NOTE:  I've been aware of Capitol Records releasing of digital-only albums since they began in 2014.  But I viewed (and still view) these releases as cynical, corporate-driven releases which have little to no real merit.  They have no packaging, no notes, just compressed audio mp3/streaming files which are solely being released in order to secure the copyrights on the tracks.   But often these releases are simply too little, too late; in many instances, they are releasing live and studio tracks which have already been bootlegged numerous times, and the concerts and studio tracks which are seeing light for the first time are barely listenable, except for those who pour over ever scrap of music the vault has to offer.  I offer them here only for completists. 

The Beach Boys Live In Sacramento 1964
Capitol Records, LLC
December 2, 2014

Complete first show and second recorded August 1, 1964 at The Memorial Auditorium, Sacramento, California.

  The Beach Boys performed two shows in Sacramento, California on August 1, 1964, which were edited together to make the 1964 In Concert album.  These shows had been bootlegged before, as part of Sea Of Tunes Live In Sacramento! CDs which were released as separate discs, with bonus tracks which included vocal overdubs and radio announcements.  None of those bonus tracks are here, but you do get the unedited original tapes of both shows, in good sound, although it's immediately clear why overdubs were necessary; there's vocal drop-outs and forgotten lyrics, off-key harmonies and little personal jokes, which seem a bit mean-spirited, but that was how they interacted.  And despite the Beach Boys having recently released their incredibly sophisticated All Summer Long album in July, their playing here sounds much like it did two years earlier - with a garage-band chunkiness which simply can't compete with the polish and smoothness of The Wrecking Crew, who had taken point on their studio backing tracks.  For fans who didn't have the earlier Sea Of Tunes releases, these are fun to hear - with lots of energy and youthful drive rumbling through the set lists, even if it lacks the sweetening which the final album presented.  There's also lots of little differences between the two shows, which rabid fans will have fun comparing - but it's still a rough and ragged listen; The Beach Boys would improve vastly over the next few years as a live touring act.

Keep An Eye On Summer - The Beach Boys Sessions 1964
Capitol Records, LLC
December 2, 2014

Selected session tracks for various single and album sessions, including "All Summer Long" "Beach Boys Christmas" various singles and a live BBC recording.

  Here's where Capitol Records finally realizes that even session works have value - although they had released some session work before on previous CD's due to years of pilfering and finally, onerous copyright laws, Capitol thought it worthwhile to release behind-the-scenes session work, and, although it doesn't merit the same consideration as their finished product, it's undeniably fun to hear the interplay between engineer Chuck Britz and Brian Wilson - brief as they may be.  You get rehearsal run-through's isolated backing tracks and stripped vocals and new, brilliant stereo mixes of several Beach Boys standards, including "Fun Fun Fun," "Why Do Fools Fall In Love," "Don't Worry Baby," Pom Pom Playgirl" and several more.  Does it hold up to repeat listens?  Not really.  The best things are the new stereo mixes, which are specially mixed for today's younger audiences, with their headphones or streaming speakers, lacking the range of more immersive stereo systems, but bright and sparkling through my computer speaker.  And listeners can get a renewed appreciation for Brian's amazing arrangements as The Wrecking Crew rip through his thickly layered productions.  There's stuff in his mixes which simply gets lost as he tried to ape Phil Spector's 'Wall Of Sound' but here, it's separated and various instruments are highlighted, which showcase just how expertly and deftly Brian was able to construct his own masterpieces.

The Beach Boys’ Party! Uncovered And Unplugged
Capitol Records, LLC
November 20, 2015

DESCRIPTION:  Beach Boys' Party! was the tenth studio album by the Beach Boys and was mostly cover songs. When originally recorded, the band invited friends and family into the studio for a party. Those sounds were then layered over the recorded music for a true party sound. Uncovered and unplugged now strips away those party sounds so that the true sessions can be heard in their entirety. This special 2 disc set pairs the original album with the newly restored audio, outtakes and dialog.

For full track listing click here.

