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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.


“It was Bert’s decision. Because it fell into place in the movie right after Micky’s desert scene, they wanted him to be the lead singer on the song, so I put him on it – no big thing. That’s the way we did it. The first song Mike ever produced he had Micky sing lead on, because Micky was the lead singer. Neither Mike then, nor I later, thought twice about it. It wasn’t until later on that we thought, ‘We should do this ourselves, because it’s our song.’ We didn’t have any of that proprietary interest until afterwards.” ~ Peter Tork on ‘Can You Dig It?’, Head liner notes – 1994



“I’d always had deep doubts, ever since the session for ‘Last Train to Clarksville’. I walked in there with my guitar and Tommy Boyce and Bobby Hart looked at me with derision and scorn, like, ‘Guitar in your hand, you fool!’ That was the end of it for me. Right there I was done with The Monkees in large measure. I struggled against it with some success at one point. But after Headquarters nobody wanted to be a recording group anymore. I did what I could but I could, but I didn’t feel like there was any reason for me to be there anymore. I wanted to be in a rock group.” ~ Peter Tork, Head liner notes – 1994




“While Hollywood’s casting agencies scoured their books for potential targets, dozens of young hopefuls with little professional experience decided that this was an opportunity just waiting for them to exploit it. No fewer than 437 people responded to the advert, among them future rock stars Stephen Stills (Buffalo Springfield/CSNY), Jerry Yester (The Lovin’ Spoonful) and Danny Hutton (Three Dog Night); scenemaker Rodney Bingenheimer; and budding songwriter Paul Williams. Contrary to popular legend, the misanthropic and potentially deranged Charles Manson – who might have lived out Raybert’s quest from “insane boys” all too literally – was not one of those who answered the call.” ~ Casting the Monkees – The Definitive Monkees Liner Notes, 2001




“We sat the around a piano and had them sing all the songs we had written for them. It was obvious that Micky had the Paul McCartney voice, he could really sing. Davy had a passable ballad voice. Michael thought he was Merle Haggard. And Peter had no voice at all.” ~ Tommy Boyce on their first impressions of The Monkees as singers - The Definitive Monkees Liner Notes, 2001




“What I didn’t know was that I was being hired to play a role that had very serious limits. When I made trouble was when issues of quality began to crop up. That’s when I went outside the job description and said, ‘No, no, wait a minute, I’m gonna go home. We have an opportunity to make good music, and if we’re not gonna do that, then I’m outta here.’ In the past, anyone who’d make that kind of demand on a TV show had been pushed out. But this was the 60’s, and people were perhaps more open to ideas from outside than before or since, so the producers of the show listened to what I had to say. I admit that I overstepped the boundaries, but I think it was to the benefit of the project.” ~ Mike on standing up against the creators - The Definitive Monkees Liner Notes, 2001




“It began with Mike Nesmith. Mike fancied himself not only a musician, but a record producer and composer as well. Kirshner rode a narrow line between tolerating and patronizing [the group]. He listened – but not very hard – to the tapes they recorded on their own in the naïve hope that one of them would please Donnie. He made vague promises that (the boys later claimed) he never kept. Clearly a showdown was coming. And come it did.” ~ The Monkee/Kirshner confrontation – Headquarters Liner Notes, 2006





“Nesmith threatened to quit unless Kirshner gave the band some input. When told by Kirshner’s attorney that he’d better check his contract, Nesmith smashed his fist through the wall of Kirshner’s pricey suite, telling the attorney, ‘That could’ve been your face.’ With the room still in shocked silence, Nesmith stormed out. “I was very impressed, because I thought the Beverly Hills had pretty strong walls,” chuckles Kirshner now, though he still seems shaken by the events. “Mike hit the wall in front of my wife, Sheila, and my mother-in-law, Joyce, which is embarrassing. It’s like going to a graduation, a bar mitzvah, or a confirmation. You figure it’s the happiest day of your life, right? They’d at least shake my hand, right? So, that’s what I experienced, and that’s when I said to myself, ‘That’s the end for me. I’m gonna do a group that doesn’t talk back.’” ~ The final confrontation – Headquarters Liner Notes, 2006




“What you’re basically asking to have happen here is a really good tennis player, and a really good football player, and a really good basketball player, and really good golfer get together and all play baseball. We are good athletes, but we don’t play the same sport.” ~ Mike on the logistics of making the band work – Headquarters Liner Notes, 2006





“Michael was just taking a few pedal steel lessons. I would not like to have seen us be a country music band, but I love the idea of Michael playing pedal steel. In some ways he’s a very powerful guy.” ~ Peter on recording ‘I’ll Spend My Life With You’ – Headquarters Liner Notes, 2006




“Carole King – an astounding creature. ‘Porpoise Song’ is a great song, but I think ‘As We Go Along’ is even better.” ~ Peter Tork, Head liner notes – 1994




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