| The Monkees |
The Monkees, left to right: Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork |
| Background information |
| Also known as |
Monkees |
| Origin |
Los Angeles, California, United States |
| Genres |
Pop rock, bubblegum pop, psychedelic pop, folk rock, country rock, broadway rock, , rock |
| Years active |
1966–1971
1986–1989
1993–1997
2001–2002
2010–2012 |
| Labels |
Colgems, RCA, Bell, Arista, Rhino Records |
| Website |
www.monkees.com |
| Past members |
Davy Jones
Micky Dolenz
Peter Tork
Michael Nesmith |
The Monkees were an American pop rock group that released music under its original incarnation between 1966 and 1970, with subsequent reunion albums and tours in the decades that followed. Assembled in Los Angeles in 1965 by Robert "Bob" Rafelson and Bert Schneider for the American television series The Monkees, which lasted 2 seasons from 1966-1968, the musical acting quartet was composed of Americans Micky Dolenz, Michael Nesmith, and Peter Tork, and Englishman Davy Jones. The band's music was initially supervised by producer Don Kirshner.
Described by band member Micky Dolenz as initially being "a TV show about an imaginary band [...] that wanted to be The Beatles, [but] that was never successful"[1], the actors/musicians soon became a real band, which Dolenz would later describe as follows: "The Monkees really becoming a band was like the equivalent of Leonard Nimoy really becoming a Vulcan."[2] For the first few months of their almost 5 year initial career, the four actor/musicians were only allowed limited roles in the recording studio, mainly to allow all 4 members to sing the songs (partially due to the excessive time spent filming the TV series,[3][4] which also contributed to the fact that they didn't have enough time to progress enough as a band during rehearsals, plus the fact that it was very common in the L.A. music scene of the time to have session musicians perform the backing tracks for a variety of top 40 bands[5][6]), but they did use group member Michael Nesmith's composed songs from the beginning, as well as allowing Nesmith to produce some songs, and they also allowed limited guitar work from group member Peter Tork on the Nesmith produced sessions. They soon fought for and earned the right to collectively supervise all musical output under the band's name for the vast majority of the band's career, which in addition to the singing that they were already doing, it also allowed all 4 members to play the instruments, produce songs, as well as record and release songs written by all 4 individual members, as they saw fit. They would often return to session musicians due to time constraints and the independently diverse musical visions of each member. The group also undertook several concert tours, allowing an opportunity to perform as a live band as well as appear on the TV series. Although the show was canceled in 1968, the band continued to record music through 1970, releasing their last single under their original incarnation in 1971.
In 1986, their 20th year, the television show and music experienced a revival, which led to a series of reunion tours, and new records featuring various incarnations of the band's lineup. In 1997, all 4 members reunited to record an album, plus they filmed a new television special, and went on tour. A smaller budget tour occurred in 2001. In 2011, for their 45th anniversary, band members Davy Jones, Micky Dolenz and Peter Tork reunited (beginning in Liverpool)[7] for a critically [8] and commercially successful tour that sold out [7][9] multiple venues. It would be the last tour with Davy Jones, who passed away on February 29, 2012. Micky Dolenz stated that "just before the untimely passing of Davy Jones, all four of the original group were contemplating another reunion." [10]
The Monkees had a number of international hits which are still heard on pop and oldies stations. These include "(Theme From) The Monkees", "Last Train to Clarksville", "I'm a Believer", "(I'm Not Your) Steppin' Stone", "A Little Bit Me, a Little Bit You", "Pleasant Valley Sunday", and "Daydream Believer". At the height of their popularity, in 1967, known as Monkeemania, The Monkees sold more albums than The Beatles and The Rolling Stones combined.[11] Their albums and singles have sold over 65 million copies worldwide.[12]
Aspiring filmmaker Bob Rafelson developed the initial idea for The Monkees in 1962, but was unsuccessful in selling the series. He had tried selling it to Revue, the television division of Universal Pictures.[3] Rafelson said, "I got the idea for the series in 1962, before Dick Lester's Hard Day's Night. I have great respect for his work, and I don't want to be drawn into controversy, but I worked in advertising for some time and a lot of the technique I use I picked up there.
I tried to sell it as a folk-rock group, something about which I knew because I had traveled with a group of unruly and somewhat chaotic musicians in Mexico in 1953. We were itinerant musicians and I [later] used many incidents that happened in Mexico in The Monkees episodes.
If I couldn't be a rock'n'roll singer, I wanted as a filmmaker to create a rock'n'roll group. I was fulfilling my ambition and not thinking of [it as] any kind of perpetuation at all. At the time, I didn't have any idea if The Monkees would be a hit or anything." [3]
In May 1964, it was reported in The Hollywood Reporter that Bob Rafelson was hired by Screen Gems to work on television projects for the company. While employed there, he teamed up with Bert Schneider to create a new company, Raybert Productions, to do the things that they wanted to do that Hollywood would not allow.[3]
In July 1964, The Beatles' debut feature film, A Hard Days Night was released, and its success inspired Rafelson and Schneider to bring Rafelson's idea for the Monkees to fulfillment. Rafelson said, " I had a hard time selling it until The Beatles came along and lent credence to the popularity not only of the music but of using film in the fashion it was being used by them. After all, Lester was a director of commercials at the time and was really borrowing heavily from nouvelle French techniques." His partner, Schneider said, "The Beatles made it all happen. That's the reality. Richard Lester is where the credit begins for the Monkees and Bob and me. Our ambitions were to make movies. We began with a TV series because that was a foot in the door. It was easier to get a pilot of a TV series made than it was to get a movie made." [3]
As "Raybert Productions," they sold the show to Screen Gems television on April 16, 1965. Rafelson and Schneider's original idea was to cast an existing New York-based folk rock group, The Lovin' Spoonful, which were unknown at the time. However, the Spoonful were already signed to a record company, which would have denied Screen Gems the right to market music from the show on record.
On July 14, 1965, Hollywood Reporter stated that future band member, Davy Jones, was expected to return to the United States in September 1965 after a trip to England "to prepare for [a] TV pilot for Bert Schneider and Bob Rafelson." [3] Davy had previously starred as the Artful Dodger in the Broadway show Oliver!, which began on December 17, 1962, and his performance was later seen on the Ed Sullivan Show the same night as The Beatles' first appearance on that show, February 9, 1964. He was Tony-nominated for best supporting actor in a musical in 1963.[3] In September 1964, he was signed to a long term contract to appear in TV series for Screen Gems, make feature films for Columbia Pictures and to record music for the Colpix label.[3] On September 8–10, 1965, Daily Variety and The Hollywood Reporter ran an ad to cast the remainder of the band/cast members for the TV show:
Madness!! Auditions. Folk & Roll Musicians-Singers for acting roles in new TV series. Running Parts for 4 insane boys, age 17-21. Want spirited Ben Frank's-types. Have courage to work. Must come down for interview.
Out of 437 applicants,[7] the other three chosen for the band/cast of the TV show were Michael Nesmith, Peter Tork and Micky Dolenz. Nesmith had been a working as a musician since early 1963, and had been recording and releasing music under various names, including Michael Blessing and "Mike & John & Bill" and had studied drama in college. Tork had been working the Greenwich Village Scene as a musician, and had shared the stage with Pete Seeger. Dolenz was an actor who had starred in the TV series Circus Boy as a child using his stage name Mickey Braddock, and had also played guitar and sung in a band before the Monkees, which had recorded and released a very minor single, "Don't Do It", under the name Micky Dolenz.
During the casting process, Don Kirshner, the Screen Gems head of music, was contacted to secure music for the pilot that would become The Monkees. Not getting much interest from his usual stable of Brill Building writers, Kirshner assigned Tommy Boyce and Bobby Hart to the project.[3] The duo contributed four demo recordings that they sang on to the pilot.[3] One of these recordings was "(Theme From) The Monkees" which helped get the series the green light.[13]
When The Monkees was picked up as a series, development of the musical side of the project accelerated. Columbia-Screen Gems and RCA Records entered into a joint venture called Colgems Records primarily to distribute Monkees records.[3] Raybert set up a rehearsal space and rented instruments for the group to practice playing in April 1966,[14] but it quickly became apparent they would not be in shape in time for the series debut. The producers called upon Don Kirshner to recruit a producer for the Monkees sessions.[3]
Kirshner called on Snuff Garrett, composer of several hits by Gary Lewis & the Playboys, to produce the initial musical cuts for the show. Garrett, upon meeting the four Monkees in June 1966, decided that Jones would sing lead, a choice that was unpopular with the group. This cool reception led Kirshner to drop Garrett and buy out his contract.[3] Kirshner next allowed Nesmith to produce sessions, provided he did not play on any tracks he produced.[14] Nesmith did, however, start using the other Monkees on his sessions, particularly Tork as a guitarist. Kirshner came back to the enthusiastic Boyce and Hart to be the regular producers, but he brought in one of his top east coast men, Jack Keller, to lend some production experience to the sessions.[14] Boyce and Hart observed quickly that when brought in to the studio together, the four actors would fool around and try to crack each other up. Because of this, they would often bring in each singer individually.[3]
According to Nesmith, it was Dolenz's voice that made the Monkees's sound distinctive, and even during tension-filled times Nesmith and Tork sometimes turned over lead vocal duties to Dolenz on their own compositions, such as Tork's "For Pete's Sake", which became the closing title theme for the second season of the TV show.
The Monkees' debut & sophomore albums were meant to be a soundtrack to the first season of the TV Show, to cash in on the audience. In the 2006 Rhino Deluxe Edition re-issue of their 2nd album, More of the Monkees, Mike Nesmith stated, "The first album shows up and I look at it with horror because it makes [us] appear as if we are a rock n' roll band. There's no credit for the other musicians. I go completely ballistic, and I say, 'What are you people thinking?' [The powers that be say], 'Well, you know, it's the fantasy'. I say, 'It's not the fantasy. You've crossed the line here. You are now duping the public. They know when they look at the television series that we're not a rock n' roll band.: it's a show about a rock n' roll band. [...] nobody for a minute believes that we are somehow this accomplished rock n' roll band that got their own television show.[...] you putting the record out like this is just beyond the pale." Within a few months of their debut album, the Music Supervisor Don Kirshner would be fired, and the Monkees would take control as a real band.
The Monkees' first single, "Last Train to Clarksville" b/w "Take a Giant Step", was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the television show on September 12, 1966 on the NBC television network, NBC and Columbia had a major hit on their hands.[15] The first long-playing album, The Monkees, was released a month later, which spent 13 weeks at number 1, and stayed on the Billboard charts for 78 weeks. 20 years later, during their reunion, it would spend another 24 weeks on the Billboard charts. This first album is also notable, in addition to containing their debut single, for containing band member Michael Nesmith's first foray into country-rock, "Papa Gene's Blues", which mixed country, rock and Latin flavors.
In assigning instruments for purposes of the television show, a dilemma arose as none of the four was a drummer. Both Nesmith, a skilled guitarist and bassist, and Tork, who could play several stringed and keyboard instruments, declined to give the drum set a try. Jones tested well initially as a novice drummer, but the camera could barely capture him behind the drums because of his short stature. Thus, Dolenz (who only knew how to play the guitar) was assigned to become the drummer. Tork taught Dolenz his first few beats on the drums, enough for him to fake his way through filming, but Micky was soon taught how to play properly.[16] Thus, the lineup for the TV show most frequently featured Nesmith on guitar, Tork on bass, Dolenz on drums, and Jones as a frontman/singer/percussionist.
Unlike most television shows of the time, the Monkees episodes were written with many "setups", requiring frequent breaks to prepare the set and cameras for short bursts of filming. Some of the "bursts" are considered proto-music videos, in-as-much as they were produced to sell the records. Eric Lefcowitz, in The Monkees Tale,[17] pointed out, and Nesmith concurred, that the Monkees were first and foremost a video group. The four actors would spend 12-hour days on the set, many of them waiting for the production crew to do their jobs. Noticing that their instruments were left on the set unplugged, the four decided to turn them on and start playing.[3]
After working on the set all day, the Monkees (usually Dolenz) would be called in to the recording studio to cut vocal tracks. As the Monkees were essential to the recording process, there were few limits on how long they could spend in the recording studio, and the result was an extensive catalogue of unreleased recordings.
Pleased with their initial efforts, Columbia (over Kirshner's objections) planned to send the Monkees out to play live concerts. The massive success of the series and its spin-off records created intense pressure to mount a touring version of the group. Against the initial wishes of the producers, Dolenz, Jones, Nesmith, and Tork went out on the road and made their debut live performance in December 1966 in Hawaii.
The band had no time to rehearse a live performance except between takes on set. They worked on the TV series all day, recorded in the studio at night, and slept very little. The weekends were usually filled with special appearances or filming of special sequences.
These performances were sometimes used during the actual series. The episode "Too Many Girls (Fern and Davy)" opens with a live version of "(I'm Not Your) Steppin' Stone" being performed as the scene was shot. One entire episode was filmed featuring live music. The last show of the premiere season, "Monkees on Tour", was shot in a documentary style by filming a concert in Phoenix, Arizona on January 21, 1967.[14] Bob Rafelson wrote and directed the episode.
In DVD commentary tracks included in the Season One release, Nesmith stated that Tork was better at playing guitar than bass. In Tork's commentary, he stated that Jones was a good drummer and had the live performance lineups been based solely on playing ability, it should have been Tork on guitar, Nesmith on bass, and Jones on drums, with Dolenz taking the fronting role. The four Monkees performed all the instruments and vocals for most of the live set. The most notable exceptions were during each member's solo sections where, during the December 1966 – May 1967 tour, they were backed by the Candy Store Prophets. During the summer 1967 tour of the United States and the UK (from which the Live 1967 recordings are taken), they were backed by a band called The Sundowners. In 1968, the Monkees toured Australia and Japan.
