THE MONKEES are an American rock and pop band originally active
between 1965 and 1971, with subsequent reunion albums and tours in the
decades that followed. They were formed in
For the first few months of their initial five-year career as "the Monkees", the four actor-musicians were allowed only limited roles in the recording studio. This was due in part to the amount of time required to film the television series. Nonetheless, Nesmith did compose and produce some songs from the beginning, and Peter Tork contributed limited guitar work on the sessions produced by Nesmith. They eventually fought for and earned the right to collectively supervise all musical output under the band's name. The sitcom was canceled in 1968, but the band continued to record music through 1971.
A revival of interest in the television show came in 1986, which led to a series of reunion tours and new records. Until 2011, the group had reunited and toured several times, with varying degrees of success. Despite the sudden death of Davy Jones on February 29, 2012, the surviving members reunited for a tour in November–December 2012 and again in 2013 for a 24-date tour. As of December 2016, they continue to tour, with Dolenz and Tork providing the core of the band, assisted by several other professional musicians, for their 50th anniversary tour through the US, Australia, and New Zealand in 2016. Nesmith was able to free some time up to join them in the latter stages of the US tour.
Dolenz described the Monkees as initially being "a TV show about an
imaginary band ... that wanted to be the Beatles , that was never
successful". The actor-musicians became, ironically, one of the most
successful bands of the 1960s.
* 1 Conception * 2 Developing the music for their debut album
* 3 From television to concert stage
* 3.1 On tour
* 4 Kirshner and _More of the Monkees_
* 5 Independence
* 5.1 _Headquarters_ and _Pisces, Aquarius, Capricorn & Jones_ * 5.2 _The Birds, The Bees & The Monkees_
* 6 Beyond television
* 6.1 _Head_ * 6.2 Early 1969: Tork\'s resignation, _Instant Replay_ and _The Monkees Present_ * 6.3 April 1970: Nesmith\'s resignation and _Changes_
* 7 Reunions and revivals
* 7.1 Dolenz, Jones, Boyce when they chose him, he was essentially a proto-star looking for his lucky break.
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, the other three chosen for the cast of the TV
show were Michael Nesmith,
DEVELOPING THE MUSIC FOR THEIR DEBUT ALBUM
The Monkees' chairs
During the casting process Don Kirshner , 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. The duo contributed four demo recordings for the pilot. One of these recordings was "(Theme From) The Monkees" which helped get the series the green light.
When _The Monkees_ was picked up as a series, development of the
musical side of the project accelerated. Columbia -
Kirshner called on Snuff Garrett , composer of several hits by Gary Lewis 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, Music Supervisor Don Kirshner would be forcibly dismissed 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. The first
long-playing album, _
FROM TELEVISION TO CONCERT STAGE
Publicity shot in 1967
In assigning instruments for purposes of the television show, a dilemma arose as to which of the four would be the drummer. Both Nesmith (a skilled guitarist and bassist) and Tork (who could play several stringed and keyboard instruments) were peripherally familiar with the instrument but both declined to give the drum set a try. Jones knew how to play the drums and tested well enough initially on the instrument, but the producers felt that, behind a drum kit, the camera would exaggerate his short stature and make him virtually hidden from view. 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 the pilot, but he was soon taught how to play properly. 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 and percussionist. This, however, is in opposition to the lineup which would have made the most sense based upon the members' musical strengths. For example, Tork is actually a better guitar player than Nesmith, while Nesmith had at one time specifically trained on the bass. While Jones certainly had a strong lead voice and sings lead on several Monkees recordings, Dolenz's voice is regarded, particularly by Nesmith, as one of the most distinctive in popular music history and a hallmark of the Monkees' sound. This theoretical lineup was actually depicted once, in the music video for the band's song "Words", which shows Jones on drums, Tork playing lead guitar, Nesmith on bass and Dolenz fronting the group. In concert appearances Tork also took much of the guitar duties, even in appearances with Nesmith, and Dolenz often plays rhythm guitar on stage.
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, inasmuch as they were produced to sell
the records. _
After working on the set all day, the Monkees (usually Dolenz or Jones) would be called into the recording studio to cut vocal tracks. As the band was essential to this aspect of 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.
_ 1969 television special 33 1/3 Revolutions Per Monkee_.
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, the band went out on the road and made their debut live performance in December 1966 in Hawaii.
They 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
In DVD commentary tracks included in the Season One release, Nesmith admitted 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.
