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The Monkees (Deluxe)
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The summer of 1966 would prove a pivotal time in the history of rock music. As The Beatles mounted their final concert tour, Brian Wilson tinkered with his masterwork “Good Vibrations.” Proto-psych styles soon blossomed into full-fledged flower power, and in a studio not so far away a group of hired actors and musicians began producing what would be the biggest-selling music of 1967. Yes, even bigger than The Beatles and The Rolling Stones.
This was not the first (or last) time Hollywood’s hotshot musicians had supported actors for the simple cause of a television cash-in disc. What made these sessions unique was the music they collectively produced: simple pop, expertly crafted by songwriters like Boyce and Hart, Goffin and King, and fronted with personality by four zany boys. Still, there was no reason to believe that these masters would produce anything more than modest sales. After all, records by television’s Patty Duke and Paul Petersen hardly set the charts alight.
Yet there was one man who had a vision of what an album with the right sound, the right marketing, and the right angle could do. Don Kirshner. “I told people I would outsell The Beatles, and they laughed at me,” says Kirshner. “Then the first album sold four million.”
Kirshner was the head of music for Columbia Pictures’ Screen Gems, which produced television shows such as Gidget, I Dream Of Jeannie, and Bewitched. His latest assignment was to craft a soundtrack for a show about an out-of-work rock band and their madcap adventures. Each show would have two or three musical numbers, and the boys in this mythical band would perform them as their own.
The series was the brainchild of two up-and-coming Hollywood filmmaker/producers, Bob Rafelson and Bert Schneider. Under the banner of Raybert, Bert and Bob had selected “four insane boys” – Michael Nesmith, Davy Jones, Peter Tork, and Micky Dolenz – from a pool of hundreds via a trade ad and referrals in September 1965. Contrary to urban legend, all four had music backgrounds (and all had some previous form of acting experience). The true key to their success (and their ultimate downfall) lay in Raybert’s inclination to let the cast portray themselves.
“We didn’t want the usual type of characters,” recalled Schneider in 1966. “There are the smart know-it-alls, who know all about cameras and scripts and are kind of professional at playing teenagers. We didn’t want this type at all. We wanted a series which would be about the guys we were looking for. They didn’t have to play the roles – they had to be themselves.”
So much so that Raybert also wanted their cast to produce their own music, as well as act under their own names. “The producers, Bob and Bert, were completely blindsided by the effect the music had,” recalls Michael Nesmith. “They didn’t know what to do about the music. They had hired Tommy (Boyce) and Bobby (Hart) to write some songs and to do some things for the music. They asked if I would do my things. I said, ‘Well, I can, but if I was going to put together a rock 'n' roll band, I don’t know if I would put together a band with David, Micky, and Peter. You know, these are good guys to work with, but we all have very different musical tastes and sensibilities. They realized, ‘We’ve got to have material coming through here,’ so Don Kirshner enters the picture.”
Prior to taking his post at Screen Gems, Kirshner headed the thriving Aldon Music (with his partner Al Nevins), an entity he sold to Columbia, including all of its famed writers. The initial irony of The Monkees project was that while Kirshner’s hugely successful East Coast teams like Goffin/King and Mann/Weil had begun to take a backseat on the charts to self-contained groups who were writing their own material, none of these writers really savored composing for this made-for-television group. “I don’t think they took it as seriously,” says Kirshner today.
“The Monkees was a dream. I mean, I kept telling them, ‘We’ll outsell The Beatles. You gotta listen to me.’” They had heard Kirshner’s hype before and were nonplussed by his latest fit of braggadocio.
However, Tommy Boyce and Bobby Hart, two West Coast Screen Gems writers, did take the project seriously and made it their own. Collectively and individually, they had already enjoyed a string of successful songs such as Jay & The Americans’ “Come A Little Bit Closer,” Freddy Cannon’s “Where The Action Is,” and The Ikettes’ “Peaches And Cream.” Yet, Kirshner saw the duo – whom he did not personally sign or mentor – as second-stringers. “Well, you know it’s funny, when you’ve got a lineup, and you’ve got Alex Rodriguez, Derek Jeter, and you got Johnny Damon,” says Kirshner in a baseball analogy, “you don’t throw in a Tommy Boyce or Bobby Hart.”
Still, when Kirshner’s dugout failed to produce a hit, Donnie had little choice but to allow Boyce and Hart a chance at bat. What’s more, the writers had composed the three songs for The Monkees pilot episode, which was sold to NBC in February 1966. As summer rolled along, Boyce and Hart would provide Donnie’s salvation, albeit not until Kirshner struck out with a number of his top-tier players. “I think I called Mickie Most in London,” recalls Kirshner of his selection process to find The Monkees a producer. “I think [Phil] Spector was another one I spoke to.” When neither of these kingpins could commit to Kirshner’s schedule, he turned to Snuff Garrett. “Snuffy was my guy because I thought he was a fabulous producer,” says Kirshner. “Snuffy had a great feel, a great personality. Terrific producer; a fun guy. I figured with his personality and sense of humor that he could do amazing things with The Monkees.”
“[Donnie] started calling me at home, saying, ‘We got this group. They're gonna be on television,’” says Garrett of his introduction to the prefab four. “He said, ‘I want you to make an exclusive deal to produce them.’ Then I said, ‘Donnie, I really don’t want to. I’m busy as hell right now.’ I had a group called Gary Lewis & The Playboys, and I was doing a few other things, but that’s really what I was concentrating on. So I just told him. ‘Don, I appreciate it.’ [He said], ‘No, you gotta do it. This is perfect for you.’”
Kirshner’s prodding worked. Garrett helmed an L.A. session on June 10, 1966. The Monkees television show was already in production, and the cast’s freewheeling antics had caused more than a few ruffled feathers. Garrett immediately rated them as an untalented lot. “I do remember that night very well. I had ‘em each on mic, and it was kinda like that show you got now, American Idol, you know, lettin’ each of ‘em sing. I was not happy at all… Then I announced the little guy there, Davy, was going to be the lead singer. They went #?!*ing berserko.”
Two songs, Boyce and Hart’s “Let’s Dance On” and Goffin and King’s “Take A Giant Step,” were cut that night, but are now lost to time. It is possible they were never even completed, since Garrett called a halt to the session after only a few hours. “I told [Music Supervisor] Lester [Sill], ‘Tell Donnie it’s not working out worth a damn. I’m going to Dallas. This is Friday evening, and I’ll be back on Tuesday or Wednesday.’”
When Garrett returned to L.A., he remembers, “They were tellin’ me how the guys didn’t like me, and they would never go for Davy being [lead singer]. [I said], ‘Hey, I don’t particularly give a #?!* what they go for... I got a contract with you. I’m runnin’ it.’ So anyway, they said, ‘We’d really like to clear you out of this.’….I didn’t want it in the first place.…So they named a number, and I don't even remember now – it was 50, 75 thousand, 100 – it was a considerable amount of money. Whatever the hell it was, I accepted and walked out and I used to laugh about how I did real good out of that one terrible session.”
Now ensconced in Los Angeles, Don Kirshner had just a month to put a debut album, single, and most of the show’s early soundtrack together. Another false start (of sorts) occurred on June 25, when he allowed Michael Nesmith to helm a session that produced three songs (Nesmith’s “All The King’s Horses” and “The Kind Of Girl I Could Love,” as well as the Goffin/King concoction “I Don’t Think You Know Me”), none of which Kirshner felt were right for the album.
“It was bit of a peace pipe that I thought was palatable, or I wouldn’t have done it,” says Kirshner of this session. “To get him from being more of a pain in the ass than he was, I wanted him to do his own thing. If what he played me was awful, I wouldn’t have done it.” However, his haggling with Nesmith was far from over, and with few other options, he reluctantly turned to Boyce and Hart. “Only after having tried those three producers, did [they give us] the job,” recalls Bobby Hart. “Donnie said, ‘We love your sound, but take Jack Keller with you in the studio, because he’s had more experience.’” Keller was another of Kirshner’s East Coast mainstays, with such hits to his credit as Jimmy Clanton’s “Venus In Blue Jeans” and Bobby Vee’s “Run To Him.” More recently, Keller had dabbled in television theme songs, penning numbers for Hazel, Gidget, and Bewitched.
