The Monkees: Wikis


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The Monkees

The Monkees, left to right: Micky Dolenz, Davy Jones, Peter Tork, and Michael Nesmith
Background information
Origin Los Angeles, California, United States
Genres Rock, pop, pop rock,
Years active 1966–1970,
Labels Colgems, RCA, Bell, Arista, Rhino
Former members
Michael Nesmith
Davy Jones
Micky Dolenz
Peter Tork

The Monkees were a pop rock quartet assembled by Robert "Bob" Rafelson and Bert Schneider in Los Angeles in 1966 for the American television series The Monkees, which aired from 1966 to 1968. The members were Americans Micky Dolenz, Michael Nesmith, Peter Tork, and Englishman Davy Jones, who were supervised and popularized by Don Kirshner.

At the time of the band's formation, its producers saw The Monkees as a Beatles-like band.[1] At the start, the band members provided vocals, and were given some performing and production opportunities, but they eventually fought for and earned the right to collectively supervise all musical output under the band's name. The group undertook several concert tours, allowing an opportunity to perform as a live band as well as on the TV series. Although the show was canceled in 1968, the band continued releasing records until 1970. In the 1980s, 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.



Aspiring filmmakers Bob Rafelson and Bert Schneider were inspired by the Beatles' film A Hard Day's Night to devise a television series about a rock 'n' roll group.[2][3] As "Raybert Productions," they sold the show to Screen Gems television. Rafelson and Schneider's original idea was to cast an existing Los Angeles-based folk rock group, the Lovin' Spoonful. 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. So in September 1965, Daily Variety and The Hollywood Reporter ran an ad seeking "Folk & Roll Musicians-Singers for acting roles in new TV series". As many as 400 hopefuls showed up to be considered as one of the "four insane boys" who would be the stars of the show.[1] Four were chosen to become The Monkees.

George Michael "Micky" Dolenz had been the 10-year-old star of the Circus Boy series in the 1950s, during which time he had used the stage name "Micky Braddock", and was a working actor. He found out about The Monkees through his agent.

Englishman Davy Jones had achieved some initial success on the musical stage. Already recording for the Colpix record label and under contract at Columbia/Screen Gems, he had been identified in advance as a potential star for the TV series.[4] Indeed, he later acknowledged that The Monkees was initially created primarily around him, even with its linkages to A Hard Day's Night.

Texan Robert Michael "Mike" Nesmith was a songwriter and guitarist who had recorded for Colpix under the name "Michael Blessing". He was the only Monkee who had come in to audition from seeing the original advertisement. He repeatedly denied having been the only musician in the team or, for that matter, much of a musician.

Peter Tork, whose real name was Peter Halsten Thorkelson, was recommended to Rafelson and Schneider by a friend, Stephen Stills.[1] Tork, a skilled multi-instrumentalist, had performed at various Greenwich Village folk clubs before moving west, where he was a dishwasher before becoming a Monkee.[1] Nesmith subsequently called Tork a better musician, by several orders of magnitude, than Nesmith himself was.

Stephen Stills himself was considered for the band, but turned down; among others rejected were Bobby Pickett (at 27 deemed "too old"), Gary Lewis, Paul Williams, brothers Matt and Mark Andes (later of Spirit and Heart), and Van Dyke Parks. Years later the story was told that Charles Manson also auditioned, but this was a pure urban legend: at the time, Manson was in Federal prison in Washington state.

Developing the music

During the casting process, Screen Gems head of music, Don Kirshner 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.[5] The duo contributed four demo recordings to the pilot, featuring their own voices.[6]

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.[7] Raybert set up a rehearsal space and rented instruments for the group to practice playing,[7] 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.[8]

Kirshner called on Snuff Garrett, helmer 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.[9] Kirshner next allowed Nesmith to produce sessions, provided he did not play on any tracks he produced.[9] 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 experience to the sessions.[6] Boyce and Hart observed quickly that when brought in to the studio together, the four actors would try to crack each other up. Because of this, they would often bring in each singer individually.[10]

According to Nesmith, it was Dolenz's voice that made the Monkees's sound distinctive, and even during tension-filled times Nesmith and Tork voluntarily 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' first single, "Last Train to Clarksville", was released in August 1966, just weeks prior to the broadcast and, 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, The Monkees, was released in October and shot to the top of the charts.

