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  • Changes Changes Quick View

    $29.99
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    Changes

    As their ninth and last album from their hit making 1966-1970 era, The Monkees Changes is one of their most collectable efforts fetching over $300 for a mint copy of the album. This highly regarded fan favorite was a treasure trove of songs providing the soundtrack to the final year of their Saturday afternoon television show, as it featured the double-sided hit single Oh My My and I Love You Better.


    Micky Dolenz and Davy Jones first class musicianship excel throughout this 1970 session. They revisit the great Boyce and Hart with I Never Thought It Peculiar as well as Davy Jones rockin' delivery on 99 Pounds and the underrated Micky Dolenz performance Ticket On Ferry Ride.


    Produced by the much acclaimed sixties producer/writer Jeff Barry (The Monkees, Neil Diamond, The Archies), Changes was the first full-fledged production by this Monkees collaborator as it showed the true pop genius of both the band and producer in the studio. Augmented with some very cool seventies writers Andy Kim (Rock Me Gently) and the late Bobby Bloom (Montego Bay), this later Monkees album truly was a grand farewell from this band until their unbelievable history making 1986 return.


    Unavailable for many years on compact disc, The Monkees Changes is available once again from the original Colgems Records recordings and features three huge bonus tracks not on the original album, including the very rare and hard to find Bell Records 45 Do It In The Name Of Love , plus new liners from Monkees historian Joe Reagoso, as well as original artwork elements and rare picture sleeves and other memorbilla. Peace, Love & The Monkees!

    1. Oh My My
    2. Ticket On A Ferry Ride
    3. You're So Good To Me
    4. It's Got To Be Love
    5. Acapulco Sun
    6. 99 Pounds
    7. Tell Me Love
    8. Do You Feel It Too?
    9. I Love You Better
    10. All Alone In The Dark
    11. Midnight Train
    12. I Never Thought It Peculiar
    The Monkees
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • Headquarters Stack-O-Tracks Headquarters Stack-O-Tracks Quick View

    $33.99
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    Headquarters Stack-O-Tracks

    First Time 180 Gram Audiophile Clear Vinyl Release

    Mastered Impeccably By Monkees Fan & Friend Joe Reagoso At Friday Music Studios & Capitol Mastering, Hollywood, CA From The Colgems Record Tapes

    The Summer Of Love's First Album .... Re-Visited.... Re-Imagined...

    The Monkees Headquarters/ Stack-O-Tracks

    The Original Instrumental Backing Tracks To Their Most Celebrated Album

    First Time Authorized Alternate Artwork

    Yes... The Monkees Could Play Guitars, Bass, Drums, Piano, Steel Guitar, Organ, Banjo, Tambourine, Percussion..... and Play Them Well!!!

    In 1967 after two number one albums, a plethora of hit singles and a smash television show, The Monkees were on top and knew they each had true musical talents not championed by their label executives. Michael Nesmith spearheaded a change in direction before sessions began on their legendary Headquarters album. This action resulted in the much-covered dissolution with music mogul Don Kirshner, as Chip Douglas (The Turtles) was now recruited by Nesmith to work with the band.

    In rapid succession, things began to fall into place in February 1967. With initial tracks like country rocker Sunny Girlfriend, the band set the stage for what would become one of the most loved works in their catalog and one of the finest rock albums of a generation. A definite album opener, You Told Me begins Headquarters. The track features a brilliant 12 string guitar of Nesmith, as Tork's incredible banjo fills the track alongside Dolenz's driving drum work. With Jones' percussion, it became the very first song that many of us remember as we opened up our new copies back in the summer of '67. Not straying too far from previous success, the band scored a few more of Boyce and Hart compositions like Micky Dolenz's folk rock ballad I'll Spend My Life With You. The solid steel guitar work of Mike Nesmith became somewhat of a precursor to his groundbreaking Nashville sessions in the late sixties. Davy Jones has several watershed moments here with both Forget That Girl and Early Morning Blues and Greens Forget That Girl employs a unique English northern soul vibe, while the latter shares a wonderful rhythm presentation making it one of the more psychedelic infused and standout tracks on the LP. Michael Nesmith's handiwork is radiant on the entire album. You May Just Be The One rocks the album into full gear and makes it one of his and the bands' definitive landmark tracks. Headquarters also brought rightful acclaim to Peter Tork, as his first recorded Monkees' song For Pete's Sake soon became a prolific standard. The song transcended with the times and became one of the more insightful tunes from the quartet. It also replaced the familiar Monkees Theme at the end of season two, giving the song more TV exposure over the years. And as always, you can count on Micky Dolenz to deliver - whether it's his hard rock driving drum work on rockers like Randy Scouse Git & No Time, or his prog-rock feel on Mr. Webster, the album was definitely a great showcase for the artist.