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).
KIRSHNER AND _MORE OF THE MONKEES_
Andrew Sandoval noted in Rhino's 2006 Deluxe Edition CD reissue of
More of the Monkees
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 and 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 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 and 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
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 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". Four days later, on January 20, 1967, their debut self-titled
album made its belated release in the U.K. (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 climax of the rivalry between Kirshner and the band was an intense argument among 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 $1,800,000 in today's funds ).
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 " 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 was only released in Canada and was withdrawn after a couple of weeks.
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
_HEADQUARTERS_ AND _PISCES, AQUARIUS, CAPRICORN & JONES_
In March 1967 " The Girl I Knew Somewhere ", composed by Nesmith and performed by Dolenz, Nesmith, Tork and bassist John London, was issued as the B-side to the Monkees' third single, "A Little Bit Me, a Little Bit You ", and it rose to No. 39 on the charts. The A-side rose to No. 2.
Issued in May 1967, _Headquarters_ had no songs released as singles
in the United States, but it would still be their third No. 1 album in
a row, with many of its songs played on the second season of the
television 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 No. 1 on May 24, 1967, with
the Beatles' _Sgt. Pepper_ released the following week, which would
knock _Headquarters_ to the #2 spot on the charts for the next 11
weeks, the same weeks which would become known by the counterculture
as the "
Summer of Love
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. 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 lost interest in being a drummer and indeed, he 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—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 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 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."
With _ Pisces, Aquarius, Capricorn & Jones Ltd. _, the Monkees fourth album, they went back to making music for the television 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 the B-side had Micky and Peter alternating lead vocals, Peter played organ, Mike played guitar, percussion, and provided backing vocals, and Davy provided percussion and backing vocals. 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' television show during the second season.
The song "What Am I Doing Hangin' 'Round?", recorded in June 1967 and featured on _Pisces, Aquarius, Capricorn & Jones Ltd._, is seen as a landmark in the fusion of country and rock 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."
Their next single, "Daydream Believer" (with a piano intro written by Tork), would shoot to No. 1 on the charts, letting the Monkees hold the No. 1 position in the singles chart and the album chart with Pisces simultaneously. "Daydream Believer" used the non-album track "Goin' Down" as its B-side, which featured Nesmith and 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.
_THE BIRDS, THE BEES "> Davy Jones and
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 his 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 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 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. The Leiber/Stoller-penned A-side would break into the Top 20, peaking at No. 19 on the charts.
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
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 group), 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 in briefly in half-filled movie theaters. In the DVD commentary, 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. Indeed, Rafelson and Schneider severed all ties to the band amid the bitterness that ensued over the commercial failure of _Head_. At the time, Rafelson told the press, "I grooved on those four in very special ways while at the same time thinking they had absolutely no talent."
Released in October 1968, the single from the album, "The Porpoise Song", is a psychedelic pop song written by Goffin/King, with lead vocals from Micky Dolenz and backing vocals from Davy Jones, and it reached number 62 on the Billboard charts.
The soundtrack album to the movie, _Head_, reached No. 45 on the Billboard charts. 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 his own head, a play on the album title _Head_. Peter Tork said, "That was something special ... 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 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 , 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." 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.
EARLY 1969: TORK\'S RESIGNATION, _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 per year, equal to about $980,000 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
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 _
In February 1969, the Monkees' seventh album, _Instant Replay ,_
without Tork's involvement beyond playing guitar on "I Won't Be the
Same Without Her", was released, which reached No. 32 on the charts.
The single from the album was "
Tear Drop City ", which peaked at No.
56 on the U.S. Billboard chart and No. 34 on the Australian chart.
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
Dolenz contributed the biggest and longest Monkees' production, "Shorty Blackwell", a song inspired by his cat of the same name. Dolenz called it his "feeble attempt at something to do with _Sgt. Pepper._" 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 _,
In April 1969, the single "Someday Man" b/w "Listen to the Band" was released, which had the unique distinction of the B-side, a Nesmith composed country-rock song, charting higher (No. 63) than the Jones-sung A-side (#81).