  The first thing you hear out of Brian's mouth as the sessions begin rolling for what would eventuallly become the Beach Boys Party! album is "So... instead of being 'good' it's gotta be 'entertaining'" - which, I suppose, is as good a description of the Party album as any other.  Under the constant crunch of Capitol wanting to put out new product, Brian found himself doing things he probably wouldn't have considered under any other circumstances, and "Party" falls under the same umbrella as other similar projects like Beach Boys Christmas, Stack-O-Tracks, and probably Smiley Smile.  Sea of Tunes put out an entire box set (three and half hours) of Party Sessions back in the day, and Capitol Records covers all of the same ground - please DON'T make me go and compare the two sets, for that would be nearly seven hours of my life I could never get back again.  Needless to say, it's all in-studio run-throughs, with lots of chatter, some songs which didn't make the cut ("I Can't Get No Satisfaction" by the Rolling Stones" and "Smokey Joe's Cafe" among them) but over the five sessions which the recording took place, the songs which made the final cut are the most 'polished' - although that's a relative term with this album.  If you love the Party! album, you'll adore this - but if you think it's fairly disposable, this release is triply so.

Live In Chicago 1965
Capitol Records, LLC
December 6, 2015

Two shows, recorded live at the Arie Crown Theater, Chicago on March 26 & 27, 1965.

  Although the Beach Boys had released Concert in 1964, Capitol Records was still recording Beach Boys shows, probably to serve as more "filler" albums in case Brian ran out of new material.  But unlike with their Concert album, no sweetening sessions were done for either this Chicago 1965 show, or the Michigan '66 show which they also recorded.  And boy oh boy, would sweetening be needed - lots of ragged playing and vocal problems plague both shows, with vocals dropping out entirely, and the playing far under par of what would be expected by record buyers.  The Beach Boys were also at the height of their popularity during this time, still on par with The Beatles, and doing some of their most stunning studio work with the Today! and Summer Days (and Summer Nights!) - improvements which beggar the question why the band wasn't showing growth in their live shows.  Granted, this only months after their 1964 concerts, but if anything, they sound even more ragged and unpolished here than they did then.  Brian had actually returned for these concerts, replacing Bruce Johnston who had been filling in for an ailing Brian Wilson - that may have been the impetus for recording these shows, but it was clearly a rush job - the first show was a disaster as far as sound, and the second show would have needed a lot of studio work.  And despite Brian's growing songwriting chops, their song list is is still relying on "Monster Mash" and "Louie, Louie" for filler.  Mike's vocal interpolations interrupt many of the songs, and would have ruined many possible takes for an album, and the fooling around, goofing off, and mistakes may have made for fun times for their audiences, but as candidates for a future live album, it's apparent that these concerts were wisely left in the can.  I'm convinced that the ONLY reason these recordings are seeing the light of day is for legal protections.  The second show is tighter and far more polished than the first - but the sound still is compressed and almost sounds as if its being recorded through a radio speaker than a soundboard.  Fans may love it, but it's not my idea of a great Beach Boys release.  As a bonus, four "rehearsal" tracks from the concert are included, "Louie, Louie," "Surfin' USA," "Little Honda" and "Wendy."

Graduation Day 1966: Live At The University Of Michigan
Capitol Records, LLC
December 9, 2016

Two shows recorded on Oct. 22, 1966 in Ann Arbor, Michigan with a bonus radio spot and studio rendition of "Row Your Boat" by The Honeys.

  Released without any fanfare, this second live recording, done a few months after the Chicago shows, are notable for a couple of reasons.  First - although Brian is pictured on the cover, he wasn't on stage with the band for most of the performances; Bruce Johnston was back, although Brian did fly down with the band and hold an all-day rehearsal with them, mainly to make certain that they were up to performing "Good Vibrations" up to snuff.  Also, there's a significant change in their concert lineup; their surf/drag songs have been mashed into a medley, while Pet Sounds and Today tracks have begun to take a larger cut of the pie.  The concerts are also a MUCH more somber affair than they were eighteen months previously, with Carl clearly the leader on the road, the audiences much less present (the college crowd probably accounts for that) and the intersong patter is more subdued.  Sonically, it would have made a better album, but the energy is down - the band sounds a little nervous playing the new songs, and Mike makes several off-hand remarks about the new direction the band is taking which give large hints about how he feels about having to perform "God Only Knows," "Good Vibrations" "Wouldn't It Be Nice" and "Sloop John B" instead of his usual 'Monster Mash".  Dennis premieres "You've Got To Hide Your Love Away" which was only a couple of weeks old at that point, and he's a high point.  Brian does show up for a belated encore number, "Johnny B. Goode" and receives one of the biggest ovations, but even at this point, he's showing a marked aversion to the limelight.  The entire mood of the concert is a little off - much more subdued and lacking the energy which their earlier concerts had, showcasing just how unsure the band was of where music was heading.  The radio spot is brief, but interesting, while The Honey's "live" rendition of "Row Your Boat" is a bore.