Sessions for The Monkees’ first album began in earnest on July 5, 1966. Over the course of five hours, Boyce and Hart plus Keller turned out three tracks. Of these, “(Theme From) The Monkees” was inspired by the Dave Clark Five’s “Catch Us If You Can” and Boyce and Hart’s regular stroll down the winding Los Angeles canyon street Woodrow Wilson Drive. “We wrote that walking down the street to the park on Cahuenga by Barham [Boulevard]. We walked down to the park to write, and while we were walking, we were doing that [finger snapping like on the Dave Clark Five record]. It’s really a walking beat. We decided that would be a great beat to write something to.”
“We knew that this was going to be the American Beatles visually, and we’d assumed [it] made the most sense to do like an American Beatles [sound]. Not a rip-off, but Beatles-influenced.” More American in flavor was the duo’s “Let's Dance On,” which recalled The Gentrys’ late-‘65 hit “Keep On Dancing” and had previously been demoed for The Monkees 1965 pilot. The final song from the first session, “This Just Doesn’t Seem To Be My Day,” was a newer Boyce and Hart creation featuring some baroque touches and an intro that looked toward the future Eastern-influenced pop music (à la The Rolling Stones’ “Paint It Black” or The Hollies’ soon-to-be-released “Stop, Stop, Stop”).
The Monkees’ participation in these early sessions was as vocalists only, which certainly was not their choice but rather at the behest of Kirshner and the producers, who hoped the cast would be “too busy singing to put anybody down” (as their theme song would have it). “I think [we’d] been promised stuff by the producers that hadn’t come true,” says Micky Dolenz frankly. “Mike had a very distinct style and tastes, and he wanted it to be his music. Peter had very distinct style and tastes, and he wanted it to be his music. I know how Mike and Peter must have felt. I think they had probably approached the project with a much different point of view. They thought this was going to be their chance at musical stardom and success and that they would be able to express themselves musically.
“I’m sure they were told that, and I’m sure the producers had the intentions. I know that Bob and Bert – I’m sure they said in all honesty, ‘Yeah, don’t worry. When we start going, you’re gonna record your tunes, and it will be wonderful.’ But the thing gets caught up in the inertia of the moment. NBC gets involved. RCA gets involved. Screen Gems gets involved. Millions and millions of dollars are on the line. I think that’s kind of what happened. People aren’t as forthcoming.”
Nevertheless, Nesmith held everyone’s feet to the fire and insisted that he continue producing his own sessions. On July 7 he returned to the studio to tape another three numbers, and this time brought Peter to play guitar and Davy to try some singing. The resulting tracks were a fascinating glimpse at Nesmith’s musical obsessions. “Papa Gene’s Blues” mixed country, rock, and Latin flavors, with more than a hint of Rick Nelson’s 1961 hit “Hello Mary Lou” (Nelson’s guitarist, James Burton, even pops up for the song’s solo). Goffin and King's “So Goes Love” (included here as a bonus track) slinked between pop and bossa nova, while Nesmith’s take on Boyce and Hart’s “Gonna Buy Me A Dog” (released on this set for the first time) sounds like a Paul Butterfield Blues Band track.
Not surprisingly, Kirshner limited Nesmith’s contribution from these sessions to “Papa Gene’s Blues.” Admittedly, Nesmith’s expansive tastes were never going to be an easy sell. “When it came to the music, there wasn’t that singular musical vision,” admits Dolenz. “If it was anybody’s, it was Boyce and Hart’s mainly. That always presented a problem, mainly with Mike and Peter (between them and the record company).”
Boyce and Hart continued their work on July 9 with some vocal overdubs from the cast and the taping of three Kirshner selected numbers. “I’ll Be True To You” had been written by Gerry Goffin and Russ Titelman in 1964 after a screening of The Beatles’ A Hard Day’s Night (in which they first heard the song “If I Fell”). In January ‘65 Goffin and Titelman’s tune was a British hit for The Hollies under the title “Yes I Will,” a fact unknown to expatriate Monkee Davy Jones for some 20 years. “I was very, very shocked when all of a sudden in 1989 we played the Albert Hall and a part of the review said that The Monkees were singing a HoIlies hit,” says Jones. “I had no idea, I went, ‘What?’ My wife was speaking to me at the time, and she said, ‘Erm, wow yeah, that was The Hollies. They had a hit with that. That’s a good song.’ I said, ‘Oh, really?’”
Also recorded on July 9 were Goffin and King’s “Take A Giant Step” (a song from the failed Snuff Garrett session) and David Gates’ “Saturday’s Child”: all of the above had been selected by Kirshner. “We were told to do ‘Take A Giant Step,’ ‘I’ll Be True To You,’ and ‘Saturday’s Child,” says Hart. “We basically got his permission to do the other songs we had written. Nesmith was off in another studio doing his stuff and putting pressure on [Kirshner] to be represented.”
Indeed, the strong-willed Nesmith was at the helm of a session again on July 18, producing three more songs. Of these, “You Just May Be The One” had the makings of a pop hit but was only used on the television show. “At a certain point I started writing pop tunes,” says Nesmith of this composition. “Whereas I had been writing things up to that point that were much more country-oriented, much more lyrically complex. Melodically simple, but I was heading into the direction that I ultimately went into with [my] solo albums (which was a kind of country rock). ‘You Just May Be The One’ was one of the first attempts at writing pop music. But of course I still had this sensibility of country and a kind Latin thing that was going on. [I tried] to keep the lyrics simple, very straight-ahead. Then there was another kind of interesting overlay on that song. It was an idea of writing a song that we could play as a band, given the type of band we would become, having just been thrown into a room together.” Indeed the song was soon to become a permanent part of The Monkees’ live set, and in early 1967 they recorded a new version on which they played and sang nearly every note.
This final Nesmith session for the first album also produced recordings of Goffin and King’s pop tearjerker “I Won’t Be The Same Without Her” (not issued until 1969) and the pop writing duo’s bizarre collaboration with Nesmith, “Sweet Young Thing.” Propelled by a pounding beat and the incongruous fiddling of Western Swing legend Jimmy Bryant, “Sweet Young Thing” defied categorization. Unbelievably, this was the one song Kirshner chose to release from the date. Still, Nesmith was not totally happy with the results. “I think ‘Sweet Young Thing’ was a good song. I liked Gerry and Carole quite a bit. It was not the sort of songwriting alliance that I would continue to any great effect. You know, I’m just not a big fan of their writing environment. I didn’t like being cast in with some other folks and saying, ‘Write with them.’ Gerry and Carole had very strong songwriting styles. I really enjoyed working with them; it was just the circumstances that were tough.”
Some 40 years later, Kirshner still feels Nesmith was ungrateful for the opportunity this collaboration presented. “Carole and Gerry were giants; American writers,” he says. “Mike – whose ego was bigger than anybody’s – probably said, ‘Great.’ He never appreciated what I did, because I don’t let a lot of people write with my writers. I did everything so he would conform, but it didn’t work.”
Immune to the wrangling with Nesmith, Boyce and Hart continued their production work the following day with new versions of two songs they had composed for The Monkees pilot. Fast and slow arrangements of “I Wanna Be Free” (with the ballad tempo take winning a place on The Monkees’ first album) as well as a new version of “(Theme From) The Monkees” were committed to tape over the course of this eight-hour session.
“That’s one of the few songs in my whole career, certainly with Boyce, that we wrote just because we felt like writing one night,” says Hart of “I Wanna Be Free.” “Usually we were writing for projects all the time. This was one evening when Tommy and I were sharing a house in the Hollywood Hills, and he just said, ‘I have this idea. Do you feel like writing something?’ He was playing these chords. There was some part of a line in that song that was inspired by a Roger Miller song, a ballad about suicide basically. It may have had the words in it ‘I wanna be free.’ We just started with the title, and it just kind of flowed out really good. He sang me basically, ‘I wanna be free,’ and I went on into, ‘like the bluebirds flying by me.’ We had the whole thing wrapped up in less than an hour, I’d say. It was luckily there waiting for us when we needed a ballad a few months later for the pilot.”
