Headquarters

I really liked this. Like a dumb amount. For what is functionally a Beatles parody group at its inception, this was really jammin', and I get why they became popular in their own right. Fucking Zilch.

The Beatle (singular)

"Headquarters" is a mismatched mishmash of mediocrity that is merely a meagre mimicry (one might even say maliciously so) of "modern" music. It leaves the listener feeling mocked, miserable, and more than a mite mad with the meretricious marketing machine that is the Monkees.

If someone made a Spinal Tap/Mighty Wind 60s band album this is exactly what it would sound like.

Released 1 week before Sgt. Pepper's - it sounds decades behind. Mid 60's pop. It's not bad; it's just not good either. Best tracks: You Told Me, You Just May Be The One, For Pete's Sake (Closing Theme)

It's okay, but really just sounds like a group trying (and struggling) to impersonate the more poppy elements of the Beatles, which I suppose is essentially what they were doing. It's well recorded and produced, but the songs just fall a little flat for me. There were a few interesting asides though - I now know where Del the Funky Homosapien got the main sample for Mistadobalina! Probably wouldn't listen to again, but it wouldn't annoy me if someone else wanted to put it on. (2.6)

https://www.toppermost.co.uk/monkees/ The monkeys were an incredible band. This is an incredible album. Zilch! Tape looping in 1967. Randy scouse git. This is an all time great example of sixties pop. Possibly only surpassed by the astounding Pisces … Think of this. Imagine BTS doing something like Zilch. Not to knock BTS - they do what they do and it appeals to millions. But to bring in cutting edge musical compositional ideas. (To be fair their albums are generally very philosophical even if the music is predictable). More of my feelings on this incredible band - the band that shouldn’t be - can be found in the link above. 16 stars.

"But it's true. They didn't write their own songs or play their own instruments." “The Monkees weren't about music, Marge. They were about rebellion, about political and social upheaval!” The reality was that they were neither a novelty band made up of actors, or the voice of a generation. What the Monkees were was a group of 3 talented songwriters and musicians who were able to act, and the Brit teen-idol they were built around with incredibly restrictive contracts. This album ended up being a one-and-done display of their talents as a four piece, with them reverting to session musicians for the following records. When they had to churn out 7 albums in 3 years, can you blame them? Oh, and it was Michael Nesmith's real hat.

“Headquarters” by The Monkees (1967) Formulaic pop which is not representative of the ‘Summer of Love’ in the American cultural scene. We regarded this music as immature even then. We can now add to our disdain the recognition that it was, from the beginning, a corporate project. I feel sorry for the artists, but the music is too formulaic to be called art. Still, it’s pleasing enough to listen to. Once. For old time’s sake. On the way out the door. Lyrically sappy, G-rated pulp. Musically, it would be fun to play a party game with 70-year-olds identifying which Beatles songs the Monkees are ripping off in each track. Mickey Dolenz’ drumming is poor (that’s why it’s wisely subdued in the mix) and bass is played by B-grade session musicians, demonstrating that the producers didn’t take the rhythm section seriously—a fatal flaw for rock music. Guitar arrangements performance are amateurish. All vocals are weak. Mr. Jones, please put down the tambourine. Okay, now that that unpleasant task is done, we can, at a minimum, celebrate the fact these guys were at least pretending to have fun. But they were being paid to. 2/5

i grew up in the nineties when nick @ nite aired old reruns of the monkees show. my mom adored them growing up, and headquarters was in fact her favorite monkees' album. i've never stopped loving the monkees. some bias may show here, but i'll show good reason for it! headquarters is different from the monkees' previous albums. not only are peter and michael's vocals featured more, but the overall quality is better and feels more authentically monkees. this album isn't as breezy and light as their first two albums but instead contains more substance. the monkees were given more creative control for this album, which is unmistakable when comparing their albums. more than half of the album is written by at least one monkee, along with the usual tommy boyce and bobby hart additions. i will plug the delightful opening lyrics from "my sunny girlfriend" written by nesmith: "she owns and operates/her own sunshine factory". not to mention, for a band that was created simply for a tv show and not because they could play instruments, the four of them creating the "band 6" instrumental is monumental as an inclusion. as mentioned before, headquarters has more depth. there are some sweet, slow songs ("shades of gray", "early morning blues and greens"), but you have the typical monkees humor ("zilch", "randy scouse git" - and i swear you can hear micky's laughter in the back of "no time") and your love songs for davy and his girlfriend of the week ("i can't get her off my mind"). sure, it's a similar formula, but more meaning is contained within than before. headquarters is the first monkees' album to balance all members without relying only on micky and davy's vocals. if anyone is slighted, it is peter; later albums show how soft and beautiful his voice on songs could be. there's a reason why "shades of gray" stands out on this album. but for mike to have three (!) songs he wrote and sang included, that shows the monkees' personal influence. don't get me wrong: headquarters is brilliant and enjoyable, but i love all monkees' music. regardless of the album or the song, a smile always finds its way to my face when listening to them. one of the easiest 5s i've ever given.