The final album with Michael Nesmith from the Monkees original incarnation would be their eighth album, _ The Monkees Present _, released in October 1969, which peaked at No. 100 on the Billboard charts. It would include the Nesmith composed country-rock singles "Listen to the Band" and "Good Clean Fun" (released in September 1969). Other notable songs include the Dolenz composition "Little Girl", which featured Louie Shelton on electric guitar, joining Micky on acoustic guitar, along with "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. Although the tour was met with some positive critical reception (_Billboard_ in particular praised it), other critics were not favorable of the mixing of the Monkees' pop music with the Goodtimers' R&B approach. Toward the end of the tour, some dates were canceled due to poor ticket sales, and the tour failed to re-establish the band commercially, with no single entering the Top 40 in 1969. Dolenz remarked that the tour "was like kicking a dead horse. The phenomenon had peaked."
APRIL 1970: NESMITH\'S RESIGNATION AND _CHANGES_
On April 14, 1970, Nesmith joined Dolenz and Jones for the last time as part of the original incarnation of the Monkees to film a Kool-Aid commercial (with the then-newly introduced Nerf balls, thrown around a mock living room by the trio, available as a premium for Kool-Aid labels), with Nesmith leaving the group to continue recording songs with his own country-rock group called Michael Nesmith & The First National Band , which he had started recording with on February 10, 1970. 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 Dolenz and Jones to record the bubblegum pop album _Changes _ as the ninth and final album by the Monkees released during its original incarnation. 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 . 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 Dolenz). 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, until 1986. Originally released in June 1970, _Changes_ would first chart in Billboard's Top 200 during the Monkees' 1986 reunion, staying on the charts for 4 weeks.
September 22, 1970 marked the final recording session by the Monkees in their original incarnation, when Jones and Dolenz recorded "Do It in the Name of Love" and "Lady Jane". 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"), 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", although in Japan it was issued under the Monkees' name.
Jones released a solo album in 1971, titled _Davy Jones_, featuring the single "Rainy Jane" / "Welcome to My Love". Both Jones and Dolenz released 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.
REUNIONS AND REVIVALS
DOLENZ, JONES, BOYCE & HART
Partly because of repeats of the television series _The Monkees_ on
Saturday mornings and in syndication, _
Other semi-reunions occurred between 1970 and 1986. Tork helped arrange a 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.
MTV AND NICKELODEON REIGNITE MONKEEMANIA
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. Their original
albums began selling again as
By now, Nesmith was amenable to a reunion, but forced to sit out most
projects because of prior commitments to his 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. Nesmith 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
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. Jones had declined to sing on the track, recorded along with two other new songs included in a compilation album, _Then Jones would typically leave the stage when the new songs were performed.
The 1980s reunion tours were the most lucrative venture the three had ever seen in their days as the Monkees, far surpassing the money they had made in the 1960s. Nesmith 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' tenth), 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 Monkees
In 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. Rhino Records (which in August 1994 acquired the complete Monkees back audio and video catalog, as well as the rights to the Monkees name and official logo, under an agreement with Rafelson and Schneider ) re-issued all the original LPs on CD, each of which included between three and six bonus tracks of previously unreleased or alternate takes; the first editions came with collectible trading cards.
Their eleventh 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
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. 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 _
Tork, Jones, and Dolenz toured the United States in 1997, after which
the group took another hiatus until
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.
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
Jones and Dolenz went on to tour the
In October, Jones stated that a reunion marking the band's 45th
anniversary was a possibility. Noted Monkees biographer Andrew
Sandoval commented in _
The Hollywood Reporter
_An Evening with The Monkees: The 45th Anniversary Tour _ commenced
on May 12, 2011 in
On August 8, 2011, the band cancelled ten last-minute shows due to what was initially reported as "internal group issues and conflicts", though Tork later confirmed "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." Jones clarified that "the (45th Anniversary) 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."
DEATH OF JONES AND REUNION WITH NESMITH
The 45th anniversary tour would be the last with Jones, who died of a heart attack at age 66 due to atherosclerosis on February 29, 2012. Soon thereafter, rumors began to circulate that Nesmith would reunite with Dolenz and Tork in the wake of Jones' death. This was confirmed on August 8, 2012, when the surviving trio announced a series of U.S. shows for November and December, commencing in Escondido, California and concluding in New York City. The brief tour marked the first time Nesmith performed with the Monkees since 1997, as well as the first without Jones. Jones' memory was honored throughout the shows via recordings and video. During one point, the band went quiet and a recording of Jones singing "I Wanna Be Free" played while footage of him was screening behind the band. For Jones' signature song, "Daydream Believer", Dolenz said that the band had discussed who should sing the song and had concluded that it should be the fans, saying "It doesn't belong to us anymore. It belongs to you."