A Saturday session on July 23 resulted in two more Boyce and Hart-produced tracks. “Tomorrow's Gonna Be Another Day” came from a collaboration of Boyce’s with writer Steve Venet. Contemporaneously covered by such groups as The Shadows Of Knight, Astronauts, and Sir Raleigh & The Coupons, the song was most notable for its arrangement (which includes a guitar riff that presages the yet-to-be-recorded “Last Train To Clarksville”). Also in the garage-y seventh chord mode was Boyce and Hart’s “Gonna Buy Me A Dog.” Previously attempted by Nesmith a few weeks earlier, the song was remade as a slower novelty, soon to be topped off by Davy and Micky’s irreverent vocals.
“I never sang a song that I thought was just gross,” remarks Dolenz of this “Dog” of a tune. “The only time I ever kind of had fun with it was when we did ‘Gonna Buy Me A Dog.’ Originally that was supposed to be done straight. Davy and I just started goofing on it, and they ended up using the goof rather than the straight version. That happened an awful lot in the television show anyway. They would use the outtakes.”
“How straight can it be?" counters Bobby Hart. “It’s true that they contributed the specific little jokes in between and all that was spontaneous. The song itself could hardly be construed as ever being straight. They were pretty spontaneous. Most of the songs that we did with Micky and Davy were one- or two-take propositions. Usually Micky took a little coaxing, and he’d usually come in negative, and he’d go out and try one take and say, ‘I don’t think this song is for me. I don’t sound good.’ Then Tommy would take him off and give him a little pep talk, and he’d come back and sing it in one take usually. In this case, this is one of the few times we had more than the one solo singer in the studio at the same time, with the idea of Micky and Davy doing it together. We were trying to follow the whole Beatles formula all the way. We wanted to have one novelty number in there like Ringo’s obligatory novelty piece on every Beatles record?”
The final session for The Monkees’ first album took particular inspiration from The Beatles and resulted in the group’s debut single. “What happened was, as I was pulling into my carport, I was punching the stations, and I heard just the tail end of ‘Paperback Writer’ for the first time,” recalls Hart. “It had just been released by The Beatles, and all I heard was the ending fade-out part. I thought they were saying, ‘Take the last train…’ to something. Then of course a couple of days later I heard the whole song, and I realized it wasn’t about a train. I was inspired by the phrase and the melodic movement toward the seventh note of the chord. I said, ‘Well, since they didn’t use it, it’s the great start of something else.’ So I just had it in the back of my mind, and then we were coming down to the end of producing the first album, and we needed another song or two. So I said I had this idea, and Tommy and I got together and did it really quickly.”
Just as quickly, Kirshner selected the song as The Monkees’ first release. On August 16 the record-buying public was introduced to the group that would dominate the charts through 1967. “I was worried about the song because it wasn’t personal,” Kirshner says of his choice for The Monkees’ debut. “I was worried about the train thing, and it wasn’t really boy/girl. So the point of the matter is, they were West Coast guys. I was living in New York with all my writers, and until I really flew out there, I didn’t know what I was getting into.” Quickly immersing himself in the West Coast sound, Kirshner chose “Last Train To Clarksville” as the single. His leap of faith would pay off with a #1 single and album.
In September 1966 the group went on a promotional tour to hype their series and the release of The Monkees. The response was overwhelming. During the first week in October, The Monkees began a 78-week run on the Billboard Album chart (with 13 weeks at #1). Almost 20 years later, propelled by MTV reruns of The Monkees’ series and a successful concert tour, the album would return to the charts for an incredible 24 weeks. The Monkees became one of the biggest-selling debut albums of all time, but this success brought tremendous cynicism from both the group and their critics. Within four months the man who brought them to the top, Don Kirshner, would be gone, and the group would be left in charge of their musical destiny. The bizarre story of the Monkees’ rise and fall had only just begun.
– 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. (THEME FROM) THE MONKEES
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
2. SATURDAY’S CHILD
(David Gates)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
3. I WANNA BE FREE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/19/66 & 7/24/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: acoustic guitar
MICHEL RUBINI: harpsichord
BONNIE DOUGLAS & PAUL SHURE: violin
MYRA KESTENBAUM: viola
FREDERICK SEYKORA: cello
4. TOMORROW’S GONNA BE ANOTHER DAY
(Tommy Boyce/Steve Venet)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66, 7/26/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
GERRY McGEE: electric guitar, harmonica
WAYNE ERWIN & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
Unknown backing vocals, tambourine, hand claps
5. PAPA GENE’S BLUES
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66 & 7/30/66)
Featuring/MICHAEL NESMITH: lead vocals
MICKY DOLENZ: harmony vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
6. TAKE A GIANT STEP
(Carole King/Gerry Goffin)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
JACK KELLER: piano
MICHEL RUBINI: harpsichord
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
BOB COOPER: oboe
Unknown backing vocals
7. LAST TRAIN TO CLARKSVILLE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (7/25/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown backing vocals
8. THIS JUST DOESN’T SEEM TO BE MY DAY
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly other dates)
Featuring/DAVY JONES: lead & backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
JOSEPH DITULLIO: cello
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
9. LET’S DANCE ON
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & 7/16/66)
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
GENE ESTES: maracas, tambourine
TOMMY BOYCE, RON HICKLIN & PETER TORK: backing vocals
10. I’LL BE TRUE TO YOU
(Gerry Goffin/Russ Titelman)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66, 7/13/66 & 7/16/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
11. SWEET YOUNG THING
(Michael Nesmith/Carole King/Gerry Goffin)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/18/66);
UNITED or WESTERN RECORDERS, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead vocals
PETER TORK: guitar, backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY & MICHAEL DEASY: guitar & dano bass
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
JIMMY BRYANT: fiddle
MICKY DOLENZ: backing vocals
DON PEAKE: conductor
Unknown additional backing vocals
12. GONNA BUY ME A DOG
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66);
WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/24/66)
Featuring/MICKY DOLENZ & DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ
LARRY TAYLOR: bass
BILLY LEWIS: drums
13. (THEME FROM) THE MONKEES (Second Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/19/66)
Featuring/MICKY DOLENZ, TOMMY BOYCE & BOBBY HART: vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown finger snaps
Originally unissued. First collected on the CD reissue of the album The Monkees, Rhino #71790 (9/20/94)
14. THE KIND OF GIRL I COULD LOVE (Alternate Mix)
(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
Previously unissued. A different mix is included on the album More Of The Monkees, Colgems #102 (1/67)
15. I DON’T THINK YOU KNOW ME (Micky’s Vocal)
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (6/25/66 & 7/16/66)
Featuring/MICKY DOLENZ: lead vocals
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL: organ
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
MICHAEL NESMITH: backing vocals
DON PEAKE: conductor
Unknown backing vocals
Originally unissued. First collected on the CD reissue of the album The Monkees, Rhino #71790 (9/20/94)
16. SO GOES LOVE
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66)
Featuring/DAVY JONES: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILLY PRESTON: electric piano
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
Originally unissued. First collected on the album Missing Links, Rhino #70150 (7/6/87)
17. PAPA GENE’S BLUES (Alternate Mix)
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
PETER TORK: guitar, backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY & JIM HELMS: guitar
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
MICKY DOLENZ & DAVY JONES: backing vocals
DON PEAKE: conductor
Previously unissued
18. I CAN’T GET HER OFF MY MIND
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (7/25/66 & other dates)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: tack piano, autoharp
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
Unknown backing vocals
Originally unissued. First collected on the CD reissue of the album The Monkees, Rhino #71790 (9/20/94)
19. (I PRITHEE) DO NOT ASK FOR LOVE (Alternate Mix)
(Michael Martin Murphey)