    The Monkees' Headquarters was one of 4 albums of The Monkees that topped the charts in 1967. This fact alone is enough to warrant the importance of this album in musical history. But there are other amazing feats that Headquarters managed to deliver to millions of fans on its eventful release back in May of 1967. The album hit the stores before Sgt. Pepper's Lonely Hearts Club Band by The Beatles. Friendly rivals as they were, Headquarters rose to number one and also opened the door to The Summer of Love. It remained in the upper rung of the retail charts until their fourth platter Pisces, Aquarius, Capricorn & Jones Ltd. became a number one album to close out the year. Wow! Most notably, Headquarters showed the real world the transition of four talented guys on a hit TV show evolving into a self-produced, self-reliant, and one of the most loved bands in musical history, and yes, they could actually play their instruments .and they did it well!

    As another installment in our extensive Monkees catalog, Friday Music is pleased to announce a unique revisit to their third masterwork as we've now gone back to the original backing tracks and have assembled a fun and exciting instrumental Lp with The Monkees Headquarters Stack-O-Tracks. For this limited edition Friday Music release, we are pleased to offer for the first time on vinyl, the rare backing instrumental backing tracks, newly and impeccably mastered by Joe Reagoso (The Monkees/Brian Wilson) from the original Colgems Records masterwork.

    Joe Reagoso notes You've never heard 'Shades Of Gray' until you hear the strings up front like you will on this new vinyl release. Michael Nesmith's work on 'You May Just Be The One' is beyond thrilling, you feel like you are in the studio with the band as they knock out this and other Monkees classics. From beginning to end, song after song, we always knew how special Headquarter was, and now this further showcases the artistry and musical acumen each man brought to the sessions. Truly a crowning achievement. To further enhance your Monkees listening enjoyment, we are also pressing the limited edition album on clear 180 Gram audiophile vinyl, as well as including a revisit to the original album cover artwork, now with the rare Monkees beard photo not issued on vinyl in many years, and first time authorized colorization effects to the original artwork to celebrate fifty years of this classic rock album for the fans. 1967 ..The Summer Of Love A very hip time in our American culture you can now relive with these newly impeccably mastered recordings from the much-loved band that broke a lot of ground in a very short time and made the world a much better place for it The Monkees Headquarters Stack-O- Tracks Only From Your Friends At Friday Music!

    1. You Told Me (Instrumental Backing Track)
    2. I'll Spend My Life With You (Instrumental Backing Track)
    3. Forget That Girl (Instrumental Backing Track)
    4. Band 6
    5. You Just May Be The One (Instrumental Backing Track)
    6. Shades Of Gray (Instrumental Backing Track)
    7. I Can't Get Her Off My Mind (Instrumental Backing Track)
    8. For Pete's Sake (Instrumental Backing Track)
    9. Mr. Webster (Instrumental Backing Track)
    10. Sunny Girlfriend (Instrumental Backing Track)
    11. Zilch- Peter
    12. Zilch -Davy
    13. Zilch- Micky
    14. Zilch- Michael
    15. No Time (Instrumental Backing Track)
    16. Early Morning Blues And Green (Instrumental Backing Track)
    17. Randy Scouse Git (Instrumental Backing Track)
    The Monkees
    $33.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
  • What A Way To Die What A Way To Die Quick View

    $24.99
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    What A Way To Die

    The archetype for the '60s-era girl group was etched indelibly into stone, like a commandment: three pretty girls with matching outfits and bouffant hairdos would sing, with musical backing supplied by a bunch of guys standing in the shadows. The Quatro sisters shattered that archetype forever with the Pleasure Seekers, an all-girl teenage rock & roll group who played all the instruments themselves and were fully capable of wiping the stage with any male band that crossed their path.


