Pop & Miscellaneous

The Monkees - Forever (2016)

2016-11-25T15:31:14Z

The Monkees - Forever (2016)


1. "I'm A Believer"
2. "Valleri"
3. "You Just May Be The One"
4. "That Was Then, This Is Now" - Micky Dolenz & Peter Tork
5. "(I'm Not Your) Steppin' Stone"
6. "Pleasant Valley Sunday"
7. "Daydream Believer"
8. "Last Train To Clarksville"
9. "She Makes Me Laugh"
10. "A Little Bit Me, A Little Bit You"
11. "Porpoise Song (Theme From Head)" (Single Version)
12. "Heart And Soul"
13. "Words"
14. "Goin' Down" (Single Version)

Gregory Bemko 	Cello
Max Bennett 	Bass
Louis Blackburn 	Trombone
Ken Bloom 	Guitar
Tommy Boyce 	Guitar (Acoustic), Vocals (Background)
Bud Brisbois 	Trumpet
Arthur Butler 	Organ
Pete Candoli 	Trumpet
Roy Caton 	Trumpet
Tom Cerone 	Tambourine
Bill Chadwick 	Guitar (Acoustic)
Buddy Collette 	Saxophone
Micky Dolenz 	Drums, Timpani, Vocals, Vocals (Background)
Chip Douglas 	Bass, Guitar (Bass), Vocals (Background)
Wayne Erwin 	Guitar
Gene Estes 	Tambourine
Virgil Evans 	Trumpet
David Filerman 	Cello
Stan Free 	Piano
Al Gorgoni 	Guitar
Bobby Hart 	Organ
Bobby Helfer 	Clarinet (Bass), Trumpet
William Hinshaw 	Horn
John Hoenig 	Percussion
Clyde "Whitey" Hoggan 	Bass
Fast Eddie Hoh 	Drums
Bill Hood 	Saxophone
Jim Horn 	Saxophone
Jim Hughart 	Bass
Jules Jacob 	Horn
Plas Johnson 	Saxophone
Davy Jones 	Vocals, Vocals (Background)
Nathan Kaproff 	Violin
George Kast 	Violin
Jan Kelly 	Cello
Danny Kortchmar 	Guitar
Richard Leith 	Trombone
Billy Lewis 	Drums
Henry Lewy 	Engineer
Herb Lovelle 	Drums
John Lowe 	Sax (Bass)
Douglas Lubahn 	Guitar (Bass)
Jacqueline Lustgarten 	Cello
Bill Martin 	Percussion
Hugh McCracken 	Guitar
Lew McCreary 	Trombone
Gerry McGee 	Guitar
Jay Migliori 	Saxophone
Ollie Mitchell 	Trumpet
Alex Murray 	Violin
Richard Nash 	Trombone
Michael Nesmith 	Guitar, Guitar (Electric), Vocals, Vocals (Background)
Mike Nesmith 	Guitar, Vocals
Erno Neufeld 	Violin
Mike Ney 	Drums
Richard Noel 	Trombone
Joe Osborne 	Bass
Al Porcino 	Trumpet
Uan Rasey 	Trumpet
Leon Russell 	Keyboards
Jerry Scheff 	Bass
Adam Schlesinger 	Bass
Thomas Scott 	Trumpet
Thomas Scott 	Trumpet
Louie Shelton 	Guitar
Ralph Shuckett 	Keyboards
Manuel Stevens 	Trumpet
Larry Taylor 	Bass
Phil Teele 	Trombone
Don Thomas 	Guitar
Russ Titelman 	Conductor
Peter Tork 	Banjo, Composer, Guitar (Electric), Lyricist, Organ, Piano, Piano (Electric), Vocals
Mike Viola 	Guitar
Brian Young 	Drums, Percussion

The Monkees were, of course, assembled more for their acting and comedic abilities than any musical ones, and many of their songs were simply disposable vehicles for a huge marketing machine, but the group eventually developed musical aspirations that yielded some strikingly good pop songs, including capable covers of Neil Diamond's "A Little Bit Me, a Little Bit You" and Harry Nilsson's "Cuddly Toy," as well as Michael Nesmith's own "The Girl I Knew Somewhere," the pop gem "Pleasant Valley Sunday," and the pleasantly psychedelic "Porpoise Song," all of which are included in this three-disc collection (at 30 tracks total, this could have easily been a double disc, or with a little editing, a super single disc). Also here is the Monkees' first single, "Last Train to Clarksville," which in retrospect was a pretty good debut (even if they didn't play their own instruments on it). This isn't the perfect introduction to the Monkees, but it does do a decent job of spotlighting a group that was, in hindsight, no worse than -- and in many cases, better than -- what passed for cool and hip at the close of the 1960s. ---Steve Leggett, Rovi

This basic collection of 14 Monkees hits, including the new single "She Makes Me Laugh" from the new album Good Times! was issued as a budget-line companion to the three-CD The Monkees 50. It contains seven hit singles, three B-sides, one LP track, and two reunion recordings from the 1980s. All of the songs are on THE MONKEES 50, except for the album track "You Just May Be The One," from Headquarters. Why Rhino didn't include that song on the big set, I have no idea. Perhaps they wanted to give fans and collectors incentive to buy both sets. There is one other difference: on this disc, "Valleri" has a full cold ending, whereas it has a fade-out ending on THE MONKEES 50.