The Fall 2012 tour was very well received by both fans and critics, resulting in the band scheduling a 24-date summer tour for 2013. Dubbed "A Midsummer’s Night With the Monkees", concerts also featured Nesmith, Dolenz, and Tork. "The reaction to the last tour was euphoric", Dolenz told _Rolling Stone_ magazine. "It was pretty apparent there was a demand for another one." A third tour with Nesmith would follow in 2014.
In 2014, the Monkees were inducted into the Pop Music Hall of Fame at the 2014 Monkees Convention. At the convention the band announced a 2014 tour of the Eastern and Midwestern US.
_GOOD TIMES!_ AND 50TH ANNIVERSARY: 2015-PRESENT
Dolenz and Tork toured as the Monkees in 2015 without Nesmith's participation. Nesmith stated that he was busy with other ventures, although Dolenz said that "He's always invited." In February 2016, Dolenz announced that the Monkees would be releasing a new album, titled _ Good Times! _, as a celebration of their 50th anniversary. _Good Times!_, produced by Adam Schlesinger of Fountains of Wayne , features contributions by all three surviving members, as well as a posthumous contribution from Jones. The album was released in May 2016 to considerable success, reaching No. 14 on the Billboard 200 and generally favorable reviews.
With the release of the album, the band, featuring Dolenz and Tork,
commenced their 50th Anniversary Tour. Nesmith did not participate in
most of the tour, again citing other commitments. He did, however,
make a few appearances throughout the summer of 2016, appearing
STUDIO RECORDINGS CONTROVERSY
Controversy over the Monkees' studio abilities hit early in 1967. Dolenz told a reporter that the Wrecking Crew provided the backing tracks for the first two Monkees albums, and that his origin as a drummer was simply that a Monkee had to be tasked with learning the drums since he knew how to play only the guitar. A January 28, 1967 _Saturday Evening Post_ article quoted Nesmith railing against the music creation process. "Do you know how debilitating it is to sit up and have to duplicate somebody else’s records?" he asked. "Tell the world we don’t record our own music... Our records are not our forté," he added. The whistle blowing on themselves worked in forcing producer Don Kirshner out of the project and the band taking creative control for its third album. But when the Monkees toured the U.K. in 1967, the story that the band was recording their own music for its current album and playing their own instruments on stage was not the headline.
Making the front pages of several U.K. and international music papers
was that the group members did not always play all of their own
instruments or sing all of the backing vocals in the studio during
their tour of England. The group was derisively dubbed the "Pre-Fab
Four", and the _
In November 1967, the wave of anti-Monkee sentiment was reaching its peak while the Monkees released their fourth album, _Pisces, Aquarius, Capricorn, 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."
It was reported in _Rolling Stone_ on October 11, 2011 that Tork still feels that the Monkees do not 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."
Timeline For The Studio Recordings Controversy
* 1962: Jones lands the part of Michael in the stage show _Peter Pan_, in which he is coached on the tone of his voice. Later that year, he lands the role of the Artful Dodger in the Broadway musical production of _Oliver!_ Nesmith receives his first guitar during Christmas of 1962. He will build his proficiency with it to rehabilitate his hands after they are injured. Tork takes part in folk ensembles. The initial idea for _The Monkees_ is developed * 1963: 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. While still performing in the musical _Oliver!_, Jones makes his first studio recordings of demonstration tapes of his singing. He is also nominated for a Tony award. Nesmith performs solo and with folk groups and releases his first recording. * 1964: Dolenz plays guitar and sings in his first band, the Missing Links. Dolenz had started playing Spanish guitar when he was 10–12 years old. Jones signs recording contract with Colpix Records. He appears on _The Ed Sullivan Show_ on the same night as the Beatles. This will bring him to the attention of Bob Rafelson and Bert Schneider. Nesmith wins Headliner of the Year talent contest performing with John London. Tork tours with folk group.
* 1965: Jones's first singles and album are released. He appears on
Dick Clark's _Where the Action Is_. Nesmith releases more singles and
plays with folk group. He records for Colpix. _Record World_ gives
one of Nesmith's singles a four star review. He appears on a couple
of TV shows performing music. Tork still performs in Greenwich
Village clubs. Dolenz 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.
Tork commented on some of the controversy when writing about Jones's 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."