    The Quatro girls had been brought up in a musically-minded family, nurtured with classical piano and vocal lessons. As Patti recalls, "By 1964, I had been taking guitar lessons, hanging with musicians in the local music scene. We had seen a Beatles concert, and I was quite dazed and focused at the event, watching the audience cry and scream out of control. It was my epiphany moment, and I was determined to start an all-girl band."
    Shortly thereafter, the first lineup of the Pleasure Seekers fell into place with Patti Quatro (lead guitar), Marylou Ball (rhythm guitar), Suzi Quatro (bass), Diane Baker (keyboards), Nan Ball (drums) and vocal duties shared by all. Around the fall of 1965 the girls dared local teen club manager Dave Leone to give them a slot at his popular Hideout Club, claiming they were better than most of the other live bands there. "You're on," responded Leone, "in two weeks. Three songs!"


    The Pleasure Seekers were soon a popular feature at the club, honing their skills alongside the likes of the Rationals, the Amboy Dukes and Bob Seger & the Last Heard. "In the beginning, there was a lot of skepticism," remembers Patti, "especially the first night. The boys crowded the stage, the girlfriends pulled them away with laughter, as if 'Girls playing?! Yeah, right!' It was always satisfying to see them be silenced quickly when we began playing. We grew used to seeing slack jaws open in surprise." Next they were asked by Leone to record and release a single on his Hideout label.


    That March 1966 release is now regarded as the greatest "girl garage" single of the era: "Never Thought You'd Leave Me" b/w "What a Way to Die." "Dave brought lyrics, and we put the songs together quickly," remembers Patti. "We felt very legit in making this record at a small local studio. Nan was the sexy voice on 'Never Thought You'd Leave Me,' and there was lots of laughter as Marylou added the screams on 'What a Way to Die.'" Suzi Quatro remembers the recording as "very important and memorable."


    The Pleasure Seekers were soon in demand in the region, playing teen clubs, parties, colleges and local TV shows. After a series of lineup changes, the band brought in older Quatro sister Arlene (keyboards) and Darline Arnone (drums), the first female drummer sponsored by Slingerland Drums. A short time later, Pami Benford joined-up on guitar and bass (that lineup lasting through most of 1968). "It was a very versatile group," remembers Patti, "with Pami and Suzi sharing bass, and Pami and I sharing lead and rhythm guitars."


    "The gender bias was my hot button," recalls Arlene, "along with confidence in our musical abilities. With women musicians dismissed as a novelty, I delighted in watching the audience go from skepticism/ridicule, to shock/cheers." For Suzi, though, this period was where she learned her craft: "I considered myself a musician, and didn't really think about gender too much." Two tracks recorded in 1967, but unissued at the time, "Elevator Express" and "Gotta Get Away," highlight the band's growing musical maturity since their Hideout debut. "Detroit was the best learning ground in the world for musicians," recalls Suzi, "with an amazing energy and creativity that is in every successful artist that has come out of the city." "We were actually one of the earliest Detroit bands traveling the country," adds Patti. "Everyone wanted this unusual all girl band who rocked an entire Motown revue (changing instruments and singers throughout) and an entire Sgt. Pepper/Magical Mystery Tour revue, as well as covering English bands, acid rock and everything in between."


