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DISCID=620e2e19
DTITLE=The Monkees / Headquarters (Deluxe Edition) - Disc 1 of 2
DYEAR=1967
DGENRE=Pop
TTITLE0=You Told Me
TTITLE1=I'll Spend My Life With You
TTITLE2=Forget That Girl
TTITLE3=Band 6
TTITLE4=You Just May Be The One
TTITLE5=Shades Of Gray
TTITLE6=I Can't Get Her Off My Mind
TTITLE7=For Pete's Sake
TTITLE8=Mr. Webster
TTITLE9=Sunny Girlfriend
TTITLE10=Zilch
TTITLE11=No Time
TTITLE12=Early Morning Blues And Greens
TTITLE13=Randy Scouse Git
TTITLE14=All Of Your Toys (Previously Unissued Alternate Mix)
TTITLE15=The Girl I Knew Somewhere (Previously Unissued Alternate Vers
TTITLE15=ion)
TTITLE16=A Little Bit Me, A Little Bit You (Previously Unissued Stereo
TTITLE16= Remix)
TTITLE17=She Hangs Out (Previously Unissued Stereo Remix)
TTITLE18=Love To Love (Previously Unissued Stereo Remix)
TTITLE19=You Can't Tie A Mustang Down (Previously Unissued Stereo Remi
TTITLE19=x)
TTITLE20=If I Learned To Play The Violin (Previously Unissued Stereo R
TTITLE20=emix)
TTITLE21=99 Pounds (Previously Unissued Stereo Remix)
TTITLE22=The Girl I Knew Somewhere (Single Version - Stereo Remix)
TTITLE23=Randy Scouse Git (Alternate Version)
TTITLE24=Tema Dei Monkees (Previously Unissued Stereo Remix)
EXTD=Headquarters (Deluxe Edition) - Disc 1 of 2\n2007 Rhino Entertain
EXTD=ment Company\n\nOriginally released as Colgems #103, May 22, 1967
EXTD=\nArista CD Edition Released July 7, 1987 or August 25, 1989\nRhi
EXTD=no Remastered CD Edition Released January 24, 1995\nRhino Handmad
EXTD=e Sessions 3CD Edition Released September 21, 2000\nDeluxe 2CD Ed
EXTD=ition Released July 10, 2007\n\nAMG EXPERT REVIEW: After the rele
EXTD=ase of More of the Monkees, on which the band had little involvem
EXTD=ent beyond providing vocals and a couple Mike Nesmith-composed so
EXTD=ngs, the pre-fab four decided to take control of their recording 
EXTD=destiny. After a well-timed fist through the wall of a hotel suit
EXTD=e and many fevered negotiations, music supervisor Don Kirschner w
EXTD=as out and the band hit the studio by themselves. With the help o
EXTD=f producer Chip Douglas, the band spent some time learning how to
EXTD= be a band (as documented on the Headquarters Sessions box set) a
EXTD=nd set about recording what turned out to be a dynamic, exciting,
EXTD= and impressive album. Headquarters doesn't contain any of the gr
EXTD=oup's biggest hits, but it does have some of their best songs, li
EXTD=ke Nesmith's stirring folk-rocker "You Just May Be the One," the 
EXTD=pummeling rocker "No Time," the MOR soul ballad "Forget That Girl
EXTD=," which features one of Davy Jones' best vocals, Peter Tork's sh
EXTD=ining moment as a songwriter, "For Pete's Sake," and the thorough
EXTD=ly amazing (and surprisingly political) "Randy Scouse Git," which
EXTD= showed just how truly out-there and almost avant-garde Micky Dol
EXTD=enz could be when he tried. Even the weaker songs like the sweet-
EXTD=as-sugar "I'll Spend My Life with You," the slightly sappy "Shade
EXTD=s of Gray," or the stereotypically showtune-y Davy Jones vehicle 
EXTD="I Can't Get Her Off My Mind" work, as they benefit from the stri
EXTD=pped-down and inventive arrangements (which feature simple but ef
EXTD=fective keyboards from Tork and rudimentary pedal steel fills fro
EXTD=m Nesmith) and passionate performances. Headquarters doesn't show
EXTD= the band to be musical geniuses, but it did prove they were legi
EXTD=timate musicians with enough brains, heart, and soul as anyone el
EXTD=se claiming to be a real band in 1967. \n\n[Rhino's 1995 reissue 
EXTD=adds six previously unissued tracks recorded during the Headquart
EXTD=ers sessions including an early take of the single "The Girl I Kn
EXTD=ew Somewhere" and rare demos "Nine Times Blue" and "Pillow Time."
