Monkees, The: Headquarters (Deluxe Edition) (Disc 1) CD Track Listing

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Monkees, The Headquarters (Deluxe Edition) (Disc 1) (2007)
Headquarters (Deluxe Edition) - Disc 1 of 2\n2007 Rhino Entertainment Company\n\nOriginally released as Colgems #103, May 22, 1967\nArista CD Edition Released July 7, 1987 or August 25, 1989\nRhino Remastered CD Edition Released January 24, 1995\nRhino Handmade Sessions 3CD Edition Released September 21, 2000\nDeluxe 2CD Edition Released July 10, 2007\n\nAMG EXPERT REVIEW: After the release of More of the Monkees, on which the band had little involvement beyond providing vocals and a couple Mike Nesmith-composed songs, the pre-fab four decided to take control of their recording destiny. After a well-timed fist through the wall of a hotel suite and many fevered negotiations, music supervisor Don Kirschner was out and the band hit the studio by themselves. With the help of producer Chip Douglas, the band spent some time learning how to be a band (as documented on the Headquarters Sessions box set) and set about recording what turned out to be a dynamic, exciting, and impressive album. Headquarters doesn't contain any of the group's biggest hits, but it does have some of their best songs, like Nesmith's stirring folk-rocker "You Just May Be the One," the pummeling rocker "No Time," the MOR soul ballad "Forget That Girl," which features one of Davy Jones' best vocals, Peter Tork's shining moment as a songwriter, "For Pete's Sake," and the thoroughly amazing (and surprisingly political) "Randy Scouse Git," which showed just how truly out-there and almost avant-garde Micky Dolenz could be when he tried. Even the weaker songs like the sweet-as-sugar "I'll Spend My Life with You," the slightly sappy "Shades of Gray," or the stereotypically showtune-y Davy Jones vehicle "I Can't Get Her Off My Mind" work, as they benefit from the stripped-down and inventive arrangements (which feature simple but effective keyboards from Tork and rudimentary pedal steel fills from Nesmith) and passionate performances. Headquarters doesn't show the band to be musical geniuses, but it did prove they were legitimate musicians with enough brains, heart, and soul as anyone else claiming to be a real band in 1967. \n\n[Rhino's 1995 reissue adds six previously unissued tracks recorded during the Headquarters sessions including an early take of the single "The Girl I Knew Somewhere" and rare demos "Nine Times Blue" and "Pillow Time."] \n\n[In 2007 Rhino gave the album the double-disc deluxe revamp with mono and stereo versions, plus versions of songs recorded during the Headquarters sessions (as well as the six songs recorded by producer Jeff Barry in New York and sung by Jones only in what turned out to be Kirschner's futile last-ditch effort to regain control of the project). The stereo mixes are bright and punchy; the mono mixes tough and even punchier, with the band sounding like a raw garage band at times. Most of the bonus tracks have been released in one form or another (many on the Missing Links series), but what this package offers is newly mixed stereo versions of ten songs that quite often use alternate vocals. So really, the set is aimed at collectors looking to replace their copies of Rhino's 1995 reissue, and it succeeds. It also serves as a fascinating document of the group and, more importantly, some of the best pop music the 1960s have to offer.] -- Tim Sendra\n\n\nAmazon.com Product Description\nIn an effort to restore and remaster the music of The Monkees, Headquarters is back in a new and improved way! Featuring "The Girl I Knew Somewhere," "You Just May Be The One," and "Randy Scouse Git," this album is a great addition to any Monkees fan's collection. \n\n\nAMAZON.COM CUSTOMER REVIEW (Deluxe Edition)\nI wanted to write a nasty review, but it's really superb , July 15, 2007 \nBy Micaloneus (the Cosmos)\n\nThis deluxe edition of Headquarters is so nicely done (much like the first two in this series), I honestly couldn't write anything nasty. It's been presented with love and care. \n\nThe sound quality is great in both mono & stereo. It's very similar in sound quality to the Beatles Capitol Records releases that just came out recently. The bonus material is entertaining, as well as strong, I also loved some of the stuff I'd never heard before. The booklet is also really good, with lots of rare photos and the in depth story of the making of this album. \n\nThe overall packaging is very classy. It makes me hope that The Beatles get this kind of treatment through Apple records, or my favorite band, Deep Purple get this sort of stunning re-packaging from Rhino. \n\nI grew up on the mono versions of the Monkees albums, all the way up to their fifth album "The Birds, The Bees & The Monkees" in April 1968, so I was really thrilled to see that mono finally made it to CD. I've always thought that the mono mixes were better overall, giving