Pisces, Aquarius, Capricorn & Jones Ltd. (Super Deluxe Edition) [4CD+ 7" Vinyl]

PISCES, AQUARIUS, CAPRICORN & JONES LTD. (SUPER DELUXE EDITION) collects more than 100 tracks across four CDs, including the original mono and stereo mixes of the album, plus newly created stereo mixes and alternate mono mixes. Two additional discs trace the album’s creative arc with demos, outtakes, and backing tracks sourced from the original session reels—alongside several television mixes appearing on physical media for the first time. 

The set was produced by Andrew Sandoval, who has led Rhino’s Monkees reissues for over 40 years. His new liner notes provide historical context, session insights, and details about the album’s creation and legacy. Also included is a 32-page booklet packed with rare photos and ephemera from the era.

The SUPER DELUXE EDITION unearths an expansive trove of unreleased session recordings, including the backing track and TV mix for the group’s cover of Harry Nilsson’s “Cuddly Toy.” Alternate versions of “The Door Into Summer” and the holiday favorite “Riu Chiu” also appear, along with instrumental backing tracks for songs like “Words,” “Pleasant Valley Sunday,” and “Daily Nightly.”

A 1967 acoustic demo of “A Man Without a Dream” — later recorded for 1969’s INSTANT REPLAY — makes its debut here, along with alternate mixes of “Star Collector” and “She Hangs Out.” The set also compiles several TV-specific mixes prepared for the group’s popular television show, with many appearing on physical media for the first time, including one for “Daydream Believer.” A bonus 7-inch single rounds out the collection with previously unreleased alternate mono mixes of “Love Is Only Sleeping” and “Goin’ Down.”

Released at the height of Monkeemania in November 1967, PISCES, AQUARIUS, CAPRICORN & JONES LTD. was The Monkees’ fourth consecutive #1 album—and their third release that year alone. It spent five weeks atop the Billboard 200 and earned double platinum certification. Building on the creative control they established with Headquarters, the album marked a turning point in the band’s sound, incorporating sharper lyrics, electric banjo, and one of the earliest uses of a Moog synthesizer on a rock album. Recorded amid a grueling tour schedule and across multiple studios, the sessions captured both the group’s growing studio ambitions and the fragmented pace of their late-’60s reality. The result was one of their most adventurous—and enduring—records.