MEETING THE BEATLES
Critics of the Monkees observed that they were simply the "Pre-Fab
four", a made-for-TV knockoff of the Beatles ; however, the members of
the Beatles themselves took it in their stride and even hosted a party
for the Monkees when they visited England. The party occurred during
the time when the Beatles were recording album _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
Nesmith attended the Beatles session recording for single "A Day in
the Life " at Abbey Road Studios; he can be seen in the Beatles' home
movies, including one scene where he is talking with
When the Beatles were recording Sgt. Peppers, Phyllis and I spent a
few days with John and wife
Cynthia Lennon 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
During the '60s it seemed to me
Dolenz was also in the studio during a _Sgt. Pepper_ session, which
he mentioned while broadcasting for radio
WCBS-FM in New York
(incidentally, he interviewed
During the 1970s, during Lennon's infamous "lost weekend", Lennon,
Ringo Starr, Micky Dolenz,
Harry Nilsson and
Julian Lennon was a fan, stating at the time of Davy Jones' passing, "You did some great work!"
ROCK AND ROLL HALL OF FAME
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.' Nobody cares now except him. He feels his moral judgment in 1967 and 1968 is supposed to serve in 2007.
In a Facebook post, Nesmith stated that he does not 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 (Hall of Fame) 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."
In 1992, Davy Jones spoke to _People _ magazine, stating "I'm not as wealthy as some entertainers, but I work hard, and I think the best is yet to come. I know I'm never going to make the Rock and Roll Hall of Fame, but maybe there's something else for me in show business. I've been given a talent—however big or little—that has given me many opportunities. I've got to try to use it the best way I can. A lot of people go days without having someone hug them or shake their hand. I get that all the time."
In 2015, Micky Dolenz said, "As far as the Rock it’s never been very important to me. I was very proud to win an Emmy for _The Monkees_, having come out of television as a kid. When we won the Emmy for best TV show in ’66 or ‘67 that was a huge feather in my cap. But I’ve never chased that kind of stuff. I’ve never done a project and thought, “What do I do here to win an award?” Specifically as far as the Rock that’s their prerogative. That’s their private club. That’s kind of how I feel about it."
Various magazines and news outlets, such as _Time _, NPR radio, _The Christian Science Monitor_, _Goldmine_ magazine, Yahoo Music and MSNBC have argued that the Monkees belong in the Rock n' Roll Hall of Fame.
ORIGINALLY UNRELEASED RECORDINGS
Beginning in 1987, Rhino Records started to make available previously unreleased Monkees recordings on a series of albums called _Missing Links _. Having numerous quality songwriters, musicians, producers and arrangers—along with high budgets—at their hands while making albums during the 1960s, the band was able to record as many songs as the Beatles in half the time.
The three volumes of this initial series contained 59 songs. These include the group's first recordings as a self-contained band, including the intended single "All Of Your Toys," Nesmith's Nashville sessions, and alternate versions of songs featured only on the television series. The _Listen to the Band _ box set also contained previously unreleased recordings, as did the 1994-95 series CD album reissues. Rhino/Rhino Handmade's Deluxe Edition reissue series has also included alternate mixes, unreleased songs, and the soundtrack to _ 33⅓ Revolutions per Monkee _.
Micky Dolenz – vocals, drums, moog synthesizer, guitar
(1966–1971, 1986–1989, 1996–1997, 2001–2002, 2011–present)
* Davy Jones – vocals, tambourine, maracas, drums, bass, guitar (1966–1971, 1986–1989, 1996–1997, 2001–2002, 2011–2012; died in 2012) * Michael Nesmith – guitar, vocals, keyboards (1966–1970, 1986, 1989, 1996–1997, 2012–2014, 2016)
IMPACT AND LEGACY
The Monkees, selected specifically to appeal to the youth market as
American television's response to the Beatles 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.
Noted Monkees and 1960s music historian
Andrew Sandoval noted, in
_The Hollywood Reporter,_ that the Monkees "pioneered the music video
format and paved the way for every boy band that followed in their
New Kids on the Block
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 added. "I met a guy from Guns N\' Roses , and he was overwhelmed by the meeting, and was just so complimentary."
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.
Mediaite _ columnist
Paul Levinson noted that "
When commenting on the death of Jones on February 29, 2012, _Time _ magazine contributor James Poniewozik praised the television show, saying that "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.