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/DAVY JONES: 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
MICKY DOLENZ & MICHAEL NESMITH: backing vocals
DON PEAKE: conductor
Previously unissued. A different mix was first included (under the title "Do Not Ask For Love") on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
20. GONNA BUY ME A DOG (Backing Track)
(Tommy Boyce/Bobby Hart)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66)
Featuring/JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILLY PRESTON: organ
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
Previously unreleased
21. MONKEES RADIO SPOT
Recorded in Hollywood, CA (1966)
Previously unissued
__________________________________________________
1. (THEME FROM) THE MONKEES
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
2. SATURDAY’S CHILD
(David Gates)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
3. I WANNA BE FREE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/19/66 & 7/24/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: acoustic guitar
MICHEL RUBINI: harpsichord
BONNIE DOUGLAS & PAUL SHURE: violin
MYRA KESTENBAUM: viola
FREDERICK SEYKORA: cello
4. TOMORROW’S GONNA BE ANOTHER DAY
(Tommy Boyce/Steve Venet)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66, 7/26/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
GERRY McGEE: electric guitar, harmonica
WAYNE ERWIN & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
Unknown backing vocals, tambourine, hand claps
5. PAPA GENE’S BLUES
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66 & 7/30/66)
Featuring/MICHAEL NESMITH: lead vocals
MICKY DOLENZ: harmony vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
6. TAKE A GIANT STEP
(Carole King/Gerry Goffin)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
JACK KELLER: piano
MICHEL RUBINI: harpsichord
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
BOB COOPER: oboe
Unknown backing vocals
This mono version was also issued as Colgems single # 1001 (8/16/66)
7. LAST TRAIN TO CLARKSVILLE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (7/25/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown backing vocals
This mono version was also issued as Colgems single # 1001 (8/16/66); Pop #1
8. THIS JUST DOESN’T SEEM TO BE MY DAY
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly other dates)
Featuring/DAVY JONES: lead & backing vocals
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
JOSEPH DITULLIO: cello
9. LET’S DANCE ON
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & 7/16/66)
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
GENE ESTES: maracas, tambourine
TOMMY BOYCE, RON HICKLIN & PETER TORK: backing vocals
10. I’LL BE TRUE TO YOU
(Gerry Goffin/Russ Titelman)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66, 7/13/66 & 7/16/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
11. SWEET YOUNG THING
(Michael Nesmith/Carole King/Gerry Goffin)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/18/66);
UNITED or WESTERN RECORDERS, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead vocals
MICKY DOLENZ: backing vocals
PETER TORK: guitar, backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY & MIKE DEASY: guitar & dano bass
JIMMY BRYANT: fiddle
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
DON PEAKE: conductor
Unknown additional backing vocals
12. GONNA BUY ME A DOG
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66);
WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/24/66)
Featuring/MICKY DOLENZ & DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ
LARRY TAYLOR: bass
BILLY LEWIS: drums
13. KELLOGG’S JINGLE
(composer unknown)
Producer unknown
Recorded in California (1966)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
TOMMY BOYCE: backing vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
14. ALL THE KING’S HORSES
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (6/25/66 & 7/16/66)
Featuring/MICKY DOLENZ: lead & backing vocals
MICHAEL NESMITH: harmony & backing vocals
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL & BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DAVY JONES & PETER TORK: backing vocals
DON PEAKE: conductor
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
15. YOU JUST MAY BE THE ONE (TV Version)
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A. Hollywood, CA (7/18/66);
UNITED or WESTERN RECORDERS, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar, dano bass
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
DON PEAKE: conductor
Unknown additional backing vocals
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
16. I WANNA BE FREE (Fast Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A. Hollywood, CA (7/19/66);
WESTERN RECORDERS, Hollywood, CA (7/24/66)
Featuring/MICKY DOLENZ & DAVY JONES: vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
MICHEL RUBINI: organ
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
17. I DON’T THINK YOU KNOW ME (Mike’s Vocal)
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A. Hollywood, CA (6/25/66);
RCA VICTOR STUDIO B. Hollywood, CA (8/30/66)
Featuring/MICHAEL NESMITH: lead vocals
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL: organ
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
Unknown backing vocals
Originally unissued. First collected on the album Missing Links, Rhino #70150 (7/6/87)
18. I WON’T BE THE SAME WITHOUT HER (Original Mono Mix)
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/18/66 & 7/30/66);
RCA VICTOR STUDIO B, Hollywood, CA (8/30/66); RCA Studios (11/17/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar, dano bass
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
DON PEAKE: conductor
Unknown additional backing vocals
Previously unissued. A stereo mix is included on the album Instant Replay, Colgems #113 (2/15/69)
19. PROPINQUITY (I’VE JUST BEGUN TO CARE) (Demo Version)
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded in California (1966)
Featuring/MICHAEL NESMITH: lead vocals, acoustic guitar
JOHN LONDON: bass
Previously unissued
19. (THEME FROM) THE MONKEES (TV Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (8/6/66)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN & GERRY McGEE: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown additional backing vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
The Monkees was originally issued as Colgems #101 (9/66).
NOTE: Numbers 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.
Text Monkees 74466 for official Monkees mobile content*
* Requires compatible handset and service through participating carriers. Standard text messaging rates apply. See your contract for details. Available content subject to change at any time.
Produced by TOMMY BOYCE, BOBBY HART, JACK KELLER & MICHAEL NESMITH
Engineered by HANK CICALO, DAVE HASSINGER, HENRY LEWY, RICHIE SCHMITT & 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 & LISA JIMENEZ
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
All selections controlled by Rhino Entertainment Company. “(THEME FROM) THE MONKEES” (Second Recorded Version), “I DON’T THINK YOU KNOW ME” (Micky’s Vocal), and “I CAN’T GET HER OFF MY MIND” (P) 1994 Rhino Entertainment Company; “THE KIND OF GIRL I COULD LOVE” (Alternate Mix), “PAPA GENE’S BLUES” (Alternate Mix), “(I PRITHEE) DO NOT ASK FOR LOVE” (Alternate Mix), “GONNA BUY ME A DOG” (Backing Track), “I WON’T BE THE SAME WITHOUT HER” (Original Mono Mix), and “PROPINQUITY (I’VE JUST BEGUN TO CARE)” (Demo Version) (P) 2006 Rhino Entertainment Company; “SO GOES LOVE” and “I DON’T THINK YOU KNOW ME” (Mike’s Vocal) (P) 1987 Rhino Entertainment Company; “KELLOGG’S JINGLE” and “(THEME FROM) THE MONKEES” (TV Version) (P) 1996 Rhino Entertainment Company; “ALL THE KING’S HORSES,” “YOU JUST MAY BE THE ONE” (TV Version), and “I WANNA BE FREE” (Fast Version) (P) 1990 Rhino Entertainment Company.
This Compilation (P) 2006 Rhino Entertainment Company, a Warner Music Group Company.
To buy this album from Amazon.com, click here: Monkees (Deluxe Edition)
_________________________________________________
THE MONKEES
THE MONKEES (DELUXE EXPANDED EDITION)
THE MONKEES (DELUXE EXPANDED EDITION)
The summer of 1966 would prove a pivotal time in the history of rock music. As The Beatles mounted their final concert tour, Brian Wilson tinkered with his masterwork “Good Vibrations.” Proto-psych styles soon blossomed into full-fledged flower power, and in a studio not so far away a group of hired actors and musicians began producing what would be the biggest-selling music of 1967. Yes, even bigger than The Beatles and The Rolling Stones.
This was not the first (or last) time Hollywood’s hotshot musicians had supported actors for the simple cause of a television cash-in disc. What made these sessions unique was the music they collectively produced: simple pop, expertly crafted by songwriters like Boyce and Hart, Goffin and King, and fronted with personality by four zany boys. Still, there was no reason to believe that these masters would produce anything more than modest sales. After all, records by television’s Patty Duke and Paul Petersen hardly set the charts alight.
Yet there was one man who had a vision of what an album with the right sound, the right marketing, and the right angle could do. Don Kirshner. “I told people I would outsell The Beatles, and they laughed at me,” says Kirshner. “Then the first album sold four million.”
