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The synergy between The Monkees’ TV show and their albums/singles was an unstoppable commercial tsunami leveling anything in its way — and sometimes that even included the mighty Beatles.
Yet for The Monkees themselves, Mike Nesmith, Micky Dolenz, Davy Jones and Peter Tork, their road to world domination, a hot TV and two multi-million selling albums (The Monkees and More Of The Monkees) and a bushel of hit singles left them deeply unsatisfied as musical artists, perceived by some as pre-fab manufactured entities working for “the man.”
Wrestling back control of their recording career, with producer Chip Douglas onboard, The Monkees recorded their third album, Headquarters, this time without the help of “The Wrecking Crew” or music biz exec Don Kirshner force feeding them outside material. On Headquarters, the band are truly born as a musical outfit, playing most of the instruments and penning a majority of the material.
Earlier anniversary re-releases of Headquarters are available in our Rock Cellar Store (note: the below are separate from the box set detailed above):
Click here to pick up Headquarters: 55th Anniversary Edition Translucent Blue Mono LP
Click here to pick up Headquarters: 55th Anniversary Edition Translucent Red Mono LP
The album was a spectacular artistic and commercial triumph, and 58 years later it is still regarded by many Monkees fans as the group’s best album. Out now from Rhino is a new The Monkees Headquarters Super Deluxe Edition 4-CD box set featuring a new remix of the 1967 album plus a dizzying array of previously unreleased material, demos, alternate takes and instrumentals. Meanwhile, in April, Micky heads out on a U.S. tour, “The Monkees Celebrated by Micky Dolenz,” which will find him performing much of the Headquarters album.
Below, enjoy a conversation with Micky Dolenz for the back story behind Headquarters and a look ahead to this special spring tour.
Rock Cellar: What led the Monkees to take creative control on your third record, Headquarters?
Micky Dolenz: Well, right from the get-go, Mike Nesmith was very frustrated as singer songwriter. He been promised when they were casting him that he would have the chance to record his own material. He approached it in that manner and would have said, “Well, if I want to I’m going to do this, I want to be able to record my songs and sing,” and they would have said, “Oh yeah, absolutely,” and I think the producers, Bob Rafelson and Bert Schneider were probably honest with that. Mike told me these stories over the years that he was very frustrated. Have you heard me tell the story about “Different Drum”?
Rock Cellar: No.
Micky Dolenz: He brought in a song called “Different Drum,” which was recorded later by Linda Ronstadt and became a smash hit. He sang it for them. He’d written that even before the Monkees, that was one of his earliest songwriting things. And he said, “I want to do this one,” and this is after the Monkees show got going.
And so there would have been other people involved like Don Kirshner and the publisher, the producers of the TV show, Bob and Bert, they were television producers. But then Screen Gems had this publishing arm and they made a deal with RCA Victor so there would have been other musical bigwigs involved. And he said that he played the song and they said, “Well, thank you, but no thank you. It’s not a Monkees song,” and he said, “But wait a minute. I am one of the Monkees!” [laughs] And they said, “Sorry, don’t call us, we’ll call you,” so Nez was frustrated.
He had to fight for his right to even submit a song. He did co-write something with Carole King on the first album, but it was always a constant battle and it culminated with Don Kirshner being fired because Nez threatened to quit and we kind of went on strike. I left the States to go to England instead of recording a new single, and they fired Donnie and they said, “Okay, we give you permission to record your own album.”
We’d all contributed up to that point to some degree, mostly Mike and Peter. But frankly, I wasn’t a songwriter, so I didn’t have as much vested interest in it. But I respected Mike and we were kind of all for one, one for all, right? And that’s what happened. They said, “Yeah, you guys can record an entire album.” The record company people thought it would be a total bomb, and of course, it wasn’t. It was up there at number one on the charts for a long, long time only to be knocked out by Sgt. Pepper. So that’s the short story. It was Nez driving the train and getting us all on board. Mainly it would have been me and Peter.
David, I’m not sure if he had that much vested interest in it. But without that and without Nesmith fighting for it, we wouldn’t have the Headquarters album.
Rock Cellar: You could have brought in any producer, but you ultimately enlisted Chip Douglas, which proved to be a great decision.
Micky Dolenz: Well, mainly he was kind of one of us. The same reason that Henry Diltz always took the greatest pictures and John Anderson was the greatest first AD on the TV show. I don’t know how to explain it except that there were certain people that were just one of us and got us, and we got them. They tended to be a bit younger and tended to not be part of the old school, that applied to the television show, the crews, the writers of the show, the songwriters.