The results were far better than expected. Wherever they went, the group was greeted by scenes of fan adulation reminiscent of Beatlemania. This gave the singers increased confidence in their fight for control over the musical material chosen for the series.[18]
With Jones sticking primarily to vocals and tambourine (except when filling in on the drums when Dolenz came forward to sing a lead vocal), the Monkees' live act constituted a classic power trio of electric guitar, electric bass, and drums (except when Tork passed the bass part to Jones or one of the Sundowners in order to take up the banjo or electric keyboards).
[edit] Kirshner and More of the Monkees
Andrew Sandoval noted in Rhino's 2006 Deluxe Edition CD reissue of More of the Monkees that album sales were outstripping Nielsen ratings, meaning that more people were buying the music than watching the TV Show, which meant that the producers decided that more attention needed to be paid to the music, and that more music needed to be produced for more albums. Sandoval also noted that their sophomore album, More of the Monkees, propelled by their 2nd single, "I'm a Believer" b/w "(I’m Not Your) Steppin’ Stone", became the biggest selling LP of their career, spending 70 weeks on the Billboard charts, staying #1 for 18 weeks, becoming the 3rd biggest selling album of the 1960s, returning to the charts in 1986 for another 26 weeks.
At the time, songwriters Boyce and Hart considered the Monkees to be their project, with Tommy Boyce stating in the 2006 Rhino reissue of More of the Monkees that he considered the Monkees to be actors in the television show, while Boyce & Hart were the songwriters and producers doing the records. They wanted Micky to sing the faster songs, and have Davy sing the ballads. He also stated in the liner notes that he felt that Michael's country leanings didn't fit in with The Monkees' image, and although he thought that Peter was a great musician, he thought that Peter had a different process of thinking about songs that wasn't right for The Monkees. Music Coordinator Kirshner, though, realizing how important the music was, wanted to move the music in a newer direction than Boyce/Hart to get the best record, and so he decided to move the production to New York. where his A-list of writers/producers resided.
However, The Monkees had been complaining that the music publishing company would not allow them to play their own instruments on their records, or to use more of their own material. These complaints intensified when Kirshner moved track recording from California to New York, leaving the Monkees out of the musical process until they were called upon to add their vocals to the completed tracks. This campaign eventually forced Don Kirshner to let the group have more participation in the recording process. Dolenz's initial reaction, mentioned in the 2006 Rhino CD reissue of More of the Monkees, was "To me, these were the soundtrack albums to the show, and it wasn't my job. My job was to be an actor and to come in and to sing the stuff when I was asked to do so. I had no problem with that [...] It wasn't until Mike and Peter started getting so upset that Davy and I started defending them [...] they were upset because it wasn't the way they were used to making music. The artist is the bottom line. The artist decides what songs are gonna go on and in what order and who writes 'em and who produces 'em." Nesmith, when asked the situation in Rolling Stone said, "[...] We were confused, especially me. But all of us shared the desire to play the songs we were singing. Everyone was accomplished – the notion I was the only musician is one of those rumors that got started and wont stop – but it was not true. [...] We were also kids with our own taste in music and were happier performing songs we liked – and/or wrote – than songs that were handed to us.[...] The [TV show's] producers [in Hollywood] backed us and David went along. None of us could have fought the battles we did [with the music publishers] without the explicit support of the show's producers." [19]
Four months after their debut single was released in September 1966, on January 16, 1967, the Monkees held their first recording session as a fully functioning, self-contained band, recording an early version of band member Nesmith's self-composed top 40 hit single "The Girl I Knew Somewhere", along with "All of Your Toys" and "She's So Far Out, She's In".[3] 4 days later, on January 20, 1967, their debut self-titled album made its belated release in the U.K.[14] (it was released in October '66 in the U.S.). This same month, Kirshner released their second album of songs that used session musicians, More of the Monkees, without the band's knowledge. Nesmith and Tork were particularly upset when they were on tour in January 1967 and discovered this second album. The Monkees were annoyed at not having even been told of the release in advance, at having their opinions on the track selection ignored, at Don Kirshner's self-congratulatory liner notes, and also because of the amateurish-looking cover art, which was merely a composite of pictures of the four taken for a J. C. Penney clothing advertisement. Indeed, the Monkees had not even been given a copy of the album; they had to buy it from a record store.[20]
The climax of the rivalry between Kirshner and the band was an intense argument between Nesmith, Kirshner, and Colgems lawyer Herb Moelis, which took place at the Beverly Hills Hotel in January 1967. Kirshner had presented the group with royalty checks and gold records. Nesmith had responded with an ultimatum, demanding a change in the way the Monkees' music was chosen and recorded. Moelis reminded Nesmith that he was under contract. The confrontation ended with Nesmith punching a hole in a wall and saying, "That could have been your face!" However, each of the members, including Nesmith, accepted the $250,000 royalty checks (equivalent to approximately $1,742,515 in today's funds[21]).[20]
Kirshner's dismissal came in early February 1967, when he violated an agreement between Colgems and the Monkees not to release material directly created by the group together with unrelated Kirshner-produced material. Kirshner violated this agreement when he released the "A Little Bit Me, A Little Bit You", composed and written by Neil Diamond, as a single with an early version of "She Hangs Out", a song recorded in New York with Davy Jones' vocals, as the B-side. This single would be withdrawn.[22]
Kirshner was reported to have been incensed by the group's unexpected rebellion, especially when he felt they had "modicum talent" when compared to the superstars of the day like Lennon/McCartney.[20] In the liner notes for Rhino's 2006 Deluxe Edition CD reissue of More of the Monkees, Kirshner stated, "[I controlled the group] because I had a contract. I kicked them out of the studio because I had a TV show that I had to put songs in, and to me it was a business and I had to knock off the songs." This experience led directly to Kirshner's later venture, The Archies, which was an animated series – the "stars" existed only on animation cels, with music done by studio musicians, and obviously could not seize creative control over the records issued under their name.
Screen Gems held the publishing rights to a wealth of great material, with the Monkees given first crack at many new songs. Due to the abundance of songs, The Monkees left a lot of songs unreleased until Rhino Records started releasing them through the Missing Links series of albums, starting in the late 1980s. Rumored to have turned down "Sugar, Sugar" in 1967, which became one of the biggest hits of 1969 by The Archies, producer and songwriter Jeff Barry, who cowrote "Sugar, Sugar" with Andy Kim, denied in the late 1990s that the Monkees had been offered the tune, saying it had not even been written at the time.[citation needed]
"Here, I'm going to make you a big star ... and you don't have to pay any dues. ... For that, you're going to get no respect from your contemporaries." ... To me, that was the cruelest thing. [15]
[edit] Headquarters and Pisces, Aquarius, Capricorn & Jones
On January 16, 1967, four months after their public debut, the Monkees held their first recording session as a fully functioning, self-contained band at RCA Recording Studios, Hollywood, CA, recording an early version of band member Nesmith's self-composed top 40 hit single "The Girl I Knew Somewhere", along with "All of Your Toys" and "She's So Far Out, She's In".[3] The Monkees wanted to pick the songs they sang, and play on the songs they recorded, and be The Monkees. By the end of February 1967, with Musical Supervisor Don Kirshner fired, Michael Nesmith hired Chip Douglas, of the Turtles, to produce the next Monkees album,[20] which was to be the first Monkees album where they were the only musicians, outside of most of the bass, and the horns. Former The Turtles bassist Chip Douglas was responsible for both music presentation—actually leading the band, engineering recordings, as well as playing bass on most of Headquarters. This album, along with their next, Pisces, Aquarius, Capricorn & Jones Ltd. would serve as the soundtrack to the 2nd season of the TV Show.
In March 1967, "The Girl I Knew Somewhere", composed by Nesmith, and performed by Dolenz, Nesmith, Tork & bassist John London, was issued as the B-side to The Monkees' 3rd single, "A Little Bit Me, A Little Bit You", and it rose to #39 on the charts. The A-side rose to #2.[3]
Issued in May 1967, the album Headquarters didn't have any songs released as a single in the United States, but it would still be their third #1 album in a row, with many of its songs played on the 2nd season of the TV Show. Having a more country-folk-rock sound than the pop outings under Kirshner, Sandoval notes in the 2007 Deluxe Edition reissue from Rhino that the album rose to #1 on June 24, 1967, with The Beatles' Sgt. Pepper released the following week, which would knock Headquarters to the number 2 spot on the charts for the next 11 weeks, the "Summer of Love". The Micky Dolenz composed song, "Randy Scouse Git" was issued under the title "Alternate Title" (due to the controversial title of the song) as a single internationally, where it rose to #2 on the charts in the U.K and Norway, and in the top 10 in other parts of the world.[3] Peter Tork's "For Pete's Sake" would be used as the closing theme for the TV show. Michael Nesmith would continue in his country-rock leanings, adding the pedal steel guitar to 3 of the songs, along with contributing his self-composed countrified-rock song "Sunny Girlfriend". Tork added the banjo to the Nesmith composed rocker "You Told Me", a song whose introduction was satirical of The Beatles' "Taxman".[3] Other notable songs are the Nesmith composed straight forward pop-rock song "You Just May Be the One", used on the TV series during both seasons, along with "Shades of Gray" (with piano introduction written by Tork [3]), "Forget that Girl" and "No Time", used in the TV show. The Monkees wrote 5 of the 12 songs on the album, plus the two tracks "Band 6" and "Zilch". The Los Angeles Times, when reviewing Headquarters, stated that "The Monkees Upgrade Album Quality" and that "The Monkees are getting better. Headquarters has more interesting songs and a better quality level [than previous albums]...None of the tracks is a throwaway[...] The improvement trend is laudable." [3]
The high of Headquarters was short-lived, however. Recording and producing as a group was Tork's major interest and he hoped that the four would continue working together as a band on future recordings according to the liner notes of the 2007 Rhino reissue of Pisces, Aquarius, Capricorn & Jones Ltd.. "Cuddly Toy" on Pisces, Aquarius, Capricorn & Jones Ltd. would mark the last time Dolenz, who originally played guitar before The Monkees, would make a solo stand as a studio drummer.[23] In commentary for the DVD release of the second season of the show, Tork said that Dolenz was "incapable of repeating a triumph." Having been a drummer for one album, Dolenz no longer was interested in being a drummer, and largely gave up playing instruments on Monkees recordings. (Producer Chip Douglas also had identified Dolenz's drumming as the weak point in the collective musicianship of the quartet, having to splice together multiple takes of Dolenz's "shaky" drumming for final use.) By this point, the four did not have a common vision regarding their musical interests, with Nesmith and Jones also moving in different directions, with Nesmith following his country/folk instincts and Jones reaching for Broadway-style numbers.
The next three albums featured a diverse mixture of musical style influences, including country-rock, folk-rock, psychedelic rock, soul/R&B, guitar rock, Broadway, and English music hall sensibilities.
At the height of their fame in 1967, they also suffered from a media backlash. Nesmith states in the 2007 Rhino reissue of Pisces, Aquarius, Capricorn & Jones Ltd., "Everybody in the press and in the hippie movement had got us into their target window as being illegitimate and not worthy of consideration as a musical force [or] certainly any kind of cultural force. We were under siege; wherever we went there was such resentment for us. We were constantly mocked and humiliated by the press. We were really gettin' beat up pretty good. We all knew what was going on inside. Kirshner had been purged. We'd gone to try to make Headquarters and found out that it was only marginally okay and that our better move was to just go back to the original songwriting and song-making strategy of the first albums except with a clear indication of how [the music] came to be [...] The rabid element and the hatred that was engendered is almost impossible to describe. It lingers to this day among people my own age." Tork disagreed with Nesmith's assessment of Headquarters stating, "I don't think the Pisces album was as groovy to listen to as Headquarters. Technically it was much better, but I think it suffers for that reason." [3] Both Headquarters and Pisces are highly revered by most Monkees fans.
With Pisces, Aquarius, Capricorn & Jones Ltd., The Monkees fourth album, they went back to making music for the TV Show, except that they had control over the music, and which songs would be chosen. They used a mixture of themselves and session musicians on the album. They would use this strategy of themselves playing, plus adding session musicians (including The Wrecking Crew, Louie Shelton, Glen Campbell, members of the Byrds and the Association, drummer "Fast" Eddie Hoh, Lowell George, Stephen Stills, Buddy Miles and Neil Young) throughout their recording career, relying more on session musicians when the group became temporarily estranged after Pisces, Aquarius, Capricorn & Jones Ltd. and recorded some of their songs separately.
Using Chip Douglas again to produce, Pisces, Aquarius, Capricorn & Jones Ltd., released in November 1967 [3] was The Monkees fourth #1 album in a row, staying at #1 for 5 weeks,[24] and was also their last #1 album. It featured the hit single "Pleasant Valley Sunday" (#3 on charts) b/w "Words" (#11 on charts), which the A-side had Nesmith on electric guitar/backing vocals, Tork on piano/backing vocals, Dolenz on lead vocals and possibly guitar, and Jones on backing vocals;[3] the B-side had Micky and Peter alternating lead vocals, Peter played organ, Mike played guitar, percussion & provided backing vocals, and Davy provided percussion and backing vocals.[3] Other notable items about this album is that it features an early use of the Moog Synthesizer on two tracks, the Nesmith-penned "Daily Nightly", along with "Star Collector". All of its songs, except for two, were featured on the Monkees' TV show during the second season.
Recorded in June 1967, the song "What Am I Doing Hangin' 'Round?", featured on Pisces, Aquarius, Capricorn & Jones Ltd. is seen as a landmark in the fusion of country and rock [3] despite Nesmith's prior country-flavored rock songs for The Monkees. Nesmith stated, "One of the things that I really felt was honest was country-rock. I wanted to move The Monkees more into that because [...] if we get closer to country music, we'll get closer to blues, and country blues, and so forth. [...] It had a lot of un-country things in it: a familiar change from a I major to a VI minor--those kinds of things. So it was a little kind of a new wave country song. It didn't sound like the country songs of the time, which was Buck Owens." [3]
Their next single, "Daydream Believer" (with piano intro written by Tork), would shoot to #1 on the charts, letting The Monkees hold the #1 position in the singles chart and the album chart with Pisces simultaneously.[3] "Daydream Believer" used the non-album track "Goin’ Down" as its B-side, which featured Nesmith & Tork on guitar with Micky on lead vocals.