I underestimated the Monkees

Favorite monkee's album

A really good album, I love the style of music. My favourites were The Girl I Knew Somewhere, No Time, Forget That Girl and Randy Scouse Git.

This absolutely ruled. I knew The Monkees were underrated, but this still took me by surprise. I loved every second of this album, even the sillier moments.

believer

Fantastic pop album no complaints

❤️

Always loved The Monkees. they're a band with no pretence or delusions of grandeur, just a bunch of musicians thrown together by a record label....that worked.

Knew of The Monkees but very few of their songs. Blown away by this album. Great late '60s pop.

loved every song

*monkey noises*

The Monkees finally were finally allowed to write and perform on their own records. And it is not a disaster. Pleasant folk/country inspired pop rock, with some hints of psychedelia. But I can't really remember a single song on it, except Zilch (an experimental thing that I quite like)

I loved this album as well as the story of how it came to be. TV executives create a fake band who actually wanted to be a real band, and this is what they got to do when allowed. It is so fun and so good and so very very representative of its time.

Most underrated artist of all time? not sure about that, but i know this album is fantastic.

The Monkees were always more than a manufactured band of pretty boys and this album proved it; all the self-penned songs stand up against those written for them or recorded as covers (well, maybe excepting "Band 6" and "Zilch", but even they have their merits) and in some cases are the best songs on the album.

Oh yay!!

Reminds me of early Beatles, but less over played.

This is very good album

Great

I've loved the The Monkees since I was a ten yr old kid. Thanks to my aunt & Nickelodeon, watching The Monkees TV show was part of my afternoon schedule. It was then when I developed one of my first crushes on Michael Nesmith. It was as an adult that I learned that he was from TX & spent quite a bit of time in my hometown. Childhood aside, this group is incredibly talented. My favorite songs are those led by Mike, but Mickey is also a fantastic lead vocalist. Also cool to note that at least one of these songs is written by Neil Diamond (he's a phenomenal song writer IMO) and that wins points too. I hope we see more from The Monkees. They're definitely a favorite.

Five stars just for "If I Learned To Play The Violin". Funniest song I've ever heard.

