nonetheless, Douglas’ position was precarious at best: “I was unsure whether I would really get the job and push Kirschner aside.”
On January 16, 1967, The Monkees entered Goldstar Studios in Hollywood to cut their debut as a full-fledged group, with Douglas in tow. First on the agenda was the heretofore unissued version of “The Girl I Knew Somewhere”: its composer, Michael Nesmith, handled the lead vocal and guitar. For this recording session, Nesmith’s longtime cohort, John London, sat in on bass, Tork busied himself with an intricate harpsichord part, and Jones and Dolenz took up their customary percussion roles.
“The harpsichord solo was something I wanted to do because I’m partly a classicist,” Tork admits. “Bach was my favorite composer, and harpsichords were my thing. I remember I had the general idea for the harpsichord solo for awhile. When Mike was in my dressing room, I was noodling around with it, and I hit that discord on the downbeat at the end of the solo – I hadn’t meant to do that. I said, ‘What was that?’ Mike said, ‘I heard it!’ That was great – we were tickled to death to have this funny note on the record.”
“All Of Your Toys,” also cut on this day, was written by Chip Douglas’ friend and former housemate, Bill Martin. “We thought that was going to be a great single,” Douglas recalls fondly. At the time of recording, Douglas was oblivious to a Screen Gems bylaw that strictly forbade The Monkees from releasing songs that were not controlled by the company. Bill Martin’s “Toys” was published by Tickson Music, and as the matter could not be resolved, this great track was shelved until 1987, when it appeared on Rhino’s Missing Links collection. It is featured on this reissue for the first time in its originally intended single mix.
(Collector’s Note: Also attempted at this session, but never completed, was a backing track for the song “She’s So Far Out, She’s In.” This song was one of a handful of then-unissued tunes performed by The Monkees during their late ‘66/early ‘67 U.S. tour. Incidentally, “She’s So Far Out, She’s In” was also covered by teen hit makers Dino, Desi & Billy, who released it as a single on Reprise [#0496] in late 1966.)
A few days later, The Monkees recorded a new version of “The Girl I Knew Somewhere,” this time with Micky Dolenz taking the lead vocal. After the “Toys” debacle, the band was eager to see this new recording on their next single. However, Don Kirschner had other plans entirely. In early February he bypassed The Monkees’ wishes and issued a single of Neil Diamond’s “A Little Bit Me, A Little Bit You” and Jeff Barry’s “She Hangs Out,” after which he promptly fled to Florida, where he could not be reached. Ultimately, Kirschner’s power play would not only mark the break in his relationship with The Monkees, but also his association with Screen Gems, Columbia Pictures and Colgems Records. By late February, Kirschner was unceremoniously ousted from his perch as Colgems label head and eventually relieved of all further Screen Gems duties. More important, the single he issued (Colgems #1003) was immediately withdrawn from release.
With Kirschner out of the picture, the less adversarial Lester Sill stepped in as Colgems’ label chief, and The Monkees were set loose on RCA Victor’s Studio C to create an album of their own. At 2 p.m. on February 23, sessions for Headquarters officially kicked off with the tracking of Michael Nesmith’s “Sunny Girlfriend.” Says Tork, “I remember when we were playing that in Osaka. I would play the boogie-woogie guitar line on bass, because basically we were just a trio live – Davy didn’t play much. We just locked into something that was remarkable. Davy came over to me banging his tambourine, screaming above the din of the crowd, ‘We’re going to form a group!’ It was really good, it’s what you live for as a musician.”
Also on this day in the studio, final overdubs were placed on the second version of “The Girl I Knew Somewhere,” which was now scheduled for release as the flipside of a revamped “A Little Bit Me, A Little Bit You” single.