From TV to stage

Developing a live act

In assigning instruments for purposes of the television show, a dilemma arose as none of the four was an actual drummer. Both Nesmith, a guitarist, 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 and the producers hired him a teacher.[citation needed]

Unlike most television shows at 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. Eric Lefcowitz, in The Monkees Tale[11], pointed out—and Nesmith corroborated him—that the Monkees were first and foremost a video group.[citation needed] 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.[2]

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.[12] Bob Rafelson wrote and directed the episode.

On tour

In commentary tracks included in the DVD release of the first season of the show, 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, rather than as it was done with Nesmith on guitar, Tork on bass, and Dolenz on drums, yet when they took over as instrumentalists the members stayed in their known roles. (Jones mostly played maracas and tambourine, filling in briefly for Dolenz on drums on a song and for Tork on bass when he played keyboards.) The four Monkees performed all the instruments and vocals for most of the live set. The most notable exceptions being 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 Great Britain (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 they were 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.[13]

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).

Meeting the Beatles

Critics of the Monkees observed that they were simply the "prefab four", a made-for-TV knockoff of the Beatles, but the Beatles took it in their stride, and made the Monkees welcome when they visited England. John Lennon publicly compared the Monkees' humor to The Marx Brothers. George Harrison praised their self-produced musical attempts, saying, "When they get it all sorted out, they might turn out to be the best." (Peter Tork was later one of the musicians on Harrison's Wonderwall Music, playing Paul McCartney's five-string banjo.)

During the time when the Beatles were recording Sgt. Pepper's Lonely Hearts Club Band, the Monkees were in England and met the Beatles at a party, partially inspiring the line in the Monkees's tune "Randy Scouse Git" which read "the four kings of EMI are sitting stately on the floor". 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 Lennon (who called him Monkee Man). Dolenz was also in the studio during a session, which he mentioned while broadcasting for WCBS-FM in New York (incidentally, he interviewed Starr on his program). 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.

Separation from Kirshner

The Monkees had complained that the producers would not allow them to play their own instruments on their records, and 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 the series' musical coordinator Don Kirshner to let the group have more participation in the recording process (against his strong objections). This included Nesmith producing his own songs, and band members making instrumental contributions. The Monkees were capable of playing their own instruments on the recordings and they had written some material. Except for the few songs forced through by the Monkees' campaigning, they were not allowed by Kirshner to play or use their own material.

The animosity between Kirshner and the Monkees began in the very early stages of the band. The Monkees' off-screen personalities at the time were much like what became their on screen image (except for Peter). This included the playful, hyperactive antics that are often seen on screen. Apparently, during an early recording session, the four Monkees were clowning around in the studio. The antics escalated until Micky Dolenz poured a Pepsi on Kirshner's head; at the time, Dolenz did not know Kirshner on sight.[citation needed]

Nesmith and Tork were particularly upset when they were on tour in January 1967 and discovered that a second album, More of The Monkees, had been released without their knowledge. 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.[14]

The climax of the rivalry was an intense argument between Nesmith and Kirshner Colgems lawyer Herb Moelis, which took place at the Beverly Hills Hotel in January 1967. Kirshner had presented the group with royalty checks and Nesmith had responded with an ultimatum, demanding a change in the way the Monkees' music is 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, motherfucker!" (However, all the band members, including Nesmith, reluctantly accepted the royalty checks.)[14]

Kirshner's dismissal came in early February 1967 when an agreement was reached between Colgems and the Monkees to release material directly created by the group in addition to Kirshner-produced material. Kirshner violated this agreement when he released "A Little Bit Me, A Little Bit You", a selection of Neil Diamond's authorship and composition, as a single with "She Hangs Out", a song recorded in New York with Davy Jones vocals, as the flipside. When the single was discovered, Kirshner was immediately dismissed.