Kirshner was the head of music for Columbia Pictures’ Screen Gems, which produced television shows such as Gidget, I Dream Of Jeannie, and Bewitched. His latest assignment was to craft a soundtrack for a show about an out-of-work rock band and their madcap adventures. Each show would have two or three musical numbers, and the boys in this mythical band would perform them as their own.
The series was the brainchild of two up-and-coming Hollywood filmmaker/producers, Bob Rafelson and Bert Schneider. Under the banner of Raybert, Bert and Bob had selected “four insane boys” – Michael Nesmith, Davy Jones, Peter Tork, and Micky Dolenz – from a pool of hundreds via a trade ad and referrals in September 1965. Contrary to urban legend, all four had music backgrounds (and all had some previous form of acting experience). The true key to their success (and their ultimate downfall) lay in Raybert’s inclination to let the cast portray themselves.
“We didn’t want the usual type of characters,” recalled Schneider in 1966. “There are the smart know-it-alls, who know all about cameras and scripts and are kind of professional at playing teenagers. We didn’t want this type at all. We wanted a series which would be about the guys we were looking for. They didn’t have to play the roles – they had to be themselves.”
So much so that Raybert also wanted their cast to produce their own music, as well as act under their own names. “The producers, Bob and Bert, were completely blindsided by the effect the music had,” recalls Michael Nesmith. “They didn’t know what to do about the music. They had hired Tommy (Boyce) and Bobby (Hart) to write some songs and to do some things for the music. They asked if I would do my things. I said, ‘Well, I can, but if I was going to put together a rock 'n' roll band, I don’t know if I would put together a band with David, Micky, and Peter. You know, these are good guys to work with, but we all have very different musical tastes and sensibilities. They realized, ‘We’ve got to have material coming through here,’ so Don Kirshner enters the picture.”
Prior to taking his post at Screen Gems, Kirshner headed the thriving Aldon Music (with his partner Al Nevins), an entity he sold to Columbia, including all of its famed writers. The initial irony of The Monkees project was that while Kirshner’s hugely successful East Coast teams like Goffin/King and Mann/Weil had begun to take a backseat on the charts to self-contained groups who were writing their own material, none of these writers really savored composing for this made-for-television group. “I don’t think they took it as seriously,” says Kirshner today.
“The Monkees was a dream. I mean, I kept telling them, ‘We’ll outsell The Beatles. You gotta listen to me.’” They had heard Kirshner’s hype before and were nonplussed by his latest fit of braggadocio.
However, Tommy Boyce and Bobby Hart, two West Coast Screen Gems writers, did take the project seriously and made it their own. Collectively and individually, they had already enjoyed a string of successful songs such as Jay & The Americans’ “Come A Little Bit Closer,” Freddy Cannon’s “Where The Action Is,” and The Ikettes’ “Peaches And Cream.” Yet, Kirshner saw the duo – whom he did not personally sign or mentor – as second-stringers. “Well, you know it’s funny, when you’ve got a lineup, and you’ve got Alex Rodriguez, Derek Jeter, and you got Johnny Damon,” says Kirshner in a baseball analogy, “you don’t throw in a Tommy Boyce or Bobby Hart.”
Still, when Kirshner’s dugout failed to produce a hit, Donnie had little choice but to allow Boyce and Hart a chance at bat. What’s more, the writers had composed the three songs for The Monkees pilot episode, which was sold to NBC in February 1966. As summer rolled along, Boyce and Hart would provide Donnie’s salvation, albeit not until Kirshner struck out with a number of his top-tier players. “I think I called Mickie Most in London,” recalls Kirshner of his selection process to find The Monkees a producer. “I think [Phil] Spector was another one I spoke to.” When neither of these kingpins could commit to Kirshner’s schedule, he turned to Snuff Garrett. “Snuffy was my guy because I thought he was a fabulous producer,” says Kirshner. “Snuffy had a great feel, a great personality. Terrific producer; a fun guy. I figured with his personality and sense of humor that he could do amazing things with The Monkees.”
“[Donnie] started calling me at home, saying, ‘We got this group. They're gonna be on television,’” says Garrett of his introduction to the prefab four. “He said, ‘I want you to make an exclusive deal to produce them.’ Then I said, ‘Donnie, I really don’t want to. I’m busy as hell right now.’ I had a group called Gary Lewis & The Playboys, and I was doing a few other things, but that’s really what I was concentrating on. So I just told him. ‘Don, I appreciate it.’ [He said], ‘No, you gotta do it. This is perfect for you.’”
Kirshner’s prodding worked. Garrett helmed an L.A. session on June 10, 1966. The Monkees television show was already in production, and the cast’s freewheeling antics had caused more than a few ruffled feathers. Garrett immediately rated them as an untalented lot. “I do remember that night very well. I had ‘em each on mic, and it was kinda like that show you got now, American Idol, you know, lettin’ each of ‘em sing. I was not happy at all… Then I announced the little guy there, Davy, was going to be the lead singer. They went #?!*ing berserko.”
Two songs, Boyce and Hart’s “Let’s Dance On” and Goffin and King’s “Take A Giant Step,” were cut that night, but are now lost to time. It is possible they were never even completed, since Garrett called a halt to the session after only a few hours. “I told [Music Supervisor] Lester [Sill], ‘Tell Donnie it’s not working out worth a damn. I’m going to Dallas. This is Friday evening, and I’ll be back on Tuesday or Wednesday.’”
When Garrett returned to L.A., he remembers, “They were tellin’ me how the guys didn’t like me, and they would never go for Davy being [lead singer]. [I said], ‘Hey, I don’t particularly give a #?!* what they go for... I got a contract with you. I’m runnin’ it.’ So anyway, they said, ‘We’d really like to clear you out of this.’….I didn’t want it in the first place.…So they named a number, and I don't even remember now – it was 50, 75 thousand, 100 – it was a considerable amount of money. Whatever the hell it was, I accepted and walked out and I used to laugh about how I did real good out of that one terrible session.”
Now ensconced in Los Angeles, Don Kirshner had just a month to put a debut album, single, and most of the show’s early soundtrack together. Another false start (of sorts) occurred on June 25, when he allowed Michael Nesmith to helm a session that produced three songs (Nesmith’s “All The King’s Horses” and “The Kind Of Girl I Could Love,” as well as the Goffin/King concoction “I Don’t Think You Know Me”), none of which Kirshner felt were right for the album.
“It was bit of a peace pipe that I thought was palatable, or I wouldn’t have done it,” says Kirshner of this session. “To get him from being more of a pain in the ass than he was, I wanted him to do his own thing. If what he played me was awful, I wouldn’t have done it.” However, his haggling with Nesmith was far from over, and with few other options, he reluctantly turned to Boyce and Hart. “Only after having tried those three producers, did [they give us] the job,” recalls Bobby Hart. “Donnie said, ‘We love your sound, but take Jack Keller with you in the studio, because he’s had more experience.’” Keller was another of Kirshner’s East Coast mainstays, with such hits to his credit as Jimmy Clanton’s “Venus In Blue Jeans” and Bobby Vee’s “Run To Him.” More recently, Keller had dabbled in television theme songs, penning numbers for Hazel, Gidget, and Bewitched.
Sessions for The Monkees’ first album began in earnest on July 5, 1966. Over the course of five hours, Boyce and Hart plus Keller turned out three tracks. Of these, “(Theme From) The Monkees” was inspired by the Dave Clark Five’s “Catch Us If You Can” and Boyce and Hart’s regular stroll down the winding Los Angeles canyon street Woodrow Wilson Drive. “We wrote that walking down the street to the park on Cahuenga by Barham [Boulevard]. We walked down to the park to write, and while we were walking, we were doing that [finger snapping like on the Dave Clark Five record]. It’s really a walking beat. We decided that would be a great beat to write something to.”
“We knew that this was going to be the American Beatles visually, and we’d assumed [it] made the most sense to do like an American Beatles [sound]. Not a rip-off, but Beatles-influenced.” More American in flavor was the duo’s “Let's Dance On,” which recalled The Gentrys’ late-‘65 hit “Keep On Dancing” and had previously been demoed for The Monkees 1965 pilot. The final song from the first session, “This Just Doesn’t Seem To Be My Day,” was a newer Boyce and Hart creation featuring some baroque touches and an intro that looked toward the future Eastern-influenced pop music (à la The Rolling Stones’ “Paint It Black” or The Hollies’ soon-to-be-released “Stop, Stop, Stop”).