(Collector’s Note: The final released version of “The Girl I Knew Somewhere” – along with “A Little Bit Me, A Little Bit You” – will be featured on an upcoming Monkees greatest hits collection. During research for this reissue series, an early album master of Headquarters that featured “The Girl I Knew Somewhere” was uncovered. This unique tape also boasts an alternate running order for the album. If you wish to replicate this early version of Headquarters, program your CD player to play this disc in the following sequence: 8, 2, 3, 5, 6, 4, 10, 9, 1, 15, 11, 13, 14, 7, and 12.)
The following afternoon, the group recut “Mr. Webster,” a Boyce & Hart reject from the More Of The Monkees sessions. The Monkees dispensed with Boyce & Hart’s melodramatic production, opting instead for a sparse background of Tork on piano and a haunting pedal steel played by Mike. The Monkees’ inspired arrangement excluded drums in favor of Davy’s tambourine. In fact, it may very well be Davy’s work on Headquarters that laid the foundation for his often mentioned (by Jones that is) ranking as #1 tambourine player in the world. When Jones was asked how often he currently practices the percussive instrument, he answered cautiously: “Not often. Sometimes when I’m dusting I take it off the shelf, but dropping it doesn’t count, does it?”
After a week’s rest, recording resumed on March 2, 1967. In the afternoon the band cut “You Just May Be The One,” with Nesmith singing lead and playing electric 12-string guitar, Tork handling the bass, and Jones and Dolenz on tambourine and drums, respectively. After woodshedding the song on their first concert tour, The Monkees delivered their most confident group performance on Headquarters. As one of the album’s obvious musical highlights, “You Just May Be The One” validates The Monkees’ hard-fought struggle to ultimately generate their own music.
(Historical Note: Nesmith originally recorded “You Just May Be The One” in July ‘66 for possible inclusion on the group’s October ‘66 debut album, The Monkees. Although it remained unissued on records, this outstanding take did manage to pop up on the soundtrack of several episodes of The Monkees TV series’ first season. Long a favorite of bootleg compilations, the July ‘66 version was officially issued 24 years later on Missing Links, Vol. 2.)
During the evening, a more primitive, albeit engaging, side of The Monkees’ musical ability was revealed. Amid rehearsals for “Forget That Girl” and “Randy Scouse Git,” Micky and Mike attempted – with little success – to perform the Warner Bros. cartoon theme on drums and pedal steel. The barely recognizable results were presented on Headquarters as “Band 6,” an audio verité slice of the group’s trial-and-error rehearsal method. “We tried to keep the tapes running so that we’d catch this stuff,” Tork recalls. “That whole take from beginning to end is right as it happened – that’s live. I think ‘Band 6’ was really a peak moment. It displays one of the reasons why we wanted to make the records ourselves.” Davy was absent from the proceedings on this evening because he was representing The Monkees at the 1967 Grammy awards ceremony held at L.A.’s Shrine Auditorium. The band was nominated in two categories for “Last Train To Clarksville,” but Jones walked away from the Shrine Grammy-less, losing out to The Mamas & The Papas’ “Monday, Monday” and The New Vaudeville Band’s “Winchester Cathedral.”
Work on Nesmith’s third and final Headquarters track, “You Told Me,” began the following evening. Opening with a bizarre count-in that mimicked the intro to The Beatles’ Revolver, and a wild zither that was borrowed from one of Micky’s experimental Headquarters demo sessions (the eerie version of “Pillow Time” included for the first time on this reissue is culled from these tapes), the song eventually kicks into an impressive Nesmith country-rocker. “Very interesting use of the banjo on that cut,” says Tork. “I thought it really kicked. My friends all said, ‘That’s your axe, buddy.’ It really kills when the banjo comes right in the middle and then the band hits with that nice bass drop. That moment is really exciting, that’s what music is supposed to be.”
After numerous run-throughs, Micky’s “Randy Scouse Git” was finally recorded on March 4, 1967. Tired of tapping on his wood block, Micky noticed a kettle drum sitting in the corner of the studio and hit upon the idea of using the instrument for the choruses, intro, and fade. “I remember when Micky first showed me that song, I was so excited,” Tork recalls. “He played me the verse and the chorus, and then he said, ‘In the end we do them both at the same time!’ I thought that was a brilliant piece of music. I’ve always thought that Micky was more creative than he ever gave himself credit for. He’s a vastly more talented individual than he’s aware of. I always thought that song was proof of it.”
