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More Of Monkees (Deluxe)
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_________________________________________________THE MONKEES
MORE OF THE MONKEES
(DELUXE EXPANDED EDITION)
By the end of 1966, The Monkees had conquered television, the stage, and the top of the charts. But this wave of success brought with it broken promises and raging egos. The source of friction was The Monkees’ music and, more specifically, who played and sang it.
Initially The Monkees’ records were intended as an adjunct to their series, a simple soundtrack to cash in on the show’s audience. But when LP sales outstripped Nielsen ratings, the records became a battleground for power and wealth. “‘Last Train To Clarksville’ was sellin’ a lot of records,” says Monkee Michael Nesmith of the group’s August 1966 debut single. “There was a big promotion put behind it, and the record was, you know, a Class A pop record. [The powers that be] suddenly realized, ‘Well, we got more than we bargained for.’ They realized, ‘We really gotta pay more attention to the music. Given what it looks like this medium [of television and marketing] is going to do to the music, we really need to be ready with a bunch of albums. So let’s see if we can really start cranking the music out to be ready, and they’ll put the music in the shows.’ All of which is fine.”
And crank it out they did. From the end of July through November 1966, more than 30 new “Monkees” tracks were readied for potential release. What was not “fine” with Nesmith was how the music was packaged. “The first album shows up, and I look at it with horror because it makes [us] appear as if we are a rock ‘n’ roll band,” he says. “There’s no credit for the other musicians. I go completely ballistic, and say. ‘What are you people thinking?’ [The powers that be say], ‘Well, you know it’s the fantasy.’ I say, ‘It’s not the fantasy. You’ve crossed the line here. You are now duping the public. They know when they look at the television series that we’re not a rock ‘n’ roll band: it’s a show about a rock ‘n’ roll band. It’s witty and wacky, and nobody for a minute believes that we are this somehow accomplished rock ‘n’ roll band that got their own television show. It’s absurd, and you’re putting this record out like this is just beyond the pale.’”
The man credited with much of their early success on records was also the person the group blamed for this misrepresentation: Monkees music coordinator Don Kirshner. “People [said], ‘Donnie is the puppetmaster’ and ‘Donnie is controlling the group,’” admits Kirshner. “Effectively, that’s what I did. I’m not saying that out of ego. I’m saying that because I had a contract. I kicked them out of the studio because I had a TV show that I had to put songs in, and to me it was business, and I had to knock off the songs. I could’ve put out the ‘Star Spangled Banner’ with The Monkees if I wanted to.”
Overworked and underpaid, the rest of The Monkees became resentful of Kirshner’s process. “I don’t think people understand this, how much of a strain it was,” says Monkee Davy Jones of the group’s round-the-clock efforts. “If we had spent a little bit more time developing our own situations, instead of saying, ‘Okay we’ll do what you say, guys,’ then maybe things might have been different.”
It wasn’t just the group that felt mistreated; the press that had made The Monkees stars soon began to bite back when they were denied access to the boys. In the October 2 edition of The New York Times, writer Judy Stone asked Davy pointedly if “the big push for The Monkees was fair to real rock groups?” Left to stutter a response, Jones bravely admitted “…you can’t fool the people, you really can’t. There’s a showdown sometime.” Little did he know the showdown had just arrived.
“The press went into a full-scale war against us,” says Michael Nesmith. “Talking about, ‘The Monkees are four guys who have no credits, no credibility whatsoever, who have been trying to trick us into believing that they are a rock band.’ Number one, not only was it not the case, the reverse was true. Number two, for the press to report with genuine alarm that The Monkees were not a real rock band was loony tunes. It was one of the great goofball moments of the media, but it stuck.”
In the meantime there was music to be made. On the same day (and at literally the same time) that songwriter-producers Tommy Boyce and Bobby Hart were cutting The Monkees’ debut single, “Last Train To Clarksville,” Nesmith was just down the street taping three productions of his own. The best of these, Nesmith’s self-penned “Mary, Mary,” was included on the group’s second album, More Of The Monkees. The song had previously been covered by the Paul Butterfield Blues Band (on their East-West album), but some less enlightened music snobs who didn’t believe The Monkees were capable of writing their own tunes thought The Monkees were ripping off Butterfield.
Though Peter Tork contributed guitar to this session, the rest of The Monkees did not participate instrumentally. Like many of their Los Angeles contemporaries (The Beach Boys, The Byrds, and The Mamas & The Papas), The Monkees’ productions often utilized the city’s “wrecking crew” of pro players. However, unlike their hipper peers, The Monkees were mercilessly criticized for using outside musicians. “The Monkees’ version was one of the early studio bands coming together,” comments Nesmith on “Mary, Mary.” “Glen Campbell played the guitar part. That was really a blues lick that I wanted to incorporate in a very straight-ahead blues type of song. He just had the dickens of a time gettin’ it because he was a country player, not a blues player. So it ended up with The Monkees’ version flavoring the thing off into the country vein. In addition, the L.A. session players were off into the country vein as well.”
Also taped at this July 25 session were Bill and John Chadwick’s “Of You” and Michael Martin Murphey’s “(I Prithee) Do Not Ask For Love.” Both songs were penned by former bandmates of Nesmith’s from a failed 1965 Randy Sparks folk assemblage called The Survivors. Like so many of the tracks recorded during this period, these tunes were seen as surplus to Kirshner’s immediate needs and would remain in the vault for the next 20 years (eventually finding release on Rhino’s Missing Links series). However, Kirshner would grant Nesmith one other track on More Of The Monkees, a slightly older master called “The Kind Of Girl I Could Love.”