During their 1986 reunion, both Headquarters and Pisces, Aquarius, Capricorn & Jones Ltd. would return to the charts for 17 weeks.[25]
[edit] The Birds, The Bees & The Monkees
The Monkees decided that they no longer needed Chip Douglas as a producer, and starting in November 1967, they largely produced their own sessions.[3] Although The Monkees albums after this date will state "Produced by The Monkees", they would mostly be recording as solo artists.[3] In a couple of cases, Boyce & Hart had returned from the first two albums to produce, but credit was given to The Monkees.[3] It was also during this time that Michael Nesmith recorded his first solo album, The Wichita Train Whistle Sings, a big band jazz instrumental collection of interpretations of Nesmith's compositions, arranged by the jazz musician, Shorty Rogers. Praised in The Los Angeles Times by the author of The Encyclopedia of Jazz, jazz critic Leonard Feather would state, "Verbally and musically, Mike Nesmith is one of the most articulate spokesmen for the new and literate breed of pop musicians who have spring from the loins of primitive rock. [The album] with its carriage trade of symphony, rock, country, western, and swing, and with jazz riding in the caboose, may well indicate where contemporary popular music will be situated in the early 1970s." [3]
Considered by some to be The Monkees' "White Album" period (for example, Sandoval mentions this in the liner notes of Rhino Handmade's 2010 Deluxe reissue of the album), each of the Monkee's contributions reflected that individual's own musical tastes, which resulted in an eclectic album. Micky sang the pop songs (e.g. "I'll Be Back Upon My Feet"), and performed a double-vocal with Mike on the Nesmith/Allison composed "Auntie's Municipal Court". Davy sang the ballads (e.g. "Daydream Believer" and "We Were Made for Each Other") and Nesmith contributed some experimental songs, like the progressive "Writing Wrongs", the unusual hit song "Tapioca Tundra", and the lo-fi 1920s yuppie sound of "Magnolia Simms". This last song is notable for added effects to make it sound like an old record (even including a "record skipping" simulation) made before The Beatles "Honey Pie", which used a similar effect.
Propelled by the hit singles "Daydream Believer" and "Valleri", along with Nesmith's self-penned top 40 hit "Tapioca Tundra", The Birds, The Bees & The Monkees reached #3 on the Billboard charts shortly after it was released in April 1968.[3] It was the first album released after NBC announced they were not renewing The Monkees for a third season. The album cover—a quaint collage of items looking like a display in a jumble shop or toy store—was chosen over the Monkees' objections. It was the last Monkees' album to be released in separate, dedicated mono and stereo mixes.[3] During the 1986 reunion, it would return to the Billboard charts for 11 weeks.[25]
During the filming of the second season, the band became tired of scripts which they deemed monotonous and stale. They had already succeeded in eliminating the laugh track (a then-standard on American sitcoms), with the bulk of Season 2 episodes airing minus the canned chuckles. They proposed switching the format of the series to become more like a variety show, with musical guests and live performances. This desire was partially fulfilled within some second-season episodes, with guest stars like musicians Frank Zappa, Tim Buckley and Charlie Smalls (composer of The Wiz) performing on the show. However, NBC was not interested in eliminating the existing format, and the group (except for Peter) had little desire to continue for a third season. Tork said in DVD commentary that everyone had developed such difficult personalities that the big-name stars invited as guests on the show would invariably leave the experience "hating everybody".
Screen Gems and NBC went ahead with the existing format anyway, commissioning Monkees writers Gerald Gardner and Dee Caruso to create a straight-comedy, no-music half-hour in the Monkees mold; a pilot episode was filmed with the then-popular nightclub act The Pickle Brothers. The pilot had the same energy and pace of The Monkees, but never became a series.
In June 1968, Music Supervisor Lester Sill chose to release the two non-album tracks "D.W. Washburn" b/w "It's Nice To Be With You" as The Monkees' next single.[3] The Leiber/Stoller-penned A-side would break into the Top 20, peaking at #19 on the charts.[26]
After The Monkees was canceled in February 1968, Rafelson directed the four Monkees in a feature film, Head. Schneider was executive producer, and the project was co-written and co-produced by Bob Rafelson with a then relatively unknown Jack Nicholson.
The film, conceived and edited in a stream of consciousness style, featured oddball cameo appearances by movie stars Victor Mature, Annette Funicello, a young Teri Garr, boxer Sonny Liston, famous stripper Carol Doda, Green Bay Packer linebacker Ray Nitschke, and musician Frank Zappa. It was filmed at Columbia Pictures' Screen Gems studios and on location in California, Utah, and The Bahamas between February 19 and May 17, 1968 and premiered in New York City on November 6 of that year (the film later debuted in Hollywood on November 20).
The film was not a commercial success, in part because it was the antithesis of The Monkees television show, intended to comprehensively demolish the group's carefully groomed public image. Rafelson and Nicholson's Ditty Diego-War Chant (recited at the start of the film by the Monkees), ruthlessly parodies Boyce and Hart's "Monkees Theme". A sparse advertising campaign (with no mention of the Monkees) squelched any chances of the film doing well, and it played only briefly. In commentary for the DVD release, Nesmith said that by this time, everyone associated with the Monkees "had gone crazy". They were each using the platform of the Monkees to push their own disparate career goals, to the detriment of the Monkees project. Indeed, Nesmith said, Head was Rafelson and Nicholson's intentional effort to "kill" the Monkees, so that they would no longer be bothered with the matter.
Released in October 1968, the single from the album, "The Porpoise Song", is a psychedelic pop song written by Goffin/King, with vocals from Micky Dolenz and Davy Jones, and it reached number 62 on the Billboard charts.[3]
The soundtrack album to the movie, Head reached #45 on the Billboard charts.[3] Jack Nicholson assembled the film's soundtrack album, weaving dialogue and sound effects from the film in-between the songs from the film. The six (plus "Ditty Diego") Monkees songs on the album range from psychedelic pop to straight ahead rockers to Broadway rock to eastern-influenced pop to a folk-rock ballad. Although The Monkees performed "Circle Sky" live in the film, the studio version is chosen for the soundtrack album. The live version would later be released on various compilations, including Rhino's Missing Links series of Monkees albums. The soundtrack album also includes a song from the film's composer, Ken Thorne. The album had a mylar cover, to give it a mirror-like appearance, so that the person looking at the cover would see their own head, a play on the album title Head. Peter Tork said, "That was something special[...] [Jack] Nicholson coordinated the record, made it up from the soundtrack. He made it different from the movie. There's a line in the movie where [Frank] Zappa says, 'That's pretty white.' Then there's another line in the movie that was not juxtaposed in the movie, but Nicholson put them together in the [soundtrack album], when Mike says, 'And the same thing goes for Christmas.' [...] that's funny, [...] very different from the movie [...]that was very important and wonderful that he assembled the record differently from the movie. [...] It was a different artistic experience." [3] The soundtrack album is a cult favorite among the Monkees' fans.
Over the intervening years Head has developed a cult following for its innovative style and anarchic humor. Members of the Monkees, Nesmith in particular, cite the soundtrack album as one of the crowning achievements of the band.
[edit] Early 1969: exit Tork. Instant Replay and The Monkees Present
Tensions within the group were increasing. Peter Tork, citing exhaustion, quit by buying out the last four years of his Monkees contract at $150,000/year, equal to $950,635 per year today. This was shortly after the band's Far East tour in December 1968, after completing work on their 1969 NBC television special, 33⅓ Revolutions Per Monkee, which rehashed many of the ideas from Head, only with the Monkees playing a strangely second-string role. In the DVD commentary for the television special, Dolenz noted that after filming was complete, Nesmith gave Tork a gold watch as a going-away present, engraved "From the guys down at work." (Tork kept the back, but replaced the watch several times in later years.) Most of the songs from the 33 1/3 Revolutions Per Monkee TV Special would not be officially released until over 40 years later, on the 2010 & 2011 Rhino Handmade Deluxe box sets of Head and Instant Replay.
Since The Monkees at this point were producing their own songs with very little of the other band members involvement, they planned a future double album (eventually to be reduced to The Monkees Present) on which each Monkee would separately produce one side of a disc.
In February 1969, The Monkees 7th album, Instant Replay, without Tork, was released, which reached #32 on the charts.[3] The single from the album was "Tear Drop City", which peaked at #34 on the charts.[3] According to Rhino Handmade's 2011 Deluxe Edition reissue of this album, Davy Jones told Melody Maker, "Half of the songs were recorded over the last three years, but there are also about six new ones." The Monkees wanted to please the original 1966 fans by offering up new recordings of some previously unreleased older styled songs, as well as gain a new audience with what they considered a more mature sound. Nesmith continued in his country-rock vein after offering straight ahead rock and experimental songs on the two prior albums. Nesmith stated in Rhino Handmade's 2011 Deluxe Edition reissue, "I guess it was the same embryo beating in me that was somewhere in Don Henley and Glenn Frey and Linda Rondstat and Neil Young. Everybody who was hanging out in those times. I could just feel this happening that there was this thing. So, I headed off to Nashville to see if I couldn't get some of the Nashville country thing into the rock 'n' roll or vice versa. What I found was that Nashville country was not the country that was going to be the basis of country-rock and that it was Western, Southwest country. It was coming much more out of the Southern California scene. I ended up with a lot of Dobro, mandolin, banjo, and things that were hard-core mountain music stuff [...] the Nashville cats were so blown out by playin' this kind of music. They loved it, for one thing." Dolenz contributed The Monkees biggest and longest Monkees' production, "Shorty Blackwell", a song inspired by his cat of the same name.[3] Dolenz called it his "feeble attempt at something to do with Sgt. Pepper." [3] Jones contributed an electric guitar rocker, "You and I". Both Jones and Dolenz continued their role of singing on the pop songs. Lyrically, it has a theme of being one of the Monkees' most melancholy albums.
Throughout 1969 the trio appeared as guests on television programs such as The Glen Campbell Goodtime Hour, The Johnny Cash Show, Hollywood Squares, and Laugh-In. The Monkees also had a contractual obligation to appear in several television commercials with Bugs Bunny for Kool-Aid drink mix as well as Post cereal box singles.
In April 1969, the single "Someday Man" b/w "Listen to the Band" was released,[3] which had the unique distinction of the B-side, the Nesmith composed country-rock song "Listen to the Band" charting higher (#63) than the Davy sung A-side (#81).[3][26]
The final album with Michael Nesmith from The Monkees original incarnation would be their 8th album, The Monkees Present, released in October 1969, which peaked at #100 on the Billboard charts.[3] It would include the Nesmith composed country-rock singles "Listen to the Band" and "Good Clean Fun" (released in September 1969).[3] Other notable songs include the Dolenz composition "Little Girl", which featured Louie Shelton on electric guitar, joining Micky on acoustic guitar,[3] along with his controversial "Mommy and Daddy" (B-side to the "Good Clean Fun single) in which he sang about America's treatment of the Native Americans and drug abuse, and in an earlier take, released on Rhino Handmade's 2011 Deluxe Edition of Instant Replay, sang about JFK's assassination and the Vietnam war. Jones collaborated with Bill Chadwick on some slower ballads, along with releasing a couple of older upbeat songs from 1966.
In the summer of 1969 the three Monkees embarked on a tour with the backing of the soul band "Sam and the Good-Timers". The concerts for this tour were longer sets than their earlier concert tours, many shows running over two hours. The 1969 Monkees' tour was not all that successful; some shows were canceled due to poor ticket sales.
[edit] April 1970: exit Nesmith. Changes
On April 14, 1970, Nesmith joined Micky and Davy for the possibly the last time as part of the original incarnation of The Monkees to film a Kool-Aid commercial,[3] with Nesmith leaving the group to continue recording songs with with his own country-rock group called Michael Nesmith & The First National Band, which he had started recording with on February 10, 1970.[3] His first album with his own band was called Magnetic South, and at the time he left The Monkees in April, he was recording songs for his second album with The First National Band, called Loose Salute.
This left Micky and Davy to record the bubblegum pop album Changes as the ninth and final album by The Monkees released during its original incaranation. By this time, Colgems was hardly putting any effort into the project, and they sent Dolenz and Jones to New York for the Changes sessions, to be produced by Jeff Barry and Andy Kim. In comments for the liner notes of the 1994 re-release of Changes, Jones said that he felt they had been tricked into recording an "Andy Kim album" under the Monkees name. Except for the two singers' vocal performances, Changes is the only album that fails to win any significant praise from critics looking back 40 years to the Monkees' recording output. The album spawned the single "Oh My My", which was accompanied by a music film promo (produced/directed by Micky). It's also notable that Micky Dolenz contributed one of his own compositions, "Midnight Train", which was used in the re-runs of the Monkees TV series. The "Oh My My" b/w "I Love You Better" single from the Changes album would be the last single issued under the Monkees name in the United States.[3] Originally released in June 1970,[3] Changes would first chart in Billboard's Top 200 during the Monkees' 1986 reunion, staying on the charts for 4 weeks.[27]
September 22, 1970 marked the final recording session by The Monkees in their original incarnation, when Davy Jones and Micky Dolenz recorded "Do It In The Name of Love" and "Lady Jane".[3] Not mixed until February 19, 1971, and released later that year as a single ("Do It In The Name Of Love" b/w "Lady Jane"),[14] the two remaining Monkees then lost the rights to use the name in several countries, the U.S. included. The single was not credited to the Monkees in the U.S., but to a misspelled "Mickey Dolenz and Davy Jones",[14] although some other countries would issue the single under The Monkees' name.
Davy Jones would release a solo album in 1971, entitled Davy Jones, featuring the single "Rainy Jane" / "Welcome to My Love". Both Davy and Micky would release multiple singles as solo artists in the years following the original break-up of The Monkees. The duo continued to tour throughout most of the 1970s.
