The Monkees, a band conceived for television, initially faced skepticism regarding their musical authenticity. Yet, amidst the manufactured image, genuine musical talent and a desire for creative control emerged. Episode 162 of A History of Rock Music in Five Hundred Songs delves into this fascinating evolution, using their iconic song, “Daydream Believer,” as a focal point to explore the Monkees’ journey from pop puppets to respected musicians. This episode unpacks the story behind “Daydream Believer,” its cultural impact, and the broader narrative of a band striving for artistic legitimacy.
The Monkees in 1967, promoting their album and TV show.
The Monkees’ Manufactured Origins and Creative Awakening
The Monkees’ inception was purely for television. Assembled through auditions, the quartet—Davy Jones, Micky Dolenz, Michael Nesmith, and Peter Tork—were meant to portray a fictional band. Initially, their music was largely handled by studio musicians and songwriters, with the Monkees primarily providing vocals. This formula yielded instant success, with hit singles and albums fueling the popularity of their TV show.
However, this arrangement soon bred discontent, particularly among Nesmith and Tork, who were accomplished musicians in their own right. They felt sidelined by the studio system and yearned to contribute meaningfully to their music. Nesmith, in particular, voiced concerns about the artistic integrity and the misleading perception that the Monkees were instrumentalists on their records when, for the most part, they were not. Tork, too, felt betrayed by promises of being a real band that played their own music.
Dolenz, agreeable and adaptable, and Jones, a seasoned performer accustomed to following direction, were initially less vocal about these issues. Yet, the growing tension reflected a fundamental clash between the manufactured image and the burgeoning artistic aspirations within the group. This internal conflict reached a boiling point, leading to a pivotal moment where the Monkees decided to fight for creative control.
The Fight for Musical Authenticity and “The Girl I Knew Somewhere”
The turning point arrived in early 1967. Nesmith and Tork, despite their personal differences, united in their demand for musical autonomy. Dolenz, seeking group harmony, and even the show’s producers, Rafelson and Schneider, supported their cause. Standing in opposition was Don Kirshner, the music supervisor, who vehemently resisted the idea of the Monkees having creative input. Kirshner believed their role was to perform, not to create, and was content with the commercially successful formula he had established.
Davy Jones occupied a more ambivalent position. While sympathetic to his bandmates, his professional background as an actor instilled in him a sense of duty to follow instructions. The promise of financial security also weighed heavily, especially given his upbringing in poverty. His character on the TV show, not playing instruments, further distanced him from the instrumental aspect of the band’s struggle.
Bert Schneider, a producer, encouraged the Monkees to prove their musical capabilities. Michael Nesmith enlisted Chip Douglas, a talented musician and arranger from the Turtles, to produce a demo. In initial sessions, they recorded rough versions of “All of Your Toys” and Nesmith’s own “The Girl I Knew Somewhere,” showcasing their raw, garage-band style. While not polished, these demos demonstrated their potential as a self-sufficient band.
The Monkees in 1967, promoting their album and TV show.
Despite Kirshner’s resistance, the producers recognized the group’s determination and talent. They agreed to let the Monkees record their own tracks, leading to more refined versions of “All of Your Toys” and “The Girl I Knew Somewhere,” now with Tork on electric harpsichord and London on bass. However, Kirshner simultaneously initiated sessions in New York for new Monkees material produced by Jeff Barry, attempting to bypass the group’s creative aspirations. This led to the infamous hotel wall-punching incident, symbolizing Nesmith’s frustration and the band’s escalating fight for control.
Compromise and Controversy: “A Little Bit Me, A Little Bit You” and Press Backlash
Facing pressure to release a new single and Kirshner’s continued resistance, a compromise was proposed. Micky Dolenz suggested releasing a single with a pre-recorded track on one side and “The Girl I Knew Somewhere,” recorded by the band, on the other. This seemed like a solution, but Kirshner insisted on Dolenz singing lead vocals on all singles, even on “The Girl I Knew Somewhere,” which Nesmith had originally sung. Nesmith, pragmatically, agreed, recognizing Dolenz’s vocal would increase radio play and royalties.
However, an article in the Saturday Evening Post quoting Nesmith’s candid remarks about the Monkees being “synthetic” ignited a media storm. The press portrayed them as frauds, further intensifying the pressure on the band to prove their musical legitimacy. Tork, while agreeing with Nesmith’s stance on musical control, blamed him for the negative press, highlighting the internal tensions within the group amidst external pressures.
Dolenz, arriving in New York to record vocals, refused to comply with Kirshner’s demand to record multiple vocals for selection, asserting the agreed-upon compromise. Jones, ever cooperative, stepped in to record vocals for songs intended for Dolenz, including “A Little Bit Me, A Little Bit You,” which was then slowed down to suit his key. This session also led to a misunderstanding about “Sugar, Sugar,” a song later made famous by the Archies. While the Monkees and Kirshner both claimed the Monkees turned down “Sugar, Sugar,” the song was written after their professional separation. The confusion likely stemmed from “Sugar Man,” a Denny Randell and Sandy Linzer song for which the Monkees recorded a backing track but no vocals.
