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DISCLAIMER: This site is in no way affiliated with the Monkees or personal relations thereof. All fan fiction and fan art is intended for entertainment purposes only and no defamation of character is intended whatsoever. To break it down one more time: It's all just for fun, folks.

 

“Great song. We were just thrilled to death with that. I was really pleased with that little piano introduction I wrote. We created that arrangement ourselves from scratch. I don’t remember what kind of demo they gave us, except that it had verse, verse, instrumental, half-verse and out, no bridges. Mike wrote the horn and cello parts in his head and sang them to me, and I notated them. It was great to have him do that and to know how to tell a French horn player what to do. The horn player said, ‘How about one of these [for the ending] – bah bah bada?’ I said, ‘Sure, go ahead.’” ~ Peter on recording ‘Shades of Gray’ – Headquarters Liner Notes, 2006

 

 

 

“The night we finished, the president of RCA was coming down to hear the album. The guy was running the studio at the time, Charlie Pruzansky – who was my boss – came and looked at the room, and he said, ‘Gee, you guys, it’s a mess.’ Micky had come in with some Tempera paints and started painting the glass between the control room and the studio. This went on for weeks. What we had was this incredible piece of artwork, with everybody painting on the damn thing. I said, ‘Just leave it alone, Charlie, and don’t touch it. The guys want the painting on the wall, and they haven’t taken any pictures yet, so leave it alone.’ He said, ‘Well, okay, we’ll try and do that.’ Well, somebody else from the building maintenance came in and looked at the room because here’s the president of RCA coming with a bunch of bigwigs from New York. I came to the studio around three o’clock in the afternoon, walk in, and the place is spotless and the glass has been washed off. [The Monkees] walked in, and they freaked. The president had to take all this abuse, nothing about the album, but about the fact that some idiot had come in and washed the glass off!” ~ Hank Cicalo on finishing up Headquarters – Headquarters Liner Notes, 2006

 

 

 

“The album was released in the UK as a result of a deal between Pacific Arts and Island Records. Chris Blackwell heard the record from a member of his publicity staff. I was somewhat surprised by the UK success of ‘Rio’ (it reached #28 in the UK singles chart), but then I am always a little surprised by almost everything in the UK, as it works out. It is one of the reasons I have loved it for so long. I am told by UK fans that I made an appearance on BBC TV’s long-running weekly pop music show Top of the Pops; apparently I was briefly interviewed by one of the show’s hosts in between performances by other acts, but I don’t remember it at all.” ~ Michael on the release of ‘From a Radio Engine to the Photon Wing’ – Liner Notes, July 2007

 

 

“For Michael Nesmith, Tork’s exit meant that he could finally claim the musical autonomy he had so eagerly sought since the group’s formation.  Although Tork and Nesmith had been strong allies in The Monkees’ fight for musical independence during 1967, the two had only slight artistic ties in the aftermath of their victory. ‘I realized that it was best for him to move on,’ Nesmith reflected. ‘I could understand why he wanted to go, ‘cause I did too. But I felt like we hadn’t quite finished, and that there were still a few things that we should try to do. There were some things The Monkees were and represented that hadn’t been said or done. I was also keen on not just leaving it a loose end.’” ~ Michael on Peter’s leaving – Instant Replay Liner Notes, 1995

 

 

 

“I never thought in a million years that this could happen again. I want to thank Papa Nez for his vision, support, patience, and encouragement. For my money, he single-handedly made this album possible.” ~ Micky on the making of Justus – Justus Liner Notes, 1996

 

 

 

 

“Scary to cope to have to deal but sometimes it works out, gets real. Don’t quit just before the miracle.” ~ Peter – Justus Liner Notes, 1996

 

 

 

“That’s poetic license! That was a direct insult to a music publisher who told me that in order to have successful tunes I had to write music that was ‘good clean fun’, and that had a recurring theme or hook line. Of course, I just rejected that out of hand. I thought, ‘I’ll write a song called ‘Good Clean Fun’, I just won’t put those words in there anywhere.” ~ Michael on his habit of not having titles in lyrics – The Monkees Present Liner Notes, 1995

 

 

 

 

“’Words’, that was a fabulous song. That was one of the first times we thought Peter could actually sing on a record. It’s overlapping. That’s when we thought it would be a good idea to have Peter come in and sing with Micky.” ~ Tommy Boyce on recording ‘Words’ – More of the Monkees Liner Notes, 1994

 

 

 

“That was actually one of the first songs I had written. I was not nearly as prolific as Mike and everyone else in those days. In fact, I think I played that for Mike on guitar once, and he encouraged me to record it. That’s really when I started recording my own tunes.” ~ Micky on recording ‘Just a Game’ – Instant Replay Liner Notes, 1995

 

 

 

“What happened was, I’m afraid that as I was making an attempt to write this song, I got knocked off the straight and narrow. I started to torture the metaphor and similes. It basically says, ‘I know that we’re both old and settled in now, and we don’t say much to each other, but that doesn’t mean that I still don’t love you.’ Now, that’s a sweet dynamic for a song, unfortunately, I managed to murder it pretty good.” ~ Michael on his song ‘Carlisle Wheeling’ – Instant Replay Liner Notes, 1995

 

 

 

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