Well, the songwriters were for the most part pretty old school. But they were Brill Building writers, they actually weren’t even old school. They were the hottest songwriters in the world at the time.
Rock Cellar: They were young school.
Micky Dolenz: [laughs] Yes, they were young school writers and they were the hottest songwriters. So, yeah, they were pros. But on the TV show and in producing the records, at times it got kind of old school. Just the fact that The Wrecking Crew played on everybody’s records. So TV producers surrounded us on the TV show, and there was never really any conflict. There was never really any creative debate over the TV show and the comedy because everybody was on the same page.
Now, having said that, the most important point about the musical conflict was that on the television show our personalities did not clash. They were quite distinct and different in terms of the comedy and the dialogue. We’d go on the set even in the earliest days and we would read a script and immediately we would be like, “oh no, that’s a Davy line, that’s a Mike line, this is a Peter one.” We started directing ourselves to a degree, and the directors and the writers were on the same page. They all got it. That’s why the television show just flowed so beautifully.
Now, in the music, it was a different story. There wasn’t a conflict between us. There was certainly conflict between Nez and the writers and the producers, I’m sure had all kinds of backdoor, back-room meetings because the writers especially would have wanted their songs on the album.
So God knows what was going on behind the scenes in the early days. But the other big thing and the big difference, in most groups there’s one singular music vision, maybe one and a half — or occasionally two, Lennon/McCartney. But usually there’s one singular music vision, who surrounds him or herself with people of a like mind that are on the same page musically in the genre, in the songs. And almost every group you can think of has that lead singer who usually leaves the group after a while and becomes a solo artist, right? In the case of the Monkees, there were four lead singers. It’s one of the reasons they hired us. They hired us because of our individual personalities and our individual tastes, musically and otherwise.
You think about the difference in our music as you would the difference in our comedy. What was Nez like? Will Rogers, dry, wry sense of humor. Peter Tork. Harpo Marx or Huntz Hall. Me, Jerry Lewis or Danny Kaye, Red Skelton. Davy was a cute little English love heartthrob. We all had very distinct characters on television and we never had any conflict over that. It was all so clear in the music. Mike’s music and mine and David and Peter’s were incredibly different.
Mike flat-out in the early days was country, and then turned into early electro country. I remember when I first heard Big & Rich, I thought, “wow, that’s Nez’s.” Peter was flat-out bluesy folk. David was Broadway, West End musicals. Crooner. Me, screaming rock and roll.
If you’ve ever heard my song “Don’t Do It,” that was me. They heard me singing in a club when they were auditioning open mic and that would be the kind of stuff I’d be singing. Rock and roll roots, Chuck Berry, Little Richard, Fats Domino. Jerry Lee Lewis. That was me. That’s where I was going vocally, screaming rock and roll.
Rock Cellar: With Headquarters, there’s no better record that’s a distillation of the group’s diversity and artistic qualities as writers and artists. And what’s beautiful about this record is everything works seamlessly.
Micky Dolenz: Yes, and I’ve got to make this clear, by that time, this is the third album and we had made two albums. We’d been on the road on an incredibly intensive tour for months and months, singing and playing together for the first time. Peter had actually said this before, but we almost certainly would not have been capable of making this album on day one. We’d only met each other a week before.
Now, you tell me some group that meets on a Monday and by Friday they’re making an album like this, or any album. We had met and a week or two later, we’re filming the TV show, rehearsing for a tour and I’m trying to learn how to play the drums. So it was intense. There’s no way we could have gone into the studio as a musical entity then. We could have gone in and did it as individuals. Mike did go in and play and sing on some stuff, so did Peter. I went in and sang on most of the stuff, as did Davy. So we certainly made our contributions, of course, but that was while we were still filming the television show 10 hours a day.
So by the time Headquarters came along and we had our little palace coup and we said en masse, “we want to make an album,” and they had to let us do it or there wouldn’t have been any Monkees — plus, we knew we were capable of doing it.
Rock Cellar: Did you harbor any worries whether you could pull it off as self-contained band on Headquarters?
Micky Dolenz: No, not at all. I think I don’t think we talked about it. We didn’t say, “Oh God, you think we can actually do this? Boy, I’m scared.” Because we came off the road playing in front of thousands of people and did so many concerts, by then I had my drumming chops, certainly enough for pop rock and roll. No, I couldn’t have been a jazz drummer on call. I never was. I never could have been a studio cat. But none of us could probably. None of us were studio cats in that sense.