The Monkees’ participation in these early sessions was as vocalists only, which certainly was not their choice but rather at the behest of Kirshner and the producers, who hoped the cast would be “too busy singing to put anybody down” (as their theme song would have it). “I think [we’d] been promised stuff by the producers that hadn’t come true,” says Micky Dolenz frankly. “Mike had a very distinct style and tastes, and he wanted it to be his music. Peter had very distinct style and tastes, and he wanted it to be his music. I know how Mike and Peter must have felt. I think they had probably approached the project with a much different point of view. They thought this was going to be their chance at musical stardom and success and that they would be able to express themselves musically.
“I’m sure they were told that, and I’m sure the producers had the intentions. I know that Bob and Bert – I’m sure they said in all honesty, ‘Yeah, don’t worry. When we start going, you’re gonna record your tunes, and it will be wonderful.’ But the thing gets caught up in the inertia of the moment. NBC gets involved. RCA gets involved. Screen Gems gets involved. Millions and millions of dollars are on the line. I think that’s kind of what happened. People aren’t as forthcoming.”
Nevertheless, Nesmith held everyone’s feet to the fire and insisted that he continue producing his own sessions. On July 7 he returned to the studio to tape another three numbers, and this time brought Peter to play guitar and Davy to try some singing. The resulting tracks were a fascinating glimpse at Nesmith’s musical obsessions. “Papa Gene’s Blues” mixed country, rock, and Latin flavors, with more than a hint of Rick Nelson’s 1961 hit “Hello Mary Lou” (Nelson’s guitarist, James Burton, even pops up for the song’s solo). Goffin and King's “So Goes Love” (included here as a bonus track) slinked between pop and bossa nova, while Nesmith’s take on Boyce and Hart’s “Gonna Buy Me A Dog” (released on this set for the first time) sounds like a Paul Butterfield Blues Band track.
Not surprisingly, Kirshner limited Nesmith’s contribution from these sessions to “Papa Gene’s Blues.” Admittedly, Nesmith’s expansive tastes were never going to be an easy sell. “When it came to the music, there wasn’t that singular musical vision,” admits Dolenz. “If it was anybody’s, it was Boyce and Hart’s mainly. That always presented a problem, mainly with Mike and Peter (between them and the record company).”
Boyce and Hart continued their work on July 9 with some vocal overdubs from the cast and the taping of three Kirshner selected numbers. “I’ll Be True To You” had been written by Gerry Goffin and Russ Titelman in 1964 after a screening of The Beatles’ A Hard Day’s Night (in which they first heard the song “If I Fell”). In January ‘65 Goffin and Titelman’s tune was a British hit for The Hollies under the title “Yes I Will,” a fact unknown to expatriate Monkee Davy Jones for some 20 years. “I was very, very shocked when all of a sudden in 1989 we played the Albert Hall and a part of the review said that The Monkees were singing a HoIlies hit,” says Jones. “I had no idea, I went, ‘What?’ My wife was speaking to me at the time, and she said, ‘Erm, wow yeah, that was The Hollies. They had a hit with that. That’s a good song.’ I said, ‘Oh, really?’”
Also recorded on July 9 were Goffin and King’s “Take A Giant Step” (a song from the failed Snuff Garrett session) and David Gates’ “Saturday’s Child”: all of the above had been selected by Kirshner. “We were told to do ‘Take A Giant Step,’ ‘I’ll Be True To You,’ and ‘Saturday’s Child,” says Hart. “We basically got his permission to do the other songs we had written. Nesmith was off in another studio doing his stuff and putting pressure on [Kirshner] to be represented.”
Indeed, the strong-willed Nesmith was at the helm of a session again on July 18, producing three more songs. Of these, “You Just May Be The One” had the makings of a pop hit but was only used on the television show. “At a certain point I started writing pop tunes,” says Nesmith of this composition. “Whereas I had been writing things up to that point that were much more country-oriented, much more lyrically complex. Melodically simple, but I was heading into the direction that I ultimately went into with [my] solo albums (which was a kind of country rock). ‘You Just May Be The One’ was one of the first attempts at writing pop music. But of course I still had this sensibility of country and a kind Latin thing that was going on. [I tried] to keep the lyrics simple, very straight-ahead. Then there was another kind of interesting overlay on that song. It was an idea of writing a song that we could play as a band, given the type of band we would become, having just been thrown into a room together.” Indeed the song was soon to become a permanent part of The Monkees’ live set, and in early 1967 they recorded a new version on which they played and sang nearly every note.
This final Nesmith session for the first album also produced recordings of Goffin and King’s pop tearjerker “I Won’t Be The Same Without Her” (not issued until 1969) and the pop writing duo’s bizarre collaboration with Nesmith, “Sweet Young Thing.” Propelled by a pounding beat and the incongruous fiddling of Western Swing legend Jimmy Bryant, “Sweet Young Thing” defied categorization. Unbelievably, this was the one song Kirshner chose to release from the date. Still, Nesmith was not totally happy with the results. “I think ‘Sweet Young Thing’ was a good song. I liked Gerry and Carole quite a bit. It was not the sort of songwriting alliance that I would continue to any great effect. You know, I’m just not a big fan of their writing environment. I didn’t like being cast in with some other folks and saying, ‘Write with them.’ Gerry and Carole had very strong songwriting styles. I really enjoyed working with them; it was just the circumstances that were tough.”
Some 40 years later, Kirshner still feels Nesmith was ungrateful for the opportunity this collaboration presented. “Carole and Gerry were giants; American writers,” he says. “Mike – whose ego was bigger than anybody’s – probably said, ‘Great.’ He never appreciated what I did, because I don’t let a lot of people write with my writers. I did everything so he would conform, but it didn’t work.”
Immune to the wrangling with Nesmith, Boyce and Hart continued their production work the following day with new versions of two songs they had composed for The Monkees pilot. Fast and slow arrangements of “I Wanna Be Free” (with the ballad tempo take winning a place on The Monkees’ first album) as well as a new version of “(Theme From) The Monkees” were committed to tape over the course of this eight-hour session.
“That’s one of the few songs in my whole career, certainly with Boyce, that we wrote just because we felt like writing one night,” says Hart of “I Wanna Be Free.” “Usually we were writing for projects all the time. This was one evening when Tommy and I were sharing a house in the Hollywood Hills, and he just said, ‘I have this idea. Do you feel like writing something?’ He was playing these chords. There was some part of a line in that song that was inspired by a Roger Miller song, a ballad about suicide basically. It may have had the words in it ‘I wanna be free.’ We just started with the title, and it just kind of flowed out really good. He sang me basically, ‘I wanna be free,’ and I went on into, ‘like the bluebirds flying by me.’ We had the whole thing wrapped up in less than an hour, I’d say. It was luckily there waiting for us when we needed a ballad a few months later for the pilot.”
A Saturday session on July 23 resulted in two more Boyce and Hart-produced tracks. “Tomorrow's Gonna Be Another Day” came from a collaboration of Boyce’s with writer Steve Venet. Contemporaneously covered by such groups as The Shadows Of Knight, Astronauts, and Sir Raleigh & The Coupons, the song was most notable for its arrangement (which includes a guitar riff that presages the yet-to-be-recorded “Last Train To Clarksville”). Also in the garage-y seventh chord mode was Boyce and Hart’s “Gonna Buy Me A Dog.” Previously attempted by Nesmith a few weeks earlier, the song was remade as a slower novelty, soon to be topped off by Davy and Micky’s irreverent vocals.
“I never sang a song that I thought was just gross,” remarks Dolenz of this “Dog” of a tune. “The only time I ever kind of had fun with it was when we did ‘Gonna Buy Me A Dog.’ Originally that was supposed to be done straight. Davy and I just started goofing on it, and they ended up using the goof rather than the straight version. That happened an awful lot in the television show anyway. They would use the outtakes.”