Kirshner was reported to have been incensed by the group's unexpected rebellion, especially when he felt they lacked the musical talent, and were hired for their acting ability alone.[citation needed] 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. Their choices were not unerring; the band turned down "Sugar, Sugar", which became one of the biggest hits of 1969 when Kirshner recorded it with studio musicians and released it under the name of The Archies. A rumor circulated that a version of "Sugar Sugar" was recorded using session musicians with Davy Jones providing all the vocals that was never released. However, when asked Jones confirmed that Kirshner had offered it to them, but stated he never recorded it.[15] The Monkees never had to record a song they truly disliked, as Dolenz affirmed on The Larry King Show in 1987. (They would sometimes lampoon songs during takes, though; their lighthearted version of "Gonna Buy Me a Dog" ended up being picked for the group's first album.)


On their third album, Headquarters (produced by Chip Douglas and issued in May 1967), the four Monkees wrote and played on much of their own material. Nearly all vocals and instruments on Headquarters were performed by the four Monkees (the exceptions being only a few small parts usually filled by producer Chip Douglas). The album shot to number one, but was quickly eclipsed the following month by a milestone cultural event when The Beatles released Sgt. Pepper's Lonely Hearts Club Band.

Following Headquarters, they began what they referred to as "mix mode"[citation needed] where they played their own instruments but also continued to employ session musicians. The Monkees continued using additional 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, especially when the group became temporarily estranged after Pisces, Aquarius, Capricorn & Jones Ltd. and recorded some of their songs separately.

The Monkees performing "What Am I Doin' Hangin' 'Round" in 1967. (l to r: Nesmith, Jones, Dolenz, Tork)

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. However, the four did not have enough in common regarding their musical interests. 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 musician 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.) Nesmith and Jones were also moving in different directions, with Nesmith following his country/folk instincts and Jones reaching for Broadway-style numbers.

While the first two albums, produced under Kirshner's direction, constituted prime examples of the traditional American pop music industry, with its Brill Building composers and its skilled studio session players, the next three albums, while not shining as brightly in terms of polished commerciality, constituted high class, original examples of the individual Monkees' country-rock, folk-rock, psychedelic rock, soul/R&B, guitar rock, Broadway, and English music hall sensibilities. Tork, free from Kirshner's restrictions, contributed some of the most memorable and catchy instrumental flourishes, such as the piano introduction to "Daydream Believer" and the banjo part on "You Told Me", as well as exploring occasional songwriting with the likes of "For Pete's Sake" (which was used as the closing theme music for the second season of the television series) and "Lady's Baby". Nesmith dove into his country sensibilities, producing a roots sound for popular consumption and contributed his idiosyncratic poetry as lyrics to several pieces. Jones and Dolenz's vocals continued to shine, even after Head, when the project was clearly falling apart.

When the Monkees toured Britain 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.

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 (including critical favorites such as the Byrds and 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 (although they at times used additional musicians such as George Martin, Eric Clapton or Billy Preston to augment the Beatles' own instrumentation) 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, 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 one, not only was this 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."

The Monkees went back into the recording studio, largely separately, and produced a large volume of recordings, material that eventually turned up on several albums. In April 1968, The Birds, The Bees & The Monkees was released. Being released after the final season of the television series (the series was canceled in February 1968, although new episodes continued to air each week through the spring), this was the first Monkees album not to hit number one, but it still went gold. 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.

Beyond television

During the filming of the second season, the band 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 sans 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 had little desire to continue for a third season. 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.

After The Monkees was cancelled in February 1968, Rafelson directed the four Monkees in a feature film, Head, originally titled "Untitled". Schneider was executive producer, and the project was co-written and co-produced by Rafelson with a then relatively unknown Jack Nicholson. Rumors abound that the title was chosen in case a sequel was made. The advertisements would supposedly have read: "From the producers who gave you HEAD".[16]

Nicholson also assembled the film's soundtrack album. 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, 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).

Head 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 nearly-empty cinemas. In commentary for the DVD release, Nesmith said that by this time, everyone associated with the Monkees, including the four 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 having to deal with the matter. 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".