    Signing up with Associated Booking Corporation, the group began making the transition from local to national act. Producer Dick Corby caught the Pleasure Seekers at Trude Heller's in New York's Greenwich Village and signed them to a Mercury Records deal in early 1968. To keep rein on their finances in NYC, Patti recalls, "We booked Arthur's nightclub for a month, staying at the infamous rock Gorham Hotel, recording by day-playing by night." Also in residence were the Who, the Blues Magoos and an assortment of other bands. "Hitting NYC as young teens, it was exciting, scary, fun-all emotions churning," she continues. "We felt we had hit the big time, going from the tiny local Hideout session to the huge Mercury professional studio facility, complete with session people adding strings and other elements."


    A single pairing "Good Kind of Hurt" and "Light of Love" was released in April 1968, while a third song, "Locked in Your Love," remained in the can. The group then headed out to the Northwest for a lengthy tour. "The Northwest tour was awesome," remembers Patti. "We were billed with Canned Heat, Boyce & Hart and Merilee Rush, and were held over six weeks to tour with Eric Burdon and the Animals. The Mercury single was out, momentum was surging." Both sides of the single were getting airplay, but ultimately it failed to gain any traction. "Really neither song reflected our own sound," admits Patti. "We rearranged 'Light of Love' for live performance, feeling disconnected to the record, yet realizing we had to play ball with the executives to keep us rolling."


    Ultimately Mercury's vision for the Pleasure Seekers clashed rather sharply with the band's vision. "The suits wanted tits and ass," recalls Darline, "wowing Vegas crowds, playing tinkly tunes in lavish costumes." "In that male-dominated music era, we were strictly a novelty, and a high-risk endeavor," adds Patti. "The record executives felt women musicians would fall in love or get pregnant so were not worth investing the time and money. We had to kick down many doors. We were serious musicians, and in it for the right reasons. In the end, we were not happy with a forced direction that Mercury Records had in mind, and ended up leaving the label to rock our music in our own fashion."


    After a memorable 1968 Far East tour, playing for wounded returning American soldiers from Vietnam, the Pleasure Seekers (with new drummer Nancy Rogers) returned to a Detroit that was now, in Patti's words, "exploding with heavier sounds. That sparked us to change direction with new ideas we had been exploring. Arlene left the band and we brought in our youngest sister Nancy (vocals). With Suzi's Joplinesque vocals combined with Nancy's wailing 'female Robert Plant' style, we enjoyed a harder edged, 'double-punch' effect."


    The last four songs on the album, "White Pig Blues," "Brain Confusion," "Where Have You Gone?" and the atmospheric psychedelic mover "Mr. Power," all date from this 1968-69 period when the Pleasure Seekers were playing the Grande Ballroom alongside the MC5, Alice Cooper, the Stooges, the Amboy Dukes and SRC. With this change in musical direction and the departure of Arlene and Pami, the band forged on as Cradle. Suzi Quatro departed for England in 1971, launching a successful solo career. Patti and Nancy continued with Cradle until 1973 when Patti joined another pioneering female rock group, Fanny.


    The Pleasure Seekers reunited recently in April 2012 (minus Suzi) for a well-received show in their hometown, where they were inducted into Detroit's Hall of Fame. "I think all of us Quatro girls are extremely proud of our pioneering days" reflects Patti. "In a renaissance-era of music, we kicked down doors for women to rock heavy. There were key times in our lives of making decisions that may have turned us towards larger fame, but less happiness-depending on your philosophy of such things. The Pleasure Seekers could have been a Las Vegas show act bringing in buckets of money or on Motown, turned very formulaic girlie-soul. But we stayed true to our goals, and I don't think any of us have any regrets of staying our course and playing the music that moved us. It's all been a thrilling ride with great memories."