It's interesting to me how much of The Monkees and their legacy is based around the fact that they were created as a prefabricated band for a sitcom. Like, before this album, they basically had no control over their own direction. The songs were all written by pros, they were all played by session musicians, their producer had complete control over track listings... And, heck, if one of them hadn't put their first clean through a wall, they well could've been the ones to have recorded "Sugar, Sugar". The four of them were trapped in a black box, with nothing to do but smoke in-between flopping around on camera. I can only imagine how crazy that would drive someone. Like, sure, if this were the 1950's and they were Elvis, singing other people's songs wouldn't really be such a bad lot. But unfortunately, this was the late-60's — where, funny enough, Elvis found himself in the same spot as The Monkees. I mean, The Beatles were the entire reason The Monkees were created in the first place, and they set the standard for bands writing their own songs. The Rolling Stones had moved to penning their own material, Brian Wilson was crafting masterworks, Bob Dylan... And yet, here these guys were, faking songs for a teen-age audience that didn't care about the artifice. They had hits upon hits — but what does it matter if none of them were theirs? That's where HEADQUARTERS comes in. See, their next single was supposed to feature a compromise: the A-side would have the group singing on one of their producer Don Krisher's tracks, and the B-side would feature something the boys had written and performed themselves. Krisher had seemingly agreed to this — until the next single came out and it featured two Krisher tracks. It caught everyone off-guard: not just The Monkees, but also the show producers and the **label executives**. Needless to say, the move wasn't exactly worth it. Krishner was out, and finally, **finally**, The Monkees were able to record an album under their own direction. So, after all of that preamble — how does the album itself actually play out? See, I don't wanna front and say that the surrounding context isn't a big reason why I'm as much a fan of the album as I am. It's a great story of fighting for freedom and achieving it. Honestly, there's some part of me that tends more towards the prefab artifice of their previous two albums. I mean, come on, **the hits**: their TV theme song, "Last Train To Clarksville", "(I'm Not Your) Steppin' Stone", "I'm A Believer"... It's all bubblegum, factory-made and everything, but if it ain't fun to chew, y'know?, they can be so **garage**, I love it. I'm not sure if there's a song here that really matches up to any of those — or even their later hits, like "Daydream Believer". But that's speaking on a song-by-song basis. As an **album**, absolutely, this is the band's greatest achievement. 'Coz, look, as much as their debut and MORE OF THE MONKEES had great singles, and some amazing garage-type rock, as a complete experience... Well, there were some notable low points, to be sure. There's some part of me that gets a kick out of shit like "I Wanna Be Free" and "The Day We Fall In Love" in spite of themselves, but I can't act like they're not... Y'know, **good**. That's not even to mention the stuff that just feels tossed off, like, "Eh, this episode needs another song, sure." HEADQUARTERS is a more consistent experience. The highs might be lower, but the lows are higher, and it all balances out pretty nicely. It's just... A really good listen, y'know? Which I feel is all it needed to be, to prove they could make it on their own. At the very least, I've put this on more than I have the previous two, and not out of any sort of "this is the one where they gained autonomy" obligation. Goodness, there was one night this year or last last where, for some reason, I listened to the first side of this record, like, three times in a row. If that doesn't tell you how I feel about this album, I don't know what else will. Oh, and if I can quickly name the best song on this album before I move on: "Randy Scouse Git". Just, 100%, it's "Randy Scouse Git". It even went all the way to no.2 as a single in the UK — with the alternate title, uhm, "Alternate Title",'coz... Well, you look at what it's more commonly known as. Following this album, The Monkees would meditate once more on being a prefabricated band, with the movie/freak-out trip HEAD. That movie's a whole extended essay unto itself, so I'll refrain from going on about it. Just to say that, hey, The Monkees wouldn't have been able to try and kill off The Monkees if this album and its success allowed them the freedom to do that. For that alone, it's their most important, and thank goodness it had the tunes to back that up. I mean, if this had turned out to be the 60's NICK OF TIME... I mean, goodness, I don't even know. For me, this album's a solid 4. Honestly, I'm not sure if The Monkees were ever capable of making a straight 5/5 album, but as the best they've ever done by themselves... It coulda been worse, y'know? Plus, hey, they had Frank Zappa's approval, and in my eyes that counts for a lot.

“The Monkees weren't about music, Marge. They were about rebellion, about political and social upheaval!”

I love the Monkees. They're fun, they don't take themselves too seriously, and their songs are catchy. Yeah, they were a "fake" band for a TV show and the whole schtick was being a blatant Beatles-esque ripoff so you can easily slap a derivative label on them. But they're obviously creative, talented guys who worked well together as a group and the fact that they fought for more creative control over the music and wanted to grow as artists in their own right speaks volumes about them. They may have started out conceptually as puppets for the network but they became so much more. The endurance of their songs well beyond the shelf life of the TV show proves that what they did resonated with a lot people in a truly impactful way. I dig everything they represent and I love their tunes. It's worth noting that I write this as a person born in the 80's who loved watching their show when I was a kid even though the episodes were already 25+ year old reruns.

Highlights: Randy Scouse Git, The Girl I Knew Somewhere, A Little Bit Me, A Little Bit You Having grown up with The Monkees on TV, this album contains quite a few rarer and deeper cuts than I'm used to. They really did gel as a band and by 1967, were producing much more polished music than their introductory efforts, for better or for worse. It's nice to see they didn't take themselves too seriously, even later in their heyday, where they continued to craft short and punchy tracks that never overstayed their welcome, but also were numerous. As such, I won't go over them all, but they're all pretty good.