“Randy Scouse Git” was written only thee weeks prior to the start of the Headquarters sessions, while Dolenz was on a promotional tour of London. “It was the morning after The Beatles had thrown us a party at some club, and I had some girl with me, and my friend was in the room,” Dolenz reminisces. “We were just sittin’ around, and I was literally making it up as I went along. It mentions The Beatles and the girl in the limousine, who was about to become my wife. There was a bit of social commentary about having long hair and being abused by the establishment.”
(Historical Note: Outside of the continental United States, Micky’s “Randy Scouse Git” [English slang for “lecherous Liverpudlian idiot”] was issued as a single under the less offensive “Alternate Title,” on July 1, 1967. The song would eventually make the Top 10 in England, Ireland, Denmark, New Zealand, and Australia.)
Later, during the same session, Boyce & Hart’s “I’ll Spend My Life With You” was remade. The new version featured Dolenz on vocals and rhythm guitar, Tork on acoustic 12-string guitar and celeste, Nesmith on pedal steel, and the rhythm section of producer Chip Douglas on bass and Jones on tambourine. The song was originally cut for More Of The Monkees, but, along with a dozen or so other tracks, it was shelved.
(Collector’s Note: Boyce & Hart’s original version of “I’ll Spend My Life With You” first appeared on Rhino’s 1991 box set Listen To The Band. It can now also be found on the expanded CD reissue of More Of The Monkees, which features several rare tracks not originally included on the album.)
On March 7, Chip Douglas’ “Forget That Girl” was cut with the line-up of Nesmith on electric 12-string, Tork on electric piano, Jones on vocals and maracas, and Dolenz on drums. The song was originally submitted to Don Kirschner in January when Douglas became the group’s producer. “We had a meeting at the Beverly Hills Hotel when they were signing me up,” Douglas recalls. “He played me a couple of demos of things that had just come in for The Monkees. One of those was ‘Sugar, Sugar,’ which I thought was terrible, as bubblegum as could be. But I remember his phrase that these were ‘cute ideas.’ Then I played him ‘Forget That Girl,’ which he said, ‘kind of has a negative message to it.’ I was taken aback. It was written about an old girlfriend – it was positive advice to myself.”
Also taped around this time was “Zilch,” a nonsensical, four-way, mantra-like chant of phrases the band came into contact with on their travels.
“Shades Of Gray,” taped on March 16, was one of only two songs for The Monkees by preeminent ‘60s songwriters Barry Mann and Cynthia Weil. The song was Headquarters’ finest showcase of the group’s newfound arrangement expertise. “We created that stuff from scratch,” says Tork. “Mike wrote the horn and cello parts, sang them to me, and I notated them. I was also really pleased with that little piano introduction I wrote. We were just thrilled to death with that song.”
The following day the band remade Boyce & Hart’s “I Can’t Get Her Off My Mind,” a music hall-style ditty that dated back to the “Clarksville” sessions. The Monkees eliminated the original version’s insipid backing vocals and brought to fore a tack piano part (played by Tork) – which was only incidental on Boyce & Hart’s track – not to mention some inspired wood block and cymbal fills from Micky. The second song taped on this day was the rave-up rocker “No Time.” “We were working well together at that time, and I remember we just wanted to do a rock ‘n’ roll tune,” says Dolenz. “I think that probably started out as a jam. Then Mike and I went into the control booth and wrote the lyrics. ‘Hobber reeber sabasoben’ is Bill Cosby. ‘Runnin’ from the rising heat to find a place to hide’ is about police and marijuana, and ‘Andy, you’re a dandy, you don’t seem to make no sense’ is about Andy Warhol.”