EXTD=] \n\n[In 2007 Rhino gave the album the double-disc deluxe revamp
EXTD= with mono and stereo versions, plus versions of songs recorded d
EXTD=uring the Headquarters sessions (as well as the six songs recorde
EXTD=d by producer Jeff Barry in New York and sung by Jones only in wh
EXTD=at turned out to be Kirschner's futile last-ditch effort to regai
EXTD=n control of the project). The stereo mixes are bright and punchy
EXTD=; the mono mixes tough and even punchier, with the band sounding 
EXTD=like a raw garage band at times. Most of the bonus tracks have be
EXTD=en released in one form or another (many on the Missing Links ser
EXTD=ies), but what this package offers is newly mixed stereo versions
EXTD= of ten songs that quite often use alternate vocals. So really, t
EXTD=he set is aimed at collectors looking to replace their copies of 
EXTD=Rhino's 1995 reissue, and it succeeds. It also serves as a fascin
EXTD=ating document of the group and, more importantly, some of the be
EXTD=st pop music the 1960s have to offer.]  -- Tim Sendra\n\n\nAmazon
EXTD=.com Product Description\nIn an effort to restore and remaster th
EXTD=e music of The Monkees, Headquarters is back in a new and improve
EXTD=d way! Featuring "The Girl I Knew Somewhere," "You Just May Be Th
EXTD=e One," and "Randy Scouse Git," this album is a great addition to
EXTD= any Monkees fan's collection. \n\n\nAMAZON.COM CUSTOMER REVIEW (
EXTD=Deluxe Edition)\nI wanted to write a nasty review, but it's reall
EXTD=y superb , July 15, 2007 \nBy  Micaloneus (the Cosmos)\n\nThis de
EXTD=luxe edition of Headquarters is so nicely done (much like the fir
EXTD=st two in this series), I honestly couldn't write anything nasty.
EXTD= It's been presented with love and care. \n\nThe sound quality is
EXTD= great in both mono & stereo. It's very similar in sound quality 
EXTD=to the Beatles Capitol Records releases that just came out recent
EXTD=ly. The bonus material is entertaining, as well as strong, I also
EXTD= loved some of the stuff I'd never heard before. The booklet is a
EXTD=lso really good, with lots of rare photos and the in depth story 
EXTD=of the making of this album. \n\nThe overall packaging is very cl
EXTD=assy. It makes me hope that The Beatles get this kind of treatmen
EXTD=t through Apple records, or my favorite band, Deep Purple get thi
EXTD=s sort of stunning re-packaging from Rhino. \n\nI grew up on the 
EXTD=mono versions of the Monkees albums, all the way up to their fift
EXTD=h album "The Birds, The Bees & The Monkees" in April 1968, so I w
EXTD=as really thrilled to see that mono finally made it to CD. I've a
EXTD=lways thought that the mono mixes were better overall, giving an 
EXTD=overall impression of a heavier rock band sound. Though, I got th
EXTD=e feeling that the Headquarters mono mix was a fold down of the s
EXTD=tereo mix. As for the stereo mastering, it sounded brighter than 
EXTD=the original Rhino CD's, with some added compression, and the sig
EXTD=nal might have been pushed harder than the older Rhino discs. But
EXTD= on the whole, a wonderful job. Let's hope the next two albums (r
EXTD=eleased in mono & stereo) get this same kind of royal treatment. 