“How straight can it be?" counters Bobby Hart. “It’s true that they contributed the specific little jokes in between and all that was spontaneous. The song itself could hardly be construed as ever being straight. They were pretty spontaneous. Most of the songs that we did with Micky and Davy were one- or two-take propositions. Usually Micky took a little coaxing, and he’d usually come in negative, and he’d go out and try one take and say, ‘I don’t think this song is for me. I don’t sound good.’ Then Tommy would take him off and give him a little pep talk, and he’d come back and sing it in one take usually. In this case, this is one of the few times we had more than the one solo singer in the studio at the same time, with the idea of Micky and Davy doing it together. We were trying to follow the whole Beatles formula all the way. We wanted to have one novelty number in there like Ringo’s obligatory novelty piece on every Beatles record?”
The final session for The Monkees’ first album took particular inspiration from The Beatles and resulted in the group’s debut single. “What happened was, as I was pulling into my carport, I was punching the stations, and I heard just the tail end of ‘Paperback Writer’ for the first time,” recalls Hart. “It had just been released by The Beatles, and all I heard was the ending fade-out part. I thought they were saying, ‘Take the last train…’ to something. Then of course a couple of days later I heard the whole song, and I realized it wasn’t about a train. I was inspired by the phrase and the melodic movement toward the seventh note of the chord. I said, ‘Well, since they didn’t use it, it’s the great start of something else.’ So I just had it in the back of my mind, and then we were coming down to the end of producing the first album, and we needed another song or two. So I said I had this idea, and Tommy and I got together and did it really quickly.”
Just as quickly, Kirshner selected the song as The Monkees’ first release. On August 16 the record-buying public was introduced to the group that would dominate the charts through 1967. “I was worried about the song because it wasn’t personal,” Kirshner says of his choice for The Monkees’ debut. “I was worried about the train thing, and it wasn’t really boy/girl. So the point of the matter is, they were West Coast guys. I was living in New York with all my writers, and until I really flew out there, I didn’t know what I was getting into.” Quickly immersing himself in the West Coast sound, Kirshner chose “Last Train To Clarksville” as the single. His leap of faith would pay off with a #1 single and album.
In September 1966 the group went on a promotional tour to hype their series and the release of The Monkees. The response was overwhelming. During the first week in October, The Monkees began a 78-week run on the Billboard Album chart (with 13 weeks at #1). Almost 20 years later, propelled by MTV reruns of The Monkees’ series and a successful concert tour, the album would return to the charts for an incredible 24 weeks. The Monkees became one of the biggest-selling debut albums of all time, but this success brought tremendous cynicism from both the group and their critics. Within four months the man who brought them to the top, Don Kirshner, would be gone, and the group would be left in charge of their musical destiny. The bizarre story of the Monkees’ rise and fall had only just begun.
– Andrew Sandoval
Andrew Sandoval is the author of The Monkees: The Day-By-Day Story Of The '60s TV Pop Sensation.
_________________________________________________
Disc 1
THE ORIGINAL STEREO ALBUM
1. (THEME FROM) THE MONKEES
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
2. SATURDAY’S CHILD
(David Gates)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
3. I WANNA BE FREE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/19/66 & 7/24/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: acoustic guitar
MICHEL RUBINI: harpsichord
BONNIE DOUGLAS & PAUL SHURE: violin
MYRA KESTENBAUM: viola
FREDERICK SEYKORA: cello
4. TOMORROW’S GONNA BE ANOTHER DAY
(Tommy Boyce/Steve Venet)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66, 7/26/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
GERRY McGEE: electric guitar, harmonica
WAYNE ERWIN & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
Unknown backing vocals, tambourine, hand claps
5. PAPA GENE’S BLUES
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66 & 7/30/66)
Featuring/MICHAEL NESMITH: lead vocals
MICKY DOLENZ: harmony vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
6. TAKE A GIANT STEP
(Carole King/Gerry Goffin)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
JACK KELLER: piano
MICHEL RUBINI: harpsichord
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
BOB COOPER: oboe
Unknown backing vocals
7. LAST TRAIN TO CLARKSVILLE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (7/25/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown backing vocals
8. THIS JUST DOESN’T SEEM TO BE MY DAY
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly other dates)
Featuring/DAVY JONES: lead & backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
JOSEPH DITULLIO: cello
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
9. LET’S DANCE ON
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & 7/16/66)
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
GENE ESTES: maracas, tambourine
TOMMY BOYCE, RON HICKLIN & PETER TORK: backing vocals
10. I’LL BE TRUE TO YOU
(Gerry Goffin/Russ Titelman)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66, 7/13/66 & 7/16/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
11. SWEET YOUNG THING
(Michael Nesmith/Carole King/Gerry Goffin)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/18/66);
UNITED or WESTERN RECORDERS, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead vocals
PETER TORK: guitar, backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY & MICHAEL DEASY: guitar & dano bass
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
JIMMY BRYANT: fiddle
MICKY DOLENZ: backing vocals
DON PEAKE: conductor
Unknown additional backing vocals
12. GONNA BUY ME A DOG
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66);
WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/24/66)
Featuring/MICKY DOLENZ & DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ
LARRY TAYLOR: bass
BILLY LEWIS: drums
Bonus Material
13. (THEME FROM) THE MONKEES (Second Recorded Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/19/66)
Featuring/MICKY DOLENZ, TOMMY BOYCE & BOBBY HART: vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown finger snaps
Originally unissued. First collected on the CD reissue of the album The Monkees, Rhino #71790 (9/20/94)
14. THE KIND OF GIRL I COULD LOVE (Alternate Mix)
(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
Previously unissued. A different mix is included on the album More Of The Monkees, Colgems #102 (1/67)
15. I DON’T THINK YOU KNOW ME (Micky’s Vocal)
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (6/25/66 & 7/16/66)
Featuring/MICKY DOLENZ: lead vocals
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL: organ
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
MICHAEL NESMITH: backing vocals
DON PEAKE: conductor
Unknown backing vocals
Originally unissued. First collected on the CD reissue of the album The Monkees, Rhino #71790 (9/20/94)
16. SO GOES LOVE
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66)
Featuring/DAVY JONES: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILLY PRESTON: electric piano
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
Originally unissued. First collected on the album Missing Links, Rhino #70150 (7/6/87)
17. PAPA GENE’S BLUES (Alternate Mix)
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
PETER TORK: guitar, backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY & JIM HELMS: guitar
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
MICKY DOLENZ & DAVY JONES: backing vocals
DON PEAKE: conductor
Previously unissued
18. I CAN’T GET HER OFF MY MIND
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (7/25/66 & other dates)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: tack piano, autoharp
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
Unknown backing vocals
Originally unissued. First collected on the CD reissue of the album The Monkees, Rhino #71790 (9/20/94)
19. (I PRITHEE) DO NOT ASK FOR LOVE (Alternate Mix)
(Michael Martin Murphey)
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/DAVY JONES: 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
MICKY DOLENZ & MICHAEL NESMITH: backing vocals
DON PEAKE: conductor
Previously unissued. A different mix was first included (under the title "Do Not Ask For Love") on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
20. GONNA BUY ME A DOG (Backing Track)