Both the style and substance of the Monkees were imitated by American boy band Big Time Rush (BTR), who performed in their own television series which -- by admission of series creator Scott Fellows -- was heavily influenced by the Monkees. Similar to the Monkees, Big Time Rush featured a "made-for-tv" boy band often caught in a series of misadventures, hijinks, and somewhat slapstick comedy. The show, now in reruns but still hugely popular on Teen Nick , is highly stylized and patterned after the Monkees, even capped with similar cartoonish sound effects. Like the Monkees, BTR has also seen critical and commercial success in America and worldwide through album, singles and high TV ratings worldwide."
* Mike Nesmith's individual song publishing opened the way for the
Paul Butterfield Blues Band to record "Mary, Mary" for their
groundbreaking second album, _East-West _, in 1966---months before the
song was recorded by the Monkees for the controversial _More of the
Monkees _ second album.
Linda Ronstadt would have her first major hit two years later,
when her folk-rock group the Stone Poneys recorded Nesmith's
Different Drum ," a song they may have found by way of the Greenbriar
Boys ' earlier version. Except for a comic and brief playing of the
song on a Monkees television episode, Monkees themselves never
recorded the song and Nesmith would not record his own version until
his 1972 solo album _And the Hits Just Keep on Comin\' _
* Canadian singer
Anne Murray recorded "
Daydream Believer " on her
1979 album, _I\'ll Always Love You _. In 1980, it peaked at No. 1 on
the U.S. Adult Contemporary chart, No. 12 on the pop chart, and No. 3
on the country chart.
* In 1988,
Run–D.M.C. sampled "Mary, Mary " and wrote new lyrics
for the song, the most successful on their album _Tougher Than Leather
* Australian indie-rock bands of the 1980s such as
The King's Horses"), Prince Vlad "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.
IN POPULAR CULTURE
The band's legacy was strengthened by
Rhino Entertainment 's
acquisition of the Monkees' franchise from
The highly respected Criterion Collection, whose stated goal is to
release "a continuing series of important classic and contemporary
films, 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" recognized
In the book, _Hey, Hey We're The Monkees,_ Rafelson explains, " 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."
Other examples of the Monkees impact:
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* Had the top-charting American single of 1967 ("I\'m a Believer ").
(Billboard number-one for seven weeks) with "
Daydream Believer " tied
for third. "I'm a Believer" was listed as the #48 song on the
Billboard Hot 100 50th Anniversary Chart that was released in August
2008. The August 2013 updated 55th Anniversary Chart shows the song at
* Gave the
Jimi Hendrix Experience their first U.S. concert tour
exposure as an opening act in July 1967.
Main article: The Monkees discography
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.
VH-1 produced the television biopic _Daydream Believers: The
Monkees' Story_. 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 meeting the Beatles but with a
A stage musical opened in the UK at the
Manchester Opera House on
Friday March 30, 2012, and was dedicated to Davy Jones (the Jones
family attended the official opening on April 3). The production is a
Jukebox musical and starred Stephen Kirwan, Ben Evans, Tom Parsons and
Oliver Savile as actors playing the parts of the Monkees
(respectively Dolenz, Jones, Nesmith, Tork) who are hired by an
unscrupulous businessman to go on a world tour pretending to be the
real band. The show includes 18 Monkees songs plus numbers by other
60s artists. It ran in
* Baker, Glenn A. (1986). _Monkeemania: The True Story of the
Monkees_. Plexus Publishing. ISBN 0-312-00003-0 .
* Baker, Glenn A. (2000) . _Monkeemania: The True Story of the
Monkees_. Plexus Publishing. ISBN 0-85965-292-0 .
* Falkenberg, Lise Lyng (2001). _
* ^ _A_ _B_ _C_ _D_ _E_ Sandoval, Andrew (2005). _The Monkees: The
day-by-day story of the '60s TV pop sensation_. San Diego, CA: Thunder
Bay Press . p. 39. ISBN 978-1-59223-372-4 .
* ^ _A_ _B_ _C_ _D_ _E_ Sandoval, Andrew. "How Davy Jones and the
Monkees Impacted Music, Hollywood - and Jack Nicholson". The Hollywood
Reporter . Retrieved May 20, 2012.
* ^ Sheffield, Rob. "
* ^ Shannon Fromma (August 9, 2011). "
_ Wikiquote has quotations related to: THE MONKEES _
* Official website * Mike Nesmith Interview - Rocker Magazine 2013 * Peter