Only hours after Nesmith’s session wrapped, Boyce and Hart were back at the same studio taping their song “(I’m Not Your) Steppin’ Stone.” Previously covered by Paul Revere & The Raiders (among others), “Steppin’ Stone” would soon become a trademark song for The Monkees. Issued as the flip side to their second single in November, “(I’m Not Your) Steppin’ Stone” charted an impressive #20 in early ‘67.
Another Boyce and Hart session on August 6 produced the similarly anthemic “Valleri.” As Bobby Hart remembers, “‘Valleri’ was specifically written for them. We actually wrote it in the car going up Mulholland from Woodrow Wilson and Laurel Canyon over to the house that [Don Kirshner] was renting in the suburbs.” Written at Kirshner’s request, “Valleri” followed one of Donnie’s formulas for success: using a girl’s name in the title line. “I knew with the right lyric line it would be a hit for The Monkees,” says Kirshner of the results. “Because every Valleri would buy it, and every girl would relate… I was very hot and high on getting a girl’s song, ‘cause the formula had worked for me with Sedaka.”
Even so, Kirshner passed on “Valleri” as the group’s next single, and only after he exited The Monkees project was the song revived for a surefire hit. “It should have been the next single,” remarks Hart. “When they needed a single a couple singles down the line, they had us go back into the studio and re-cut. We couldn’t use the original for some unknown reason, but they let us go back in without credit and try to duplicate it. [The original recording] was a better version.” The 1966 attempt (first issued on 1990’s Missing Links, Volume Two) is included on this re-issue.
Boyce and Hart cut two more potential hits at a session on August 15. Kirshner chose to open More Of The Monkees with “She,” while the other track, “Words” (the first Monkees recording to feature a Peter Tork vocal), was initially only heard on The Monkees series. “‘Words,’ that was a fabulous song,” recalled the late Tommy Boyce in 1994. “That was one of the first times we thought Peter could actually sing on a record. It’s overlapping. That’s when we thought it would be a good idea to have Peter come in and sing with Micky.”
While Tork played some guitar on The Monkees’ debut – becoming the first Monkee to appear on one of their records instrumentally – he did not garner any lead vocal duties on that record. For a man to whom music meant everything, Tork was incredibly frustrated by the situation. “I did a vocal version of one of the earlier songs,” remembers Tork. “I walked into the studio, and I said, ‘How was that?’ Everybody said, ‘Pretty good.’ I said, ‘Okay, well what else?’ Everybody sort of like faded away, and the picture went gray, and the next thing you knew somebody else was on the [vocal]. It’s like it didn’t make a dent. I was infuriated. It was really tough for me because I had these ideas about what it was supposed to be and what you were supposed to do and how it was supposed to go. Tommy Boyce, who didn’t have a clue about any of [my feelings], did it the way he was raised to do it. He just followed his instinct.
“All he kept saying was, ‘You’re not the Lovin’ Spoonful.’ Meaning we hadn’t woodshedded as a band. That seemed to end the argument as far as Tommy was concerned. Tommy really didn’t get it. He just didn’t have any idea of what I was up to. What was I on about? What was I carrying on for? What was going on with me? He didn’t understand. He didn’t have the slightest clue.”
“We had a plan,” says Boyce in response. “They were actors doing the television show. We were songwriters and producers doing the records. We basically had it narrowed down to Micky singing the fast songs and Davy singing the ballads. Michael was very country in those days, and it didn’t quite fit The Monkees image of what they wanted for the kids [aged] 3 to 11. Peter was a great musician, great banjo player, but he was mainly from New York, and he had a different process for thinking about songs. It didn’t quite fit with what we had in mind for the group called The Monkees.”
Like “Valleri,” “Words” would later be recut by The Monkees without Kirshner (or Boyce and Hart for that matter). By the end of the month Boyce and Hart had begun to wear out their welcome with all involved. Experimenting in the studio, their next efforts were the novelty-oriented numbers “Ladies Aid Society” and “Kicking Stones” (later issued under the incorrect title “Teeny Tiny Gnome”). Not only did Kirshner pass on these numbers, The Monkees creator/producer Bert Schneider sent out a memo stating that these tracks were “of dubious value.”
In any event, Kirshner was already in search of a new musical direction. After another September session with Boyce and Hart (which produced outtake versions of “Mr. Webster,” “Hold On Girl” and “Through The Looking Glass”), Donnie began producing The Monkees’ new records closer to home on the East Coast. “I was very friendly with Boyce and Hart, but my fiduciary obligations to Columbia Pictures and Screen Gems is to get the best record, okay?” says Kirshner of this shift. “My objective was one thing: try not to show favoritism. I had a competitive environment, no different than, say, American Idol. The four finalists are there, you can only have one, and each one of them could be a hit record star. And that’s what I strive for.”