But they all proved later to have gotten it entirely wrong. For over the intervening years Head has developed a cult following for its innovative style and anarchic humor, and the soundtrack album (long out of print, but re-released by Rhino in the 1980s and now available in an expanded CD version) is counted among their most adventurous recordings. Members of the Monkees, Nesmith in particular, cite Head (the first Monkees album not to include any Boyce and Hart compositions) as one of the crowning achievements of the band. The highlights include Nesmith's "Circle Sky", an all-out rocker, Tork's psychedelic "Can You Dig It?", "Long Title: Do I Have to Do This All Over Again?" and the Goffin/King composition "Porpoise Song".

The Monkees had several international hits which are still heard on pop and oldies stations. These include "I'm a Believer", "(I'm Not Your) Steppin' Stone", "Daydream Believer", "Last Train to Clarksville", and "Pleasant Valley Sunday". Despite their seemingly permanent reputation as a made-for-TV act, their hits and many lesser recordings present an enduring quality that has earned respect over the years.

Six albums were produced with the original Monkees lineup, four of which went to number one on the Billboard chart. This success was supplemented by a series of successful world concert tours. But tensions within the group were increasing, and Peter Tork quit shortly after the band's Far East tour in December 1968, after completing work on their 1969 NBC television special, Thirty-Three And One-Third 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.)

The remaining Monkees had decided to pursue their musical interests separately since Pisces, Aquarius, Capricorn, and Jones Ltd.; they were no longer in the studio together—and 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. No longer getting the group dynamic he wanted, and pleading "exhaustion" from the grueling schedule, Tork bought out his remaining contract.

Reduced to a trio, the remaining members went on to record Instant Replay and The Monkees Present. Throughout 1969, the trio would appear as guests on various 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 the summer of 1969 the three Monkees embarked on a tour with the backing soul band Sam and the Goodtimers. The concerts for this tour were longer sets than their earlier concert tours: many shows running over two hours. Unfortunately the 1969 Monkees' tour was not all that successful; some shows were cancelled due to poor ticket sales. In March 1970, Nesmith left the group, leaving only Dolenz and Jones to record Changes as the Monkees. 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, Dolenz and Jones said that they 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. This would also mark the last official Monkees single "Oh My My" which also became the last Monkees music film promo (produced by Micky).

After a 1971 single ("Do It In The Name Of Love" b/w "Lady Jane"), the Monkees lost the rights to use the name; in several countries, the USA included, the single was not credited to the Monkees but to Dolenz and Jones. The duo continued to tour throughout most of the 1970s but were unable to use the "Monkees" name.

Due in part to repeats of The 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 and Singapore. They also released an album of new material as Dolenz, Jones, Boyce & Hart (they could not use the Monkees name due to legal reasons). 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) 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). 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.


1980s reunions

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 video music channel MTV. In February and March, Tork and Jones played together in Australia. Then, starting in May, Dolenz, Jones, and Tork made a "20th Anniversary Tour". MTV promotion resurrected a smaller version of Monkeemania, and tour dates grew from smaller to larger venues.

Album cover for Then & Now... The Best of The Monkees, released at the height of the Monkees' 1986 revival. (l to r: Jones, Tork, Nesmith, Dolenz)

Producer David Fishof reunited the trio which became one of the biggest live acts of 1986 and 1987, with their original albums selling again, and a new greatest hits collection reaching platinum status. Mike Nesmith appeared on stage with Dolenz, Jones, and Tork twice, both times in Los Angeles: at the Greek Theatre on September 7, 1986, and at the Universal Amphitheatre on July 10, 1989. 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 took part in a dedication ceremony at the Hollywood Walk of Fame, when the Monkees received a star there in 1989. Because his mother Bette Nesmith Graham was the inventor of Liquid Paper, Nesmith was independently wealthy and had little financial need to join in Monkees-related projects.

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 #19 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. 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.