This is a super fun album and it maintained a consistent good energy throughout. I wish some of the songs had been longer or more complex but I still enjoyed them. Some definite bops in there and all around a fun album.

So, look, I was born in 1981 and while most “experts” would classify me as a “millennial”, I disagree. Beyond the obvious question of “Why is it that I am considered a millennial, but my classmates who were born in 1980 are considered Gen X?”, there are other important questions that should be asked, like: How many Millennials remember the Challenger disaster or the fall of the Berlin Wall or Nirvana taking the world by storm? Or, how many millennials knew Adam West as Batman before they knew Michael Keaton’s Batman? How many know a Joker (Cesar Romero) who couldn’t be bothered to shave his damn mustache and instead had it covered up with white grease paint as if the whole fucking world wouldn’t notice his bristly mustache under that coat of paint? Like, if I have an in-depth understanding of a lot of 1960’s references and TV shows dating back to when I was growing up, am I really a millennial? I don’t think a lot of my millennial counterparts born in 1992 have the same understanding of 60’s culture that I do. I could be wrong, though. Point being, I know the Monkees from TV as a kid. It was one of those shows you’d see in the afternoon on the weekends on WPIX 11 in New York and you’d watch it because there wasn’t anything else on. It usually came on in the same afternoon block that had Flipper (the dolphin, not the punk band). It was a corny show, but kind of funny sometimes and it sort of did music videos before that was a thing, so it was kind of unique compared to other tv shows. So, call me a millennial if you must, but I’m more in tune with Gen X and I think if you watched the Monkees on TV as a kid, there’s probably a pretty good case to be made that you’re not a millennial, despite what the experts who create these arbitrary dates have to say. In closing, a fun fact about the Monkees: Stephen Stills auditioned for the Monkees, but was rejected because the producers thought his bad hair and crooked teeth didn’t jive with the Teen Idol image they were looking to portray on the show. He recommend that they hire his friend, Peter Tork, who got the role. (See? I told you I was going to fit in as many Stephen Stills references as possible before I finished this challenge.)

Stop recommending albums with 800 dumb studio tracks, it’s confusing. It was fine, I have no idea what the album actually was.

Ew, you like the Monkees.

Innocent music.

The Monkees occupy an odd place in my pop music lexicon. The active band era predated my existence by a few years, with the barest intersection (various reunions I didn't register at the time notwithstanding). I watched tons of them in reruns, though, and the obvious hits are cataloged in the depths of my semiconscious inner pop library. Since childhood, I thought of this band not at all though, except briefly when Jones and Tork died. Reading up on this album, I'm impressed by their dedication to being allowed to operate as an actual band. Still, it's hard not to make the obvious comparisons: the whole thing is heavily derivative of the Beatles, and not truly up to that standard. But I'm persuaded it earns its place in this list.

Pretty derivative, with the first half especially just being “I can’t believe it’s not Beatles!™”, but still very listenable, and the back half especially had som fun creative ideas.

I once bought a Monkees album off a TV ad and sent them a bunch of coins in an envelope. I think I was 9 or so. I got the album, still have it, and really like about 15% of it. But this album didn't represent that 15%. It reminded me of the TV show episodes where the Monkees tried to be quirky and instead seemed lame. This reminds me, is Zooey Deschanel's duo on this list?

Like, didn't the Kinks already have the pseudo-Beatles thing locked down? We needed a full on satirical version? No thanks

When the Beatles started going weird, someone at NBC television had the bright idea of creating a family friendly boy band from scratch for a tv show, and maybe put out some records as well. The Monkees were duly assembled and released two albums, before rising up and seizing the means of production to record their own songs. This album is mostly harmless, but not particularly memorable. Highlight is a snarky song about the Beatles called “Randy Scouse Git”.

Unremarkable 60s pop.

Feels like a watered down version of the Beatles, to be honest. Quality music, it's just didn't feel exciting at all to me.