The first of Kirshner’s New York City Monkees sessions occurred on October 13 when Carole King taped two of her songs for the group: “Sometime In The Morning” and “I Don’t Think You Know Me” (originally attempted by Nesmith for the first Monkees album). King never worked directly with The Monkees, choosing instead to send her tapes to Los Angeles with her own vocals for The Monkees to mimic. “There were some tracks that were brought in by producers from New York. The guys, they didn’t like that at all,” says recording engineer Hank Cicalo of The Monkees’ involvement in these East Coast matters. “I didn’t blame them; that was kind of underhanded. A lot of that was Donnie: they wanted to do it in New York with their musicians. [The Monkees would] come in, and we’d put vocals on and percussion, stuff like that. Some of them were very basic; some of them were full. You’ve got to remember that they were tired. It was a horrendous schedule with a lot of pressure. So there were times when a tune would arrive, and it wouldn’t be their tune, so there was always that bit of intimidation.
“For example, when Carole and Gerry sent us a record, the record would have everything built into it: a hell of a performance, some great hook – something that made the record really good vocally or musically. Inevitably anyone who ever did a Carole King demo, in those days, and even now, what you did was you gotta duplicate it, you had to. You had to do it because that’s what made that demo work… You’re trying to do something that’s not really you, but it’s something that Screen Gems would [say], ‘Gee, sing it just like Gerry sang that verse.’ So sometimes you’d get into problems like that. I found there were times when they were forced into things that were difficult to deal with.”
To facilitate the transition, Kirshner appointed stalwart songwriter and producer Jeff Barry. Currently riding high with his hit production of Neil Diamond’s “Cherry, Cherry,” Barry brought Neil Diamond into RCA’s New York studio B on October 15 to tape two songs for The Monkees. “Don Kirshner liked ‘Cherry, Cherry’ very much and asked if I had something The Monkees could do,” recalls Diamond. “So I sent them over my version of ‘I’m A Believer.’ It was originally a song that I just wrote for my album. It just was a little simple kind of self-expression thing. [A] happy kind of thing. I didn’t think too much of it. I just liked the title – that’s how the song came. I had written it at about the same time I wrote ‘Cherry, Cherry,’ and it was like I had an extra hit.” Also taped on October 15 was Diamond’s catchy “Look Out (Here Comes Tomorrow).”
The following week Jeff Barry flew out to Los Angeles to meet with The Monkees and play them the tracks they would be singing on. “The first time I met them it was at somebody’s office,” recounts Barry. “I had the demo, just a simple track of [“I’m A Believer”] and either myself or Neil singing the lead, just so the kids could hear the song. No background parts or anything; basic track and vocal.. Everybody was duly receptive, understanding that it was certainly not a record, but this is the song and the basic track.
“Everybody seemed enthusiastic, except Mike Nesmith. [He had] a big attitude right from the beginning, and he said at one point, ‘I’m a producer too, and that ain’t no hit.’ So it was like, ‘Ooooh.’ To break the tension I made what I thought was an obvious joke. I said, ‘Well Mike, it’s not finished. You’ve got to picture this with the strings and the horns,’ when I thought there wasn’t going to be strings and horns, and he goes, ‘Well, maybe it could be something with strings and horns.’ Then he realized everybody laughed, and the relationship goes down from there.”
Indeed, Barry even tried to include Nesmith on the vocals at a session that weekend, albeit with little success. “At a certain point he became so disruptive, I just tossed him out. He never made the finals. I don’t remember exactly, but history shows that he thought he knew everything.” Regardless, Barry quickly snared Micky and Davy’s lead vocals for “I’m A Believer” and “Look Out (Here Comes Tomorrow)” respectively. After a failed “narration” part on “Look Out (Here Comes Tomorrow)” (heard here as a bonus track), Barry granted Peter his first released lead vocal on “Your Auntie Grizelda.”
Cut at a Jack Keller-produced session on October 14 (alongside a second version of “Hold On Girl”), “Grizelda” was intended as a Rolling Stones “19th Nervous Breakdown”-styled knock-off. “The tracks were recorded at American Studios, where Three Dog Night used to record with Richie Podolor,” recalled the late Keller in 1991. “At that time The Monkees were only dealing with Jeff Barry. So Donnie said, ‘Hey, do you mind if you split the production with Jeff, because he can get Davy to come in and sing?’
“I didn’t know that he was going to use Peter on ‘Your Auntie Grizelda.’ I thought the Monks would cut it like ‘19th Nervous Breakdown,’ with Micky singing lead, or Micky and Davy. It turned out to be a total surprise to me when it came to the session and Jeff said, ‘Peter’s going to sing it.’ As it turned out it was the only lead that I know of that Peter got on. It was a total comedy thing. He did that all in one take – no second take, that was it what you heard there. He made up the whole thing. I was in a total state of shock when I heard it.”
Tork got a second chance at the mic on October 27 when Barry added vocals to Carole King’s New York production of “I Don’t Think You Know Me.” This tentative performance was not released at the time (and appears here as bonus track). Far more rewarding was Micky’s tender reading of the excellent “Sometime In The Morning.” However, 40 years on, Barry is critical of the somewhat sloppy production on More Of The Monkees. “The guitar sounds out of tune,” he says. “Now that I’m hearing all of this, it was kind of like a little hodgepodgey. As I recall, there wasn’t time. I don’t remember picking these songs. I think [the powers-that-be said], ‘Here, cut these.’ Kirshner being the main supplier of the songs – he published everything. I always remember urgency. Today you take six months or a year. Don Kirshner just had all these writers going in and making demos. The only difference between a demo and master was the label.”