This section deals with the controversies that played a major part in The Monkees history. Critics often accused The Monkees of cashing in on The Beatles' success, in effect "ripping off their image and style", or "copying them", and to make matters worse to the critics, The Monkees' were massively successful doing this despite having come from "manufactured" origins. They have been falsely accused of not being able to play any musical instruments, and some critics, as early as 1967, and as late as 2012, after Davy Jones' passing, even went as far as to falsely suggest that they didn't even sing on their early albums.[3] The origins of the myth that they couldn't play any instruments, or didn't sing on the albums come from the public outlash against the Monkees when it became widely known that The Wrecking Crew provided the backing tracks to some of The Monkees music, especially the first 2 albums, and the fact that one of The Monkees had to learn the drums since he only knew how to play the guitar. Critics called The Monkees "The Pre-fab Four", a play on The Beatles' nickname "The Fab Four", with "pre-fab" being a shortened form of pre-fabricated.
This section addresses what The Beatles thought of The Monkees, along with some of the ties between The Beatles and The Monkees, and it discusses some of the facts surrounding the studio recordings controversy, including the musical history of the members of The Monkees, and public statements surrounding the issue.
When the Monkees toured the U.K. in 1967, there was a major controversy over the revelation that the group did not always play all of their own instruments in the studio, although they did play them all while touring (except for the solo segments, which used backing band the Candy Store Prophets). The story made the front pages of several UK and international music papers, with the group derisively dubbed "The Pre-Fab Four". Nevertheless, they were generally welcomed by many British stars, who realized the group included talented musicians and sympathized with their wish to have more creative control over their music, and the Monkees frequently socialized with the likes of The Beatles, the Spencer Davis Group, and The Who. One reporter in 1967 tried to get Jerry Garcia of The Grateful Dead to comment on The Monkees "fake" albums, and he responded that "they were good albums, and they should be since they have good musicians playing on them."[28]
An example of how bad it had gotten is an interview with the Monkees at the end of episode #30 of their TV show, "Monkees in Manhattan", which first aired April 1967 (filmed in January 1967), where Bob Rafelson had to ask the Monkees about accusations that they didn't even play their instruments in concert, to which Nesmith responded, "“I'm fixin' to walk out there in front of 15000 people, man! If I don't play my own instrument, I'm in a lot of trouble!"
Many Monkees fans argued that the controversy unfairly targeted the band, while conveniently ignoring the fact that a number of leading British and American groups (such as the Beach Boys) habitually used session players on their recordings, including many of the very same musicians who performed on records by the Monkees. This commonplace practice had previously passed without comment. However, The Beatles had led a wave of groups who provided most of their own instrumentation on their recordings and wrote most of their own songs. The comic book quality of the Monkees' television series (where they mimed song performances out of necessity) brought additional scrutiny of their recorded music. But both supporters and critics of the group agree that the producers and Kirshner had the good taste to use some of the best pop songwriters of the period. Neil Diamond, the Boyce-Hart partnership, Jack Keller, Gerry Goffin and Carole King, Harry Nilsson, Barry Mann, Cynthia Weil, and many other highly regarded writers had songs recorded by the Monkees.
In November 1967, the wave of anti-Monkee sentiment was reaching its peak while the Monkees released their fourth album, Pisces, Aquarius, Capricorn, & Jones Ltd. In liner notes for the 1995 re-release of this album, Nesmith was quoted as saying that after Headquarters, "The press went into a full-scale war against us, talking about how 'The Monkees are four guys who have no credits, no credibility whatsoever and have been trying to trick us into believing they are a rock band.' Number 1, not only was this not the case; the reverse was true. Number 2, for the press to report with genuine alarm that the Monkees were not a real rock band was looney tunes! It was one of the great goofball moments of the media, but it stuck."
Davy Jones stated in 1969 to Tiger Beat, "I get so angry when musicians say, 'Oh, your music is so bad,' because it's not bad to the kids. Those people who talk about 'doing their own thing' are groups that go and play in the clubs that hold 50 people, while we're playing to 10,000 kids. You know, it hurts me to think that anybody thinks we're phony, because we're not. We're only doing what we think is our own thing." [29]
It was reported in Rolling Stone on October 11, 2011 that Tork still feels that the Monkees don't get the respect that they deserve. "With all due modesty since I had little to do with it, the Monkees' songbook is one of the better songbooks in pop history," he says. "Certainly in the top five in terms of breadth and depth. It was revealed that we didn't play our own instruments on the records much at the very moment when the idealism of early Beatlemania in rock was at its peak. So we became the ultimate betrayers. The origins of the group were obvious and everyone understood that, but suddenly some little switch was flipped and all that stuff came crashing down around our ears." [30]
1961 The Wrecking Crew is formed, which is an ad hoc group of about 30 highly skilled Hollywood studio musicians who played the instruments on thousands of hit records released between 1961 and 1976. From the Wall Street Journal, March 23, 2011: "Many baby boomers still remember the outrage that followed a magazine's revelation in 1967 that the Monkees didn't play on all of their recordings. It turns out that neither did the Beach Boys, the Mamas & the Papas, the Byrds, the Association, Jan & Dean and dozens of other rock groups of the era. That honor belongs to Mr. Blaine and the Wrecking Crew, whose members included Glen Campbell and Leon Russell."[31] [32]
1962 Davy Jones lands the part of Michael in the stage show Peter Pan, where he is coached on the tone of his voice.[3] Later that year, he lands the role of the Artful Dodger in the Broadway musical production of Oliver!.[3] Michael Nesmith receives his first guitar for Christmas 1962 [3] Peter Tork takes part in folk ensembles [3] Initial idea for The Monkees is developed [3]
1963 Peter Tork moves to New York's Greenwich Village to play in various folk groups in music "basket" houses, where money is collected after each performance.[3] While still performing in the musical Oliver!, Davy makes his first studio recordings of demonstration tapes of his singing.[3] He is also nominated for a Tony award.[3] Mike Nesmith performs solo and with folk groups and releases his first recording.[3]
1964 Micky Dolenz plays guitar and sings in his first band, The Missing Links.[3] Dolenz started playing Spanish guitar when he was 10–12 years old.[33] Davy Jones signs recording contract with Colpix Records.[3] He appears on the Ed Sullivan Show the same night as The Beatles.[3] Mike Nesmith wins Headliner Of the Year talent contest performing with John London.[3] Peter tours with folk group.[3]
1965 Davy's first singles and album are released.[3] He appears on Dick Clark's Where The Action Is [3] Michael releases more singles and plays with folk group.[3] He records for Colpix.[3] Record World gives one of Mike's singles a four star review.[3] He appears on a couple of TV Shows performing music.[3] Peter still performs in Greenwich Village clubs.[3] Micky sings on stage. At the end of the year, the four Monkees are cast in the TV Show. Rafelson: "It's often been said that the Monkees were manufactured, but the term irritates me just a little bit. The Monkees were more like a Japanese marriage: arranged. In America and elsewhere the divorce rate is pretty high, but in Japan things go better." [3]
April 1966 The Monkees begin rehearsing as a band to produce music for the upcoming TV Show and records. Mike, Micky and Peter all were all experienced guitar players, but no one had experience playing the drums. Davy had been a singer on Broadway, but didn't have experience with musical instruments. Producer Ward Sylvester tells Peter Tork that he would have signed the band even without a TV Show.[3]
May 1966 Filming for the TV show starts, taking 12 hours a day for the cast of the Monkees. The public is informed in the beginning that the Monkees are "manufactured", as seen in this Washington Post report: "The series stars a fearsome foursome in the Monkees, a wholly manufactured singing group of attractive young men who come off as a combination of The Beatles, the Dead End Kids and the Marx Brothers. Critics will cry foul. Longhairs will demand, outraged, that they be removed from the air. But the kids will adore the Monkees[....]unlike other rock 'n' roll groups, the boys had never performed together before. Indeed, they'd never even met[...]they've been working to create their own sound." [3]
June 1966 Although the producers want the Monkees to create their own music, they hadn't progressed enough by this point and didn't have the "upbeat, young, happy, driving, pulsating sound" that they desired.[3] Dolenz stated, "I'm sure that Rafelson and Schneider said in all honesty, 'Yeah, don't worry, when we start going you're gonna record your own tunes and it will be wonderful.' But the things get caught up in the inertia of the moment. NBC gets involved. RCA gets involved. Screen Gems gets involved. Millions and millions of dollars are on the line[...]people aren't as forthcoming. Mike's style was very distinct, country-western, Peter was very folk-rock, neither of which at the time would have been considered mainstream pop. Davy would have done all Broadway tunes[...] I ended up singing the leads[..pop-rock was more my style]." [3] However, they used Mike's tunes from the beginning.[3]
June 10, 1966 The Monkees first recording sessions with The Wrecking Crew take place.[3]
June 25, 1966 Monkees member Michael Nesmith produces his first Monkees track in a recording studio, his 2 self-composed songs "All the King's Horses", "The Kind of Girl I Could Love", plus "I Don't Think You Know Me", as a way for Raybert Productions to fulfill their promise to him to allow him to produce and record his own music.[3] He is not allowed to play the instruments.[3]
July 1966 Various producers from Boyce & Hart to Jack Keller to Michael Nesmith continue to record sessions. Nesmith gets all 4 members to sing on his productions. On July 18, 1966 Nesmith also gets Peter Tork to play guitar on the songs he's producing for the first time.[3] Sessions continue in this manner, with the hired producers Boyce & Hart and Jack Keller and Monkees member Nesmith producing/recording songs in the studio through November 1966.[3]
August 1966 The Monkees first single is released.
September 1966 TV Show debuts
October 1966 The Monkees debut album is released. Group member Mike Nesmith, in particular, is angry when he sees the album cover, because he thinks it makes it look like they played all of the instruments.
October 2, 1966 The Monkees give their first public interview, which appears in The New York Times, in which Davy Jones is asked if the big push for The Monkees is fair to the real rock groups, to which he responds "that's the breaks, but you can't fool the people, you really can't." [14]
October 24, 1966 Newsweek interviews the Monkees. They are asked how the music is created. Davy Jones tells them, "This isn't a rock n' roll group. This is an act." [3]
December 1966 The Monkees perform live in concert starting December 3, 1966. TV Week in the meantime, interviews the show's creator, Bob Rafelson about why the Monkees public access to interviews is limited, wondering if it could be related to embarrassing questions regarding their musical prowess, to which Rafelson assures that they do all of their own playing and singing.[3] He also states that interviews are almost impossible due to them spending 12 hours a day filming the TV show, 4 hours recording, rehearsing for concert tour, and spending some weekends making personal appearance tours.[3] During this timeframe, the Monkees are generally barred from making television appearances on shows outside of their own, as Raybert fears the group's overexposure.[3]
December 27, 1966 The Monkees are again interviewed about their music in Look magazine. Peter Tork responds, "We have the potential, but there's not time to practice." [3] Micky says, "We're advertisers. We're selling the Monkees. It's gotta be that way." [3] Mike says, "They're in the middle of something good and they're trying to sell something. They want us to be The Beatles, but we're not. We're us. We're funny." [3]
December 28, 1966 Weekly Variety reports that the Monkees are selling faster than The Beatles did at their launch.[3]
January 1967 The Monkees' 2nd album is released while they were on tour, without the Monkees knowledge, which upset Mike and Peter because they were told that they were going to be doing their own album.[20] Micky and Davy are initially indifferent because to them, coming from the acting world, it was just a soundtrack to the TV Show and they were doing their job by singing what they were asked to sing, but when they saw how angry Mike and Peter were, they joined them in their anger.[20]
January 16, 1967 Four months after their first single is released, The Monkees hold their first recording session as a self-contained, fully functioning band.
January 28, 1967 Band member Michael Nesmith speaks to the Saturday Evening Post in an expose, stating "The music had nothing to do with us. It was totally dishonest. Do you know how debilitating it is to sit up and have to duplicate somebody else's records? That's really what we're doing. The music happened in spite of the Monkees. It was what Kirshner wanted to do. Our records are not our forte. I don't care if we never sell another record. Maybe we were manufactured [...] Tell the world we're synthetic because [...]we are. Tell them The Monkees are wholly man-made overnight, that millions of dollars have been poured into this thing. Tell the world we don't record our own music. But that's us they see on television. That show is really a part of us. They're not seeing something invalid." [20] Nesmith stated later, "The press decided they were going to unload on us as being somehow illegitimate, somehow false. That we were making an attempt to dupe the public, when in fact in was me that was making the attempt to maintain the integrity. So, the press went into a full scale war against us. Telling us The Monkees are four guys who have no credits, no credibility whatsoever, who have been trying to trick us into believing that they are a rock band. Number one, not only it not the case, the reverse was true. Number two, [for] the press to report with genuine alarm that The Monkees were not a real rock band was looney tunes. It was one of the great goofball moments of the media, but it stuck." [3]
February 4, 1967 Although the Monkees have continued to play and record their own music for their upcoming album, Davy Jones records some songs with hired producer Jeff Barry.[3]
February 1967 Kirshner works behind the Monkees' backs to release another single without the band's knowledge.[3]
February 25, 1967 Davy Jones is interviewed for the New Musical Express, and says "I can only speak for myself. I am an actor and I have never pretended to be anything else. The public have made me into a rock n' roll singer. No one is trying to fool anyone! People have tried to put us down by saying we copied The Beatles. So, all right, maybe the Monkees is a half-hour Hard Day's Night. But now we read that The Who are working on a TV series around a group. Now who's copying who?" [3]
February 27, 1967 Don Kirshner is dismissed as Music Coordinator for the Monkees, primarily due to his handling of the 3rd would-be-but-withdrawn single from The Monkees. Lester Sill takes his place. The Monkees continue recording their own songs, with them playing instruments, getting ready for their next album. In the meantime, the Nesmith-penned "The Girl I Knew Somewhere" is released as part of the Monkees 3rd single, which features the Monkees playing as a self-contained band, which becomes a top 40 hit.[3]
May 1967 The Monkees first self made album, Headquarters is released.