Pretty ok. It sounds alot like if the beatles never moved on from 'Please please me'

This album is just unbelievably 60s, and not in a good way. I can't fault most of it, but it's all just so safe and really uninteresting. If this were an early 60s album I think it would be a lot more forgivable, but given that at this point in music history, The Beatles, The Stones, and Bob Dylan had already taken music far beyond what it ever was in the past, this album is very much behind its time.

There was a time where songs were easier and had only one theme: girls. The lyrics on this album are really dull and absolutely forgettable (also, they were empty when we get to Randy Scouse Git). That being said, the music is decent 60's rock 'n' roll. This is my 20th album and I feel like this is again an album that is way more important for the American context than for the European.

I was rooting for these guys, trying to become a real band, but this album was not great. I think the track with the vocal warmups was honestly my favorite. Overall not sure why this needed to be on the list.

Imagine releasing something that sounds almost a decade too late in 1967; the year that the musical revolution in all its diversification truly began. I'd never release anything ever again if that was me.

1967 was one of the most successful years in terms of creativity and artists surpassing themselves, but despite everything, we found ourselves listening a damn generic Monkees.

"The album was released on May 22, 1967, and charted at No. 1 in the U.S., only to be replaced the following week by the Beatles' Sgt. Pepper's Lonely Hearts Club Band; it then began a run of 11 consecutive weeks at the No. 2 position..." kinda says it all about these guys - the epitome of a second fiddle

It's better than their stuff for TV, but it's still wholly forgettable.

The Monkees have some truly great songs, sadly none of them are to be found on this album. At times they're really channeling their inner 'Beatles', but without any of the charm or musicality.

Dollar store Beatles music. Ugh.

No "Daydream Believer"? No "I'm a Believer"? No "Opening Theme"? Oh, hey, at least they made this album by themselves...! Two participation trophies out of five 🏆🏆

Why are the Monkees on this list at all? They were created in a lab, taught to play instruments (mostly poorly), and released to an army of teenage girls whose parents wouldn't let them list to Elvis or the Beatles. Don't get me wrong, there are 3-4 Monkees songs that I like - but not a single one of them was on this album. That leads me to believe that there will be more Monkees to come on this list. More Monkees? Nope.

Definitely Beatles-lite. I didn't recognize any of these songs by name so I thought perhaps I had heard one before without knowing it. I did not. It's The Monkees. It doesn't have Daydream Believer. It's watered down Beatles. It's certainly not God awful but it isn't memorable or essential in anyway unless you're really into this genre. I'll take the Fab 4 everytime.

Pretty bad. If this is the only Monkees album on this list then they messed up. Was cool to hear "Mr. Dobalina, Mr. Bob Dobalina" on "Zilch" but that and "A Little Bit Me, A Little Bit You" were really the only highlights of this (long) album.

Ew you like The Monkees? You know they don’t write their own songs. They don’t play their own instruments. That’s not even Michael Nesmith’s real hat

I fully get why they are constantly cited as like the Beatles 2. However, I really loved this album. There wasn’t a moment here where I was bored or wanted it to end. I didn’t delve too much into the lyrics but instrumentally this is incredibly tight. First album in a while that I haven’t known and then proceeded to listen to multiple times that day.

Fun group from the 60’s. Great sound, great music. Received the fame they deserved.

10/10 for a novelty band, they sure seem to have an endless amount of genuine talent I also adore their movie Head

Groovey!

Ugh so nostalgic. Also no notes. Michael nesmith most underrated songwriter ever

cmonnnn. so fuckin awesome. lemon twigs literally wish.

Loved this album, will include in future rotations!

Rock sesentero. Venga, vinilo, aunque alguna canción no me ha entusiasmado.