In 1986, a new television series called The New Monkees appeared. Four young musicians were placed in a similar series based on the original show, but "updated" for the 1980s. The show, its accompanying album and the New Monkees themselves all sank without a trace. (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.)

Beginning in February 1987, Tork and Jones played in Australia together. When they began playing North America in June, they were joined by Dolenz and in September 1988, the three rejoined to play Australia again and then Europe and then North America, with that string of tours ending in September 1989. On July 9, 1989, the three were joined in Los Angeles by Nesmith, the first time all four played together since 1986.

1990s reunions

In 1993, Dolenz and Jones worked together on a television commercial, and another reunion tour was launched with the two of them in 1994.

In the 1990s, the Monkees continued to record new material. 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 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 while in 1966, Nesmith had learned a reasonably good version of the famous "Last Train to Clarksville" guitar lick, that in 1996, Nesmith was no longer able to play it, and Tork had to take over the lead guitar parts.

Nesmith's departure from the tour came with acrimony in the press. Jones was quoted by the Los Angeles Times as complaining that "he 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."[17]

2000s reunions

Tork, Jones, and Dolenz toured the United States in 1997, after which the group took another hiatus, until the three regrouped again in 2001. Dolenz, Jones, and Tork toured the United States from March through September 2001. 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 himself was quoted as saying that as well as the fact he wanted to tour with his band Shoe Suede Blues. Most acutely, Tork told WENN News he was troubled by the overindulging of 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."[18]

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, and it seems doubtful that the Monkees will be sighted together again.

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 and Museum. Tork asserted:

"[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.'[does not play their own instruments] Nobody cares now except him. He feels his moral judgment in 1967 and 1968 is supposed to serve in 2007."

Over the years, the Monkees have expressed admiration for each other's talents and contributions. However, by 2008, it seemed that their relationships had soured again. 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."[19]

Nonetheless, that same month, Jones spotted Tork in the audience at one of his shows in Connecticut, and he invited Peter onstage, where they performed "Papa Gene's Blues" together, with obvious playful affection between them.


The Monkees, selected specifically to appeal to the youth market 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.

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 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".

In 1985, Monte Landis, who had appeared in a number of episodes of the television series, had a cameo in Pee-wee's Big Adventure, a feature film comedy in the style of the Monkees' television show, and his appearance suggests the producers wanted Pee-wee's Big Adventure to have a connection to it.

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.

In the 1990s, three of the Monkees 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.

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. 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.

David Bowie, already under contract to record his debut album, was forced to adopt the stage name of "Bowie" in order to have any chance of having his music released in the United States, his legal name being David Robert Jones. During the early 1960s Bowie was performing either under his own name or the stage name "Davie Jones", and briefly even as "Davy Jones", creating confusion with Davy Jones of The Monkees. To avoid this, in 1966 he chose "Bowie" for his stage name, after the Alamo hero Jim Bowie and his famous Bowie knife.

In 2005, eBay used "Daydream Believer" as the theme for a promotional campaign.

In 2006, Evergreen used "Daydream Believer" in their adverts; the lyrics were adapted for the product.

In 2009, Britain's Got Talent sensation Susan Boyle recorded "Daydream Believer."

Notable achievements

  • Had the top-charting American single of 1967 ("I'm a Believer"). (Billboard number-one for seven weeks) with "Daydream Believer" tied for third.
  • First band to use a Moog Synthesizer in a top-10 album (used on "Star Collector", "Daily Nightly" and "Love Is Only Sleeping" from Pisces, Aquarius, Capricorn & Jones Ltd., released in November 1967).
  • Gave the Jimi Hendrix Experience their first US concert appearances as an opening act in July 1967.[20] It should be noted that Hendrix's heavy psychedelic guitar and sexual overtones did not go over well with the teenage girl audience.
  • Compelled another David Jones to change his surname to Bowie to avoid being confused with Davy Jones of The Monkees.
  • 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.[21][22]
  • The Monkees reunion tour was the largest grossing tour of 1986.
  • Introduced Tim Buckley to a national audience, via his appearance in the series finale, "Mijacogeo, Or – The Frodis Caper".
  • 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.
  • First television series to star teenagers living on their own without parents.
  • First rock band to use a multimedia live concert show (film, stage choreography, and music).
  • First actual live concert footage to be featured in a motion picture (Head, 1968).
  • 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 only ten 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 (
  • Four number-one albums in a one-year span. The only act to have their first four albums go to number one on the Billboard charts.
  • Held the number one spot on the Billboard album chart for 31 consecutive weeks.
  • Held the record for the longest stay at number one for a debut record until 1982 when Men At Work's debut record Business As Usual broke that record.