an overall impression of a heavier rock band sound. Though, I got the feeling that the Headquarters mono mix was a fold down of the stereo mix. As for the stereo mastering, it sounded brighter than the original Rhino CD's, with some added compression, and the signal might have been pushed harder than the older Rhino discs. But on the whole, a wonderful job. Let's hope the next two albums (released in mono & stereo) get this same kind of royal treatment. \n\nSure they seem to be milking the Monkee-cow, but when it's this strong, milk it baby. Next up, The Birds, The Bees & The Monkees? \n\n\nAMAZON.COM CUSTOMER REVIEW\nThree albums in a year? Still, a good effort, July 24, 2005 \nBy Patrick Beaudry (Winston-Salem, NC)\n\nReleased in June 1967, this album continued the rapid-fire release of Monkees albums. Released just 6 months after the release of More of the Monkees, and just 9 months after their debut album, this record seems to be a polished and solid effort, and it also served notice that the Monkees were exerting more creative control over the direction of the band, as evidenced by the proliferation of Monkees-penned material. \n\nHEADQUARTERS appears to not suffer like the previous albums in terms of continuity and tone, and the album as a whole sounds much more like a solid whole than a group of singles (and filler). Beginning with "You Told Me", a Mike Nesmith penned tune, the album has a very even tone throughout, and with few exceptions (for me, it's "Band 6" and "Zilch"), there is very little filler material on the album. Thanks to the television show, most of the songs are easily recognizable, and that tends to lend credibility. In addition to the songwriting, the Monkees seem to be more upfront about showing their individuality on the songs, as each Monkee has what comes across as their own individual song on the album (Mike = "Sunny Girlfriend"; Davey = "Early Morning Blues and Greens"; Mickey = "Randy Scouse Git"; and Peter = "Shades of Gray"). \n\nA few notes on the CD re-issue, the bonus material on this reissue is a step above some of the other CDs, as none of these songs appear on any other albums. The addition of an alternate version of "The Girl I Knew Somewhere" is an excellent bonus, as the original was never released on an album, but was the flip side of the single "A Little Bit Me, A Little Bit You", written by a then unknown Neil Diamond. However, an issue that may be of interest only to me, all of the re-issued CD's have only a band picture on the CD, and no other identifiable markings, other than the obligatory inventory #. I purchased all of the re-issues, and listen to them as a group. However, finding out which CD goes in which case is a harder task than I would like. \n\n\nAMAZON.COM CUSTOMER REVIEW\n+ 1/2 stars...The Monkees Become a Band, March 22, 2005 \nBy Steve Vrana (Aurora, NE)\n\nOn June of 1967, HEADQUARTERS was the No. 1 album in the U.S., and it spent most of the summer at No. 2 behind the Beatles' SGT PEPPER. And what's really amazing about this feat is that it wasn't even buoyed by a hit single off the album. Bottom line, it is the Monkees' strongest album and the only one that was essentially a group effort. In fact, except for producer Chip Douglas handling most of the bass duties and a couple session musicians on "Shades of Gray" and "No Time," this is one hundred percent Monkees. \n\nWhile the album didn't convert rock critics to their corner, it restored the group's self-respect. Nesmith emerged as the most accomplished songwriter. Tracks like "You Just May Be the One," Peter Tork's banjo on "You Told Me," and "Sunny Girlfriend" pointed the way toward Nesmith's post-Monkees career as a pioneer of the country/rock movement. \n\nTork co-wrote "For Pete's Sake," which became the group's closing theme for the show's second season. Mickey Dolenz served up the frenetic "Randy Scouse Git." [Note: Released as a single overseas, the song went Top 10 in England and Australia.] And while the rave-up "No Time" is credited to recording engineer Hank Cicalo, the liner notes say the lyrics were written by Nesmith and Dolenz and that the music was, according to Tork, a "Chuck Berry rip-off." \n\nOf the six bonus tracks, only the instrumental "Peter Gunn's Theme" and "Jericho" are previously unreleased. The instrumental is an interesting stab at the Henry Mancini classic, but "Jericho" is two minutes of half dialog and half harmonizing on the gospel standard between Dolenz and Tork. Nesmith's demo of "Nine Times Blue," which he would later record with the First National Band, is the highlight. \n\nDespite the Monkees' success with HEADQUARTERS as a real band, it also became their last. The next two albums saw them return to using more session players. But if you're looking for validation that the Monkees were more than just a pre-fab made-for-TV group, this album succeeds in spades. HIGHLY RECOMMENDED \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nLeonard