Ah, what the hell. I’m at a 4.5 that I'll bump up to a 5. This is my first time hearing The Monkees, outside of “I’m A Believer” – I know about the TV show, but my (admittedly ignorant) reputation of them has always fallen under the same general lens I think most people have about the 1960s in pop music: there’s the Beatles, and then there’s everyone else trying to be the Beatles. It rings especially true for the Monkees; just look at the name, plus it’s a 4-person band that seemingly got thrown together on a whim. You can’t blame me for this. My expectations were middling, and I’m very pleasantly surprised to be wrong – this is a really charming album. You have to be in the sort of mood for overly bubbly 60s pop like this, so I can understand why the average rating on this is lower… but like, come on, you can’t be that goddamn unhappy for an album like this, can you? I thought this was great – it’s not like, Beatles-level great, but who said it had to be? There’s a lot of unfair expectations levied here on account of being “The Monkees” but if you push past that, you end up with a really good album. A decent number of these tracks feel like the natural conclusion of the 30s/40s “Great American Songbook” style, and they’re appropriately produced that way, but it doesn’t mean this album feels horribly out of date for 1967. It’s all intentional, but still brought up to the standards of the 60s, and I think they sound great and feel fun to listen to. It’s very weird to feel the fruits of that era coming to roost after listening to so many of those tracks, but it’s kind of cool at the same time. When this album escapes from that “Great American Songbook” box, and gets into its more experimental & Beatles-y stuff, it’s still just as good, with “Randy Scouse Git” being the prime example here. It’s really different from the rest of the album, but without straying too far, and it’s really memorable because it dares to be different enough, especially for a final track. So, yeah, I’ll give my credit where credit is due to Dolenz, Tork, Nesmith, and Jones – the Monkees may just be a good band after all, or at the very least, their musicianship grew enough to make a genuinely compelling album that feels like it can at least sit at the same lunch table as some of its contemporaries. This sat right behind Sgt. Pepper at #2 for a while, so clearly audiences loved these guys. I thought it was just charming enough to really win me over – the lyricism is good, the vocals are good, the instrumentals are fun and varied, and as a whole, it’s just a really tight 31 minutes that kept me captivated most of the time. I enjoyed it a lot, and it’s worth giving a 5.

Have on vinyl. Love them Monkees.

Ok so I fucking love The Monkees. Their greatest hits album is a certified banger for road trips. That being said I haven't tried to listen to any of their main albums. These guys are the OG Big Time Rush but they're actually good LOL They are a specific vibe of upbeat, hopeful, and cheery music they just aims to put a smile on your face. They remind us that its okay to just be happy without having a reason; sometimes you can just *be* in a good mood. If you want a song that exemplifies this the best (even tho it isn't on this album) listen to Pleasant Valley Sunday. This album is just more of that... Being pleasant and bright :) You Told Me I'll Spend My Life with You. You Just May be the One !!!!!!!!! (this is a monkees song?!?! how did I not know) For Pete's Sake (Closing Theme) BOP Mr. Webster Sunny Girlfriend No Time! Randy Scouse Git!!!!!!!!! The Girl I knew Somewhere A Little Bit me, a Little Bit You I thoroughly enjoy the Monkees fuck yes

This is really solid 60's Pop music. Probably the first time I've listened to a Monkees album. There aren't any overplayed hits to skip, which makes it that much better. The vocal harmonizing is standout for me. Really enjoyable listen. Just exactly perfect for a summer morning on the patio with coffee.

Well this is delightful. Nice and easy 60s pop. A good time.

"The Cars" by The Cars is a quintessential album of the late 1970s, marked by its innovative blend of new wave, rock, and pop sensibilities. From the infectious hooks of "Just What I Needed" to the moody yet catchy "My Best Friend's Girl," this self-titled debut showcases the band's knack for crafting memorable melodies and marrying them with sleek, synth-driven arrangements. One of the album's strengths lies in its diversity. Tracks like "Good Times Roll" exude a playful energy, while "You're All I've Got Tonight" delves into darker, more introspective territory. Ric Ocasek's distinctive vocals and quirky lyrics add depth and character to each song, while the tight musicianship of the band members ensures a polished, cohesive sound throughout. "The Cars" is a timeless classic that remains as relevant and enjoyable today as it was upon its release. It's a testament to the band's enduring influence on the music landscape, and a must-listen for fans of alternative rock and pop alike.

Loved the TV show back in the day! A number of great songs!!!

I was skeptical. Buti ended up liking the album.