Amid this atmosphere of stockpiling tracks, Boyce and Hart returned to the studio at the end of the month to cut several more potential masters. “Tear Drop City” was a slow, bluesy composition in the seventh-chord mold of such first-album tracks as “Last Train To Clarksville” and “Tomorrow’s Gonna Be Another Day.” Later issued as a sped-up Monkees A-side in 1969, “Tear Drop City” appears for the first time on this collection at its original tempo.
Also in the vaults until 1969, the rocking “Looking For The Good Times” would eventually appear on The Monkees Present. Meanwhile Boyce and Hart’s lovely “I’ll Spend My Life With You” would soon be recut by The Monkees in early ‘67 for their Headquarters album. “I got that idea about a girl I thought I was in love with, but she left me for another guy,” says Boyce of this heartfelt tune. “We wrote that in the office. In those days I was a bit confused just about women in general. Like after writing ‘I Wanna Be Free’ – ‘Don’t say you love me, say you like me.’ This particular girl, she left me for a gangster, actually, a New York gangster. I had written the song before that. You know when you’re 26 or 27 and totally in love. ‘People come and people go, moving fast and moving slow, you’re in a crowd yet you’re all alone.’ Bobby helped me finish it of course, and I played it for her thinking maybe it would get her to stay with me. Of course she left.”
On October 28, RCA Studios in Hollywood played host to both Jeff Barry as well as Boyce and Hart. Six songs were taped at two separate sessions with Boyce and Hart producing “Apples, Peaches, Bananas And Pears,” “Don’t Listen To Linda” and “I Never Thought It Peculiar,” which were rejected by Kirshner. Barry was far more successful with the soppy recitation “The Day We Fall In Love” and The Tokens’ bouncy “Laugh,” both finding spots on More Of The Monkees. Nonetheless, Barry’s third production, the splendid “I’ll Be Back Up On My Feet,” was relegated to use on the television soundtrack only.
At the beginning of November, Kirshner issued “I’m A Believer” as a single, and the results were stunning. Charting in more than a dozen countries, it became the biggest record of The Monkees’ career. Despite the fact that he had more than two albums worth of tracks to choose from, Kirshner steamed ahead with a final More Of The Monkees session on November 23. Recruiting two new producers to the fold, Neil Sedaka and Carole Bayer, Kirshner imported Davy Jones directly to New York to tape his vocals immediately so the album could be completed in peace.
“Don Kirshner asked Carole Bayer and I to go into the studio with Davy Jones and produce a couple of sides for the More Of The Monkees album,” says Sedaka of this final date. “What sticks out in my mind is, there is a phrase I’ve come to hate over the years, when people told you years ago – if not this album, the next album. I’ll explain that. Don Kirshner heard the two songs ‘When Love Comes Knockin’ (At Your Door)’ and ‘The Girl I Left Behind Me.’ [Then] he said, ‘Well, we’re going to put “When Love Comes Knockin’ (At Your Door)” on the album, but we’ll reserve “The Girl I Left Behind Me” for the next album.’ I was so discouraged because it was left off the album. As a result, I lost a lot of money. It was a lot of competition and a lot of politics and a lot of schmoozing, which I’m not good at.”
Only days after this session The Monkees made their live concert debut to rapturous response in Honolulu, Hawaii. Playing and singing every note. The Monkees grew increasingly confident in their musical ability and were now acutely aware of their star power. Back in New York City, Don Kirshner readied the masters and artwork for More Of The Monkees, skipping the group’s concert tour. “The second record was so angering because Donnie Kirshner was almost militantly out to cut us out of the process,” says Tork. “It was like he was angry at us. On the back [cover] of it is nothing but Donnie Kirshner congratulating himself for having hired all these other good musicians. We were playing our music on stage, and we were righteously pissed.”
Tork was further miffed that by the time the group saw the final More Of The Monkees packaging and contents, the record had already been manufactured and was in stores. In this case, a marketing contract with JCPenney dictated that the album had to be rushed out while the group was on tour. In a tie-in with a Monkees/JCPenney fashion line, the group donned the cheap clothes the store was hawking. For some, the album was as much a promotion for the merchandise as it was for the music. “We obviously did parts of it, and they put it together,” says Tork of this debacle. “But the fact that it was out there without our having heard it, and the JCPenney clothes on the cover (which were a pain in the ass to begin with), and then all that self-congratulatory stuff. We had to buy the album to hear it. Somebody went across the street to the mall and bought the album. We were on the road at the moment. We were so enraged about it.”
Despite The Monkees’ concerns, the album became the biggest-selling long player of their careers. Racking up a staggering 70 weeks on the Billboard chart, the album lingered at #1 for 18 weeks in 1967 and became the third biggest-selling LP of the ‘60s (a higher ranking than any Beatles album). When it returned to the listings for another 26 weeks in 1986, More Of The Monkees’ status as the 12th biggest-selling album of all time was cemented.
For the four individuals pictured on the cover, this success meant little. “To me, these were soundtrack albums to the show, and it wasn’t my job,” says Dolenz of his initial reaction. “My job was to be an actor and to come in and sing the stuff when I was asked to do so. I had no problem with that. When I got an album I’d go, ‘Wow, hey look, another album!’ It wasn’t until Mike and Peter started getting so upset about it that Davy and I started defending them and siding with them and getting concerned on their behalf. They were very upset about it because it wasn’t the way that they were used to making music. The artist is the bottom line. The artist decides what songs are gonna go on and in what order and who writes ‘em and who produces ‘em. So they, right from the beginning, were in a very, very difficult situation. They were compromising all the time.”
