[AZamericonnie]

****Liberty Call****

[Drumbo]

The 60's songwriting team of Bobby Hart and Tommy Boyce were instrumental in the Monkee's inception and success. They wrote and performed the demo of this song for the television pilot episode of The Monkees. Boyce and Hart's version (youtube link) was a driving pop rave-up, which later became the Monkees' answer to The Beatles' "Yesterday" with viola and harpsicord when Davy Jones sang it solo as a tender balled. In 1966, it was the most requested "slow dance" selection in the USA, rivialed only by The Rolling Stones' "Ruby Tuesday". The contrast between the songwriter's origional concept and the finished product is stunning.

I Wanna Be Free
~ The Monkees ~

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[Drumbo]

This song was penned by a young Neil Diamond who was yet another Brill Building alumni along with Jeff Barry, Ellie Greenwich, Barry Mann, Gerry Goffin and Billy Martin among others. Many of Diamond's early songs including "I'm A Believer" became instant hits for the Monkees and helped launch his recording career, but artists like Carrol King and Harry Nilsson also owe The Monkees a debt for exposing their music to a worldwide audience.

Look Out (Here Comes Tomorrow)
~ The Monkees ~

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[Drumbo]

For my last selection of the evening here's Davy singing another song written by Neil Diamond. The song went to the top of the charts for The Monkees and paved the way as a prototype of Diamond's own monster-hit "Cherry, Cherry". The hand-clapping was added for the top 40 radio single and was such a success that the clapping was carried over on "Cherry, Cherry" (which is essentially the same tune and strum pattern in a different key). When a songwritter composes the same song over and over with success it's called "style". When done without success it's called recycling. Either way, this classic Wrecking Crew jam is relentless.

A Little Bit Me, A Little Bit You (version 1)
~ The Monkees ~

A Little Bit Me, A Little Bit You (hand claps version)
~ The Monkees ~

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[Drumbo]

As I mentioned previously, Davy Jones was an established actor and singer prior to his stint with The Monkees. In 1964, he appeared in episodes of "Ben Casey" and "The Farmer's Daughter", both successful television shows. In 1965, the 19 year-old singer was signed to Colpix Records, a label owned by Columbia and Jones debuted on the Hot 100 with the single "What Are We Going To Do?" The album David Jones, sold respectfully and was followed soon after by a second album, of the same name.

After the Monkees officially disbanded in 1971, Davy went back to TV and sporadic recording. He performed on an episode of The Brady Bunch entitled "Getting Davy Jones" and the popularity of Jones's appearance on the show resulted in "Girl" becoming his best remembered solo hit. While the single sold poorly by Monkee standards, it managed to chart and became a staple in Davy's repertoire.

"Girl" was written by Charles Fox & Norman Gimbel, best known as the composers of "Killing Me Softly With His Song" and "The Girl from Ipanema", however, the team had transitioned from a successful Broadway career into television and are credited on several Monkees songs, as well as the themes for Laverne & Shirley, Happy Days, Lifestyles of the Rich and Famous, Wonder Woman, the Emmy-winning theme for The Paper Chase and the song score for Pufnstuf, the 1970 film version of the Saturday-morning cult children's series H.R. Pufnstuf.

Girl
~ Davy Jones ~

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[Drumbo]

In early 1967, a struggling, young songwritter named Harry Nilsson submitted a rough 20-minute demo of a dozen songs he had written with The Monkees in mind. One of the songs he had targeted for Davy Jones, caught the producers attention and they gave him the go-ahead and financing to produce a full blown demo. Here's the origional and the "professional" Nilsson demos which eventually appeared in Novemember of 1967 on the album Pisces, Aquarius, Capricorn & Jones Ltd with Davy Jones on Lead vocals and Harmony vocals by Micky Dolenz. It was also one of only a handful of songs where Micky was allowed to play drums in the studio.

The charming song remains a timeless piece of rock history and established Harry Nilsson's style as an enduring music icon. In the liner notes to the CD's 1995 re-release it is stated that producer Lester Sill was angered to discover rumours that some have interpreted the lyrics to the song as being about a gang bang. Nilsson has denied such allegations.

Cuddly Toy (first demo)
~ Harry Nilsson ~

Cuddly Toy (featurning The Wrecking Crew)
~ Harry Nilsson ~



Cuddly Toy
~ The Monkees ~

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[Drumbo]

This Davy Jones showcase from the Monkees' debut album was written by Brill Building regulars Gerry Goffin & Russ Titelman and is a bit of a throwback to the romantic ballads of the 50's, but it also incorporates harmonies reminiscent of the early surf sounds of the Beach Boys. Coupled with Davy's British accent, the heavy tremelo guitar and tinkling celeste the song seems to go all directions at once.