But by that time, no, I had absolutely no qualms, and that was because our producer Chip Douglas and the band were all on the same page. And so I don’t ever remember thinking, “Oh, man, we can’t do that song, I don’t think I can cut that.” Never.
Rock Cellar: There’s a primitivism and a garage rock sensibility to the record that really pops.
Micky Dolenz: Well, it was garage rock. It was The Monkees’ first album in that sense, you know what I mean? Let’s say that there’s Monkees.1, which are the first two albums, and then there’s a Monkees.2 and like Nez always said, when we went on the road and started to play and did all these concerts live, “Pinocchio became a real little boy.” I remember very little about the sessions. I remember being in the studio for weeks.
I remember there being a lot more camaraderie, much more than in any other recording situation. Looking back, it reminded me of being on the set where there was enormous camaraderie.
Rock Cellar: Do you think this was the perfect storm of everyone being on the same page showcasing your own talents and your own personalities and writing most of the material as well?
Micky Dolenz: Well, this is all from my point of view, and I want to make that clear. This is all coming from me. I’m not speaking for anybody else. Every one of us would have given you a different answer to all these questions. Ever heard of the film Rashomon?
Rock Cellar: Yes.
Micky Dolenz: Well, there you go. Everybody would give you a different answer. We had totally jelled on the set as a comedy troupe and then when we hit the road and did all those concerts all by ourselves, that is when we totally jelled as a performing music act. Basically, it was a three-piece group. It was a power trio. It was Nez on twelve string, me on drums and Peter on bass and sometimes keyboard, and sometimes both at the same time, playing bass with his left hand and the keyboard part with his right. But Davy only played percussion and I think he did play guitar once or twice. So it was a power trio, a three-piece band.
Mike, Peter and I totally jelled as a rhythm section so by the time we got into Headquarters, which was only shortly thereafter we just fell into it, just absolutely fell into the groove.
Rock Cellar: Glenn Tilbrook from Squeeze to this day says Micky Dolenz has one of the pop voices in ’60s rock and roll. When did you start hearing from people that you had a great voice?
Micky Dolenz: That’s a good question. Over the years, stuff has come back to me, not from just fans, but I have heard stories of people saying that. I very seldom have ever read reviews, but every once in a while someone will say, “Wow, did you hear what this person said?” But frankly, I kind of take this stuff a little bit with a piece of salt, but I have to.
All my life I’ve been in this business, and the most dangerous thing you can do is start believing your own publicity. In the early days of The Monkees, after the record was released, Tommy Boyce came up and said, “Micky, do you realize that you’re number one in Cashbox?” And I said, “What’s Cashbox?” And that is absolutely true. I had no clue about the music business. I could sing because my mom could sing and my dad could sing and I was in cover bands before the Monkees.
So I was doing the job and singing these songs and the writers gradually started writing stuff for me in my key, but I was just doing the job. I do remember my mom came down once from San Jose — she was a great singer — and she came to the studio and must have heard the songs and was listening to me record. She took me aside and said, “Micky, you know, honey, you really should take some breathing vocal lessons,” and I remember saying, “Mom, I just sold 60 million records.” [laughs] But she was right.
When I listen back to the early stuff, and I’m pushing it, there are moments even now I listen and I go, “Ooh, ouch.” But on the other hand, I had to record sometimes two or three lead vocals a night by myself at midnight after being on the show for 10 hours. But of course, at 22 years old, you can freaking do anything. That was a challenge, just trying to stay healthy and all that. But no, I don’t listen and pay as much attention to reviews, because if I start taking on board those kinds of really incredible compliments, then I have to be honest and read the reviews of people saying what a bunch of shit we are. People say that about everybody, about every group.
Think of all the people that have called the Monkees shit for years, but look at all the people that call the Beatles shit when they first came out. “That’ll never work, not going to happen. Guitar bands are done with. This will be over in a week.”
Rock Cellar: From your perspective, what’s the highlight for each member on this record, their shining star moment on Headquarters?
Micky Dolenz: Well, obviously, “Randy Scouse Git” for me. I can’t tell you what the other guys would have picked. But for a Nez tune, I would say “Sunny Girlfriend.” That has always been one of my favorite Nez tunes.
I just love singing that song. For, Davy, “Forget That Girl.”
Well, that was the perfect song for him and his voice and his character and his personality. Davy was a crooner. For Peter, it would have to be “Shades of Grey,” and as a write, “For Pete’s Sake.”