There was also "The Monkees" comic published by Dell which ran from 1–17 (1967–1969) as well as a Daily Mirror "Crazy Cartoon Book" (2/6, now 12.5p) which had four comic stories as well as four photos of The Monkees, all in black and white. Published 1967.


  • Baker, Glenn A. (1986). Monkeemania: The Story of the Monkees. Plexus Publishing. ISBN 0-312-00003-0. 
  • Baker, Glenn A. (1986, rev. 2000). Monkeemania: The Story of the Monkees. Plexus Publishing. ISBN 0859652920. 
  • Lefcowitz, Eric (1985). The Monkees Tale. Last Gasp. ISBN 0-86719-338-7. 
  • Lefcowitz, Eric (1985, rev. 1989). The Monkees Tale. Last Gasp. ISBN 0867193786. 
  • Sandoval, Andrew (2005). The Monkees: The Day-by-Day Story of the 60s TV Pop Sensation. Thunder Bay Press. ISBN 1-59223-372-4. 

See also


  1. ^ a b c d Sandoval (2005), p. 26.
  2. ^ a b Lefcowitz, Eric. Monkees Tale. Berkeley, CA: Last Gasp. pp. 4, 7–8, 10, 26, 66, 76. ISBN 0-867-19378-6. 
  3. ^ Lefcowitz (1985), pp. 6–7.
  4. ^ Sandoval (2005), p. 25.
  5. ^ Sandoval (2005), p. 27.
  6. ^ a b Sandoval (2005), p. 40.
  7. ^ a b Sandoval (2005), p. 36.
  8. ^ Sandoval (2005), p. 37.
  9. ^ a b Sandoval (2005), p. 39.
  10. ^ Sandoval (2005), p. 46.
  11. ^ [ ISBN 0-86719-338-7 Eric Lefcowitz book (Last Gasp Press)]
  12. ^ Sandoval (2005), p. 84.
  13. ^ Baker (1986), p. 49.
  14. ^ a b Sandoval (2005), p. 80.
  15. ^ Source: Davy Jones in conversation December 27, 2008 Las Vegas, NV.
  16. ^ Head facts from the Internet Movie database.
  17. ^
  18. ^ "Monkees Split In Bitter Battle". WENN News. January 3, 2002. Retrieved July 29, 2008. 
  19. ^ [1]
  20. ^ Lawrence, Sharon (2005). Jimi Hendrix: The Intimate Story of a Betrayed Musical Legend. New York: Harper. pp. 84. ISBN 006056301X. 
  21. ^ Source: The Making of Star Trek, by Stephen E. Whitfield and Gene Roddenberry, (c) 1968 Ballantine Books, pp. 249–250.
  22. ^ Source: TV Guide, September 4–10, 1993 p. 20.

External links

Simple English

The Monkees were a rock band. The band was created originally for a comedy television series of the same name which aired on NBC, from 1966 to 1968. The members of the group were Davy Jones, Michael Nesmith, Peter Tork, and Micky Dolenz. They had hits with "Last Train to Clarksville", "I'm a Believer", and "Daydream Believer". Tommy Boyce and Bobby Hart were songwriters and producers who worked with the Monkees. Another writer/producer for the Monkees was Chip Douglas. Many of the songs recorded by the Monkees came from the Brill Building writers in New York City.