Nimoy becomes a Vulcan!!!!, February 28, 2005 \nBy Patrick Zappi (New Jersey, USA)\n\nMy title is a favorite analogy of Micky Dolenz in regard to the Monkees morphing from a sitcom cast into a fully-functioning pop-rock group. After the dismissal of their musical director Don Kirschner in early 1967, the Monkees recorded their third album "Headquarters". Kirschner, a publishing tycoon who's songwriting stable included Carole King and Neil Diamond, had enforced a strict "vocals only" policy on the Monkees during the sessions for their first two albums. While his song selections for singles were excellent, ie: "Last Train to Clarksville" and "I'm a Believer", Kirschner's failure to involve the Monkees in the instrumentals and often backing vocals on their recordings caused the group to be crucified by the "serious" rock press. The producers of the Monkees television series sympathized with the group, who were playing all of their instruments on tour, and ousted Kirshner. Chip Douglas, who was playing bass and arranging vocals for the Turtles, was chosen by Michael Nesmith to produce the Monkees recording as a self-contained band. On "Headquarters" the group accentuates Nesmith and Tork's country and folk roots while still utilizing the great pop values they had inherited. Not suprisingly, the sound quality is not drastically different from their earlier efforts although it took the Monkees significantly longer to make viable recordings than the studio instrumentalists that proceeded them. Nesmith, clearly at the helm as he intended, delivers three rousing and melodic country-pop performances: the churning "You Told Me", the bouncy "Sunny Girlfriend", and the wonderfully urgent "You Just May Be the One". Micky Dolenz writes his first song, the novel "Randy Scouse Git", a diary of a wild party thrown for the group by the Beatles, who he refers to as "the Kings of EMI", (the Fab Four's British record label). Although no single was released from this album stateside (a big mistake commercially), "RSG" climbed to #2 on the UK charts. Peter Tork weighs in with his exuberant composition "For Pete's Sake" (sung by Dolenz) which later surfaced as the closing theme for the Monkees television show, (you remember, "...in this generation, we gotta be free!). Davy Jones and Peter Tork croon the album's centerpiece, the poignant "Shades of Gray", written by Barry Mann and Cynthia Weill who penned "You've Lost That Lovin' Feeling", among countless other hits. Jones provides another highlight with the wonderfully atmospheric "Early Morning Blues and Greens", which paints such a vivid mental picture with its descriptive lyrics written by Diane Hildebrand. This is a great album with a real "group" sound as opposed to the tv "soundtrack" feel of the first two albums. Check it out, ...this is probably their second best effort after "Pisces, Aquarius, Capricorn and Jones Limited". \n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the most important rock albums of the 60's, August 7, 2004 \nBy J. K. Baxter "my right hand is a chainsaw" (Near Philadelphia, PA)\n\nReleased in perhaps the second most important year of rock history (the first probably being 1954), Headquarters is one of the defining albums of that year. By the end of the fabled "Summer Of Love", the Beatles seminal "Sgt Peppers Lonely Hearts Club Band" held the number 1 spot on the billboard charts. Numbers 3, 4 and 5 were the Rolling Stones, Doors and Jefferson Airplane respectively. Can you guess who number 2 was? That's right, the Monkees. \n\nThe Monkees were also the top selling act of 1967, but it was based on the success of their first 2 albums, the self titled "The Monkees" followed by "More Of The Monkees". However, it was the release of "More Of The Monkees" that led to the boys earning the right to record an album playing all of their own instruments (save for the bass work of producer Chip Douglas, and a horn and cello player) and also the ousting of producer Don "The Golden Ear" Kirschner. \n\nHeadquarters is, at heart, a garage band tour de force. That's right, 4 millionaires, 4 of the most popular figures in music and television in the year 1967, but the force behind this album is just so raw, I even want to use the word "punk" here! \n\nThink about it; Micky Dolenz had been playing the drums seriously for less than a year. Nesmith and Tork were adequate at guitar, and Tork could play a bit of piano, but neither were fully polished musicians (yet). And Jones could merely sing and bang a tambourine or shake some maracas. To top that all off, Dolenz was the only one of the 4 who was commonly accepted to have held a good range of voice. \n\nSo why is this important? Well, the 4 Monkees just went into the studio and made it happen. Some of the songs they wrote, and some were written by the usual Monkees songwriting teams....but the band had total control here. They were scarcely more than amateur musicians, but they turned in a classic