After Headquarters, the Monkees started using a mixture of themselves playing along with some of The Wrecking Crew, but they still wrote, sang, produced & played on their remaining albums, except for their final offering from the original incarnation in 1970, Changes, which was recorded after Mike and Peter had left the group and featured Micky and Davy singing to the backing tracks of what Davy referred to in the liner notes of the 1994 reissue that album as "a rejected Andy Kim album." In the same liner notes, Davy stated that he wasn't happy about that recording and claimed that it wasn't a real album. The final album featured one Micky Dolenz composition.
Peter Tork commented on some of the controversy when writing about Davy Jones' death: "When we first met, I was confronted with a slick, accomplished, young performer, vastly more experienced than I in the ways of show biz, and yes, I was intimidated. Englishness was at a high premium in my world, and his experience dwarfed my entertainer's life as a hippie, basket-passing folk singer on the Greenwich Village coffee house circuit. If anything, I suppose I was selected for the cast of"The Monkees" TV show partly as a rough-hewn counterpart to David's sophistication. [...] The Monkees (the group now, not the TV series) took a lot of flack for being "manufactured," by which our critics meant that we hadn't grown up together, paying our dues, sleeping five to a room, trying to make it as had the Beatles and Rolling Stones. Furthermore, critics said, the Monkees' first albums (remember albums?) were almost entirely recorded by professional studio musicians, with hardly any input from any of us beyond lead vocals.
I felt this criticism keenly, coming as I did from the world of the ethical folk singer, basically honoring the standards of the naysayers.
We did play as a group live on tour.[..]" [34]
Critics of the Monkees observed that they were simply the "Pre-Fab four", a made-for-TV knockoff of The Beatles; The Beatles, however, took it in their stride and hosted a party for the Monkees when they visited England. The party occurred during the time when The Beatles were recording Sgt. Pepper's Lonely Hearts Club Band; as such, the party inspired the line in the Monkees' tune "Randy Scouse Git", written by Dolenz, which read, "the four kings of EMI are sitting stately on the floor."
George Harrison praised their self-produced musical attempts, saying, "It's obvious what's happening, there's talent there. They're doing a TV show, it's a difficult chore and I wouldn't be in their shoes for the world. When they get it all sorted out, they might turn out to be the best."[18] (Tork was later one of the musicians on Harrison's Wonderwall Music, playing Paul McCartney's five-string banjo.)
Nesmith attended the "A Day in the Life" sessions at Abbey Road Studios; he can be seen in The Beatles' home movies, including one scene where he is conversing with John Lennon. During the conversation, Nesmith had reportedly asked Lennon "Do you think we're a cheap imitation of the Beatles, your movies and your records?" to which Lennon assuredly replied, "I think you're the greatest comic talent since the Marx Brothers. I've never missed one of your programs."[18] Michael wrote about this encounter on Facebook:
"When The Beatles were recording Sgt. Peppers, Phyllis and I spent a few days with John and Cynthia at their home, and one in the studio with “the boys." That’s where those pictures of John and I come from – the “Day in the Life” session. The minute I had the wherewithal –cachet and money – I raced to London and looked up John. During the ‘60s it seemed to me London was the center of the World and The Beatles were the center of London and the Sgt Pepper session was the center of The Beatles. It was an extraordinary time, I thought, and I wanted to get as close as I could to the heart of it. But like a hurricane the center was not stormy or tumultuous. It was exciting, but it was calm, and to an extent peaceful. The confidence of the art permeated the atmosphere. Serene – and really, really fun. Then I discovered the reason for this. During that time in one of our longer, more reflective, talks I realized that John was not aware of who The Beatles were. Of course he could not be. He was clueless in this regard. He had never seen or experienced them. In the strange paradox of fame, none of The Beatles ever saw The Beatles the way we did. Certainly not the way I did. I loved them beyond my ability to express it. As the years passed and I met more and more exceptional people sitting in the center of their own hurricane I saw they all shared this same sensibility. None of them could actually know the force of their own work." [35]
Dolenz was also in the studio during a Sgt. Pepper session, which he mentioned while broadcasting for WCBS-FM in New York (incidentally, he interviewed Ringo Starr on his program). On February 21, 1967, he attended the overdub and mixing session for The Beatles' "Fixing a Hole" at EMI's Abbey Road studio 2.[23]
During the 1970s, during Lennon's infamous "lost weekend", John Lennon, Ringo Starr, Micky Dolenz, Harry Nilsson & Keith Moon often hung out together, and were collectively known in the press as the Hollywood Vampires.
Paul McCartney can be seen in the 2002 concert film Back in the U.S. singing "Hey, Hey, We're The Monkees", the theme from The Monkees show, while backstage.
The Monkees "Cuddly Toy" and "Daddy's Song" were written by songwriter Harry Nilsson. "Cuddly Toy" would be recorded several months before Nilsson's own debut in October 1967.[23] At the press conference announcing the formation of Apple, The Beatles named Harry Nilsson as both their favorite American artist and as their favorite American group. Derek Taylor, The Beatles's press officer, had introduced them to Harry's music.[36]
John Lennon's son, Julian Lennon, was a fan, stating at the time of Davy Jones' passing, "You did some Great work!"[37]
In 1995, Ringo Starr joined Davy, Peter, Micky to film a Pizza Hut commercial.[38]
Partly because of repeats of the television seriesThe Monkees on Saturday mornings and in syndication, The Monkees Greatest Hits charted in 1976. The LP, issued by Arista, who by this time had custody of the Monkees’ master tapes, courtesy of their corporate owner, Screen Gems, was actually a re-packaging of an earlier (1972) compilation LP called Refocus that had been issued by Arista's previous label imprint, Bell Records, also owned by Screen Gems. Dolenz and Jones took advantage of this, joining ex-Monkees songwriters Tommy Boyce and Bobby Hart to tour the United States. From 1975 to 1977, as the "Golden Hits of The Monkees" show ("The Guys who Wrote 'Em and the Guys who Sang 'Em!"), they successfully performed in smaller venues such as state fairs and amusement parks, as well as making stops in Japan, Thailand, Hong Kong and Singapore. They also released an album of new material as Dolenz, Jones, Boyce & Hart. Nesmith had not been interested in a reunion. Tork claimed later that he had not been asked, although a Christmas single (credited to Micky Dolenz, Davy Jones and Peter Tork due to legal reasons) was produced by Chip Douglas and released on his own label in 1976. The single featured Douglas' and Howard Kaylan's "Christmas Is My Time Of Year" (originally recorded by a 1960s supergroup, Christmas Spirit), with a B-side of Irving Berlin's "White Christmas" (Douglas released a remixed version of the single, with additional overdubbed instruments, in 1986). This was the first (albeit unofficial) Monkees single since 1971. Tork also joined Dolenz, Jones, Boyce & Hart on stage at Disneyland on July 4, 1976, and also joined Dolenz and Jones on stage at the Starwood in Hollywood, California in 1977.
Other semi-reunions occurred between 1970 and 1986. Peter Tork helped arrange a Micky Dolenz single, "Easy on You"/"Oh Someone" in 1971. Tork also recorded some unreleased tracks for Nesmith's Countryside label during the 1970s, and Dolenz (by then a successful television director in the United Kingdom) directed a segment of Nesmith's NBC-TV series Television Parts, although the segment in question was not included when the series' six episodes aired during the summer of 1985.
Brushed off by critics during their heyday as manufactured and lacking talent, The Monkees experienced a critical and commercial rehabilitation two decades later. A Monkees TV show marathon ("Pleasant Valley Sunday") was broadcast on February 23, 1986, on the then five-year-old MTV video music channel. In February and March, Tork and Jones played together in Australia. Then in May, Dolenz, Jones, and Tork announced a "20th Anniversary Tour" produced by David Fishof and they began playing North America in June with Dolenz. Their original albums began selling again as Nickelodeon began to run their old series daily. MTV promotion also helped to resurrect a smaller version of Monkeemania, and tour dates grew from smaller to larger venues and became one of the biggest live acts of 1986 and 1987. A new greatest hits collection was issued reaching platinum status.
By now, Nesmith was amenable to a reunion, but forced to sit out most projects because of prior commitments to his bustling Pacific Arts video production company. However, he did appear with the band in a 1986 Christmas medley music video for MTV, and appeared on stage with Dolenz, Jones, and Tork at the Greek Theatre, in Los Angeles, on September 7, 1986. In September 1988, the three rejoined to play Australia again, Europe and then North America, with that string of tours ending in September 1989. Mike again returned at the Universal Amphitheatre, Los Angeles, show on July 10, 1989 and took part in a dedication ceremony at the Hollywood Walk of Fame, when the Monkees received a TV star there in 1989.
The sudden revival of the Monkees in 1986 helped move the first official Monkees single since 1971, "That Was Then, This Is Now", to the No. 20 position in Billboard Magazine. The success, however, was not without controversy. Davy Jones had declined to sing on the track, recorded along with two other new songs included in a compilation album, Then & Now... The Best of The Monkees. Some copies of the single and album credit the new songs to "the Monkees", others as "Micky Dolenz and Peter Tork (of the Monkees)". Reportedly, these recordings were the source of some personal friction between Jones and the others during the 1986 tour; Jones would typically leave the stage when the new songs were performed.
Of note is that the 1980s Reunion tours had been the most lucrative venture the three had ever seen in their days as a Monkee, far surpassing the monies they had made in the 1960s. Mike had little financial need to join in Monkees-related projects, mostly as his mother Bette Nesmith Graham was the inventor of Liquid Paper, leaving Nesmith over $25 million upon her death in 1980.
A new album by the touring trio, Pool It! (the Monkees' 10th), appeared the following year and was a moderate success. From 1986 to 1989, the Monkees would conduct major concert tours in the United States, Australia, Japan, and Europe.
Main article:
New MonkeesIn 1987, a new television series called New Monkees appeared. Four young musicians were placed in a similar series based on the original show, but "updated" for the 1980s. The New Monkees left the air after 13 episodes. (Neither Bob Rafelson nor Bert Schneider were involved in the development or production of the series, although it was produced by "Straybert Productions" headed by Steve Blauner, Rafelson and Schneider's partner in BBS Productions.)
In the 1990s, the Monkees continued to record new material. In 1993, Dolenz and Jones worked together on a television commercial, and another reunion tour was launched with the two of them in 1994. Perhaps the greatest reunion of sorts was released by Rhino Records re-issuing all the original LPs on CD, each of which included between three to six bonus tracks of previously unreleased or alternate takes; the first editions came with collectible trading cards.
Their 11th album Justus was released in 1996. It was the first since 1968 on which all four original members performed and produced. Justus was produced by the Monkees, all songs were written by one of the four Monkees, and it was recorded using only the four Monkees for all instruments and vocals, which was the inspiration for the album title and spelling (Justus = Just Us).
The trio of Dolenz, Jones, and Tork reunited again for a successful 30th anniversary tour of American amphitheaters in 1996, while Nesmith joined them onstage in Los Angeles to promote the new songs from Justus. For the first time since the brief 1986 reunion, Nesmith returned to the concert stage for a tour of the United Kingdom in 1997, highlighted by two sold-out concerts at Wembley Arena in London. The full quartet also appeared in an ABC television special titled Hey, Hey, It's the Monkees, which was written and directed by Nesmith and spoofed the original series that had made them famous. Nevertheless, following the UK tour, Nesmith declined to continue future performances with the Monkees, having faced harsh criticism from the British music press for his deteriorating musicianship. Tork noted in DVD commentary that "In 1966, Nesmith had learned a reasonably good version of the famous 'Last Train to Clarksville' guitar lick, but in 1996, Mike was no longer able to play it" and so Tork took over the lead guitar parts.
Nesmith's departure from the tour was acrimonious. Jones was quoted by the Los Angeles Times as complaining that Nesmith "made a new album with us. He toured Great Britain with us. Then all of a sudden, he's not here. Later, I hear rumors he's writing a script for our next movie. Oh, really? That's bloody news to me. He's always been this aloof, inaccessible person...the fourth part of the jigsaw puzzle that never quite fit in."[39]
Tork, Jones, and Dolenz toured the United States in 1997, after which the group took another hiatus until 2001 when they once again reunited to tour the United States. However, this tour was also accompanied by public sniping. Dolenz and Jones had announced that they had "fired" Tork for his constant complaining and threatening to quit. Tork was quoted as saying that, as well as the fact he wanted to tour with his band Shoe Suede Blues. Tork told WENN News he was troubled by the overindulgence in alcohol by other members of the tour crew:
"Micky Dolenz and Davy Jones fired me just before the last two shows of our 35th anniversary tour. I'm both happy and sad over the whole thing. I always loved the work onstage—but I just couldn't handle the backstage problems. I'd given them 30 days notice that I was leaving so my position is that I resigned first and then they dropped me. Thank God I don't need the Monkees anymore...I'm a recovering alcoholic and haven't had a drink in several years. I'm not against people drinking—just when they get mean and abusive. I went on the anniversary tour with the agreement that I didn't have to put up with drinking and difficult behavior offstage. When things weren't getting better, I gave the guys notice that I was leaving in 30 days for good."[40]
Tork later stated in 2011 that the alcohol played only a small role and Tork then said, "I take full responsibility for the backstage problems on the 2001 tour. We were getting along pretty well until I had a meltdown. I ticked the other guys off good and proper and it was a serious mistake on my part. I was not in charge of myself to the best of my ability – the way I hope I have become since. I really just behaved inappropriately, honestly. I apologized to them." [41]
Jones and Dolenz went on to tour the United Kingdom in 2002, but Tork declined to participate. Jones and Dolenz toured the United States one more time as a duo in 2002, and then split to concentrate on their own individual projects. With different Monkees citing different reasons, the group chose not to mark their 40th anniversary in 2006.