This is more like the Flashback budget-line collections than the standard Rhino hits packages, which have 20 or more songs in most cases. Although there is really nothing new here, it's still a nice addition to your Monkees collection. ---steve_manassas, amazon.com

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The Monkees - More of the Monkees (1967)

2014-08-01T08:24:16Z

The Monkees - More of the Monkees (1967)


1. She
2. When Loves Comes Knocking (At Your Door)
3. Mary, Mary
4. Hold On Girl
5. Your Auntie Grizelda
6. (I'm Not Your) Steppin' Stone
7. Look Out (Here Comes Tomorrow)
8. The Kind of Girl I Could Love
9. The Day We Fall In Love
10. Sometime In The Morning
11. Laugh
12. I'm A Believer
13. Don't Listen To Linda
14. I'll Spend My Life With You
15. I Don't Think You Know Me
16. Look Out (Here Comes Tomorrow)
17. I'm A Believer

Seymour Barab - Cello
Hal Blaine - Drums
James Burton - Guitar
Artie Butler - Conductor
Glen Campbell 	- Guitar
Frank Capp - Percussion
Al Casey - Guitar
Michael Cohen - Piano
Gary Coleman - Percussion
Mike Deasy Sr. - Guitar
Micky Dolenz - Drums, Guitar, Keyboards, Vocals
Wayne Erwin - Guitar
Mike Nesmith & The First National Band 	
Alexander Gafa - Guitar
Jim Gordon - Drums
Louis Haber - Violin
Bobby Hart - Organ
Norm Jeffries - Percussion
Davy Jones - Vocals
Carol Kaye - Bass
Larry Knechtel  - Bass
Bill Lewis - Drums
Herb Lovelle - Drums
Gerry McGee - Guitar
Michael Nesmith - Guitar, Producer, Vocals
Donald Peake - Guitar
Ray Pohlman - Bass
Don Randi - Harpsichord, Organ
Michel Rubini - Harpsichord, Organ
David Sackson - Viola
Murray Sandry - Viola
Russell Savkas - Bass
Jim Seals - Saxophone
Neil Sedaka - Piano, Producer
Louis Shelton - Guitar
Irving Spice - Violin
Louis Stone - Violin
Nillard Suyker - 	Guitar
Larry Taylor - Bass
Don Thomas - Guitar
Peter Tork - Bass, Guitar, Vocals
Julius Wechter - Percussion
Bob West - Bass

The Monkees second album More of the Monkees lived up to its title. It was more successful commercially, spending an amazing 70 weeks on the Billboard charts and ultimately becoming the 12th biggest selling album of all time. It had more producers and writers involved since big-shots like Carole King and Gerry Goffin, Jeff Barry and Neil Sedaka, as well as up-and-comers like Neil Diamond all grabbed for a piece of the pie after Tommy Boyce and Bobby Hart, the men who made the debut album such a smash, were elbowed out by music supervisor Don Kirshner. The album also has more fantastic songs than the debut. Tracks like "I'm a Believer," "She," "Mary, Mary," " (I'm Not Your) Stepping Stone," "Look Out (Here Comes Tomorrow)," "Your Auntie Grizelda," and "Sometime in the Morning" are on just about every Monkees hits collection and, apart from the novelty "Grizelda," they are among the best pop/rock heard in the '60s or any decade since. The band themselves still had relatively little involvement in the recording process, apart from providing the vocals along with Mike Nesmith's writing and producing of two tracks (the hair-raising rocker "Mary, Mary" and the folk-rock gem "The Kind of Girl I Could Love"). In fact, they were on tour when the album was released and had to go to the record shop and buy copies for themselves. As with the first album though, it really doesn't matter who was involved when the finished product is this great. Listen to Micky Dolenz and the studio musicians rip through "Stepping Stone" or smolder through "She," listen to the powerful grooves of "Mary, Mary" or the heartfelt playing and singing on "Sometime in the Morning" and dare to say The Monkees weren't a real band. They were! The tracks on More of the Monkees (with the exception of the aforementioned "Your Auntie Grizelda " and the sickly sweet "The Day We Fell in Love," which regrettably introduces the smarmy side of Davy Jones) stand up to the work of any other pop band operating in 1967. Real or fabricated, The Monkees rate with any pop band of their era and More of the Monkees solidifies that position. ---Tim Sendra, Rovi