rock milestone that was number 1 on the charts...until the most important rock album of all time knocked it off. Holding number 2 during the summer of '67 is not a bad achievement! \n\nAlso, even given the excellent selection of tracks here, like Nesmith's country-tinged (does he usually do any other kind?) rocker "You Told Me", the excellently arranged "Shades Of Gray" (featuring perhaps Jones and Tork's best vocal work to date), the supremely catchy "For Pete's Sake" (co written by Tork), featuring wistful Dolenz vocals and brilliant Nesmith guitar work (this song was actually the closing tune to the credits of the television show during season 2), the album did not actually feature a single in the united states. (Dolenz raucous "Randy Scouse Git" was actually a big hit in the UK, were it was known as "Alternate Title".) All this and it still held down number 2 on the charts! \n\nThis CD reissue features 6 bonus tracks, including an alternate version of the admonishing yet still sunny "All Of Your Toys", a version of Nesmith's "The Girl I Knew Somewhere" actually featuring Nesmith on vocals as opposed to Dolenz, who sang the original released version, as well as "Pillow Time", featuring some great studio chatter by Dolenz. \n\nOverall, this stands as a rock document to what the Monkees were able to do when allowed to simply be a rock band. It helps to also see this album for what it really is: the ultimate garage album. \n\n\nAMAZON.COM CUSTOMER REVIEW\nThis is what rebelling against your handlers really means, July 23, 2004 \nBy Anyechka (Rensselaer, NY United States)\n\nThis is the album where The Monkees most worked and played together as a real band. They didn't write all of the songs on here (indeed only six of the twelve, and two of those songs are more like fooling around in the studio than real songs), but they did more writing on this album than they'd been allowed to do on the two previous albums. They even mentioned on the back the only two instruments they hadn't played (a horn and cello on "Shades of Gray"), making sure to let the public know that this was a real group effort, a real band's album, not some manufactured thing thrown together by the powers that be. The modern-day boygroups who think they're rebelling against their own handlers by having a public break and legal battle with some sleazy manager have a lot to learn from The Monkees; after The Monkees rebelled against their handlers, they went into the studio as a real band, learnt to play their own instruments, wrote songs on their own. They didn't go back to making the same type of bubblegum pop with studio musicians or a mere two songs they "co-wrote" with thirty other people. They became a real band, a band who, love them or hate them, has stood the test of time, something the boygroups of today only wish they could achieve. They didn't need to distort their voices or instruments with synthesisers, since they were great already. They were talented musicians from the get-go; they didn't "decide" to become real musicians like the boygroups did. \n\nThis is not the teenypop that was featured so prominently on their first two albums. There are some beautiful and mature songs on here like "Shades of Gray," "You Told Me" (a great opening number by Mike), "You Just May Be the One," Micky's number "Randy Scouse Git" (which was called "Alternate Title" in England, since the original title means "horny Liverpudlian jerk" in British slang), and "Mr. Webster." Even the songs Davy sings are a big step up from the schmaltzy songs he was usually stuck singing, and for having been made during the Summer of Love (it was #1 for the first week, till it was knocked down to #2 by the most overrated album of all time), the only song on here that might be classified as psychedelic is "Early Morning Blues and Greens." These songs are so far from their bubblegum songs, in fact, that the only time I'd count on hearing any of them played on the radio would be during one of those speciality programmes that are on usually during the weekend. Though I fell in love with The Monkees for their fun happy upbeat bubblegum pop, this record is also a great album for a new fan to fall in love with them with. \n\n\nAMAZON.COM CUSTOMER REVIEW\nHow come..., December 28, 2003 \nBy John Skurat (Lakehurst, NJ United States)\n\nit was okay for Hal Blaine and Glen Campbell to play on Beach Boy records, a majority of English pop bands at the time to use session musicians, and the Aniamls and the Byrds to record song by Brill building writers, but the Monkees got attacked for supposedly not playing their instruments as some sort of rock'n'roll blasphemy. This is the same kind of crap which keeps Black Sabbath out of the Rock And Roll Hall of Fame, while SERIOUS artists like Billy Joel get inducted. But, that is beside the point. Face it, the songs from the Monkees TV show stuck with us children who happened to either be there at the start, or were grabbed by the