I'll Be True To You
~ The Monkees ~

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[Drumbo]

"Forget That Girl" was written by Douglas Farthing-Hatlelid, better known as Chip Douglas. He formed The Modern Folk Quartet when he moved from Hawaii to L.A. in the early 60's and was hired by Phil Spector in 1966 to record a song called, "This Could Be The Night", co-written by Spector and up-and-coming singer-songwriter Harry Nilsson. The record was not released at that time, but Douglas and Nilsson became friends and Chip played a major role in introducing Nilsson to The Monkees. Before that happened, Douglas served a stint in the short-lived Gene Clark Group featuring the ex-Byrd, ex-Grass Roots' Joel Larson, and Bill Rinehart, formerly of The Leaves. By the end of 1966, that band had disolved and Chip Douglas was hired by The Turtles just in time to appear on their hit "Happy Together" ousting The Beatles' "Penny Lane" from the #1 single position on the American pop charts.

Seeing The Turtles perform at Hollywood's Whisky a Go Go in early 1967, Michael Nesmith approached Douglas and asked if he'd like to become the new producer for The Monkees, who were tired of the "manufactured" recording setup they'd used thus far. Douglas answered candidly "I've never produced a record in my life." Nesmith (who had produced album tracks for the group, but had little pull with their label Colgems Records) assured him, "Don't worry; if you're willing to quit The Turtles, I'll show you everything you need to do."

Douglas accepted Nesmith's offer, joining The Monkees in the studio. Douglas' produced the Monkee's Headquarters album. Recorded over six steady weeks of sessions at the RCA Studios in Hollywood, it was the first album to feature The Monkees playing their instruments, to refute the accusation that they couldn't. All four members considered it their 'first album'. Publishing restrictions imposed by Screen Gems (who both produced The Monkees TV series and controlled their music publishing) put up road blocks when they sensed they were loosing creative control, but the band fought hard for artistic control including veto power over songs they didn't like and the ability to record and perform their own compositions. Mike Nesmith, an accomplished musician and songwritter with a large catalog of home-grown songs spear-headed the rebellion between The Monkee's and the corporate powers who were until then calling all the shots, but feared killing the goose that laid the golden eggs and eventually caved to the band's demands. Under Douglas' production, the band actually became a band and embarked on their first live tour insisting their opening act would be the newly formed Jimi Hendrix Experience, but that's another story, comming very soon to a Canteen near you.

The Headquarters album was released in the spring of 1967, and began a steady climb up the charts, eventually reaching #1 on Billboard's album chart, but was displaced by the latest Beatles album, Sgt. Pepper's Lonely Hearts Club Band. No singles from Headquarters were issued in the United States, but Douglas nonetheless scored hits working with The Monkees that year, first with "Pleasant Valley Sunday" (written by Gerry Goffin and Carole King), which featured an innovative guitar intro composed by Douglas and played by Nesmith. Later, Douglas became aware of a song, "Daydream Believer", written by his friend John Stewart. He thought would be perfect for Davy Jones. That song became the band's all-time second-biggest single and was included on the next album, 1968's The Birds, The Bees & The Monkees. Douglas was pleased to have made hit records with The Monkees, but was disappointed that they weren't able to erase the common misconception that The Monkees weren’t actually musicians, and that the press took little notice of their accomplishments.

Douglas next produced their album Pisces, Aquarius, Capricorn, & Jones, Ltd., on which he also played bass. Unlike Headquarters, it was done in several different studios around the U.S. between Monkees tour dates, and was played by the band and augmented by session musicians. He also introduced the Monkees to Harry Nilsson, who played them a selection of his original songs, and became friends with the band. One of the songs, "Cuddly Toy", was covered by The Monkees, and featured on both the “Pisces” album and an episode of their TV series. Douglas has been quoted as saying, “I like to think I gave Harry his big break, which resulted in a record deal with RCA”.

Douglas contributed the dreamy "Forget That Girl", to the Headquarters album and joined the band on bass guitar in the studio, freeing Peter Tork to play keyboards. Davy sings the lead and Micky handles the harmonies.

Forget That Girl
~ The Monkees ~

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[Drumbo]

Not one to let a tease dangle (see previous post), here's a promo of the Monkees '67 tour featuring Jimi Hendrix as their opening act, aired on Detroit's WKNR by legendary DJ Scott Regan. Peter Tork was the first Monkee to meet Jimi and turn the others onto his music. Jimi thought the Monkees were "groovy in a poppish kind'a way" and gratefully took the opening spot on the bill when they offered it. The Monkees' management were apoplectic and eventually had the last laugh when Hendrix was pulled from the tour after less than a dozen dates because of a flood of complaints from mothers who took teen-aged daughters to a "wholesome" concert and were confronted by a towering, afroed negro in tight pants doing things to a guitar they considered obscene.

I was lucky enough to attend one of those shows and it was truly the most surreal experience of my young life. I was only twelve, but I'd guess that was the average age of a typical Monkee fan in 1967. We went as a group with someone's father as chaparone and while I entered the Alan B. Sheppard Convention Center a devoted Monkee fan, I emerged something else that night. It was my right of passage ... So much so, that when I was shipped off by my parents to Hargrave Military Academy the next month, I joined the "Hargrave Combo" on drums and we promptly changed the hallowed name of the band to "The Third Stone From The Sun" to honor Jimi. In the blink of an eye I had gone from covering "I'm Not Your Stepping Stone" to "Fire".