    - Mike & Anja Stax (Ugly Things magazine)

    1. Intro By DJ The Lord
    2. Gotta Get Away
    3. Never Thought You'd Leave Me
    4. Light Of Love
    5. Good Kind Of Hurt
    6. What A Way To Die
    7. Elevator Express
    8. Locked In Your Love
    9. White Pig Blues
    10. Brain Confusion
    11. Where Have You Gone
    12. Mr. Power
    The Pleasure Seekers
    $24.99
    Vinyl LP - Sealed Buy Now
  • Justus Justus Quick View

    $29.99
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    Justus

    First time 180 Gram Audiophile Vinyl Release... Their final work together... captured in the audiophile domain... only from your friends at Friday Music... It Looks Like We've Made It Once Again!


    The Monkees have been one of the world's most enduring rock and pop acts of all time. Since their beginnings in 1966, their television show, multiplatinum albums, hit singles and concert tours truly made The Monkees one of the most colossal stories ever in the music business.


    In 1996, after a thirty year hiatus as a quartet, the original Monkees Davy Jones, Michael Nesmith, Micky Dolenz and Peter Tork went back to the studio and recorded what would ultimately be their final studio project, the Justus album. Noted for their return to the studio and touring around the legendary release, this final work also found The Monkees as the sole musicians, vocalists, writers and production team for all of the tracks assembled for the recording. The results truly showed one of the more organically produced albums ever from their superstar catalog of fine recordings.Originally an idea spearheaded by Michael Nesmith, the Justus album was conceptual in nature almost mirroring the original idea behind their classic Headquarters album, which like Justus, showcased these four musical talents as a team and offered no single track to radio but instead a full musical album listening experience.


    Opening up with a new take on Circle Sky, Michael Nesmith is on top of his game with this metal-like rocker originally from Head. Featuring a wall of loud guitars, retro lyrics and chorus, this classic track was performed at the reunion concerts around this album, and once again reemphasized the importance of the original quartet setting, making this a great intro track.


    Davy Jones belts out one of his finest compositions with the uptempo groove of Oh, What A Night. The tune truly resonated with the fans back then and continues to be one of the more appreciated classics in his long list of time tested Monkees favorites.
    Micky Dolenz and Davy Jones repeat the magic with their revisit of You And I from their Dolenz, Jones, Boyce & Hart era. Featuring a strong vocal performance by the duo and the stunning guitar work of both Monkees' Peter Tork and Michael Nesmith, this track truly captures the innocence and the feel of their sixties sound, as it became a time tested track well into their final tour of 2011.


    Much like their Instant Replay (FRM 113) album, Micky Dolenz contributes a good helping of original compositions to the Justus project. Either rockers like Dyin' Of A Broken Heart, the blues balladry of It's My Life, or the Rolling Stones vibe of Regional Girl, the Justus album was a watershed for Dolenz's writings and vocal prowess which truly makes this 1996 session a true winner.


    Peter Tork was always one of the more intriguing writers and musicians of the band, and it is fitting that the more progressive sounds would derive from his pen with the classic I Believe You as well as his fine prog-rock track Run Away From Life featuring the powerful vocals of Davy Jones.
    The late great Davy Jones gets the honor of closing out this wonderful album with his classic ballad It's Not Too Late. With his stunning vocal and heartfelt lyrics, and the brilliant chorus from the his Monkees brethren, the song in itself is a fitting tribute to these four geniuses, as the legacy of this superstar band will forever stand the test of time.


    Friday Music is once again very honored to announce the continuation of The Monkees Friday Music 180 Gram Audiophile Series with the first time vinyl album release of their 1996 masterwork Justus. Mastered by Joe Reagoso (The Monkees/Elvis Presley/Brian Wilson) from the original Rhino Records tapes at Friday Music Studios, this first time audiophile vinyl release is also for a very short time being offered in limited edition clear vinyl as well as a first time gatefold cover presentation.

    1.Circle Sky
    2.Never Enough
    3.Oh, What A Night
    4.You And I
    5.Unlucky Stars
    6.Admiral Mike
    7.Dyin' Of A Broken Heart
    8.Regional Girl
    9.Run Away From Life
    10.I Believe You
    11.It's My Life
    12.It's Not Too Late
    The Monkees
    $29.99
    180 Gram Audiophile Virgin Vinyl LP Buy Now
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