Neil Sedaka, Neil Diamond and Goffin/King helped the Monkees' second LP match the amazing success of their debut. This one reached #1 in '67 on the shoulders of the smash I'm a Believer ; the hit (I'm Not Your) Steppin' Stone ; the classics She; Mary, Mary , and more! ---amazon.com

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The Monkees - The Monkees (1966)

2014-07-06T15:34:34Z

The Monkees - The Monkees (1966)


1. (Theme From) The Monkees
2. Saturday's Child
3. I Wanna Be Free
4. Tomorrow's Gonna Be Another Day
5. Papa Gene's Blues
6. Take A Giant Step
7. Last Train To Clarksville
8. This Just Doesn't Seem To Be My Day
9. Let's Dance On
10. I'll Be True To You
11. Sweet Young Thing
12. Gonna Buy Me A Dog
13. I Can't Get Her Off My Mind (Prev. Unissued Early Version)
14. I Don't Think You Know Me (Prev. Unissued Alternate Version)
15. (Theme From) The Monkees (Prev. Unissued Early Version)

Michael Nesmith - Guitar, Vocals
Peter Tork - Bass, Guitar, Vocals
Micky Dolenz - Drums, Guitar, Keyboards, Vocal Harmony, Vocals
Davy Jones - Vocals
+
Keith Allison - Harmonica
Hal Blaine - Drums
Tommy Boyce -  Vibraphone
Jimmy Bryant - Bass, Fiddle
James Burton - 	Guitar
Glen Campbell - Guitar
Al Casey - Guitar
Gary Coleman - Percussion
Bob Cooper - Oboe
Mike Deasy Sr. - Guitar
Frank DeVito - Drums
Joseph Ditullio - Cello
Bonnie Douglas - Violin
Wayne Erwin - Guitar, Guitar (Electric)
Gene Estes - Percussion
Jim Gordon - Drums
Bobby Hart - Autoharp, Glockenspiel, Organ, Vocals (Background)
Myra Kestenbaum - Viola
Larry Knechtel 	- Organ
Bill Lewis - Drums
Gerry McGee - Guitar, Guitars 
Donald Peake - Guitar
William Pitman 	- Bass
Michel Rubini - 	Harp
Frederick Seykora - Cello
Louie Shelton - Guitars
Paul Shure - Violin
Larry Taylor - Bass
David Walters - Percussion

The Monkees' first album was a huge success, following on the number one single "Last Train to Clarksville." The Monkees spent 78 weeks on the Billboard chart including an astounding 13 weeks at number one. The record wasn't only a commercial juggernaut, it also stands as one of the great debuts of all time, and while the record and the group have faced criticism from rock purists through the ages, it stands the test of time perfectly well, sounding as alive and as much fun 40 years later. Prefabricated? Yes. After a fast buck? Yes. Exhilarating? Yes! Fab? Definitely! The music may have been created by studio cats instead of the band themselves but the pros weren't merely phoning it in. Listen to the aggressive guitars on "Saturday's Child," the raw romp of "Tomorrow's Gonna Be Another Day," or the cascading wall of guitars and fiddles on "Sweet Young Thing," and you know they weren't just padding their bank accounts. They were playing some real rock & roll and you can credit the producers for that. Producers Tommy Boyce and Bobby Hart aren't craftsmen on the level of Phil Spector (who was actually approached to produce the band but probably laughed The Monkees' team right out the door), but they knew how to craft razor-sharp and exciting pop tunes with lots of spark, soul, and the occasional psychedelic touch.

And they knew how to get great vocals from their group. While The Monkees themselves didn't do much more than sing, the singing they did was first-rate. You'd be hard-pressed to find a better pop/rock vocalist than Micky Dolenz; his work on "Take a Giant Step" and "Last Train to Clarksville" is thrilling and bursting with life. The other lead vocalist, Davy Jones, thankfully doesn't get a chance to show off his full range of annoyingly whimsical mannerisms; Boyce and Hart keep him under wraps and his vocals on "I Wanna Be Free" and "I'll Be True to You" are achingly sweet, even a little soulful in a very British way. Boyce and Hart weren't the only great producers involved with the record, as a listen to "Papa Gene's Blues" and "Sweet Young Thing" show that Mike Nesmith also knew how to produce great pop music, despite what Don Kirshner may have thought. The various producers, supervisors, and coordinators were also savants when it came to both writing (in Boyce, Hart, and Nesmith's case) and picking songs for the group. Indeed, the only songs that feel like filler are the rudimentary rocker "Let's Dance On" and the silly "Gonna Buy Me a Dog," but even these throwaways are charming and stand up to repeated listens. It's easy to see why kids were buying this record as fast as the label could press them up. Despite the origins of the group and the behind-the-scenes machinations, the music itself is young, exciting, and free. Who cares who did what and who didn't do what when the results are as rock-solid as "Last Train to Clarksville" or "Sweet Young Thing"? You could stack The Monkees up against almost any record of 1966 and the competition would be fierce, with this record coming out on top except in only a few cases. ---Tim Sendra, Rovi

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