As 1966 turned to ‘67, the days of musical compromise were nearly at an end. After a war of the wills with Don Kirshner, The Monkees recorded and produced their own musical statement, Headquarters. Yet their artistic struggles and longing for respect would never be resolved.
– Andrew Sandoval
Andrew Sandoval is the author of The Monkees: The Day-By-Day Story Of The '60s TV Pop Sensation.
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Disc 1
THE ORIGINAL STEREO ALBUM
1. SHE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (8/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (8/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ, backing vocals
LARRY TAYLOR: bass
BILLY LEWIS: drums
NORM JEFFRIES: tambourine
TOMMY BOYCE, DAVY JONES, RON HICKLIN & PETER TORK: backing vocals
2. WHEN LOVE COMES KNOCKIN’ (AT YOUR DOOR)
(Neil Sedaka/Carole Bayer)
Produced by NEIL SEDAKA & CAROLE BAYER
Recorded at RCA VICTOR STUDIO A, New York, NY (11/23/66 & possibly other dates)
Featuring/DAVY JONES: lead vocals
AL GAFA, WILLARD SUYKER & DON THOMAS: guitar
NEIL SEDAKA: keyboards
RUSS SAVAKUS: bass
HERB LOVELLE: drums
Unknown percussion
3. MARY, MARY
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/25/66);
RCA VICTOR STUDIO B, Hollywood, CA (7/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar
MICHAEL COHEN & LARRY KNECHTEL: keyboards
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
4. HOLD ON GIRL
(Jack Keller/Ben Raleigh/Billy Carr)
Produced by JEFF BARRY & JACK KELLER
Recorded at AMERICAN RECORDING CO. Studio City, CA (10/14/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66); RCA VICTOR STUDIOS, Hollywood, CA (10/27/66 & possibly other dates)
Featuring/DAVY JONES: lead & backing vocals
MICKY DOLENZ: backing vocals
Other personnel unknown
5. YOUR AUNTIE GRIZELDA
(Jack Keller/Diane Hildebrand)
Produced by JEFF BARRY & JACK KELLER
Recorded at AMERICAN RECORDING CO. Studio City, CA (10/14/66);
RCA VICTOR STUDIOS, Hollywood, CA (10/66)
Featuring/PETER TORK: lead vocals
Other personnel unknown
6. (I’M NOT YOUR) STEPPIN’ STONE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at WESTERN RECORDERS STUDIO 1, Hollywood, CA (7/26/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ, backing vocals
LARRY TAYLOR: bass
BILLY LEWIS: drums
TOMMY BOYCE: backing vocals
Unknown percussion
7. LOOK OUT (HERE COMES TOMORROW)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/DAVY JONES: lead & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
MICKY DOLENZ & PETER TORK: backing vocals
Other personnel unknown
8. THE KIND OF GIRL I COULD LOVE
(Michael Nesmith/Roger Atkins)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (6/25/66 & 7/16/66)
Featuring/MICHAEL NESMITH: lead & backing vocals, steel guitar
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL & BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
MICKY DOLENZ, DAVY JONES & PETER TORK: backing vocals
DON PEAKE: conductor
9. THE DAY WE FALL IN LOVE
(Sandy Linzer/Denny Randell)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (10/28/66);
RCA VICTOR STUDIO B, Hollywood, CA (11/23/66)
Featuring/DAVY JONES: lead vocals
AL CASEY & CAROLE KAYE: guitar
DON RANDI & MICHEL RUBINI: keyboards
RAY POHLMAN: bass
HAL BLAINE: drums
FRANK CAPP & JULIIUS WECHTER: percussion
LOUIS HABER, IRVING SPICE & LOUIS STONE: violin
DAVID SACKSON & MURRAY SANDRY: viola
SEYMOUR BARAB: cello
ARTIE BUTLER: string arrangement
10. SOMETIME IN THE MORNING
(Gerry Goffin/Carole King)
Produced by GERRY GOFFIN, CAROLE KING & JEFF BARRY
Recorded at RCA VICTOR STUDIO A, New York, NY (10/13/66);
RCA VICTOR STUDIOS, Hollywood, CA (10/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
DAVY JONES & PETER TORK: backing vocals
Other personnel unknown
11. LAUGH
(Hank Medress/Phil Margo/Mitch Margo/Jay Siegel)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (10/28/66 & other dates)
Featuring/DAVY JONES: lead & backing vocals
AL CASEY & CAROLE KAYE: guitar
DON RANDI & MICHEL RUBINI: keyboards
RAY POHLMAN: bass
HAL BLAINE: drums
FRANK CAPP & JULIIUS WECHTER: percussion
JEFF BARRY: backing vocals
Unknown additional backing vocals
12. I’M A BELIEVER
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/MICKY DOLENZ: lead & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
DAVY JONES & PETER TORK: backing vocals
Other personnel unknown
Bonus Material
13. APPLES, PEACHES, BANANAS AND PEARS
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (10/28/66, 10/30/66 & 10/31/66)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
Originally unissued. First collected on the album Missing Links, Rhino #70150 (7/6/87)
14. LADIES AID SOCIETY (Original Mono Mix)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (8/23/66 & 9/3/66);
RCA VICTOR STUDIO A, Hollywood, CA (9/6/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: piano, backing vocals
LARRY TAYLOR: bass
BILLY LEWIS: drums
EMIL RICHARDS: percussion
STEVE HUFFSTETER: trumpet
DICK HYDE & GILBERT FALCO: trombone
BOB JUNG & DON McGINNIS: horns
Previously unissued
15. I’LL SPEND MY LIFE WITH YOU (First Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (10/26/66 & 11/12/66)
Featuring/MICKY DOLENZ: lead vocals
TOMMY BOYCE: acoustic guitar, backing vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
BOBBY HART & RON HICKLIN: backing vocals