The smallish venue (aka The Virginia Beach Dome) of less than 3,000 capicity ran two shows that night, and at the conclusion of the early show we promptly filed outside and got in line for the late show. The Monkee's 2 sets were identical right down to sight gags and jokes, but Jimi's shows were entirely different with the exceptions of "Hey Joe", "Foxey Lady" and "Purple Haze" and even they were pure inspired improvission by the celestrial trio of hippies. At the conclusion, Jimi smashed a watermelon onstage, much to our dismay and delight. We later felt cheated when we read in Rolling Stone that he usually concluded shows by smashing or burning his stratocaster. I actually felt sorry for The Monkees that night because no one could follow an act like Jimi's and I had decided to "never hear surf music again".

Jimi Hendrix & The Monkees Concert Promo 1967
~ Scott Reagan ~

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DOWN TO THE BONE~17 Mile Drive

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DOWN TO THE BONE~Brooklyn Heights

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DOWN TO THE BONE~Electra Glide

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DOWN TO THE BONE~Glow

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DOWN TO THE BONE~I'll Always Hold You Close

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[Drumbo]

Jeff Barry wrote the next forgettable Monkees tune. Along with his partners Ellie Greenwich and Phil Spector the team composed some of the biggest hits of all time, including The Crystals' "Da Doo Ron Ron" and "Then He Kissed Me," and The Ronettes' "Be My Baby" and "Baby, I Love You", as well as the holiday perennial "Christmas (Baby, Please Come Home)" by Darlene Love. Barry and Greenwich also wrote "Hanky Panky", "Chapel of Love", "Remember (Walkin' In The Sand)" and "Leader of the Pack". In 1964 alone, the duo were responsible for writing 17 singles that reached the Billboard Hot 100 chart. One of these was "Do Wah Diddy". In 1966 Barry and Greenwich discovered a talented young singer-songwriter named Neil Diamond. They also teamed with Phil Spector to write the classics "River Deep, Mountain High", and "I Can Hear Music".

Drafted by the Monkee's musical supervisor, Don Kirshner, Barry brought with him a few Neil Diamond-penned tunes for the group to record. One among them, "I'm a Believer", under Barry's production, would sail up the U.S. charts to No. 1 and become one of the biggest-selling records of all time. The group also had a hit with another Diamond-composed, Barry-produced single, "A Little Bit Me, A Little Bit You".

In 1970, Barry wrote and produced singles and albums for Archies lead singer Ron Dante, ("Sugar, Sugar"), Bobby Bloom ("Montego Bay"), and Robin McNamara ("Lay a Little Lovin' On Me"). His work with the Monkees is notable even if this particular song is not.

She Hangs Out
~ The Monkees ~

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[luvie]

MY ARTIST OF THE WEEK....

DOWN TO THE BONE~Music Is The Key

*N E W*

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[Drumbo]

Jeff Barry wrote the next forgettable Monkees tune. Along with his partners Ellie Greenwich and Phil Spector the team composed some of the biggest hits of all time, including The Crystals' "Da Doo Ron Ron" and "Then He Kissed Me," and The Ronettes' "Be My Baby" and "Baby, I Love You", as well as the holiday perennial "Christmas (Baby, Please Come Home)" by Darlene Love. Barry and Greenwich also wrote "Hanky Panky", "Chapel of Love", "Remember (Walkin' In The Sand)" and "Leader of the Pack". In 1964 alone, the duo were responsible for writing 17 singles that reached the Billboard Hot 100 chart. One of these was "Do Wah Diddy". In 1966 Barry and Greenwich discovered a talented young singer-songwriter named Neil Diamond. They also teamed with Phil Spector to write the classics "River Deep, Mountain High", and "I Can Hear Music".

Drafted by the Monkee's musical supervisor, Don Kirshner, Barry brought with him a few Neil Diamond-penned tunes for the group to record. One among them, "I'm a Believer", under Barry's production, would sail up the U.S. charts to No. 1 and become one of the biggest-selling records of all time. The group also had a hit with another Diamond-composed, Barry-produced single, "A Little Bit Me, A Little Bit You".

In 1970, Barry wrote and produced singles and albums for Archies lead singer Ron Dante, ("Sugar, Sugar"), Bobby Bloom ("Montego Bay"), and Robin McNamara ("Lay a Little Lovin' On Me"). His work with the Monkees is notable even if this particular song is not.

She Hangs Out
~ The Monkees ~

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[luvie]

MY ARTIST OF THE WEEK....

DOWN TO THE BONE~Pure Funk

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DOWN TO THE BONE~Supercharged

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DOWN TO THE BONE~The Zodiac

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DOWN TO THE BONE~Vinyl Junkie

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