Over the years, the Monkees have expressed admiration for each others' talents and contributions. However, the love/hate relationship between the members continued to persist. In a March 2008 interview with the Baltimore Sun, Jones spoke bitterly about his fellow ex-Monkees. When asked about any future reunions, Jones was not optimistic:
"I wouldn't think so. With keeping myself clean and in good shape, I can't be responsible for Peter, Mike and Micky and their behavior. I'm not saying they have bad behavior, but it just takes one occasion where somebody has something to say and everybody gets blamed. I can't be responsible for Peter's mouth or Mike's mouth or Micky's mouth. They have to be able to feel the same way about me. So I'd rather do it myself."[42]
Nonetheless, that same month Jones spotted Tork in the audience at one of his shows in Connecticut and invited him onstage to perform Nesmith's "Papa Gene's Blues" together, with obvious playful affection between them. Jones admitted via DVD commentary that despite all their differences, for better or worse, the other Monkees are "...the brothers I never had."[43]
In October 2009, Jones again rejected the idea of any further reunions and, according to Digital Spy, "launched an attack on his former bandmates."
- Jones slammed Mike Nesmith, Peter Tork and Micky Dolenz, accusing guitarist Nesmith of having his head "firmly up his ass."
- Jones told the National Enquirer: "[Nesmith's] not an entertainer in the sense that Micky, Peter and I are. He has his back to the audience half the time. [He's] a brilliant businessman [but] as a person, I haven't got time for him. He's very aloof and separate."
- The musician also criticised Tork for being too disagreeable to work with and said of Dolenz: "I couldn't imagine sharing a stage anymore with Micky Dolenz, who doesn't want to play the drums and wants to play the guitar at the front of the stage." [44]
Despite his earlier statements rejecting any future reunions, Jones stated in October 2010 that a 2011 reunion tour was a possibility.[45] Andrew Sandoval noted in The Hollywood Reporter that he "spent three years cajoling them to look beyond their recent differences (which included putting aside solo projects to fully commit to The Monkees) and reunite for what would be their final tour with Davy. The same guys who entranced [him] at 5 were nearing 70, and [he] knew they had a greatness that needed to be shared again." [7]
Reported in the Chicago Tribune on January 28, 2011: "About 40 minutes into a 45-minute phone conversation, Davy Jones divulges a bit of blockbuster news, at least in Monkees World: Three-quarters of the band will tour this summer. They'll rehearse in May, play 10 dates in England, then hit America in July. 'We're just waiting for my signature on a paper,' Jones says, by phone from his part-time home in Fort Lauderdale, Fla. (At press time, the tour had yet to be officially announced.)"[46] On February 21, 2011 a 45th Anniversary Tour was announced featuring Jones, Dolenz and Tork. It began in Liverpool, the hometown of their biggest influence, The Beatles, on May 12, 2011, followed by Davy Jones' hometown of Manchester, England, and even sold out London's Royal Albert Hall (7500 people),[47] among other stops throughout Britain,[48] before moving to North America in June and July for a total of 43 dates.[49] Andrew Sandoval noted, "Their mixed feelings on the music business and their long and winding relationship weighed heavily, but once they hit the stage in Liverpool on May 12, 2011, the old magic was apparent. For the next three months...[they brought] the music and memories to fans in the band's grandest stage show in decades. Images from their series and films flashed on a huge screen behind them (just as they had when The Monkees pioneered rear-screen projection for concerts); even Rolling Stone, whose owner, Jann Wenner, has vowed to keep them out of the Rock and Roll Hall of Fame, gushed." [7] The tour grossed nearly $4 million.[7] Michael Nesmith did not take part in the reunion—he was almost blind from cataracts at the time of the tour.[50]
On August 8, 2011, the Monkees cancelled the extra ten dates that had been added onto the tour due to what was initially reported as "internal group issues and conflicts."[51] The Monkees shortly afterwards elaborated that it was for business reasons.[52] Tork stated "there were some business affairs that couldn't be coordinated correctly. We hit a glitch and there was just this weird dislocation at one point." [53] Davy Jones finally clarified: "the tour was only supposed to go until July. And it was great, the best time we've had because we're all on the same page now. We gelled onstage and off. But then more dates were being added. And more. And then the next thing we knew, they were talking about Japan, Australia, Brazil, and we were like, 'Wait a second. This is turning into something more than a tour.' We were doing 40 songs a night, plus other material. Some of these shows were 2 1/2 hours long. … Then there was the travel, getting to the next venue with no time to revive. … The audiences were great. But, let's face it, we're not kids." [54]
On the morning of February 29, 2012, Davy Jones was found seated in his car at his home in Indiantown, Florida, complaining of chest pains and having difficulty breathing. He was rushed to Martin Memorial South Hospital in Stuart, Florida, where he was pronounced dead of a severe heart attack due to atherosclerosis.[55][56] The death of Jones ended any chance of a future reunion of the full lineup of the Monkees. Micky Dolenz stated that "just before the untimely passing of Davy Jones, all four of the original group were contemplating another reunion." [57] Up until Jones' death, the Monkees had been one of the few remaining major pop groups from the 1960s with all its members still alive.
In June 2007, Tork complained to the New York Post that Jann Wenner had blackballed the Monkees from the Rock and Roll Hall of Fame in Cleveland, Ohio. Tork stated:
"[Wenner] doesn't care what the rules are and just operates how he sees fit. It is an abuse of power. I don't know whether the Monkees belong in the Hall of Fame, but it's pretty clear that we're not in there because of a personal whim. Jann seems to have taken it harder than everyone else, and now, 40 years later, everybody says, 'What's the big deal? Everybody else does it.' [Uses studio artists or backing bands.] Nobody cares now except him. He feels his moral judgment in 1967 and 1968 is supposed to serve in 2007."
In a lengthy Facebook post, Michael Nesmith essentially stated that he doesn't know if The Monkees belong in the Hall of Fame because he can only see the impact of The Monkees from the inside, and further stated: "I can see the HOF is a private enterprise. It seems to operate as a business, and the inductees are there by some action of the owners of the Enterprise. The inductees appear to be chosen at the owner’s pleasure. This seems proper to me. It is their business in any case. It does not seem to me that the HOF carries a public mandate, nor should it be compelled to conform to one." [58]
Various magazines and news outlets, such as Time Magazine,[59] NPR radio,[60] The Christian Science Monitor,[61] Goldmine magazine,[62][63] Yahoo Music [64] and MSNBC [65] have argued that The Monkees belong in the Rock n' Roll Hall of Fame.
Starting in 1987, Rhino Records started unleashing the wealth of previously unreleased Monkees recordings made during their heydey on a series of albums called Missing Links. Having numerous quality songwriters, musicians, producers, arrangers, etc. along with high budgets at their hands while making albums during the 1960s, The Monkees were able to record as many songs as The Beatles in half the time. The three volumes of this initial series contained 59 songs, most of high quality, and many of which left fans wondering why they weren't released during the 1960s as some fans thought they were of higher quality than what was ultimately chosen for their albums. These include the Monkees first recordings as a self-contained band, including the intended single "All Of Your Toys", along with Nesmith's infamous Nashville sessions where he was forming his own brand of country rock (including studio versions of "Nine Times Blue", which The Monkees had performed live on The Johnny Cash Show during the 1960s, which Johnny Cash called "beautiful" on the same show), and they included alternate TV versions of songs featured on the TV series. The Listen to the Band box set also contained some previously unreleased recordings, as did the 1994-95 series reissue of the albums on CD. Rhino/Rhino Handmade's Deluxe Edition reissue series (2006–present) of the original 1960s albums have included alternate mixes of many of these songs, along with numerous additional previously unreleased songs, including the soundtrack to the 33 1/3 Monkees Per Revolution TV special. Rhino has released a steady stream of these songs since the Missing Links series began.
- Former
- Davy Jones – vocals, guitars, tambourine, maracas (1966–1971, 1986–1989, 1993–1997, 2001–2002, 2011–2012)
- Micky Dolenz – drums, vocals, guitar, piano (1966–1971, 1986–1989, 1993–1997, 2001–2002, 2011–2012)
- Peter Tork – bass, banjo, vocals, keyboards, guitar (1966–1968, 1986–1989, 1995–1997, 2001, 2011–2012)
- Michael Nesmith – guitars, vocals, piano, organ (1966–1970, 1986, 1989, 1996–1997)
- Timeline
<timeline> ImageSize = height:300 width:1050 PlotArea = left:110 bottom:60 top:0 right:150 Alignbars = justify DateFormat = dd/mm/yyyy Period = from:01/01/1966 till:30/06/2012 TimeAxis = orientation:horizontal format:yyyy
Colors =
id:C_Jones value:blue legend:Vocals, guitars, tambourine, maracas
id:C_Dolenz value:green legend:Drums, vocals
id:C_Nesmith value:orange legend:Guitars, vocals
id:C_Tork value:purple legend:Bass, banjo, vocals, keyboards
id:Lines value:black legend:Studio albums
Legend = orientation:horizontal position:bottom ScaleMajor = increment:2 start:01/01/1966
BarData =
bar:Jones text:"Davy Jones"
bar:Dolenz text:"Micky Dolenz"
bar:Nesmith text:"Michael Nesmith"
bar:Tork text:"Peter Tork"
PlotData=
width:10 textcolor:black align:left anchor:from shift:(10,-4)
bar:Jones from:start till:31/12/1970 color:C_Jones
bar:Jones from:01/01/1986 till:31/12/1989 color:C_Jones
bar:Jones from:01/01/1993 till:31/12/1997 color:C_Jones
bar:Jones from:01/01/2001 till:31/12/2002 color:C_Jones
bar:Jones from:01/01/2011 till:end color:C_Jones
bar:Dolenz from:start till:31/12/1970 color:C_Dolenz
bar:Dolenz from:01/01/1986 till:31/12/1989 color:C_Dolenz
bar:Dolenz from:01/01/1993 till:31/12/1997 color:C_Dolenz
bar:Dolenz from:01/01/2001 till:31/12/2002 color:C_Dolenz
bar:Dolenz from:01/01/2011 till:end color:C_Dolenz
bar:Nesmith from:start till:31/12/1969 color:C_Nesmith
bar:Nesmith from:07/09/1986 till:08/09/1986 color:C_Nesmith
bar:Nesmith from:01/01/1996 till:31/12/1997 color:C_Nesmith
bar:Tork from:start till:31/12/1968 color:C_Tork
bar:Tork from:01/01/1986 till:31/12/1989 color:C_Tork
bar:Tork from:01/01/1995 till:31/12/1997 color:C_Tork
bar:Tork from:01/01/2001 till:31/12/2001 color:C_Tork
bar:Tork from:01/01/2011 till:end color:C_Tork
</timeline>
The Monkees, selected specifically to appeal to the youth market as American television's response to the Beatles[66] with their manufactured personae and carefully produced singles, are seen as an original precursor to the modern proliferation of studio and corporation-created bands. But this critical reputation has softened somewhat, with the recognition that the Monkees were neither the first manufactured group nor unusual in this respect. The Monkees also frequently contributed their own songwriting efforts on their albums and saw their musical skills improve. They ultimately became a self-directed group, playing their own instruments and writing many of their own songs.
Noted Monkees and 1960s music historian, Andrew Sandoval noted in The Hollywood Reporter that the Monkees " pioneered the music video format [and band member Mike Nesmith dreamed up the prototype for what would become MTV] and paved the way for every boy band that followed in their wake, from New Kids on the Block to 'N Sync to Jonas Brothers, while Davy set the stage for future teen idols David Cassidy and Justin Bieber. As pop stars go, you would be hard pressed to find a successful artist who didn't take a page from The Monkees' playbook, even generations later. Monkee money also enabled Rafelson and Schneider to finance Easy Rider and Five Easy Pieces, which made Jack Nicholson a star. In fact, the Monkees series was the opening salvo in a revolution that brought on the New Hollywood cinema, an influence rarely acknowledged but no less impactful." [7]
The Chicago Tribune interviewed Davy Jones, who said, "We touched a lot of musicians, you know. I can't tell you the amount of people that have come up and said, 'I wouldn't have been a musician if it hadn't been for the Monkees.' It baffles me even now," Jones says. "I met a guy from Guns N' Roses, and he was overwhelmed by the meeting, and was just so complimentary." [67]
The Monkees found unlikely fans among musicians of the punk rock period of the mid-1970s. Many of these punk performers had grown up on TV reruns of the series, and sympathized with the anti-industry, anti-Establishment trend of their career. Sex Pistols and Minor Threat both recorded versions of "(I'm Not Your) Steppin' Stone" and it was often played live by Toy Love. The Japanese new wave pop group The Plastics recorded a synthesizer and drum-machine version of "Last Train to Clarksville" for their 1979 album Welcome Plastics.