1967 - Sunshine Tomorrow
Capitol Records [CD/MP3]
Release Date: June 30, 2017

The Beach Boys have announced they will offer new archival release, 1967 – Sunshine Tomorrow, on June 30 via Capitol/UMe. The collection will include the first-ever stereo recording of Wild Honey, along with over 50 previously unreleased studio and live recording from that year.

The release celebrates the 50th anniversary of Wild Honey and the 1967 studio sessions for that album along with Smiley Smile and the surrounding live dates around the US from which Sunshine Tomorrow draws.

See the complete track listing here.

REVIEW:  Ah, 1967... what must Beach Boys fans must have been going through that year - 1966 had brought the glories of Pet Sounds and the omnipresent teasings of Smile, the album that was to catapult the band into Beatles-like stratospheres.  Instead, here came two albums which threw out nearly everything fans loved about them, and presented a stripped-down, intensely psychedelic Smiley Smile followed by the blindingly white soul of Wild Honey.  Now, on 1967: Sunshine tomorrow, Capitol continues it's series of copyright-protecting releases by releasing the original Wild Honey in it's glorious, first-ever stereo mix, along with Smiley Smile outtakes, live and studio "concert" performances, and odds and ends, which, belying its title, reach into 1970.  First of all, is it worth purchasing?  Oh, yeah.  This is where things start to get reallllly interesting with the Beach Boys.  If the band had splinted during the combustion of Smile, The Beach Boys would have secured their place as one of the great bands of all time, but with the weirdness of 1967 foisted upon the public, they became much more - they became fascinating; you don't know what's going to come next - a musical mystery who's chameleon-like gyrations wouldn't subside until 1974's Endless Summer reinstated their surf/car/girls default setting in the public's eyes.  But for several years, during Brian's increasing withdrawal and the Beach Boys desperation to remain relevant, the band became their most experimental, their most daring, and their most raw.  Carl Wilson stepped in to become the ad hoc leader, and and both he and Dennis Wilson began to stretch their compositional wings.  This music isn't the stuff of commercial success - it seems that the band isn't even trying to write a hit single at this point - they're simply in the birthing metamorphosis stage - and musically, it's the beginning of one of the most interesting phases of their career.

1967 - Sunshine Tomorrow 2 - The Studio Sessions
Capitol Records, LLC
December 29, 2017

1967 – Sunshine Tomorrow 2: The Studio Sessions includes 29 studio session recordings.  Highlights from the Studio Sessions set include an a cappella version of "Heroes and Villains," the previously unreleased "Tune L" and outtake "Good News."

For complete track listing click here.

  It's the end of another year, and that signals another catalog-clearing release from The Beach Boys vaults in order to protect their copyrights!  Heartwarming, I know.  And unlike the physical release which Sunshine Tomorrow merited, these next two releases apparently rate much lower on The Beach Boys opinion-scale, since they have only digital and streaming platform releases, with all their compressed audio and lack of notation to frustrate you.  That said, this is actually a pretty fun release; The Beach Boys were forced into a highly-experimental state with Brian's slow withdrawal, but that doesn't mean that what's here is not worthwhile - the Beach Boys are vocally at their peak here, and Brian's weird-out experimentation is absolutely fascinating, from the polished vocal miniatures to stripped-down versions of SMiLE songs, the chance to peek behind the scenes of these controversial sessions is both enlightening on how unified they sound in the studio, and how, removed from the acid-trip that is Smiley Smile or the white soul freak-out that is Wild Honey, how truly lovely these fragments are.  The Beach Boys could SING, gosh-darn it - and anyone who doubts it should listen to the gorgeous harmonies on display here in "With Me Tonight" or peek into the backing tracks and vocals for "I Was Made To Love Her" and "Darlin'."  In my opinion, Capitol was remiss in not including this as a bonus disc on the previous Sunshine Tomorrow set, since everything here is worth hearing, and fascinating in its own right.  As a bonus, two unreleased tracks, the jam session "Tune L" and the short fragment "Good News" receive their first outing here.

