Monkees Albums (13)
'Concert in Japan'
Release Date 1/1/1996
Tracks 13
Label Varese Sarabande
See Album Tracklist and Review
What The Critics Say
Following the semi-Monkees reunion, a tour had to follow, especially as promoters were showing a great deal of interest prior to the release of their one and only studio album. This concert was recorded in Japan in 1976, and was supposed to be the follow-up to Dolenz, Jones, Boyce and Hart. However, due to the poor sales of that album, this album was shelved until 1981 when a mini-Monkees craze hit Japan following the release of "Daydream Believer," and Toshiba-EMI felt money could be made with this release. In actuality, this is not a bad album; it is exactly what it seems -- a nostalgic trip through the hits of the Monkees and Boyce & Hart (who also wrote many of the Monkees' hits). Augmented with a tight backup band, Dolenz, Jones, Boyce, and Hart re-create their famous songs almost note for note. The medleys are annoying and out of place, especially their tribute to classic pop/rock. But when they are on (for example, "(I'm Not Your) Steppin' Stone" and "I Wonder What She's Doing Tonight"), the music is a good rocking sound. The vocals are near perfect and the sounds of the excited crowd provide a combination that should be able to put a smile on anyone's face. Only one song from their debut album is present (the Dolenz and Jones composition "Savin' My Love for You"), which does not sound out of place but also does not add a great deal. ~ Aaron Badgley, All Music Guide
What The Critics Say
Given the context of the MTV revivialism of their show, a reunion performance on the MTV music awards, a stellar best of compilation and a top video on Dial MTV with "That Was Then...This is Now" and a new series based on the original (The New Monkees? Anyone?)...one would think that 1986 was the year that the Monkees could do no wrong. For the most part this was true, but then they dropped Pool It and it was a bit like watching a prized race horse's legs give midway through a race. Unquestionably their worst output of all time, Pool It was an obvious attempt to cash in on the revitalized success of the group which falls flat within thirty seconds of the album's solitary notable song "Heart and Soul". Normally this is the part of the review where the reviewer would advise this release for die hard fans only, but I can't even suggest that as no one should be subjected to such poor quality unless it's a collector or completist-- and even then it's best to keep Pool It in its original packing, if anything to increase the resale value. ~ Rob Theakston, All Music Guide
What The Critics Say
This title -- which appeared on vinyl and cassette sans the four "solo" non-Monkees' performances -- was the first of its kind. It contained live recordings by the Monkees -- a fake pop band made up of four actors. Because their pre-teen audience so bought into the phenomenon, that quartet of actors -- Mickey Dolenz (drums/vocals), Michael Nesmith (guitar/vocals/percussion), Davy Jones (vocals/percussion/drums), and Peter Tork (bass/keyboards/banjo/vocals) -- toured around North America during the summer of 1967 performing to packed audiences and, yes, playing their own instruments. Although technology was not exactly on their sides, Monkees' TV show producers Bob Rafelson and Bert Schneider made a valiant attempt to document the mania created at these live "happenings". After an initial dry run on a monophonic tape machine manned by crew member/photographer Winton Teel, the outcome was deemed favorable to try and record on professional four-track equipment that would be attended/recorded by Monkees' concurrent studio producer Hank Cicalo. He recorded the final three gigs on their transcontinental sojourn August 25-27 in Seattle, Portland, and Spokane, respectively. Unfortunately, upon completion, the tapes were pronounced unacceptable and ultimately shelved. Fast-forward nearly a decade later when MTV's Monkees' marathon (broadcast on February 23, 1986) sparked a fresh generation of fans. The new CD medium was perfect for resurrecting not only their old recordings, but the arrival of archival projects such as this. Immediately evident is the sheer din of screaming one might expect at such an event. However, considering that the four individuals had no way of hearing themselves -- on-stage monitor systems were still several years away -- they actually don't sound too bad. Each night contained more or less the same routine and song list, so what is presented on Live 1967 is a composite of a typical show taken from the three nights denoted above. Those familiar with the hit (studio) versions might be surprised at the garage band primitiveness that is more often than not a result of un-tuned instruments