(Tommy Boyce/Bobby Hart)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66)
Featuring/JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILLY PRESTON: organ
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
Previously unreleased
21. MONKEES RADIO SPOT
Recorded in Hollywood, CA (1966)
Previously unissued
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Disc 2
THE ORIGINAL MONO ALBUM
THE ORIGINAL MONO ALBUM
1. (THEME FROM) THE MONKEES
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
2. SATURDAY’S CHILD
(David Gates)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & possibly 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
GENE ESTES: tambourine
TOMMY BOYCE & RON HICKLIN: backing vocals
3. I WANNA BE FREE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/19/66 & 7/24/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: acoustic guitar
MICHEL RUBINI: harpsichord
BONNIE DOUGLAS & PAUL SHURE: violin
MYRA KESTENBAUM: viola
FREDERICK SEYKORA: cello
4. TOMORROW’S GONNA BE ANOTHER DAY
(Tommy Boyce/Steve Venet)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66, 7/26/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
GERRY McGEE: electric guitar, harmonica
WAYNE ERWIN & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
Unknown backing vocals, tambourine, hand claps
5. PAPA GENE’S BLUES
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/7/66);
RCA VICTOR STUDIO A, Hollywood, CA (7/16/66 & 7/30/66)
Featuring/MICHAEL NESMITH: lead vocals
MICKY DOLENZ: harmony vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, JIM HELMS & PETER TORK: guitar
BILL PITMAN: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
6. TAKE A GIANT STEP
(Carole King/Gerry Goffin)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: electric guitar
TOMMY BOYCE: acoustic guitar
JACK KELLER: piano
MICHEL RUBINI: harpsichord
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
BOB COOPER: oboe
Unknown backing vocals
This mono version was also issued as Colgems single # 1001 (8/16/66)
7. LAST TRAIN TO CLARKSVILLE
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO B, Hollywood, CA (7/25/66 & other dates)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown backing vocals
This mono version was also issued as Colgems single # 1001 (8/16/66); Pop #1
8. THIS JUST DOESN’T SEEM TO BE MY DAY
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & possibly other dates)
Featuring/DAVY JONES: lead & backing vocals
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
WAYNE ERWIN: guitar, backing vocals
GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: percussion, mallets
JOSEPH DITULLIO: cello
9. LET’S DANCE ON
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/5/66, 7/9/66 & 7/16/66)
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
GENE ESTES: maracas, tambourine
TOMMY BOYCE, RON HICKLIN & PETER TORK: backing vocals
10. I’LL BE TRUE TO YOU
(Gerry Goffin/Russ Titelman)
Produced by TOMMY BOYCE, BOBBY HART & JACK KELLER
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/9/66, 7/13/66 & 7/16/66)
Featuring/DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: mallets
TOMMY BOYCE, BOBBY HART & RON HICKLIN: backing vocals
11. SWEET YOUNG THING
(Michael Nesmith/Carole King/Gerry Goffin)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/18/66);
UNITED or WESTERN RECORDERS, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead vocals
MICKY DOLENZ: backing vocals
PETER TORK: guitar, backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY & MIKE DEASY: guitar & dano bass
JIMMY BRYANT: fiddle
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
DON PEAKE: conductor
Unknown additional backing vocals
12. GONNA BUY ME A DOG
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/23/66);
WESTERN RECORDERS STUDIO 2, Hollywood, CA (7/24/66)
Featuring/MICKY DOLENZ & DAVY JONES: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
BOBBY HART: organ
LARRY TAYLOR: bass
BILLY LEWIS: drums
Bonus Material
13. KELLOGG’S JINGLE
(composer unknown)
Producer unknown
Recorded in California (1966)
Featuring/MICKY DOLENZ: lead vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
TOMMY BOYCE: backing vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
14. ALL THE KING’S HORSES
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (6/25/66 & 7/16/66)
Featuring/MICKY DOLENZ: lead & backing vocals
MICHAEL NESMITH: harmony & backing vocals
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL & BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DAVY JONES & PETER TORK: backing vocals
DON PEAKE: conductor
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
15. YOU JUST MAY BE THE ONE (TV Version)
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A. Hollywood, CA (7/18/66);
UNITED or WESTERN RECORDERS, Hollywood, CA (7/27/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar, dano bass
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
DON PEAKE: conductor
Unknown additional backing vocals
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
16. I WANNA BE FREE (Fast Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A. Hollywood, CA (7/19/66);
WESTERN RECORDERS, Hollywood, CA (7/24/66)
Featuring/MICKY DOLENZ & DAVY JONES: vocals
WAYNE ERWIN, GERRY McGEE & LOUIE SHELTON: guitar
MICHEL RUBINI: organ
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Originally unissued. First collected on the album Missing Links, Volume Two, Rhino #70903 (1/23/90)
17. I DON’T THINK YOU KNOW ME (Mike’s Vocal)
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A. Hollywood, CA (6/25/66);
RCA VICTOR STUDIO B. Hollywood, CA (8/30/66)
Featuring/MICHAEL NESMITH: lead vocals
JAMES BURTON, GLEN CAMPBELL & AL CASEY: guitar
LARRY KNECHTEL: organ
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & JIM GORDON: percussion
DON PEAKE: conductor
Unknown backing vocals
Originally unissued. First collected on the album Missing Links, Rhino #70150 (7/6/87)
18. I WON’T BE THE SAME WITHOUT HER (Original Mono Mix)
(Gerry Goffin/Carole King)
Produced by MICHAEL NESMITH
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (7/18/66 & 7/30/66);
RCA VICTOR STUDIO B, Hollywood, CA (8/30/66); RCA Studios (11/17/66)
Featuring/MICHAEL NESMITH: lead & backing vocals
JAMES BURTON, GLEN CAMPBELL, AL CASEY, MIKE DEASY & PETER TORK: guitar, dano bass
LARRY KNECHTEL: piano
BOB WEST: bass
HAL BLAINE: drums
GARY COLEMAN & FRANK DeVITO: percussion
DON PEAKE: conductor
Unknown additional backing vocals
Previously unissued. A stereo mix is included on the album Instant Replay, Colgems #113 (2/15/69)
19. PROPINQUITY (I’VE JUST BEGUN TO CARE) (Demo Version)
(Michael Nesmith)
Produced by MICHAEL NESMITH
Recorded in California (1966)
Featuring/MICHAEL NESMITH: lead vocals, acoustic guitar
JOHN LONDON: bass
Previously unissued
19. (THEME FROM) THE MONKEES (TV Version)
(Tommy Boyce/Bobby Hart)
Produced by TOMMY BOYCE & BOBBY HART
Recorded at RCA VICTOR STUDIO A, Hollywood, CA (8/6/66)
Featuring/MICKY DOLENZ: lead & backing vocals
WAYNE ERWIN & GERRY McGEE: guitar
LARRY TAYLOR: bass
BILLY LEWIS: drums
GENE ESTES: tambourine
Unknown additional backing vocals
Originally unissued. First collected on the album Missing Links, Volume Three, Rhino #72153 (3/26/96)
The Monkees was originally issued as Colgems #101 (9/66).
NOTE: Numbers 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.
Text Monkees 74466 for official Monkees mobile content*
* Requires compatible handset and service through participating carriers. Standard text messaging rates apply. See your contract for details. Available content subject to change at any time.
Produced by TOMMY BOYCE, BOBBY HART, JACK KELLER & MICHAEL NESMITH
Engineered by HANK CICALO, DAVE HASSINGER, HENRY LEWY, RICHIE SCHMITT & 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 & LISA JIMENEZ
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
All selections controlled by Rhino Entertainment Company. “(THEME FROM) THE MONKEES” (Second Recorded Version), “I DON’T THINK YOU KNOW ME” (Micky’s Vocal), and “I CAN’T GET HER OFF MY MIND” (P) 1994 Rhino Entertainment Company; “THE KIND OF GIRL I COULD LOVE” (Alternate Mix), “PAPA GENE’S BLUES” (Alternate Mix), “(I PRITHEE) DO NOT ASK FOR LOVE” (Alternate Mix), “GONNA BUY ME A DOG” (Backing Track), “I WON’T BE THE SAME WITHOUT HER” (Original Mono Mix), and “PROPINQUITY (I’VE JUST BEGUN TO CARE)” (Demo Version) (P) 2006 Rhino Entertainment Company; “SO GOES LOVE” and “I DON’T THINK YOU KNOW ME” (Mike’s Vocal) (P) 1987 Rhino Entertainment Company; “KELLOGG’S JINGLE” and “(THEME FROM) THE MONKEES” (TV Version) (P) 1996 Rhino Entertainment Company; “ALL THE KING’S HORSES,” “YOU JUST MAY BE THE ONE” (TV Version), and “I WANNA BE FREE” (Fast Version) (P) 1990 Rhino Entertainment Company.
This Compilation (P) 2006 Rhino Entertainment Company, a Warner Music Group Company.