Originally unissued. First collected on the boxed set Listen To The Band, Rhino #70566 (10/1/91)
16. I DON’T THINK YOU KNOW ME (Second Recorded Version)
(Gerry Goffin/Carole King)
Produced by GERRY GOFFIN, CAROLE KING & JEFF BARRY
Recorded at RCA VICTOR STUDIO A, New York, NY (10/13/66);
RCA VICTOR STUDIOS, Hollywood, CA (10/27/66)
Featuring/PETER TORK: lead & backing vocals
MICKY DOLENZ & DAVY JONES: backing vocals
Other personnel unknown
Originally unissued. First collected on the CD reissue of the album More Of The Monkees, Rhino #71791 (11/15/94)
17. THROUGH THE LOOKING GLASS (First Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (9/10/66);
RCA VICTOR STUDIO B, Hollywood, CA (9/24/66)
Featuring/MICKY DOLENZ: lead & backing vocals
TOMMY BOYCE: acoustic guitar, backing vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
MICHEL RUBINI: tack piano
LARRY TAYLOR: bass
BILLY LEWIS: drums
ALAN ESTES: tympani, tambourine
BOBBY HART, DAVY JONES & RON HICKLIN: backing vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
18. DON’T LISTEN TO LINDA (First Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (10/28/66 & 11/6/66)
Featuring/DAVY JONES: lead vocal
TOMMY BOYCE: acoustic guitar, backing vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
MICHEL RUBINI: tack piano
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion
JIM SEALS: sax
BOBBY HART & RON HICKLIN: backing vocals
Originally unissued. First collected on the CD reissue of the album More Of The Monkees, Rhino #71791 (11/15/94)
19. KICKING STONES
(Lynn Castle/Wayne Erwin)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (8/23/66, 8/27/66 & 9/3/66);
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: keyboards, backing vocals
PAUL SUTTER: organ, flute
LARRY TAYLOR: bass
BILLY LEWIS: drums
EMIL RICHARDS: mallets
STEVE HUFFSTETER: trumpet
DICK HYDE & GILBERT FALCO: trombone
DON McGINNIS & BOB JUNG: horns
TOMMY BOYCE & RON HICKLIN: backing vocals
Originally unissued. First collected [under the title “Teeny Tiny Gnome”] on the album Missing Links, Rhino #70150 (7/6/87)
20. LOOK OUT (HERE COMES TOMORROW) (With Peter’s Narration)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/DAVY JONES: lead & backing vocals
PETER TORK: narration & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
MICKY DOLENZ: backing vocals
Other personnel unknown
Originally unissued. First collected on the CD reissue of the album More Of The Monkees, Rhino #71791 (11/15/94)
21. I’M A BELIEVER (Alternate Mix)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/MICKY DOLENZ: lead & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
DAVY JONES & PETER TORK: backing vocals
Other personnel unknown
Originally unissued. First collected on the CD reissue of the album More Of The Monkees, Rhino #71791 (11/15/94)
22. MR. WEBSTER (First Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (9/10/66);
RCA VICTOR STUDIO B, Hollywood, CA (9/24/66)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: acoustic guitar
MICHEL RUBINI: harpsichord
LARRY TAYLOR: bass
ALAN ESTES: tympani
MAGGIE AUE: cello
NORMAN BENNO: oboe
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
_________________________________________________
Disc 2
THE ORIGINAL MONO ALBUM
1. SHE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (8/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (8/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ, backing vocals
LARRY TAYLOR: bass
BILLY LEWIS: drums
NORM JEFFRIES: tambourine
TOMMY BOYCE, RON HICKLIN, DAVY JONES & PETER TORK: backing vocals
2. WHEN LOVE COMES KNOCKIN’ (AT YOUR DOOR)
(Neil Sedaka/Carole Bayer)
Produced by NEIL SEDAKA & CAROLE BAYER
Recorded at RCA VICTOR STUDIO A, New York, NY (11/23/66 & possibly other dates)
Featuring/DAVY JONES: lead vocals
AL GAFA, WILLARD SUYKER & DON THOMAS: guitar
NEIL SEDAKA: keyboards
RUSS SAVAKUS: bass
HERB LOVELLE: drums
Unknown percussion
3. MARY, MARY
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/25/66);
RCA VICTOR STUDIO B, Hollywood, CA (7/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar
MICHAEL COHEN & LARRY KNECHTEL: keyboards
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
4. HOLD ON GIRL
(Jack Keller/Ben Raleigh/Billy Carr)
Produced by JEFF BARRY & JACK KELLER
Recorded at AMERICAN RECORDING CO. Studio City, CA (10/14/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66); RCA VICTOR STUDIOS, Hollywood, CA (10/27/66 & possibly other dates)
Featuring/DAVY JONES: lead & backing vocals
MICKY DOLENZ: backing vocals
Other personnel unknown
5. YOUR AUNTIE GRIZELDA
(Jack Keller/Diane Hildebrand)
Produced by JEFF BARRY & JACK KELLER
Recorded at AMERICAN RECORDING CO. Studio City, CA (10/14/66);
RCA VICTOR STUDIOS, Hollywood, CA (10/66)
Featuring/PETER TORK: lead vocals
Other personnel unknown
6. (I’M NOT YOUR) STEPPIN’ STONE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at WESTERN RECORDERS STUDIO 1, Hollywood, CA (7/26/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ, backing vocals
LARRY TAYLOR: bass
BILLY LEWIS: drums
TOMMY BOYCE: backing vocals
Unknown percussion
This mono version was also issued as Colgems single #1002 (11/66); Pop #20
7. LOOK OUT (HERE COMES TOMORROW)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/DAVY JONES: lead & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