ears when syndication came calling in the early '70's. But, it wasn't until Rhino re-released these pop gems did I actually investigate. WOW!! Was I thrown for a loop. While, yes, the first two albums were production line efforts, there were plenty of blissful pop moments, especially on MORE OF THE MONKEES. So, as many other reviewers have pointed out, HEADQUARTERS, is the pre-fab four's RUBBER SOUL, the repsonse to Monkeemania and its trappings that RS was to Beatlemania. There really isn't a bad moment. Even slighter tunes like "I Can't Get Her Off My Mind" and "No Time" lend range and diversity. From the bass drop opening of "You Told Me", a shimmering slice of Nesmith-penned pop to the outre ramblings of Dolenz' "Randy Scouse Git", this is a piece of psych-tinged sixties pop the stands comfortable next anything by the Byrds, Mamas and the Papas, Holllies or Turtles. And, the bonus tracks "All Of Your Toys" and the alternative Nesmith-sung take of "The Girl I Knew Somewhere" only strengthen the set. Other personal faves are the Chip Douglas-penned "Forget That Girl", Nesmith's sublime "You Hust May Be The One" and Tork's "For Pete's Sake", which was such a strong track, it became the show's closing theme in year 2. As someone pointed out, some of the songs aren't necessarily as strong as earlier efforts. Of course, given the "DIY" attitude, it only makes a fan dream of the possibilities if the boys were able to actually get a hold of earlier gems like "Sometime In The Morning", "She", or "Look Out (Here Comes Tomorrow)", and apply the same energy. Yeah, there are warts in the playing, but it sounds fresher than the cookie-cutter approach of session musicians. It appears that time is being kind to the Monkees, in spite of the jealousy and misplaced anger of the rock intelligentsia of the time. HEADQUARTERS and the follow-up PISCES, AQUARIUS, CAPRICORN AND JONES LTD. (the Monkees REVOLVER), are the proof why they deserve that kindness. \n\n\nAMAZON.COM CUSTOMER REVIEW\nReasons why they were the coolest bubblegum act of all time, June 27, 2003 \nBy Michael Topper (Pacific Palisades, California United States)\n\nOnly in the turbulent 1960s could a pre-manufactured bubblegum\npop band created for TV teenyboppers--the first of its kind,\nactually--actually rebel against the strictures of its success and become a *real* band. Not only that, but all four members were talented enough that when this happened, the result was not disaster but something nearly indistinguishable in quality from the songs written and played on the first two albums by session musicians. In retrospect, the listenability of "Headquarters" is something of a minor miracle, and the album\nactually stands up as an honest, low-key and appealing blend of folk-rock, garage-rock and UK pop influences. As mentioned by many observers, the fact that it is really Mike, Mickey, Davy and Peter playing this time around gives the tracks a warmer band feel than the slick but generic playing on the first two albums.\n"Headquarters" was perhaps recorded a few months too late for the ever-changing times; by March of 1967 psychedelia was on the rise and at the same time this album was recorded, so was Cream's "Disraeli Gears", The Beatles' "Sgt.Pepper" and Pink Floyd's "Piper At The Gates Of Dawn". Interestingly, there were some trippier cuts off of their first two albums ("Take A Giant Step", "This Just Doesn't Seem To Be My Day") than there were here--soon after its release, the group quickly rethought their strategy and quickly began to record "Pisces Aquarious Capricorn And Jones Ltd." to catch up to the times. However, the songs on "Headquarters" stand up today regardless of then-current trends, and there's nary a weak one in the bunch. Nesmith's three tracks, the hypnotic opener "You Told Me" (love the banjo and backing harmonies) and earnest, catchy country-pop tunes "You Just May Be The One" and "Sunny Girlfriend", rank among the finest of his early career. The Jones-sung ballads are far more sincere here than on the first two albums, largely because the orchestration is used subtly and sparingly, with "Shades Of Gray" becoming something of a fan favorite. Tork weighs in with the timely 60s rocker "For Pete's Sake", while Dolenz tries his hand at an early garage-ish form of psychedelia on the closing epic "Randy Scouse Git"; these two tracks point the way toward the group's future. "Mr.Webster" is a haunting\nstory-tale with one of Jones' best vocal performances, while "No Time" is an out-and-out rocker performed with surprising energy by the band. The overall impression of "Headquarters" is that it's a pleasing, earnest collection of songs with a consistency of quality lacking in most Monkee albums (save perhaps "Pisces, Aquarious"); it is highly recommended to any fan of mid-60s \npop-rock, for it is certainly more than vapid bubblegum. Just think, if another band had recorded this or "Pisces Aquarious" they would've probably been given