When it was released, Headquarters’ sleeve credited recording engineer Hank Cicalo with composing “No Time.” Peter Tork explains: “‘No Time’ was just a Chuck Berry rip-off. We assigned it to Hank, who got into a little trouble about it, because engineers are not supposed to solicit songs. When RCA saw his name on the thing they thought, ‘God, he solicited this tune.’ He had to go in there and explain it to them. It was just a tip.” A tip, it should be noted, that enabled Cicalo to purchase a house. However, Chip Douglas admits: “He was really practically producing the whole thing – he was certainly telling me how to do things.”
(Historical Note: Also on this date, Harry Nilsson recorded a solo piano demo session exclusively for The Monkees. Among the selections taped, “The Story Of Rock & Roll” was attempted by the group a couple of days later on March 19. Unfortunately, no final takes of The Monkees’ version were completed. Chip Douglas would later produce an almost identical version with The Turtles [White Whale single #273] in mid-‘68. The late Harry Nilsson, of course, found solo success during the late ‘60s and early ‘70s. The Monkees were among the first groups to cover his work and were partially responsible for his signing to RCA in 1967.)
The introspective “Early Morning Blues And Greens” was written by Jack Keller and Diane Hildebrand, who had previously penned such standard pre-teen fare as “Your Auntie Grizelda” and “Hold On Girl.” The track featured Nesmith on electric six-string, Tork on electric piano and overdubbed organ, Chip Douglas on bass, and some rather shaky drums from Dolenz. Davy Jones not only turns in some of his best vocals on the album, but also does instrumental double duty on the track, playing both jawbone and maracas. Initially, the song was tried with Jones and Tork exchanging lead vocals, but this experimental take was nixed early on. “I always thought I should have sung it, because it was right up my alley,” confides Tork, who was responsible for selecting the song. “But Davy did a good job singing it – he certainly acted out the setting very well. I love that record. I still think about performing it from time to time.”
The final Headquarters session took place on March 23, 1967, and ran from one in the afternoon to 2:30 the next morning. The song at hand was Peter Tork’s standout “For Pete’s Sake.” For this track, Tork played electric six-string guitar, Nesmith stabbed at the Hammond B-3 organ, Davy rattled the tambourine, and producer Chip Douglas played bass. Lyrically, the song presaged the rapidly approaching Summer of Love. “The lyrics just came out of the air,” Tork says. “I was playing those chords at my house, and my then-roommate, Joey Richards, was with me, and he threw in a couple of odds and ends of lines as I was going along.” Also of musical note, playing the thunderous drum part and singing lead on “For Pete’s Sake” was Micky Dolenz, who showed the greatest musical progress of any of The Monkees and clearly had the toughest job on Headquarters. It’s worth mentioning that prior to landing his role on the pilot for The Monkees in 1965, Dolenz had never attempted any form of serious drumming. Before The Monkees’ live debut in Honolulu on December 3, 1966, Dolenz was given a crash course on the instrument. Nevertheless, this lesson must have been extremely brief, for throughout Dolenz’s career as a live drummer, he consistently set up his drums as though he were a left-handed player, even though he is right-handed.
(Historical Note: Producer/creators Bert Schneider and Bob Rafelson were so taken with “For Pete’s Sake” that the song was quickly adopted as the closing theme for The Monkees’ second season, which premiered September 11, 1967.)
Although general recording for Headquarters was by and large completed by late March, there was an abundance of clean-up work to be done. “I contributed most in the extensive editing that was needed,” says Douglas. “It was a nightmare. On some of those takes, Micky was such an unsteady drummer that I wound up splicing eight or nine takes together to get one good take.”
During this time, a master reel of demos, jams, and studio chat not destined for Headquarters was put together. From Douglas’ assemblage of leftovers we’ve included: “Peter Gunn’s Gun,” an incredibly loose studio jam a la “Band 6,” featuring Tork on piano, Nesmith on pedal steel, Micky on drums, and Chip holding it together on bass; Michael Nesmith’s earliest known demo of “Nine Times Blue”; and “Jericho.” This recording of “Jericho” most likely hails from the March 22, 1967, French horn overdub session for “Shades Of Gray” and captures Micky and Peter in a conversation with Douglas.