MICKY DOLENZ & PETER TORK: backing vocals
Other personnel unknown
8. THE KIND OF GIRL I COULD LOVE
(Michael Nesmith/Roger Atkins)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (6/25/66 & 7/16/66)
Featuring/MICHAEL NESMITH: lead & backing vocals, steel guitar
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL & BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
MICKY DOLENZ, DAVY JONES & PETER TORK: backing vocals
DON PEAKE: conductor
9. THE DAY WE FALL IN LOVE
(Sandy Linzer/Denny Randell)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (10/28/66);
RCA VICTOR STUDIO B, Hollywood, CA (11/23/66)
Featuring/DAVY JONES: lead vocals
AL CASEY & CAROLE KAYE: guitar
DON RANDI & MICHEL RUBINI: keyboards
RAY POHLMAN: bass
HAL BLAINE: drums
FRANK CAPP & JULIIUS WECHTER: percussion
LOUIS HABER, IRVING SPICE & LOUIS STONE: violin
DAVID SACKSON & MURRAY SANDRY: viola
SEYMOUR BARAB: cello
ARTIE BUTLER: string arrangement
10. SOMETIME IN THE MORNING
(Gerry Goffin/Carole King)
Produced by GERRY GOFFIN, CAROLE KING & JEFF BARRY
Recorded at RCA VICTOR STUDIO A, New York, NY (10/13/66);
RCA VICTOR STUDIOS, Hollywood, CA (10/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
DAVY JONES & PETER TORK: backing vocals
Other personnel unknown
11. LAUGH
(Hank Medress/Phil Margo/Mitch Margo/Jay Siegel)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (10/28/66 & other dates)
Featuring/DAVY JONES: lead & backing vocals
AL CASEY & CAROLE KAYE: guitar
DON RANDI & MICHEL RUBINI: keyboards
RAY POHLMAN: bass
HAL BLAINE: drums
FRANK CAPP & JULIIUS WECHTER: percussion
JEFF BARRY: backing vocals
Unknown additional backing vocals
12. I’M A BELIEVER
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/MICKY DOLENZ: lead & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
DAVY JONES & PETER TORK: backing vocals
Other personnel unknown
This mono version was also issued as Colgems single #1002 (11/66); Pop #1
Bonus Material
13. VALLERI (First Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (8/6/66);
RCA VICTOR STUDIO B, Hollywood, CA (8/27/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
TOMMY BOYCE, MICKY DOLENZ, BOBBY HART & RON HICKLIN: backing vocals
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
14. WORDS (First Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (8/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (8/27/66)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
NORM JEFFRIES: percussion
ETHMER ROTEN: flute
TOMMY BOYCE, BOBBY HART, RON HICKLIN & DAVY JONES: backing vocals
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
15. LOOK OUT (HERE COMES TOMORROW) (TV Version)
(Neil Diamond)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO B, New York, NY (10/15/66);
RCA VICTOR STUDIO B, Hollywood, CA (10/23/66)
Featuring/DAVY JONES: lead & backing vocals
NEIL DIAMOND: acoustic guitar
BUDDY SALZMAN: drums
MICKY DOLENZ & PETER TORK: backing vocals
Other personnel unknown
Originally unissued. First collected on the boxed set Music Box, Rhino #76706 (2/27/01)
16. I’LL BE BACK UP ON MY FEET (First Recorded Version)
(Sandy Linzer/Denny Randell)
Produced by JEFF BARRY
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (10/28/66 & other dates)
Featuring/MICKY DOLENZ: lead & backing vocals
AL CASEY & CAROLE KAYE: guitar
RAY POHLMAN: bass
HAL BLAINE: drums
FRANK CAPP & JULIUS WECHTER: percussion
DON RANDI & MICHEL RUBINI: keyboards
Unknown additional backing vocals
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
17. TEAR DROP CITY (Alternate Mix)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (10/26/66, 10/30/66, 10/31/66 & 11/6/66)
Featuring/MICKY DOLENZ: lead vocal
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
Previously unissued
18. OF YOU (Mono Mix)
(Bill Chadwick/John Chadwick)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/25/66);
RCA VICTOR STUDIO B, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
MICKY DOLENZ: harmony vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar
MICHAEL COHEN & LARRY KNECHTEL: keyboards
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DONALD PEAKE: conductor
Originally unissued. First collected on the boxed set Music Box, Rhino #76706 (2/27/01)
19. HOLD ON GIRL (First Recorded Version)
(Jack Keller/Ben Raleigh/Billy Carr)
Produced by JEFF BARRY & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (9/10/66);
RCA VICTOR STUDIO B, Hollywood, CA (9/24/66)
Featuring/DAVY JONES: lead & backing vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
MICHEL RUBINI: harpsichord
LARRY TAYLOR: bass
BILLY LEWIS: drums
ALAN ESTES: tympani
NORMAN BENNO: oboe
TOMMY BOYCE, BOBBY HART, MICKY DOLENZ & RON HICKLIN: backing vocals
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
20. (I PRITHEE) DO NOT ASK FOR LOVE
(Michael Martin Murphey)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/25/66);
RCA VICTOR STUDIO C, Hollywood, CA (10/18/66)
Featuring/MICKY DOLENZ: lead vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar
MICHAEL COHEN & LARRY KNECHTEL: keyboards
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DONALD PEAKE: conductor
Originally unissued. First collected [under the title “Do Not Ask For Love”] on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
More Of The Monkees was originally issued as Colgems #102 (1/67).