1967 - Live Sunshine
Capitol Records, LLC
December 29, 2017

On August 25 and 26, 1967, The Beach Boys (absent Bruce Johnston, but with Brian Wilson on organ for his first concert appearances with the band in more than two years) recorded two concerts and rehearsals in Honolulu for a prospective live album to be titled Lei'd In Hawaii, applying a new Smiley Smile-inspired aesthetic to the performances. Just over two weeks later, the band (with both Brian and Bruce participating) began re-recording the live set in-studio at Brian's house and at Wally Heider Recording in Hollywood, after the Honolulu concert tapes were deemed unusable. Although completed and mixed, the final planned audio element of a canned concert audience was not added and the Lei'd In Hawaii project was canceled. Those live, in-studio performances morphed into sessions for the Wild Honey album, primarily comprised of original Brian Wilson/Mike Love compositions.  For a complete track listing, click here

  OKaaaaaay.  And so, here we go - in the latest dump of copyright-dodging releases, which should both please and infuriate fans, Capitol Records has released this 109-track behemoth, consisting of the multi-bootlegged "Lei'd In Hawaii" rehearsals and concert, which, for reasons which become instantly apparent, were shelved for good reason.  Brian Wilson, who by this time was taking everything LO-fi, decided to do this concert the same way, making every song sound threadbare, and slightly "off" on tempos (meaning slow).  The Beach Boys don't just sound dis-engaged, they sound slightly stoned, which is a huge pity, since vocally, there would rarely sound this good again.  Brian is present, and in control, Bruce Johnston is elsewhere, and the band noodles around, and Mike continues to "entertain" the crowd between numbers as only he can.  A couple of months later, another concert in Detroit was captured, which featured the band's first live performance of "Darlin'," "Country Air," and "How She Boogalood It" - which, as you can imagine, didn't exactly set the audiences on fire.  It's amazing how amateur they sound here; for a band that has topped the charts several times, they have a raggedness and immaturity that sounds like a college band at times.  Carl Wilson sounds on fire, however.  Two nights later, they had dropped each of those songs in a White Plains, New York date, sticking mostly with the tried-and-true, with only "Wild Honey" and "Darlin'" remaining in the set list.  The album closes with a Boston show, which is almost identical to the White Plains show.  Honestly, there are bright spots throughout the set for true fans, but it's a chore to get through the whole set, and with lots of repetition, and the performances rarely rising above the competent, I think this release is a low priority purchase.

I Can Hear Music: The 20/20 Sessions
Capitol Records, LLC
December 7, 2018

On December 7, 2018, Capitol released I Can Hear Music: The 20/20 Sessions, a digital-only compilation. Included are session highlights, outtakes, and alternate versions of 20/20 tracks, as well as some unreleased material by Dennis Wilson. It was released in conjunction with Wake the World: The Friends Sessions. 

For complete track list - click here.

  By the time The Beach Boys got around to recording 20/20, they were trying to reform around both new leadership within the group, with Carl taking point, and also they were struggling to be relevant in a musical landscape that had shifted underneath their feet.  They were able to drag a song out of Brian that recalled their glory years in the form of "Do It Again," but it was a look backward, and on these sessions you can hear them struggling to fill the large shoes of both writing and production which they relied on Brian exclusively for previous to his "Smile" meltdown.  Songs which they attempted, but didn't include on the final album are documented here: "Walk On By," "Sail Plane Song," "Old Man River/Old Folks At Home," "Walkin'," Dennis Wilson's initial songwriting attempts "Well You Know I Knew," "Love Affair," and "Peaches,"  "Mona Kana," "A Time To Live In Dreams," and "Oh Yeah" being fragments which you'll find here.  It shows that the band was trying the 'spaghetti' approach to record production, throwing anything they had at the wall and seeing if it would stick.  Their harmonic skills were still powerful, even if Brian wasn't arranging them - and Bruce Johnston, Dennis Wilson, and Al Jardine were coming more to the fore, albeit in sometimes horrific ways, such as Dennis Wilson bringing in Charles Manson's "Never Learn Not To Love" to the band.  Highlights include a funkier "Bluebirds Over The Mountain" (which I prefer to the original) and isolated vocal tracks.  But the most interesting curiosity for me is the final track, where the Wilson's mother Audree is captured singing "Is It True What They Say About Dixie?" in a lovely, fragile soprano - proof that Brian's Carl's and Dennis' singing talent may have come from her.