critical acclaim. \n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Real Monkees Stand Up On Headquarters, May 11, 2003 \nBy Wil (AL)\n\nIn the weird world of pop music, even this was weird: a fake band made up of wannabe actors and struggling musicians starring on a sitcom decide to wrest control of their musical soundtracks from the powers-that-be (personified by Don Kirshner) and succeed in becoming a bona fide act, with the blessings of the TV show's creators. The result is an album that is actually by a real band, the aforementioned actors and musicians being the four parts: the cute, cuddly dancer/singer Davy Jones; the zany spacey actor/singer Micky Dolenz; folk-inspired, banjo-pickin', piano-playing Peter Tork; and the mastermind behind the coup that lead to this album, country/rocker guitarist Mike Nesmith. \n\nThe album works, mostly because the band still had the ability to pick and choose great songs from A-list writers, most of whom had been provided by the now-ousted Kirshner. Only now, the Monkees were choosing which tunes they would record. Alongside the writers, each band member (minus Jones) crafted their own tunes. And they actually stand up against the others. This could be partly due to the fact that the Monkees passed over tunes that could make their own original songs look bad; there are no "I'm A Believer"'s or "Last Train To Clarksville"'s here. Instead, the band round out their own tunes with average pop compositions such as "I Can't Get Her Off Of My Mind", "Mr. Webster", and "I'll Spend My Life with You", none of which really are that great. The best non-original tunes are producer Chip Douglas' "Forget That Girl" (credited to a pseudonymous name, Hatelied) and the slightly melancholy "Early Morning Blues and Greens", sung by Davy Jones. The song works, but it would have worked better in the hands of someone like Tork or Dolenz.\n\nThis isn't to say that the band's original work is not great. On the contrary, they actually surprise with their talent for crafting simple catchy tunes. Nesmith shines brightest of course; "You Told Me", "You Just May Be the One" and "Sunny Girlfriend" are among his best early works. Tork provides the classic "For Pete's Sake", which was such a strong tune that the show's producers started using it over the closing credits of the show. Dolenz' vocal delivery is great, and the whole band really put to bed the idea that they were talentless. \nBut the biggest surprise has to be Dolenz' out-of-left-field, bizarre minor hit "Randy Scouse Git". It's a mix of psychedelic pop and scat-jazz styled vocals. The combination works in a weird garage band way, as does most of this album. The Monkees were so adamant to prove that they could really do it all, they refused the help of side musicians; the only outside instrumentalists are Douglas and some brass players on the pensive, coulda been a hit "Shades Of Gray". Everything else is played by the band, and they do it well. It sounds like a first album, and in many ways, this was the band's first. The simple pleasures of the Monkees fueled by the simple desire to make simple, straight-ahead garage rock gives Headquarters a special place in a time when everyone else was tripping out on Sgt. Pepper's and Hendrix. It is a worthy document of a TV experiment that suddenly went crazy. The monster was loose, and roaming radio with listenable pop that still gets heads bobbing and feet tapping to this day. For that, Headquarters deserves the praise it receives. A nice addition to any '60's rock collection. \n\n\nHalf.com Details \nProducer: Douglas Farthing Hatlelid \n\nAlbum Notes\nThe Monkees: Michael Nesmith (vocals, 12-string guitar); Peter Tork (banjo, background vocals); Micky Dolenz (zither, drum, background vocals); Chip Douglas (bass guitar); Davy Jones (tambourine, background vocals).\n\nRecording information: 1967.\n\nOne of the Monkees' two best albums, HEADQUARTERS is also the one '60s album on which the band played nearly all the instruments, save for a string section and occasional bass from producer Chip Douglas. Since Michael Nesmith had instigated the revolt that led to the band's musical independence, he's in the forefront here, and his songs are uniformly excellent. The banjo-driven "You Told Me" and "Sunny Girlfriend" are two of his best country-influenced tunes, and "You Just May Be the One" is magnificent REVOLVER-influenced psychedelic pop.\nDouglas' "Forget That Girl" features one of Micky Dolenz's best vocals, and Dolenz's own "Randy Scouse Git" is an impressionistic, trippy delight. Perhaps the album's best track is the Davy Jones lead "Early Morning Blues and Greens," a moody slice of atmospheric pop. Even oddities like "Band 6" and "Zilch" are interesting ephemera. \n\nThis reissue features six interesting alternate takes and demos.
This rock cd contains 25 tracks and runs 60min 32sec.
Freedb: 620e2e19
Buy: from Amazon.com

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