Glenn A. Baker, author of Monkeemania: The True Story of the Monkees, described the Monkees as "rock's first great embarrassment" in 1986:
Like an illegitimate child in a respectable family, the Monkees are destined to be regarded forever as rock's first great embarrassment; misunderstood and maligned like a mongrel at a ritzy dog show, or a test tube baby at the Vatican. The rise of the pre-fab four coincided with rock's desperate desire to cloak itself with the trappings of respectability, credibility and irreproachable heritage. The fact was ignored that session players were being heavily employed by The Beach Boys, The Beatles, The Mamas and the Papas, The Byrds and other titans of the age. However, what could not be ignored, as rock disdained its pubescent past, was a group of middle-aged Hollywood businessmen had actually assembled their concept of a profitable rock group and foisted it upon the world. What mattered was that the Monkees had success handed to them on a silver plate. Indeed, it was not so much righteous indignation but thinly disguised jealousy which motivated the scornful dismissal of what must, in retrospect, be seen as entertaining, imaginative and highly memorable exercise in pop culture.[18]
Mediaite columnist Paul Levinson noted that "The Monkees were the first example of something created in a medium – in this case, a rock group on television – that jumped off the screen to have big impact in the real world."[68]
When commenting on the death of Jones on February 29, 2012, Time magazine contributor James Poniewozik praised the television show, saying "even if the show never meant to be more than entertainment and a hit-single generator, we shouldn’t sell The Monkees short. It was far better TV than it had to be; during an era of formulaic domestic sitcoms and wacky comedies, it was a stylistically ambitious show, with a distinctive visual style, absurdist sense of humor and unusual story structure. Whatever Jones and The Monkees were meant to be, they became creative artists in their own right, and Jones’ chipper Brit-pop presence was a big reason they were able to produce work that was commercial, wholesome and yet impressively weird."[69]
In 1988 Run-D.M.C. recorded "Mary, Mary" on their album Tougher Than Leather. Australian indie-rock bands of the 1980s such as Grooveyard ("All The King's Horses"), Prince Vlad & the Gargoyle Impalers ("Mary, Mary", "For Pete's Sake", and "Circle Sky") and The Upbeat and The Mexican Spitfires ("Mary, Mary") performed Monkees cover versions. Cassandra Wilson had an indie hit with "Last Train to Clarksville" in 1995. The alternative rock group Smash Mouth had a hit with "I'm a Believer" in 2001, and their version was featured in the blockbuster computer-animated movie Shrek. Japanese indie rock band Shonen Knife recorded "Daydream Believer". Indie group Carter USM recorded "Randy Scouse Git", which is also called "Alternate Title". The 1980s psychedelic rock band Bongwater, featuring Ann Magnuson and Mark Kramer, recorded "You Just May Be The One" and "The Porpoise Song". The Monkees also had a big influence on Paul Westerberg, lead singer/songwriter for The Replacements. "Daydream Believer" and "You Just May Be The One" are staples at his live shows. The British alternative rock band The Wedding Present recorded "Pleasant Valley Sunday" in the early 1990s.
The band's legacy was strengthened by Rhino Entertainment's acquisition of the Monkees' franchise from Columbia Pictures in the early 1990s. The label has released several Monkees-related projects, including remastered editions of both the original television series and their complete music library, as well as their motion picture Head.
The highly respected Criterion Collection, whose stated goal is to release "a continuing series of important classic and contemporary films, [and] has been dedicated to gathering the greatest films from around the world and publishing them in editions that offer the highest technical quality and award-winning, original supplements"[70] recognized The Monkees film Head as meeting their criteria when they fully restored and released it on DVD and Blu-ray in 2010. They stated that Head was "way, way ahead of its time" and "arguably the most authentically psychedelic film made in 1960s Hollywood",[71] Head dodged commercial success on its release but has since been reclaimed as one of the great cult objects of its era." [72]
Also, in the book, Hey, Hey We're The Monkees, Rafelson explains, "[Head] explored techniques on film that hadn't been used before. The first shot of Micky under water is a perfect example. Now you see it on MTV all the time, but it was invented for the movie [...] I got two long-haired kids out of UCLA who created the effects that the established laboratory guys said couldn't be done. We invented double-matted experiences. Polarization hadn't been used in movies before. [...] When it was shown in France, the head of the Cinematheque overly praised the movie as a cinematic masterpiece, and from that point on, this movie began to acquire an underground reputation.."[73]
Other examples of the Monkees impact:
- Brian Wilson, of the Beach Boys, noted in The Monkees Anthology CD liner notes that "The Monkees inspired me to write "Break Away" with my dad. Thank you for all of the good music."
- Glenn Campbell, who was a touring member of the Beach Boys, and a successful solo artist, mentioned in The Monkees Anthology CD liner notes that "I love the Monkees because I dug their music."
- Nirvana's Kurt Cobain was a fan of The Monkees, and put their logo on the back of one of his early guitars.
- Tom Petty claimed that he was inspired by The Monkees more than The Beatles
- U2 was a big fan of The Monkees, and had Davy Jones come out during one of their concerts to sing "Daydream Believer"
- R.E.M.'s Michael Stipe had once stated that they would not accept induction into the Rock n' Roll Hall of Fame until The Monkees were inducted (R.E.M. has since been inducted)
- In the 1990s, Dolenz, Jones and Tork had minor roles in the family sitcom Boy Meets World. Tork played Topanga's father Jedidiah; Jones played Reginald, an old friend from Europe; Dolenz played Gordy, Mr. Matthews' best friend. In the one episode that the three were in together, they performed "My Girl".
- In 1991, a feature film called Daydream Believer (known as The Girl Who Came Late in some markets) was released in Australia.
- In 1995, Dolenz, Jones and Tork alongside Beatle Ringo Starr in a Pizza Hut Commercial. Starr wants to convince "the lads" to reunite in order to promote a new pizza style. In the end, Dolenz, Jones and Tork appear next to Starr, leading the drummer to say "oops, wrong lads".
- Jones, Tork and Dolenz also feature memorably as themselves in The Brady Bunch Movie. Jones is invited by Marcia to appear as the surprise star guest at the high school prom. After a difficult start, he proves a surprise hit with the modern-day audience, especially the adult chaperones when they realize their girlhood idol is on-stage. Later, the Bradys themselves perform "Keep On Dancing", a 1960s-style "groovy" song, in the evening's "Search For A Star" talent contest. Everyone is surprised when they win the award until it is revealed that the judging panel consists of Jones, Tork and Dolenz.
- In The Simpsons episode "Fear of Flying", a flashback to Marge's childhood showed that she had a Monkees lunchbox on her first day of school, only for another girl to taunt her about her love for the band by telling her they didn't play their own instruments or write their own songs (and claims that Mike Nesmith's hat isn't his own). In the present, Marge notes that the girl was right, however her psychiatrist assures her by saying "The Monkees weren't about music, Marge. They were about rebellion, about political and social upheaval!'"
- In 2005, eBay used "Daydream Believer" as the theme for a promotional campaign.
- In 2006, Evergreen used "Daydream Believer" in their advertisements; the lyrics were adapted for the product.
- In 2009, Britain's Got Talent sensation Susan Boyle recorded "Daydream Believer".
- In 2010, Nick Vernier Band created a digital "Monkees reunion" through the release of Mister Bob (featuring The Monkees),[74] a new song produced under license from Rhino Entertainment, containing vocal samples from the band’s recording "Zilch".
- In 2011, "Mister Bob" was released as a single to coincide with the Monkees’ 45th Anniversary Tour.
- Had the top-charting American single of 1967 ("I'm a Believer"). (Billboard number-one for seven weeks) with "Daydream Believer" tied for third.
- Gave the Jimi Hendrix Experience their first U.S. concert appearances as an opening act in July 1967.[75] Jimi Hendrix's heavy psychedelic guitar and sexual overtones did not go over well with the teenage girl audience. During one of the shows, Hendrix gave the audience the finger and quit the tour.
- Gene Roddenberry was inspired to introduce the character of Chekov in his Star Trek TV series in response to the popularity of Davy Jones, complete with hairstyle and appearance mimicking that of Jones.[76][77]
- Introduced Tim Buckley to a national audience, via his appearance in the series finale, "The Frodis Caper" (aka "Mijacogeo").
- Last music artist to win the MTV Friday Night Video Fights by defeating Bon Jovi 51% to 49%.
- First music artist to win two Emmy Awards.
- Had seven albums on the Billboard top 200 chart at the same time (six were re-issues during 1986/87).
- The Monkees are one of the first artists achieving number-one hits in the United States and United Kingdom simultaneously.
- More of The Monkees spent 70 weeks on the Billboard charts, becoming the 12th biggest selling album of all time.[78]
- Four No. 1 albums in a one-year span.[79]
- Held the No. 1 spot on the Billboard album chart for 31 consecutive weeks, 37 weeks total.[80]
- Held the record for the longest stay at No. 1 for a debut record album until 1982 when Men At Work's debut record album Business As Usual broke that record.
- Received their star on the Hollywood Walk of fame in July 1989. All 4 members were present for the ceremony.
- In 2008, The Monkees were inducted into the Hit Parade Hall of Fame.
- Between 1966 and 1970, The Monkees released 127 songs on 10 albums and 13 non-LP singles. The final song they recorded was "It's Got To Be Love".
- North American Tour (1966–67)
- British Tour (1967)
- Pacific Rim Tour (1968)
- North American Tour (1969) (Dolenz, Jones, Nesmith)
- The Golden Hits of The Monkees (1975–77) (Dolenz, Jones, Boyce and Hart)
- Sounds of The Monkees (1986; 1987) (Jones, Tork)
- 20th Anniversary World Tour (1986) (Dolenz, Jones, Tork)
- Here We Come Again Tour (1987–88) (Dolenz, Jones, Tork)
- The Monkees Live (1989) (Dolenz, Jones, Tork)
- The Monkees Summer Tour (1989) (Dolenz, Jones, Tork)
- Micky and Davy: Together Again (1994–95) (Dolenz, Jones)
- Monkees: The 30th Anniversary Tour (1996) (Dolenz, Jones, Tork)
- Justus Tour (1997)
- North American Tour (1997) (Dolenz, Jones, Tork)
- Monkeemania Returns Tour (2001–2002) (Dolenz, Jones, Tork)
- An Evening with The Monkees: The 45th Anniversary Tour (2011) (Dolenz, Jones, Tork)
There was also "The Monkees" comic published in the United States by Dell Comics, which ran for seventeen issues from 1967 to 1969. In the United Kingdom, a Daily Mirror "Crazy Cartoon Book" featured four comic stories as well as four photos of The Monkees, all in black and white; it was published in 1967.
In 2000, VH-1 produced the television biopic Daydream Believers: The Monkees' Story.[81] In 2002, the movie was released on DVD, and featured both commentaries and interviews with Dolenz, Jones and Tork. The aired version did differ from the DVD release as the TV version had an extended scene with all four Monkees but with a shortened Cleveland concert segment. It was also available on VHS.
- Baker, Glenn A. (1986). Monkeemania: The True Story of the Monkees. Plexus Publishing. ISBN 0-312-00003-0.
- Baker, Glenn A. (1986, rev. 2000). Monkeemania: The True Story of the Monkees. Plexus Publishing. ISBN 0-85965-292-0.
- Gilliland, John (1969). "Revolt of the Fat Angel: Some samples of the Los Angeles sound." (audio). Pop Chronicles. Digital.library.unt.edu. http://digital.library.unt.edu/explore/partners/UNTML/browse/?start=42&fq=untl_collection%3AJGPC.
- Lefcowitz, Eric (2010). Monkee Business: The Revolutionary Made-For-TV Band. Retrofuture. ISBN 0-86719-338-7.
- Lefcowitz, Eric (1985). The Monkees Tale. Last Gasp. ISBN 0-943249-00-7.
- Lefcowitz, Eric (1985, rev. 1989). The Monkees Tale. Last Gasp. ISBN 0-86719-378-6.
- Bronson, Harold (1996). Hey, Hey We're the Monkees. General Publishing Group, Inc.. ISBN 1-57544-012-1.
- Sandoval, Andrew (2005). The Monkees: The Day-by-Day Story of the 60s TV Pop Sensation. Thunder Bay Press. ISBN 1-59223-372-4.
- ^ Piorkowski, Jeff. "Monkee Micky Dolenz loves science, excels in all forms of entertainment". Cleveland.com. http://www.cleveland.com/sun/all/index.ssf/2012/03/monkee_micky_dolenz_loves_scie.html. Retrieved 16 May 2012.
- ^ "Decades after the Monkees, Dolenz drums up a new stage role". http://articles.boston.com/2004-01-09/ae/29202930_1_circus-boy-monkees-aida/2. Retrieved 16 May 2012.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be bf bg bh bi bj bk bl bm bn bo bp bq br bs bt bu bv bw bx by bz ca cb cc cd ce cf cg ch ci cj ck cl cm cn co cp cq cr cs ct cu Sandoval, Andrew (2005). The Monkees: The day-by-day story of the '60s TV pop sensation. San Diego, CA: Thunder Bay Press. pp. 39. ISBN 978-1-59223-372-4.
- ^ Sandoval (2005), pp. 39.
- ^ MASLIN, JANET. "Rockers With Low Profiles and Perfect Timing". New York Times. http://www.nytimes.com/2012/02/20/books/the-wrecking-crew-by-kent-hartman-on-60s-studio-musicians.html. Retrieved 12 May 2012.
- ^ ROHTER, LARRY. "Music Film Is Delayed by Fees for Songs". New York Times. http://www.nytimes.com/2012/04/26/movies/wrecking-crew-film-focuses-on-session-players.html?pagewanted=all. Retrieved 12 May 2012.
- ^ a b c d e f g Sandoval, Andrew. "How Davy Jones and the Monkees Impacted Music, Hollywood -- and Jack Nicholson". The Hollywood Reporter. http://www.hollywoodreporter.com/news/how-davy-jones-monkees-changed-hollywood-297757. Retrieved 20 May 2012.
- ^ Sheffield, Rob. "The Monkees Return, Terrific as Ever". Rolling Stone. http://www.rollingstone.com/culture/blogs/pop-life/on-first-reunion-tour-in-10-years-the-monkees-act-like-theyve-never-left-20110617. Retrieved 17 June 2011.
- ^ "An Evening with The Monkees - 45th Anniversary Tour". The Monkees Live Almanac. http://www.monkeesconcerts.com/2011-45th-anniversary-world-tour.html. Retrieved 12 May 2012.
- ^ Smith, Liz. "Sofia Vergara, Raquel Welch: Like Mother, Like Daughter?". Huffington Post. http://www.huffingtonpost.com/liz-smith/modern-family-raquel-welch_b_1476020.html. Retrieved 12 May 2012.
- ^ "The Top 25 Teen Idol Breakout Moments". Rolling Stone. http://www.rollingstone.com/music/lists/the-top-25-teen-idol-breakout-moments-20120511/the-monkees-1967-19691231. Retrieved 13 May 2012.
- ^ Micky Dolenz at corporateartists.com
- ^ No Monkee Business: A Candid Interview with Micky Dolenz
- ^ a b c d e f g h Sandoval (2005), p. 84.
- ^ a b Gilliland 1969, show 44,track 2.