NOTE: Numbers in italics (following original single release information) denote peak positions obtained on Billboard’s “Hot 100” chart – courtesy BPI Communications and Joel Whitburn’s Record Research Publications.
_________________________________________________
Produced by TOMMY BOYCE, BOBBY HART, NEIL SEDAKA, CAROLE BAYER, MICHAEL NESMITH, JEFF BARRY, JACK KELLER, GERRY GOFFIN & CAROLE KING
Engineered by ERNIE OELRICH, HENRY LEWY, HANK CICALO, RICHIE SCHMITT, RICHARD PODOLOR, DAVE HASSINGER, RAY HALL & others
Music Supervision: DON KIRSHNER
Music Coordinators: LESTER SILL & EMIL LaVIOLA
Reissue Produced for Release by ANDREW SANDOVAL & BILL INGLOT
Remastering: DAN HERSCH, ANDREW SANDOVAL & BILL INGLOT at DIGIPREP
Discographical Annotation Courtesy of the Book The Monkees: The Day-By-Day Stony Of The ‘60s TV Pop Sensation (ISBN 1-59223-372-4)
Editorial Supervision: SHERYL FARBER
Reissue Art Direction & Design: STEVE STANLEY
Photo Research: STEVEN P. GORMAN & ALESSANDRA QUARANTA
Unless Otherwise Credited, all Photos © RHINO/RAYBERT COLLECTION
Project Assistance: JIMMY EDWARDS, GREGG GOLDMAN, REGGIE COLLINS, KAREN LeBLANC & JAMES O'TOOLE
Special Thanks: MICHAEL NESMITH, PETER TORK, DAVY JONES, MICKY DOLENZ, BOBBY HART, TOMMY BOYCE, JACK KELLER, RON HICKLIN, CARMEN FANZONE, LISA SUTTON, DON KIRSHNER, GARY STROBL, MARK EASTER, JEFF BARRY, HANK CICALO & LISA JIMENEZ
_________________________________________________
Text Monkees 74466 for official Monkees mobile content*
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All selections controlled by Rhino Entertainment Company. “APPLES, PEACHES, BANANAS AND PEARS” and “KICKING STONES” (P) 1987 Rhino Entertainment Company; “LADIES AID SOCIETY (Original Mono Mix)” and “TEAR DROP CITY (Alternate Mix)” (P) 2006 Rhino Entertainment Company; “I’LL SPEND MY LIFE WITH YOU (First Recorded Version)” (P) 1991 Rhino Entertainment Company; “I DON’T THINK YOU KNOW ME (Second Recorded Version),” “DON’T LISTEN TO LINDA (First Recorded Version),” “LOOK OUT (HERE COMES TOMORROW) (With Peter’s Narration)” and “I’M A BELIEVER (Alternate Mix)” (P) 1994 Rhino Entertainment Company; “THROUGH THE LOOKING GLASS (First Recorded Version)” (P) 1996 Rhino Entertainment Company; “MR. WEBSTER (First Recorded Version),” “VALLERI (First Recorded Version),” “WORDS (First Recorded Version),” “I’LL BE BACK UP ON MY FEET (First Recorded Version),” “HOLD ON GIRL (First Recorded Version),” and “(I PRITHEE) DO NOT ASK FOR LOVE” (P) 1990 Rhino Entertainment Company; “LOOK OUT (HERE COMES TOMORROW) (TV Version)” and “OF YOU (Mono Mix)” (P) 2001 Rhino Entertainment Company.
This Compilation (P) 2006 Rhino Entertainment Company, a Warner Music Group Company.
It’s Time To Play Some “D”
Earth has been pretty sporting so far – but unless we start playing some defense, we’re going to have to move this game to another planet. Did you know that the rate of extinction of species is at least 100 times higher than it was in the preindustrial era? Alarming truths like that gave rise to Environmental Defense, a nonprofit organization that, since 1967, has linked science, economics, and law to create innovative, equitable, and cost-effective solutions to the most urgent environmental problems – the need to stabilize our climate, safeguard the world’s oceans, protect human health, and save endangered species. Get more information – or get involved – at:
ENVIRONMENTAL DEFENSE
257 Park Avenue South, New York, NY 10010
(212) 505-2100 www.environmentaldefense.org
