It is extraordinary when a program with the value of one such as this finally becomes available to the masses. Particularly when it has never been before -- in any home video format in any country. Granted, bits and pieces have trickled out on a variety of well-intentioned  -- yet overall poorly compiled -- titles. But it took the clout of the multi-media leviathans at Shout! Factory to make this collective rock and roll dream come true, if for the sake of nothing else, history.

The T.A.M.I. Show is hosted by Jan & Dean, who also sing a few tunes, provide spoken introductions as well as unleash the memorable show opening number "(Here They Come) From All Over The World". Although the British Invasion had officially commenced several months prior to this late August '64 presentation, The Teenage Awards Music International (aka T.A.M.I.) Show encapsulates a crucial era in rock 'n' roll's rapid maturation. Together on the same stage -- the Santa Monica Civic Auditorium (to be exact) -- one of the genre's primary innovators, Chuck Berry ("Johnny B. Goode," "Maybellene," "Sweet Little Sixteen" and "Nadine") hands over the proverbial musical baton to the next generation. Quite literally in fact, as Gerry And The Pacemakers trade verses with Berry during "Maybellene". The former also treat the screaming 3,000 perpetually shrieking attendees to their Top 40 hits "Don't Let The Sun Catch You Crying," "It's Gonna Be Alright," "How Do You Do It?" and "I Like It".

The Sound Of Young America is well represented by a trio of top Motown talents. First up is an energetic, but also unquestionably hoarse Smokey Robinson leading the Miracles through mesmerizing and soulful readings of "That's What Love Is Made Of," "You've Really Got A Hold On Me" and "Mickey's Monkey". Funk Brother fans should keep their eyes peeled for one Marv Tarplin (guitar) -- who often joined Robinson and company on the road. A second shot of vintage Motown immediately follows with the perpetually suave Marvin Gaye. He glides through the signature sides "Stubborn Kind Of Fellow," "Pride And Joy," "Can I Get A Witness" and "Hitch-Hike". The latter is punctuated by Gaye's interaction with the on-screen go-go dancers -- one of which is none other than a very young Terri Garr.

Vocalist Leslie Gore is the centerpiece of the T.A.M.I Show,­ offering up no less than half-a-dozen performances. In addition to including well-known titles such as "Maybe I Know," "You Don't Own Me," "It's My Party" and "Judy's Turn To Cry," Ms. Gore swings with a criminally underrated "Hey Now" and the then-yet-to-be-recorded "You Didn't Look Around" -- which would not surface until the following year on her My Town, My Guy & Me (1965) long player.

The vivacious early '60s West Coast scene could not be more aptly epitomized than by the all-too-short sets from Jan & Dean ("The Little Old Lady From Pasadena" and "Sidewalk Surfin'") and the Beach Boys. Music historians will note the significance of Brian Wilson's (bass/vocals) participation, as within four months he would retire from the road for over a decade. The Beach Boys' four-song set consists of two (relatively speaking) oldies ("Surfin' U.S.A." and "Surfer Girl") as well as the more recent chart-topper "I Get Around". Finally, lucky attendees are treated to "Dance, Dance, Dance" several months before it became the band's next Top Ten single.

Although The Beatles themselves were not part of the T.A.M.I. experience, both the aforementioned Gerry And The Pacemakers as well as Billy J. Kramer And The Dakotas shared the Fab Four's guidance as NEMS artists under the supervision of Brian Epstein. Kramer and company charm their way through all four of their Top 40 entries. These include the Lennon/McCartney written -- "Bad To Me," "I'll Keep You Satisfied" and "From A Window" -- as well as their biggest hit, the non-Beatle penned ballad "Little Children".

Saving the best of the Motown bunch for last, The Supremes light up the Santa Monica Auditorium stage with what amounted to be the majority of Side A from their most recent long player Where Did Our Love Go (1964). In addition to the album's title track, Diana Ross, Florence Ballard and Mary Wilson sing compact versions of their initial trio of charting sides "When The Lovelight Starts Shining Through His Eyes," "Baby Love," and the deeper cut "Run, Run, Run".

Just like Top 40 radio of the mid '60s, one barely has time to notice the somewhat abrupt transition from the Supremes grace and beauty to the comparatively brash garage rock of The Barbarians' "Hey Little Bird". Indeed, it’s a reminder of how loosely defined pop music was when a typical Top Singles Survey could (and often would) include a myriad of styles back-to-back with the sole (or is it soul?) criteria being: is the music worthwhile?

Entire volumes of rock rhetoric have been and will continue to be excreted about the final two acts on the T.A.M.I. Show bill. James Brown and The Flames redefined rhythm and blues during their quarter-hour nitro-packed showcase. The four-song revue starts out with his latest single "Out Of Sight" prior to pile-driving through "Prisoner Of Love" and "Please, Please, Please" -- complete with cape routine. The concluding "Night Train" is describable only in that it must be seen and heard to be fully comprehended. In the eyes of most of America, this was the night that Mr. Brown publicly earned his moniker as "The Hardest-Working Man In Show Business".

Left to mop up is the only band capable of rising to such a challenge -- the original incarnation of England's Newest Hitmakers' -- The Rolling Stones. Unlike their British counterparts, the Stones don't wear matching suits. Nor are they posed -- instruments at the ready like proper lads -- during their introduction. Rather, they come running on stage to an ecstatic packed house whose energy level has just achieved maximum capacity. For true Stones lovers, seeing Brian Jones (guitar/vocals) in such good shape is worth the price of admission alone. Along with Messer's Jagger (vocals), Richards (guitar/vocals), Watts (drums) and Wyman (bass/vocals), Jones is at the top of his game, leading his band. Fittingly, their mini-concert kicks off with an homage to Chuck Berry during a rousing "Around And Around". It joins their concurrent platter "It’s All Over Now" as the only two songs that most of the attendees had ever heard the band perform. "Off The Hook" issued as the b-side to the single "Little Red Rooster" and to a lesser extent -- "Time Is On My Side" would not be released for several months. Interestingly, the casual observer would never know judging by the perpetually rabid response by the audience.

In addition to the original monaural audio track, music historian Don Waller -- who also inked the text for the 20-page liner notes booklet -- is joined by T.A.M.I. Show Director, the legendary Steve Binder, for a feature-length audio commentary. Particularly insightful are Binder's memories and recollections of putting this mammoth project together and why it has taken over four decades to be released. With very few exceptions, the visuals are consistently crisp thanks to a recent hi-def transfer. Likewise, the sound quality is exceptional, especially in light of the less than optimal acoustic challenges -- the majority of which were gleefully generated by the crowd themselves.