British Acceptance and Shifting Tides: The Beatles and “Randy Scouse Git”
Amidst the controversy in the US, Dolenz and Nesmith sought respite and recognition in the UK. They found acceptance among British musicians, including Eric Burdon and The Beatles, who admired the Monkees’ records and TV show, regardless of their manufactured origins. Paul McCartney and John Lennon spent time with Dolenz and Nesmith, respectively, indicating a genuine respect from established artists. Nesmith even jammed with Lennon, bonding over Captain Beefheart. Dolenz, meanwhile, connected with Paul McCartney and Spencer Davis, and notably, began a relationship with Samantha Juste, a Top of the Pops presenter who would become his first wife.
Upon returning to the US, the Monkees discovered Kirshner had released “A Little Bit Me, A Little Bit You” with another Jeff Barry track, “She Hangs Out,” as a single in Canada, credited to “My Favourite Monkee Davy Jones Sings.” This unauthorized release was quickly withdrawn. The ensuing fallout led to Kirshner’s dismissal and Lester Sill replacing him. “A Little Bit Me, A Little Bit You” was officially released, reaching number two, with “The Girl I Knew Somewhere” as the B-side, charting separately. This marked the Monkees’ breakthrough hit that they had written and recorded themselves, signifying their hard-won artistic victory.
Headquarters and Creative Control: “You Told Me,” “For Pete’s Sake,” and “Randy Scouse Git”
Following this triumph, the Monkees began work on Headquarters, an album conceived and executed with full band participation. For the first time, they played all the instruments themselves, with occasional help on bass and horns. The album showcased their growing songwriting talents, with contributions from Nesmith, Tork, and Dolenz. Nesmith’s “You Told Me” opened the album with a blend of pop and country influences, while Tork’s “For Pete’s Sake” became the TV show’s season two closing theme. Dolenz contributed the most commercially successful track, “Randy Scouse Git,” a song inspired by his time in the UK and his relationship with Samantha Juste.
The Monkees in 1967, promoting their album and TV show.
“Randy Scouse Git,” however, faced censorship in the UK due to its controversial title, derived from British slang Dolenz heard on Til Death Us Do Part. Retitled “Alternate Title,” it reached number two in the UK. Headquarters topped charts in both the US and UK, solidifying the Monkees’ artistic credibility, even as it was quickly overtaken by Sgt. Pepper’s Lonely Hearts Club Band.
Pisces, Aquarius, Capricorn & Jones Ltd. and Experimentation: “Pleasant Valley Sunday” and “Daily Nightly”
The Monkees continued to experiment on their next album, Pisces, Aquarius, Capricorn & Jones Ltd. They incorporated a song by Harry Nilsson, “Cuddly Toy,” showcasing a darker, more cynical side. While some songs retained the group’s instrumental performances, a “mixed-mode” approach emerged, with session drummer Eddie Hoh replacing Dolenz on drums for some tracks. Chip Douglas played bass and added guitar, while Nesmith and Tork continued on guitar and keyboards, respectively.
“Pleasant Valley Sunday,” written by Goffin and King, became a major hit from Pisces. The Monkees transformed King’s demo into a guitar-driven track with a psychedelic edge, though King herself was reportedly unhappy with the changes. Despite this, the song reached number three, becoming another signature Monkees hit. The album also featured “Daily Nightly,” notable for being one of the first rock songs to feature the Moog synthesizer, played by Micky Dolenz. Dolenz’s acquisition of a Moog, inspired by seeing it at the Monterey Pop Festival, reflected the band’s openness to musical innovation.
Monterey Pop and Jimi Hendrix: Live Performance and Audience Reactions
Dolenz’s experience at the Monterey Pop Festival, particularly witnessing Jimi Hendrix’s performance, deeply impacted him. He championed Hendrix as the opening act for the Monkees’ summer tour. While Nesmith and Tork admired Hendrix, Jones was less enthusiastic. The pairing, though seemingly incongruous, made sense within the evolving music scene, where “pop” and “rock” were beginning to diverge. The Monkees were renowned for their elaborate and innovative stadium shows, designed for large audiences, setting them apart from bands accustomed to smaller venues.
However, the Monkees’ predominantly young, pop-oriented fanbase did not embrace Hendrix’s fiery, psychedelic rock. Audience reactions were so negative that Hendrix left the tour after only a few performances. Despite this setback, the Monkees’ live performances remained a significant part of their identity, showcasing their musical abilities and stagecraft.