The members

Four actors with musical skills were chosen, out of 437 hopefuls who auditioned for the series. Britisher Davy Jones was under contract to Columbia Pictures, had issued records, and performed on British and American television. Columbia was looking for a vehicle for Jones, and Screen Gems, who would produce the show, was their TV division. Nesmith was from Texas, played in country and rock bands, and had published his own songs. Dolenz was a grown-up child actor from Los Angeles, California, who sang and played in cover bands. Tork had been a working folk musician in New York's Greenwich Village. Each had their own wit and personality, could entertain an audience, and could also sing.

Other young men who auditioned for the show included Stephen Stills (who showed great talent, but looked too old for a role; he referred Tork, an old friend who looked a little like him), Danny Hutton (who later found fame with Three Dog Night), Harry Nilsson (who later met the Monkees, wrote for them, and recorded with them), and Paul Williams (who had lost a role in Circus Boy to Dolenz ten years earlier; the Monkees later recorded his song "Someday Man"). Charles Manson was later rumored to have auditioned, but he was imprisoned at the time.

The concept

Bob Rafelson and Bert Schneider wanted to make movies, but had little experience in that. Schneider's father was president of Columbia Pictures, and offered them the chance to make a pilot episode for a television series. If the series was sold to a network, they could produce and direct episodes, and gain experience.

Rafelson had already wanted to produce something involving musicians, and their life. When the Beatles appeared in the movies A Hard Day's Night and Help!, people enjoyed watching them onscreen, both playing out their lives and performing slapstick comedy, along with playing music. Rafelson and Schneider adapted what they saw in the Beatles movies, and also in American movies and television. While the Beatles were always shown as a popular, well-known band, their show would be about an unknown band, looking for the chance to become famous.

The pilot episode was filmed in the fall of 1965. A first playing for a test audience did not score well, but a re-edited version scored very well, and the series was sold to NBC. To make sure there was enough music for the series, music publisher Don Kirshner was hired. His Brill Building songwriters were among the best young talent.

Actor James Frawley, the son of William Frawley (from I Love Lucy fame), wanted to become a film director. He worked with Rafelson and Schneider, then with the Monkees as they were selected. Before the series began filming, Frawley spent six weeks working with the members, teaching them about improvisation in acting and comedy, and helping them learn to play characters.

The series

The Monkees appeared for two seasons on NBC television, with 58 episodes made in all. The show won two Emmy Awards in 1967, for Outstanding Comedy Series, and Outstanding Directorial Achievement in Comedy. The series gave promotion to the Monkees's records, while their music made people interested in watching the show. While the show's natural audience was children and teenagers, there were also jokes and other things that older viewers could enjoy. The band sometimes talked directly to the audience, and made fun of the fact that they were on a television show. Many episodes ended with short interviews with the Monkees, where they talked about their careers and things that were important to them. This made their fans feel like they knew the members of the band.

Each episode featured two songs. One was normally a single side, and the other was a new song. The band lip-synched to recordings on camera, and also filmed unrelated scenes, in random places with whatever objects were there. These were edited together and called "romps". The romps looked much like music videos.

The music

A large problem the Monkees faced was accusations that none of them could play a musical instrument, because the music on their first records was mostly made by studio musicians. Nesmith and Dolenz played guitar, and Dolenz took drum lessons, so he could play drums on camera. Tork played guitar, keyboards and banjo. Jones learned to play drums and guitar, and a custom bass guitar was made specially for him. He also played percussion instruments, like tambourine.

The band had little experience playing together though, and were not able to make the music needed to begin the show. The producers planned at first to use prerecorded music, and went ahead with that plan. Don Kirshner had good instincts for knowing what would sell well, and took charge of the recordings, limiting the input the Monkees themselves had in making the music. For most of the first season's songs, the members only sang, and did not play on the records. Boyce and Hart also noticed that when all four Monkees were together in the studio, they would try to make each other laugh during takes, and things did not get done. They began bringing the band to record in ones and twos. Kirshner also okayed Nesmith to produce two of his own songs, for each Monkees album. Nesmith could choose musicians and sing, but could not play on the records himself.