Wake The World: The Friends Sessions
Capitol Records, LLC
December 7, 2018

1. Meant For You (Alternate Version With Session Intro) 2:17       
2. Friends (Backing Track) 2:38       
3. Friends (A Cappella) 2:20       
4. Wake The World (Alternate Version) 2:11       
5. Be Here In The Morning (Back Track) 2:20       
6. When A Man Needs A Woman (Early Take Basic Track) 0:50       
7. When A Man Needs A Woman (Alternate Version) 2:08       
8. Passing By (Alternate Verson) 1:43       
9. Anna Lee The Healer (Session Excerpt) 1:21       
10. Anna Lee The Healer (A Cappella) 1:53       
11. Little Bird (Back Track) 2:00       
12. Little Bird (A Cappella) 2:04       
13. Be Still (Alternate Take With Session Excerpt) 2:08       
14. Even Steven (Early Version Of Busy Doin' Nothin') 2:52       
15. Diamond Head (Alternate Version With Session Excerpt) 4:33       
16. New Song (Transcendental Meditation) (Back Track With Partial Vocals) 1:51       
17. Transcendental Meditation (Back Track With Session Excerpt) 2:21       
18. Transcendental Meditation (A Cappella) 1:51       
19. My Little Red Book 2:45       
20. Away 0:56       
21. I'm Confessin' (Demo) 2:17       
22. I'm Confessin'/ You're As Cool As Can Be 1 1:37       
23. You're As Cool As Can Be 2 1:14       
24. Be Here In The Morning Darling 3:29       
25. Our New Home 2:01       
26. New Song 1:26       
27. Be Still (Alternate Track) 1:03       
28. Rock And Roll Woman 2:18       
29. Time To Get Alone (Alternate Version Demo) 2:03       
30. Untitled 1/25/68 1:06       
31. Passing By (Demo) 2:33       
32. Child Is Father Of The Man (Original 1966 Track Mix) 3:36

  Wake The World: The Friends Sessions follows much the same pattern and the previous digital editions, with backing tracks, isolated vocal tracks, and the occasional alternate or unreleased takes, but this release is a good deal more genial and easy to listen to, due to the laid-back nature of the project, as well as some truly spine-tingling moments (the vocal-only "Friends" track is astounding).  It's hard to know what Brian and the band were aiming for with this album, since none of the tracks seemed aimed at the popular market, or even for radio - the Friends album seemed to be dipping its toe into the waters of folk and country music, with lyrical forays into more Brian Wilson freak-outs like the song to his masseuse, "Anna Lee The Healer" (the funky Session Excerpt points towards "Wild Honey") and head-scratchers like "When A Man Needs A Woman".  But the Beach Boys, still willing to go along with anything Brian was willing to do, gamely added stunning harmonies to these tracks - but clearly they are just flailing around for a 'new' sound.  Dennis Wilson scores his first album track with "Little Bird" and "Be Still" - the former has a curious backing track filled with Brian-like touches of muted trumpets and banjo picking, and reveals just how adventurous and jazzy the backing harmonies are.  But then...  things get weird - Brian does one of his "I don't care/joke tracks" on "My Little Red Book" followed by the lazy "Away" "I'm Confessin'/You're As Cool As Can Be" "Be Here In The Morning Darlin'" "New Song" "Our New Home" "Rock and Roll Woman" and "Untitled" - some of which are finished backing tracks, some of which are just basic demos, but all were abandoned without any vocals being added.  It testifies at how splintered and unfocused Brian had become - how quickly he lost interest in things during this era, and just how much damage the drugs had done to his psyche.  The digital album closes out with The Beach Boys again digging out a Smile-era track with the backing track to "Child Is Father To The Man" receiving a new mix.  There are a few interesting things to hear on this release, but it descends into such a morass of missed opportunities that it feels bleak by the end.