Amidst their struggle for creative control, there's a raw energy that permeates Headquarters, giving it a distinct edge. The Monkees finally have the opportunity to assert themselves as musicians, pushing boundaries and experimenting with their sound. Tracks like Randy Scouse Git showcase the group's willingness to take risks and break free from conventions. Despite the chaos, there's a sense of liberation in their music, as if they're finally unleashing their true selves. Headquarters marks a significant departure from their earlier, more polished sound, revealing a band unafraid to embrace their quirks and imperfections. In the midst of the madness, The Monkees find their voice, creating an album that is both wildly entertaining and undeniably authentic. It's a testament to their resilience and creativity, proving that sometimes a little madness can lead to greatness. NUMBER OF BANGERS - 11 STAND OUT TRACK - You Just May Be the One

Such a classic!¡

Very cool album! It's got great harmonies, the opener is fantastic A sweet concise album, that doesn't waste time, except for the quirky interludes maybe. The songs have fantastic hooks and melodies. They're having a ball and being goofy at times, but I think it's a bit of their trademark? Standouts: You Told Me, Shades Of Gray, For Pete's Sake, Sunny Girlfriend, Early Morning Blues And Greens 8,5 out of 10

I used to watch the Monkees as a kid (kid of the 80's/90's, but obsessed with 60's tv). this album was a nice surprise. I wish they were taken more seriously as musicians in their prime, this album is fun and experimental pop.

momnkeksknknes

I personally give this 5 stars and note that there is some bias in play. This was the first album they played their own instruments on, which was a big deal for them. It's an even bigger deal that when it came out, it topped both The Beatles and Beach Boys. Probably a largely underappreciated album, but one of my favorites for sure.

I just can't...

Needed this one today, great fun bit of silly 60s pop that's better than it pretends to be. Sure the beatles thing is writ large, but there is something special here.

Rock sesentero. Venga, vinilo, aunque alguna canción no me ha entusiasmado.

Despite fillers, Band 6 and Zilch, it is a solid album from the band. They were finally able to play their own instruments and they were able to be a real band.

I grew up in the 80s, but fell in love with the Monkees watching reruns of the television show. I bought copies of all their albums and knew all their songs. This album happens to be my favorite of theirs. A little something for everyone.