In time, the band improved musically, and wanted another chance to play on their own recordings. They also began to perform live for audiences. Kirshner would not change his mind, issued a whole album without even telling the band, and planned to issue a new single. Nesmith argued with Kirshner and his attorney (putting his own fist through a wall to show his anger), and called a press conference, telling the media about his unhappiness with how the music was made. Many people thought this proved the Monkees were phonies, and did not deserve to be popular. To prove themselves, the Monkees recorded a new single, then a new album, with each member playing instruments. Their new records did not sell as well as their first ones, but they felt better knowing the music was really theirs, and they still had hit records.

Kirshner issued the single "A Little Bit Me, A Little Bit You" (written by Neil Diamond), without getting an OK first. This was reason enough to fire him from the Monkees production team. Kirshner's career was not harmed, and he went on to produce other music his way, including songs for The Archies. He later hosted a show, Don Kirshner's Rock Concert, which featured bands in a live setting.

End of the series

The Monkees became tired of the "formula" used in episode after episode of the series (Davy Jones would fall in love with a girl, and the rest of the band would help him get together with her), and wanted to try doing a variety show instead. NBC and the show's producers did not want to change the way the show was done. The two sides could not agree, and the show was cancelled, even though it was still popular.

After the television series ended, the Monkees starred in a movie, Head, and a TV special, 33 1/3 Revolutions per Monkee. Neither was successful, and the band's later records were not hits. The Monkees kept performing for audiences, but less and less people went to their shows. The band members each quit one by one. Tork left at the end of 1968, saying he was exhausted. Nesmith left late in 1969, to start a new band. Jones left during 1970, and went back to performing solo.

The Monkees appeared in reruns on CBS from 1969 to 1972, first during lunchtimes and later alongside Saturday morning cartoons. ABC later aired the series, from 1972 to 1973.

The 1970s

Each former Monkee tried different things during the next decade. Tork worked as a musician, teacher and singing waiter. Nesmith pursued a country music career, then began to make videos. Jones and Dolenz both sang on records. Jones did more theater work, while Dolenz made cartoon voiceovers.

Dolenz and Jones teamed up with Boyce and Hart in 1976, to tour and perform the Monkees' old hits. They also made a new album together. Later Jones and Dolenz went to England, to appear in a production of Harry Nilsson's The Point! Both stayed in England. Jones appeared in Godspell and other musical plays, and retrained as a jockey. Dolenz became a television director and producer. During these same years, Nesmith started his own company, to produce music and videos. Tork went back to performing and sometimes making records.

The Monkees appeared in syndication from 1975 on, usually playing on local television stations during afternoons. A compilation album, The Monkees Greatest Hits, was issued, and their old hits still played on radio stations. A second Greatest Hits album appeared later.

The 1980s and later

In 1986, Tork, Jones and Dolenz reunited, as part of an "oldies show" tour. MTV aired nearly every episode of their old series one Sunday, to promote the tour, and it became a surprise hit. Twenty years after they started, a new generation of young people were interested in the Monkees. The tour went from a small one to a major one, and the Monkees were back. MTV and the Monkees worked well together. Nickelodeon, a sister network to MTV, aired their series, and the band appeared on Nickelodeon and MTV during the late 1980s. Nesmith mostly did not join the reunion, because of his production career, but he did make a few rare appearances with them. The other members also kept their solo careers, between tours.

During the 1990s, the reunited Monkees continued to tour, and appear as guests on television. Nesmith rejoined them for a new album, Justus, a TV special, and he appeared with them onstage in England. He left when they began to tour the United States, though, and did not return. After 2000, they toured less often. Tork left again in 2001, and Jones and Dolenz last worked together in 2002. The band does not plan to work together again.

Every episode of the TV series is for sale on DVD (as is their movie Head), and all their record releases are for sale on compact disc. Rhino Records bought the rights to all their works, and still oversees Monkees releases.

Other pages

  • The Monkees Tale, Eric Lefcowitz, Last Gasp Press, San Francisco, California
  • Monkeemania, Glenn A. Baker, Plexus Publishing, Medford, New Jersey
  • I'm A Believer, Micky Dolenz with Mark Bego, Rowman & Littlefield, Lanham, Maryland

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