The Beach Boys On Tour: 1968 (Live)
Capitol Records, LLC
December 14, 2018

Seven full concerts from 1968 making 114 tracks:
Chicago, IL
Fargo, ND
Waterloo, IA
Lincoln, NE
Phoenix, AZ
London Palladium, London
Finsbury Park Astoria, London

For complete tracklist: click here

  Seven different venues, one-hundred and fourteen tracks, and fifty-six bucks (and change) to purchase, Beach Boys Concert On Tour: 1968 is a mammoth release from Capitol's vaults as the band was desperately trying to fill their album quota which they had fallen behind on during Brian's post-Smile meltdown.  After their two previous attempts to record live concerts had been un-releasable, it appears that the band decided to record a whole swath of shows in a desperate effort to cobble together something ANYTHING that could fill the gap.  To sweeten up their sound, they incorporated a brass section, and arrangements by Daryl Dragon.  Remarkably, the band supposedly didn't authorized the release of the subsequent Beach Boys '69/Live In London album, despite having all of these recording sessions in the can.  The first three-quarters of this release are from numerous American dates: Chicago, IL, Fargo, ND, Waterloo, IA, Lincoln, NE, and Phoenix, AZ.  Immediately you can tell how much the band has evolved from their earlier live concerts - their sound is more refined, their harmonies more careful, and their set list has changed almost seismically from their "Louie, Louie"/"Monster Mash" raves of the mid-Sixties: "Wake The World," "Darlin'," "Good Vibrations," "Friends," "God Only Knows," "Sloop John B," and "Do It Again" are now staples of the tour, while their early hits are mostly mashed up into the surf/drag medley.  But also their on-stage banter and musicianship are notably improved - under Carl's leadership the Beach Boys sound stellar live - all in the space of a short year, after the disastrous Lei'd In Hawaii concert.  Dennis is premiering "Little Bird" in concert, and he sounds like a frontman with amazing support from the rest of the band, sad that these performances didn't make the initial album release.  But The Beach Boys' popularity was tanking in the USA, while at the same time, it was starting to peak in the UK, which may be why only the UK sessions (which consisted of recordings made at the London Palladium and Finsbury Park Astoria) were ultimately compiled into the Live In London album, but the earlier recordings are just as good - and worth hearing.  It may be a little much to dump on fans in one hearing, but there's lots to admire from these recordings.

The Beach Boys 1969: I'm Going Your Way
Capitol Records, LLC
December 27, 2019

1. I'm Going Your Way (Alternate Vocal Take) 2:37
2. Slip On Through (Early Version) 3:09
3. Carnival (Over The Waves) 2:43

  Beach Boys fans have been having a digital party with all of the releases which came from 1968.  Hundreds and hundreds of tracks, both from live and in-studio sessions have made their way online through official streaming services.  But according to this in-depth interview with producers Mark Linnett and Alan Boyd, there's no live material from 1969 at all, and this three-track release is only the proverbial tip-of-the-iceberg, since The Beach Boys began laying down tracks for their upcoming Brother Records debut, including material which would show up on Sunflower.  And if this release is supposed to whet fans' appetites, welllllll.... it's going to be an interesting 2020 (as if it wasn't already).  The first two tracks are pure Dennis Wilson: by this time, he was nearing the peak of his compositional powers in The Beach Boys, writing and producing tracks which were much more modern and slinky than anything the rest of the band was able to create, including Brian.  "I'm Going Your Way" has a hard rock ethos, with a heavy infusion of blues, with Dennis' already growling voice alternating between tender interplay and a rough howl - and the 'pick-up' lyric is heavily saturated with his natural sex appeal.  If drugs and his inability to reign in his impulses hadn't taken him over, it would be easy to see him and Carl easily taking over the Beach Boys with a new sounds and direction which would have been perfect for the Seventies.  Next, an early, track-only version of "Slip On Through" give an interesting peek at this work-in-progress song which is given splashy drums and slide guitar with lots of Brian-like horns grumbling underneath.  It's a busy track, loaded with layers of instruments which shows just how avid a student Dennis was of his older brother.  The final track is a complete throw-away, with the Beach Boys goofing their way through  Mexican composer Juventino Rosas's "Carnival (Over The Waves)" which is so laconic and time-wasting, it sounds as if the Beach Boys were again at a loss as to what to do with their sound.  So - one great song, one interesting backing track, and one head-scratcher.

Disclaimer: This is an unofficial site and has no connections with either the Beach Boys or their agents.
All site design and content © copyright 2020 Bret D. Wheadon. All rights reserved. PRIVACY POLICY
The Monkees Guide | The Sinatra Guide | The Complete Messiah