Rock Cellar: “For Pete’s Sake” is one of your best vocals. I was always disappointed when Peter would sing it live on Monkees tours, since you sang the lead on the record.
Micky Dolenz: That was always a challenge. God love him. It was always a challenge to find stuff for him to do, because obviously he didn’t sing a whole lot of the songs and that was always a challenge. We were recording some of these tracks in real time. It wasn’t all overdubs. We were recording these like old school because it was a four-track and we would record rhythm tracks, drums, bass, keys or guitar. We would record that stuff live.
It was like old-school rhythm tracks and then overdub on top leads and vocals and jet. So when Peter wasn’t playing bass, it was because he was playing keys.
Rock Cellar: Do you remember anything about the photo session for the Headquarters album? Perhaps I’m reading into it, but with that cover, it really feels like everyone’s on the same page and united with that photo.
Micky Dolenz: I don’t remember taking the photo. It would have been just another photo session, frankly. But that’s a good point. I never actually looked at it that way. I thought of it very plain and it’s just the four of us holding hands and standing around. But you’re right, we were all on the same page.
Rock Cellar: On the new Headquarters box set, there’s a treasure trove of unreleased material. What were some of the highlights or the revelations for you?
Micky Dolenz: God, I listened to a lot of this stuff, but it was quite a while ago when they were talking about putting it together. I’ll be honest, I have not listened to and heard the whole thing recently. It only came out recently, and I really haven’t had a chance to go through every single take and every single outtake. I intend to for the tour, but frankly, no, I haven’t had a chance right now.
Rock Cellar: Headquarters is universally claimed as one of, if not the best, Monkees album. So one would think for the next studio record, the Pisces, Aquarius, Capricorn & Jones record, you’d follow that same format, but that didn’t happen.
Micky Dolenz: That’s a great question, and I can tell you very frankly, after Headquarters and its success I was starting to write and think about producing and it was kind of like, “Okay, been there, done that.” We proved that we can do it. We did it. Now all of a sudden up pops those four different musical personalities and again, just speaking for myself, I thought, “Wow, I can write songs and produce my stuff.”
After we did Headquarters, which of course we played all by ourselves to make a point, came our next album (Pisces, Aquarius, Capricorn & Jones). The agreement was we’d write three songs and produce them ourselves and we then went on to hire The Wrecking Crew, among others. We were making the decisions and giving everybody the proper credit too.
All of a sudden, Nez was taking off as the country electric pop guy, Peter as the folk rock/bluesy guy, me as the rock and roller and Davy with Broadway styled tunes. And it was not long after that that Peter quit. And one of the reasons he quit was when he realized we would probably never go back into the studio and work the way we did on Headquarters.
But if we did it again, how do you know it would have happened again? Would lightning strike twice in the same place? Maybe not. How do you know The Monkees would have been as successful if the show lasted longer? We could have milked it for another two seasons and started jumping the shark. How do you know that the Beatles would have kept on pumping out that kind of quality material? Yeah, that’s the short answer, you never know these things.
But none of us would have been in the mood, like with the TV show, none of us wanted to jump the shark, and that term didn’t even exist. That term didn’t exist until Happy Days, right? But that was the sensibility when the producers came and said, “Do we want to try to do another season of this?” and I remember clearly, we all agreed, or at least I remember us all going, “No, we’ve been there, done that, that’s it, we’re done.”
Rock Cellar: What can people can expect from your upcoming tour, “The Monkees Celebrated by Micky Dolenz,” which kicks off in April?
Micky Dolenz: Well, besides the hits, which I always insist upon, and some of the minor hits, the other material varies. Sometimes it’s deep album cuts. In my solo show, I do other artists’ material. I usually have a story. In fact, I always have a story if it’s other material.
In this case, the heart of it will be the Headquarters album, not every single track but quite a few of them, and many of them we’ve already done many times. For years after Davy passed, and then Peter and then of course with Nez passing now, I’ve sung their songs in my solo shows for decades, I was always doing Nez and Peter and David material.
I don’t necessarily have a problem with that. But I do want to say this, that when you say what to expect, given the length of my career, people like stories. I have always been one to tell a little bit of a story here or there.
But I discovered in the last couple of years, people like these stories, even if they tend to go on for a while, they’re not just quick little intros. But there are stories. You’ve probably heard me tell the story of Jimi Hendrix opening for us and then I tell the story of being at the Sgt. Pepper session at Abbey Road.
Well, I’ve developed and evolved more stories, and that is something that people can expect and look forward to, some newer stories and stuff about some of these songs and some of this material.
The tour dates:
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