- ^ Micky Dolenz Related Items at www.angelfire.com
- ^ Eric Lefcowitz book (Last Gasp Press) ISBN 0-86719-338-7
- ^ a b c d Baker, Glenn A.; Tom Czarnota, Peter Hoga (1986). Monkeemania: The True Story of the Monkees. New York, New York: Plexus Publishing. pp. 5, 49, 43. ISBN 0-312-00003-0.
- ^ Greene, Andy. "Exclusive: Michael Nesmith Remembers Davy Jones". Rolling Stone. http://www.rollingstone.com/music/news/exclusive-michael-nesmith-remembers-davy-jones-20120308#ixzz1v8CRGRDd. Retrieved 17 May 2012.
- ^ a b c d e f g Sandoval (2005), p. 80.
- ^ Staff. Consumer Price Index (estimate) 1800–2012. Federal Reserve Bank of Minneapolis. Retrieved February 22, 2012.
- ^ Sandoval, Andrew. "Discography". Official Monkees Website. http://www.monkees.com/read/discography/singles.php. Retrieved 20 May 2012.
- ^ a b c Sandoval (2005), p. 108.
- ^ "Discography". The Monkees Official Website. http://www.monkees.com/read/discography/albums.php. Retrieved 18 May 2012.
- ^ a b "Discography". Monkees Official Website. http://www.monkees.com/read/discography/albums.php. Retrieved 18 May 2012.
- ^ a b Sandoval, Andrew. "Discography". Monkees Official Website. http://www.monkees.com/read/discography/singles.php. Retrieved 20 May 2012.
- ^ "Discography". Monkees Official Website. http://www.monkees.com/read/discography/albums.php.
- ^ "Jerry Garcia on The Monkees, 1967". You Tube. http://www.youtube.com/watch?v=vXs_rwjb_x4. Retrieved 18 May 2012.
- ^ Sandoval, Andrew (2011). Monkees Instant Replay Deluxe Edition liner notes. Rhino Records. pp. 15.
- ^ Greene, Andy. "Peter Tork: Monkees Canceled Tour Due to a 'Glitch' Read more: http://www.rollingstone.com/music/news/peter-tork-monkees-canceled-tour-due-to-a-glitch-20111011#ixzz1vS9eDRIx". Rolling Stone. http://www.rollingstone.com/music/news/peter-tork-monkees-canceled-tour-due-to-a-glitch-20111011. Retrieved 20 May 2012.
- ^ Myers, Marc. "Who Else Made More Hit Songs?". Wall Street Journal. http://online.wsj.com/article/SB10001424052748703858404576214574291829718.html. Retrieved 13 May 2012.
- ^ MASLIN, JANET. "Rockers With Low Profiles and Perfect Timing". New York Times. http://www.nytimes.com/2012/02/20/books/the-wrecking-crew-by-kent-hartman-on-60s-studio-musicians.html. Retrieved 13 May 2012.
- ^ Piorkowski, Jeff. "Monkee Micky Dolenz loves science, excels in all forms of entertainment". Cleveland.com. http://www.cleveland.com/sun/all/index.ssf/2012/03/monkee_micky_dolenz_loves_scie.html. Retrieved 18 May 2012.
- ^ Tork, Peter. "Peter Tork: Davy Jones' Extraordinary Groove". The Courant. http://www.courant.com/news/opinion/hc-op-tork-davy-jones-the-monkees-extraordinary-he-20120306,0,2235913.story. Retrieved 13 May 2012.
- ^ Nesmith, Michael. ""Should The Monkees be included in The Rock and Roll Hall of Fame?", you ask.". Facebook. http://www.facebook.com/michaelnesmith/posts/400891016595629. Retrieved 13 May 2012.
- ^ "The Beatles name Nilsson as their favorite American artist.". Official Harry Nilsson Homepage. http://www.harrynilsson.com/page-the-beatles-name-nilsson-as-their-favorite-american-artist.html. Retrieved 13 May 2012.
- ^ Jason, MacNeil. "Davy Jones Dead: Members of The Monkees and Other Musicians React". Spinner. http://www.spinner.com/2012/02/29/davy-jones-dead-monkees-reactions/. Retrieved 13 May 2012.
- ^ "Pizza Hut Commercial". You Tube. http://www.youtube.com/watch?v=EwRjdYTYrKk. Retrieved 13 May 2012.
- ^ imdb.com.
- ^ "Monkees Split In Bitter Battle". WENN News. January 3, 2002. http://www.imdb.com/news/ni0068658/. Retrieved July 29, 2008.
- ^ Greene, Andy. "Exclusive: The Monkees Resolve Personal Issues for 45th Anniversary Tour". Rolling Stone. http://www.rollingstone.com/music/news/exclusive-the-monkees-resolve-personal-issues-for-45th-anniversary-tour-20110307. Retrieved 20 May 2012.
- ^ [1][dead link]
- ^ DVD commenatary, The Monkees, Season One
- ^ Davy Jones 'attacks Monkees bandmates'
- ^ "Monkees in talks for 2011 reunion". Jam!. Quebecor. 7 October 2011. http://jam.canoe.ca/Music/2010/10/07/15612111-wenn-story.html. Retrieved 2 June 2011.
- ^ Knopper, Steve. "The littlest Monkee is still going strong". The Chicago Tribune. http://articles.chicagotribune.com/2011-01-28/entertainment/ct-ott-0128-davy-jones-20110127_1_jones-and-tork-monkee-business-daydream-believer. Retrieved 20 May 2012.
- ^ ERVOLINO, BILL. "Davy Jones and David Cassidy team up at bergenPAC". NorthJersey.com. http://www.northjersey.com/arts_entertainment/129248218_Ex_teen_idols_together_at_bergenPAC.html?c=y&page=1. Retrieved 20 May 2012.
- ^ Chen, Joyce. "The Monkees, 1960s American mop-top pop band, will celebrate 45 year reunion with tour through UK". The NY Daily News. http://articles.nydailynews.com/2011-02-21/entertainment/28639628_1_band-year-reunion-uk. Retrieved 20 May 2012.
- ^ "Monkees announce 10-date concert tour". United Press International. 21 February 2011. http://www.upi.com/Entertainment_News/Music/2011/02/21/Monkees-announce-10-date-concert-tour/UPI-30601298316685/. Retrieved 26 May 2011.
- ^ "Michael Nesmith Talks About His Long Journey Into Darkness and Coming Back to the Light". Vintage Vinyl News. http://www.vintagevinylnews.com/2012/02/michael-nesmith-talks-about-his-long.html. Retrieved 20 May 2012.
- ^ "The Monkees cancel Palace show, tour". timesunion.com. August 9, 2011. http://www.timesunion.com/local/article/The-Monkees-cancel-Palace-show-tour-1786733.php. Retrieved August 9, 2011.
- ^ "Two Monkees cite business reasons for tour cancellation". monkees.net. http://www.monkees.net/two-monkees-cite-business-reasons-for-tour-cancellation/. Retrieved 20 May 2012.
- ^ Greene, Andy. "Peter Tork: Monkees Canceled Tour Due to a 'Glitch'". Rolling Stone. http://www.rollingstone.com/music/news/peter-tork-monkees-canceled-tour-due-to-a-glitch-20111011. Retrieved 20 May 2012.
- ^ ERVOLINO, BILL. "Davy Jones and David Cassidy team up at bergenPAC". northjersey.com. http://www.northjersey.com/arts_entertainment/129248218_Ex_teen_idols_together_at_bergenPAC.html?c=y&page=1. Retrieved 20 May 2012.
- ^ "Davy Jones’ Death Caused By Severe Heart Attack". idolator.com. 2 March 2012. http://idolator.com/6205531/davy-jones-death-severe-heart-attack. Retrieved 2 March 2012.
- ^ "Davy Jones, lead singer of The Monkees, dies in Indiantown, according to medical examiner's office". WPTV. 29 February 2012. http://www.wptv.com/dpp/news/region_martin_county/davy-jones-lead-singer-of-the-monkees-dies-from-heart-attack-this-morning-according-to-tmz-report. Retrieved 29 February 2012.
- ^ Smith, Liz. "Sofia Vergara, Raquel Welch: Like Mother, Like Daughter?". Huffington Post. http://www.huffingtonpost.com/liz-smith/modern-family-raquel-welch_b_1476020.html. Retrieved 20 May 2012.
- ^ Nesmith, Michael. ""Should The Monkees be included in The Rock and Roll Hall of Fame?", you ask.". Facebook. http://www.facebook.com/michaelnesmith/posts/400891016595629. Retrieved 20 May 2012.
- ^ McCombs, Joseph. "Hey, Hey Let Them In: 10 Reasons The Monkees Should Be in the Rock and Roll Hall of Fame". Time Magazine. http://entertainment.time.com/2012/04/19/the-monkees-should-be-in-the-rock-and-roll-hall-of-fame-times-10-part-treatise/#their-chart-success. Retrieved 20 May 2012.
- ^ Hirsh, Marc. "NOW Can We Induct The Monkees Into The Rock And Roll Hall Of Fame?". NPR Radio. http://www.npr.org/blogs/monkeysee/2012/03/01/147736081/now-can-we-induct-the-monkees-into-the-rock-and-roll-hall-of-fame. Retrieved 20 May 2012.
- ^ "Rock and Roll Hall of Fame: The top 5 biggest omissions". The Christian Science Monitor. http://www.csmonitor.com/The-Culture/2010/1215/Rock-and-Roll-Hall-of-Fame-The-top-5-biggest-omissions/The-Monkees. Retrieved 20 May 2012.
- ^ Marder, Phill. "No Monkee business allowed in the Rock Hall of Fame?". Goldmine Magazine. http://www.goldminemag.com/blogs/no-monkee-business-allowed-in-the-rock-hall-of-fame. Retrieved 20 May 2012.
- ^ Marder, Phill. "10 more bands snubbed by the Rock & Roll Hall of Fame". Goldmine Magazine. http://www.goldminemag.com/blogs/10-more-bands-snubbed-by-the-rock-roll-hall-of-fame. Retrieved 20 May 2012.
- ^ Hoskyns, Barney. "Why Aren’t the Monkees In the Rock and Roll of Fame?". Yahoo Music. http://music.yahoo.com/blogs/rocks-backpages/why-aren-t-monkees-rock-roll-fame-125232196.html. Retrieved 20 May 2012.
- ^ Sclafani, Tony. "Hey hey, it's the fans who want the Monkees in the Rock Hall". MSNBC. http://entertainment.msnbc.msn.com/_news/2012/04/13/11182790-hey-hey-its-the-fans-who-want-the-monkees-in-the-rock-hall?lite. Retrieved 20 May 2012.
- ^ "CAS – Central Authentication Service". Oxfordmusiconline.com.ezproxy2.library.arizona.edu. http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/subscriber/article/grove/music/49253?q=the+monkees&search=quick&source=omo_gmo&pos=1&_start=1#firsthit. Retrieved 2012-03-01.
- ^ Knopper, Steve. "The littlest Monkee is still going strong". Chicago Tribune. http://articles.chicagotribune.com/2011-01-28/entertainment/ct-ott-0128-davy-jones-20110127_1_jones-and-tork-monkee-business-daydream-believer. Retrieved 20 May 2012.
- ^ Levinson, Paul (February 2012). "Why The Monkees Are Important". Mediaite. http://www.mediaite.com/online/why-the-monkees-are-important/. Retrieved 2 March 2012.
- ^ Poniewozik, James (February 2012). "RIP Davy Jones, The Monkees’ Daydreamboat". Time (magazine). http://entertainment.time.com/2012/02/29/rip-davy-jones-the-monkees-daydreamboat/?xid=rss-topstories. Retrieved February 29, 2012.
- ^ "About Us". The Criterion Collection. http://www.criterion.com/about_us. Retrieved 20 May 2012.
- ^ Stephens, Chuck. "Head-zapoppin’!". The Criterion Collection. http://www.criterion.com/current/posts/1665-head-zapoppin. Retrieved 20 May 2012.
- ^ "Head". The Criterion Collection. http://www.criterion.com/films/27527-head. Retrieved 20 May 2012.
- ^ Bronson, Harold (1996). Hey, Hey We're the Monkees. Los Angeles: General Publishing Group, Inc.. pp. 146. ISBN 1-57544-012-1.
- ^ New Monkees Release – Mister Bob
- ^ Lawrence, Sharon (2005). Jimi Hendrix: The Intimate Story of a Betrayed Musical Legend. New York: Harper. p. 84. ISBN 0-06-056301-X.
- ^ Source: The Making of Star Trek, by Stephen E. Whitfield and Gene Roddenberry, (c) 1968 Ballantine Books, pp. 249–250.
- ^ Source: TV Guide, September 4–10, 1993 p. 20.
- ^ Billboard.com
- ^ Conradt, Stacy. "The Quick 10: 10 Billboard Milestones". Mental Floss. http://www.mentalfloss.com/blogs/archives/24901. Retrieved June 8, 2010.
- ^ Whitburn, Joel. "Billboard Chart Records". Beatlelinks.net. http://www.beatlelinks.net/forums/showthread.php?t=3008. Retrieved June 8, 2010.
- ^ imdb.com
|
The Monkees
|
|
|
|
|
| Production/management |
|
|
| Studio albums |
|
|
| Other albums |
|
|
| Live albums |
|
|
| Singles |
|
|
| Film/television |
|
|
| Related articles |
|
|
|
|
|
|
|
|
| Studio albums |
|
|
| Soundtracks |
|
|
| Live albums |
|
|
| Promtional-Only albums |
|
|
| Compilations |
|
|
| Related articles |
|
|
![B.o.B - Airplanes ft. Hayley Williams of Paramore [OFFICIAL VIDEO]](http://web.archive.org./web/20130515031526im_/http://i.ytimg.com/vi/kn6-c223DUU/default.jpg "B.o.B - Airplanes ft. Hayley Williams of Paramore [OFFICIAL VIDEO]")
Media related to 
Quotations related to 