## The Monkees' *Headquarters*: An In-Depth Review of a Pop Rebellion Released on May 22, 1967, **The Monkees'** ***Headquarters*** stands as a landmark album in pop-rock history. It was the band's declaration of independence from their "Pre-Fab Four" image, following a bitter struggle with music supervisor Don Kirshner. After Kirshner’s dismissal, the band seized creative control, writing most songs, playing instruments, and co-producing with **Chip Douglas**. The result? A #1 Billboard album that outsold even *Sgt. Pepper* for a week and went double platinum . Below, we dissect its lyrics, music, production, themes, and legacy. --- ### 🎵 **1. Musical Style and Performance** **Genre Fusion:** The album blends folk-rock ("You Told Me"), baroque pop ("Shades of Gray"), country ("Sunny Girlfriend"), psychedelia ("Randy Scouse Git"), and avant-garde experimentation ("Zilch"). This eclectic mix reflects the members' diverse influences, from Nesmith’s country leanings to Tork’s Greenwich Village folk roots . **Instrumental Prowess:** - **Peter Tork** shines as a multi-instrumentalist, delivering banjo ("You Told Me"), piano ("I Can’t Get Her Off My Mind"), organ ("Early Morning Blues and Greens"), and bass . - **Mike Nesmith’s** 12-string guitar and pedal steel work define the album’s country-rock texture . - **Micky Dolenz’s** drumming is energetic but occasionally erratic ("No Time"), while **Davy Jones** provides rhythmic support (maracas, tambourine) . **Vocals:** Dolenz remains the standout vocalist, shifting from tender ("I’ll Spend My Life With You") to frenetic ("Randy Scouse Git"). Jones’ show-tune flair suits "Forget That Girl," though his limited range is apparent. Nesmith’s warm, folky delivery elevates his compositions . --- ### ✍️ **2. Lyrical Themes and Songwriting** **Authenticity and Rebellion:** - Nesmith’s "You Just May Be the One" celebrates self-discovery, while "Randy Scouse Git" (inspired by Dolenz’s UK trip) critiques generational conflict: *"Why don’t you hate who I hate, kill who I kill, to be free?"* . - Tork’s "For Pete’s Sake" (later the TV show’s closing theme) advocates idealism: *"Love is understanding; don’t you know that this is true?"* . **Love and Melancholy:** Jones’ tracks ("Forget That Girl," "Early Morning Blues and Greens") lean into romantic yearning, though lyrics are often conventional . **Absurdist Humor:** "Zilch" (a spoken-word collage) and "Band 6" (a cartoon-theme parody) inject levity, showcasing the band’s camaraderie . --- ### 🎛️ **3. Production and Sound** **Minimalist Approach:** Producer **Chip Douglas** prioritized live band takes over studio polish. The result is raw, with audible imperfections (e.g., Dolenz’s off-beat drum fills) that underscore authenticity . **Innovations:** - Speed-corrected remixes (2022 Super Deluxe Edition) fixed pitch inconsistencies from analog tape machines . - Stereo separation highlights instrumental layers, like Tork’s banjo interplay with Nesmith’s guitar on "You Told Me" . **Weaknesses:** Jones’ vocal-centric tracks ("I Can’t Get Her Off My Mind") suffer from cloying arrangements, reflecting Kirshner-era leftovers . --- ### 🌟 **4. Influence and Legacy** - **Cultural Impact:** *Headquarters* proved "manufactured" bands could achieve artistic legitimacy, inspiring later acts like Hanson and even K-pop groups . - **Sampling & Homage:** "Zilch" was sampled by Del the Funky Homosapien in "Mistadobalina" (1991) . - **Critical Reassessment:** Included in *1001 Albums You Must Hear Before You Die*, it’s now praised for capturing the "Summer of Love" spirit alongside *Sgt. Pepper* . --- ### ⚖️ **5. Pros and Cons** | **Pros** | **Cons** | |-----------------------------------|-----------------------------------| | **Creative Autonomy**: First album with band-written songs and performances . | **Uneven Vocals**: Jones’ theatrical style clashes with rootsy aesthetic . | | **Eclectic Cohesion**: Balances humor, social commentary, and genre experimentation . | **Filler Tracks**: "Band 6" and "Mr. Webster" feel underdeveloped . | | **Historical Significance**: Documented the band’s rebellion against industry control . | **Production Limitations**: Dolenz’s drumming and Nesmith’s pedal steel divide critics . | --- ### 💎 **Conclusion: A Flawed Triumph** *Headquarters* remains The Monkees’ most human album—a snapshot of four artists learning to fly mid-storm. While not a masterpiece (Nesmith himself called it "marginally okay" ), its charm lies in its earnest imperfections. The album’s legacy isn’t just in hits like "Randy Scouse Git," but in its bold statement: authenticity can’t be manufactured. For 1967, that was revolutionary. > **Key Track**: "Randy Scouse Git" – A psychedelic social rant with frenetic tempo shifts . > **Deep Cut**: "Shades of Gray" – Baroque-pop reflection on disillusionment, featuring Tork’s rare lead vocal .

Nice

All I know about the Monkee’s is the tv show, so going in I was expecting something campy. I was pleasantly surprised with the album I heard. I particularly enjoyed Band 6, Sunny Girlfriend, and No Time.

The Monkees were actually pretty cool

The sound was identical to any other British invasion group, but the songs were above average

it's a shame they became such a punchline. This album is really enjoyable once you get past the stigma associated with The Monkees. Haters gonna hate. But I'm giving this one 4 stars damnit!

Fun

Loved it. Great, happy 60s tunes. 4.25

I think they're underrated. Not as good but more fun than the band they're obviously trying to rip off, the Beatles. Favorite song: forget that girl

i love getting albums like this because it means i get to be nitpicky for nitpicky's sake. i love the monkees and am very familiar with their albums. this one is not my favorite of theirs. there's some good, even great stuff on here ('randy scouse git,' 'for pete's sake,' and i really adore the mike nesmith track 'you just may be the one') but it's a really uneven album. there's some psychedelic goofiness here (a product of its time) which is kinda whatever and doesn't add to the album ('zilch,' 'band 6') and there are songs that are, quite frankly, just kinda not great ('forget that girl,' and 'mr. webster'). i love the monkees when they are at their best - fun and bubblegum - but this is not really that.

I liked this it was pretty easy listening that gave me Beatles vibes. I don't think there were any tracks that made me go "Woah this is amazing" so it gets a 4.