After the final dub-downs were completed, a private unveiling for RCA’s top brass was scheduled for the first week of May 1967. Hank Cicalo remembers the event vividly: “We were in Studio C at RCA, which is a smaller room. Through the course of the sessions, there were times when working in the studio got boring. One day, Micky came in with some tempera paints and started painting the glass between the control room and the studio. This went on for weeks. Everybody joined in and we ended up with this incredible piece of artwork.
“The night we finished Headquarters, the president of RCA was coming down with a bunch of guys to hear the album. My boss, Charlie Pruzansky, who was running the studio at the time, came down beforehand, looked at the room and said, ‘Gee, you guys, it’s a mess.’ I said, ‘Just leave it alone, don’t touch it, the guys want the painting on the wall – they haven’t taken any pictures of it yet.’ He said, ‘Well, OK, we’ll try and do that.’ When we walked in at around five that evening, the place was spotless, and the glass had been washed off. The Monkees lost it and freaked. The president of RCA had to take all this abuse, not about the album, but because some idiot had washed the glass off!”
Painting or no painting, when issued on May 22, 1967, Headquarters did brisk business. By June 24, 1967, the album sat on the top of the Billboard Hot 100. However, one week later, another more impressive group effort had taken its place. For the next 11 weeks, Headquarters would sit at #2 while The Beatles’ landmark Sgt. Pepper’s Lonely Hearts Club Band held down #1.
Twenty-seven years on, Headquarters remains The Monkees’ favorite, and only truly collective, recorded work. “Headquarters was by far the best album in the sense that it was us,” says Dolenz. “It was honest, it was pure, and we had a great time. Peter says that the reason he quit was because after we did this album, we decided we weren’t going to be a group anymore. It broke his heart, because Headquarters was the whole reason why he’d become one of The Monkees.”
Summing up, Davy Jones has the final word on The Monkees’ group experience: “The Monkees were a garage band – we just needed the basic instruments, and the rest was personality. We all had egos, but we all had one thing in mind at the end of the day: that we all ended up together, bowing at the same time.”
– Andrew Sandoval
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Produced by DOUGLAS FARTHING HATLELID
Engineered by HANK CICALO
Produced for Reissue by ANDREW SANDOVAL & BILL INGLOT
Executive Producer: HAROLD BRONSON
Project Coordination: PATRICK MILLIGAN
Remastering: BILL INGLOT & KEN PERRY
Reissue Art Direction: COCO SHINOMIYA
Design: RACHEL GUTEK
Special Thanks: MICHAEL NESMITH, PETER TORK, DAVY JONES, MICKY DOLENZ, CHIP DOUGLAS, BOBBY HART, TOMMY BOYCE, RIC KLEIN, PAUL WILLIAMS, ERIC LEFCOWITZ, HARVEY RUPELSTEIN, GARY STROBL & ROBERT CRISTARELLA
_______________________________________________________________
THE COMPLETE MONKEES CATALOG AVAILABLE ON RHINO:
The Monkees (R2 71790)
More Of The Monkees (R2 71791)
Headquarters (R2 71792)
Pisces, Aquarius, Capricorn & Jones Ltd. (R2 71793)
The Birds, The Bees & The Monkees (R2 71794)
Head (R2 71795)
Instant Replay (R2 71796)
The Monkees Present (R2 71797)
Changes (R2 71798)
Listen To The Band [box set] (R2/R4 70566)
Live (1967) (R2/R4 70139)
Missing Links (R2/R4 70150)
Missing Links, Vol. 2 (R2/R4 70903)
Pool It (R2/R4 70706)
AND FROM RHINO HOME VIDEO:
Heart & Soul (R3 1601)
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This Reissue/Compilation (P) & © 1995 Rhino Records Inc., 10635 Santa Monica Blvd., Los Angeles, CA 90025-4900.