and off-key harmonies. The CD features each of the guys in a spotlight performance. Although Tork's take on the traditional folk tune "Cripple Creek" has no other musicians on it, the other three are supported by a then (and still) relatively unknown five-piece pop combo called the Sundowners. They are heard behind Nesmith's update of Willie Dixon's "You Can't Judge a Book (By Looking at the Cover)," while Dolenz takes on Ray Charles via the Godfather of Soul with his reading of "I've Got a Woman," and Jones reverts back to the Great White Way for a charming take of "I'm Gonna Build a Mountain"." The conclusion contains what is arguably the best of the lot as the self-contained quartet returns to rip and tear through "I'm a Believer," "Randy Scouse Git," and "(I'm Not Your) Steppin' Stone"." Despite the lack of anything resembling fidelity, the out of control sonic surroundings suit the considerable transfer of energy between audience and performers. Parties wishing to hear these concerts in their entirety are strongly encouraged to locate a copy of the four-disc Summer 1967: The Complete U.S. Concert Recordings (2001). ~ Lindsay Planer, All Music Guide
What The Critics Say
This disc contains songs and snippets of dialogue from the Monkees' full-length feature film of the same name. Although their Emmy-winning television program had been cancelled in the spring of 1968, the quartet quickly regrouped and, with the assistance of budding actor/director Jack Nicholson, created a 90-minute surreal cinematic experience -- replete with matching soundtrack. Without question, both the movie and album are the most adventurous and in many ways most fulfilling undertaking to have been born of the Monkees' multimedia manufactured project. The music featured on both the screen as well as this album is a long strange trip from the Farfisa-driven bubblegum anthem "I'm a Believer." Perhaps even more telling is that Head became the first Monkees long-player not to include a Tommy Boyce/Bobby Hart composition. As such, the talents of each member are uniquely showcased -- especially those of Peter Tork, whose contributions were previously too few and far between. Ironically, his acid rocker "Long Title: Do I Have to Do This All Over Again" and Eastern-flavored "Can You Dig It?" are not only among the best of the six original compositions on the soundtrack, but also among his finest Monkees offerings, period. Other notable tracks include Micky Dolenz's vocals on two Carole King works: the ethereal "Porpoise Song," which was co-authored by Gerry Goffin, and the Toni Stern collaboration on the pastoral "As We Go Along." The 1994 CD reissue includes six "bonus selections." Primary among them are the live version of Michael Nesmith's balls-to-the-wall rocker "Circle Sky" -- which highlights the self-contained quartet at its most incendiary -- and an unissued version of the Harry Nilsson-penned "Daddy's Song," featuring an alternate lead vocal from Nesmith rather than Davy Jones. ~ Lindsay Planer, All Music Guide
'The Birds, the Bees & the Monkees'
Release Date 1/1/1968
Tracks 17
Label Colgems
See Album Tracklist and Review
'Pisces, Aquarius, Capricorn & Jones Ltd.'
Release Date 1/1/1968
Tracks 20
Label Colgems
See Album Tracklist and Review
What The Critics Say
After wresting control of the Monkees from Don Kirschner and recording the very good Headquarters album as a mostly self-contained unit, the bandmembers returned to using studio musicians to augment their sound as well as looking outside the group for the majority of the songs on their fourth album, Pisces, Aquarius, Capricorn & Jones Ltd. Whatever the reason for the decision, the resulting album is one of their best. Filled with hooky pop like "She Hangs Out" and the Harry Nilsson-penned "Cuddly Toy," psychedelic ravers "Daily Nightly" and "Star Collector" (both of which feature the newly invented Moog synthesizer), Mike Nesmith-produced rockers ("Love Is Only Sleeping"), and ballads (the lovely "Don't Call on Me"), the album is filler-free and fun-filled. That it contains three of their finest songs ("Words," "Pleasant Valley Sunday," and the song that "invented" country-rock for better or for worse, "What Am I Doing Hangin' 'Round?") means that not only is it one of the Monkees' best, it is one of 1967's best. To think that both this album and Headquarters came out the same year! Most bands would be lucky to have two albums this good come out their entire career. Pisces, Aquarius, Capricorn & Jones Ltd. is a must-have for any fan of smart, fun, and exciting '60s pop. It doesn't get much better than this. [Rhino's 1995 reissue of the album adds seven previously unreleased songs including alternate versions of "Daily Nightly" and "Star Collector."] ~ Tim Sendra, All Music Guide