Fragmentation and Head: Solo Projects and a Psychedelic Film
Following the summer tour, the Monkees began to fragment. Creative differences and individual pursuits led to a more disjointed approach to their work. Chip Douglas felt increasingly alienated, and the band members started working more independently, producing their own tracks and relying on session musicians. Nesmith released a solo instrumental album, The Wichita Train Whistle Sings, signaling his growing detachment from the group.
The band’s final collaborative project during this era was the film Head. Conceived with Rafelson, Schneider, and Jack Nicholson, Head was a psychedelic, deconstructionist film that defied conventional narrative. It was a radical departure from their TV show, aiming for artistic expression rather than commercial appeal. The soundtrack album, also titled Head, mirrored the film’s experimental nature, featuring collages of dialogue and music. While artistically ambitious, Head was a commercial failure, alienating their core fanbase and failing to attract a new audience.
33 1/3 Revolutions Per Monkee and Peter Tork’s Departure
The Monkees’ post-Head TV special, 33 1/3 Revolutions Per Monkee, further cemented their artistic and commercial decline. Produced by Jack Good, the special was a disjointed and critically panned attempt to blend nostalgia with contemporary music. Internal tensions within the band, particularly between Nesmith and Tork, escalated during this period. Tork, disillusioned and discontented, bought out his contract and left the Monkees shortly after the special aired.
The remaining trio continued briefly, releasing two more albums, Instant Replay and The Monkees Present, with diminishing commercial success. Nesmith also eventually departed, and the final album under the Monkees name, Changes, was largely a collection of rejected tracks with Dolenz and Jones’s overdubbed vocals. The Monkees, as originally conceived, had effectively dissolved.
Post-Monkees Careers and Reunions: Solo Paths and Legacy
Following the breakup, the Monkees pursued varied paths. Tork struggled with drug and alcohol dependency, hindering his solo musical ventures. Dolenz and Jones attempted solo careers with limited success, eventually reuniting with Boyce and Hart for a nostalgia act. Nesmith, in contrast, found success with his country-rock band, The First National Band, and later became a pioneer in music video with his company Pacific Arts, contributing significantly to the launch of MTV.
The advent of MTV and the resurgence of Monkees reruns sparked renewed interest in the band. Dolenz, Tork, and Jones reunited for tours and even a new hit single, “That Was Then, This Is Now.” Nesmith occasionally joined them for reunions, including a 30th-anniversary tour and album, Justus. Despite Tork’s intermittent departures and Davy Jones’s death in 2012, the Monkees continued in various configurations, culminating in a final album, Good Times!, in 2016, and farewell tours. Michael Nesmith’s death in 2021 marked the definitive end of the Monkees.
“Daydream Believer” and Lasting Impact
“Daydream Believer,” despite its seemingly simple pop structure, stands as a testament to the Monkees’ complex story. It became their third and final number-one hit, and arguably their most enduring song. Its cheerful melody and relatable lyrics about everyday dreams resonated deeply with audiences, transcending generations. The song’s success also underscores the Monkees’ ability to create genuinely appealing music, even within the confines of their manufactured origins.
The Monkees in 1967, promoting their album and TV show.
While often dismissed as a manufactured pop act, the Monkees’ journey reveals a band that evolved beyond its initial conception. Their fight for creative control, their experimentation across genres, and their willingness to challenge expectations resulted in a diverse and surprisingly innovative body of work. “Daydream Believer,” in its enduring popularity, encapsulates the Monkees’ ability to capture the zeitgeist of the 1960s and create music that continues to bring joy and resonate with listeners today. Ultimately, the Monkees’ story is one of transformation, resilience, and the unexpected artistic merit found within a manufactured pop phenomenon.
Resources
- Andrew Sandoval’s The Monkees; The Day-By-Day Story
- Monkee Business by Eric Lefcowitz
- Infinite Tuesday by Michael Nesmith
- They Made a Monkee Out of Me by Davy Jones
- I’m a Believer by Micky Dolenz
- Psychedelic Bubble-Gum by Bobby Hart
- Triple-CD super-deluxe versions of Monkees albums
- Headquarters four-CD super-deluxe box set
- BluRay box set of the entire Monkees TV series
- Five-CD set containing their first five albums along with bonus tracks https://amzn.to/34ZGAGw
- Monkee Business by Eric Lefcowitz https://amzn.to/3gI2yke
- Infinite Tuesday by Michael Nesmith https://amzn.to/34LJr6e
- They Made a Monkee Out of Me by Davy Jones https://amzn.to/3uY3OI2
- I’m a Believer by Micky Dolenz https://amzn.to/3uQANyc
- Psychedelic Bubble-Gum by Bobby Hart https://amzn.to/3gNZQtA
- Patreon page of the podcast http://patreon.com/join/andrewhickey
- Tilt Araiza’s podcasts http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/