EXTD=\n\nSure they seem to be milking the Monkee-cow, but when it's th
EXTD=is strong, milk it baby. Next up, The Birds, The Bees & The Monke
EXTD=es? \n\n\nAMAZON.COM CUSTOMER REVIEW\nThree albums in a year? Sti
EXTD=ll, a good effort, July 24, 2005 \nBy  Patrick Beaudry (Winston-S
EXTD=alem, NC)\n\nReleased in June 1967, this album continued the rapi
EXTD=d-fire release of Monkees albums. Released just 6 months after th
EXTD=e release of More of the Monkees, and just 9 months after their d
EXTD=ebut album, this record seems to be a polished and solid effort, 
EXTD=and it also served notice that the Monkees were exerting more cre
EXTD=ative control over the direction of the band, as evidenced by the
EXTD= proliferation of Monkees-penned material. \n\nHEADQUARTERS appea
EXTD=rs to not suffer like the previous albums in terms of continuity 
EXTD=and tone, and the album as a whole sounds much more like a solid 
EXTD=whole than a group of singles (and filler). Beginning with "You T
EXTD=old Me", a Mike Nesmith penned tune, the album has a very even to
EXTD=ne throughout, and with few exceptions (for me, it's "Band 6" and
EXTD= "Zilch"), there is very little filler material on the album. Tha
EXTD=nks to the television show, most of the songs are easily recogniz
EXTD=able, and that tends to lend credibility. In addition to the song
EXTD=writing, the Monkees seem to be more upfront about showing their 
EXTD=individuality on the songs, as each Monkee has what comes across 
EXTD=as their own individual song on the album (Mike = "Sunny Girlfrie
EXTD=nd"; Davey = "Early Morning Blues and Greens"; Mickey = "Randy Sc
EXTD=ouse Git"; and Peter = "Shades of Gray"). \n\nA few notes on the 
EXTD=CD re-issue, the bonus material on this reissue is a step above s
EXTD=ome of the other CDs, as none of these songs appear on any other 
EXTD=albums. The addition of an alternate version of "The Girl I Knew 
EXTD=Somewhere" is an excellent bonus, as the original was never relea
EXTD=sed on an album, but was the flip side of the single "A Little Bi
EXTD=t Me, A Little Bit You", written by a then unknown Neil Diamond. 
EXTD=However, an issue that may be of interest only to me, all of the 
EXTD=re-issued CD's have only a band picture on the CD, and no other i
EXTD=dentifiable markings, other than the obligatory inventory #. I pu
EXTD=rchased all of the re-issues, and listen to them as a group. Howe
EXTD=ver, finding out which CD goes in which case is a harder task tha
EXTD=n I would like. \n\n\nAMAZON.COM CUSTOMER REVIEW\n+ 1/2 stars...T
EXTD=he Monkees Become a Band, March 22, 2005 \nBy  Steve Vrana (Auror
EXTD=a, NE)\n\nOn June of 1967, HEADQUARTERS was the No. 1 album in th
EXTD=e U.S., and it spent most of the summer at No. 2 behind the Beatl
EXTD=es' SGT PEPPER. And what's really amazing about this feat is that
EXTD= it wasn't even buoyed by a hit single off the album. Bottom line
EXTD=, it is the Monkees' strongest album and the only one that was es
EXTD=sentially a group effort. In fact, except for producer Chip Dougl
EXTD=as handling most of the bass duties and a couple session musician
EXTD=s on "Shades of Gray" and "No Time," this is one hundred percent 
EXTD=Monkees. \n\nWhile the album didn't convert rock critics to their
EXTD= corner, it restored the group's self-respect. Nesmith emerged as
EXTD= the most accomplished songwriter. Tracks like "You Just May Be t
EXTD=he One," Peter Tork's banjo on "You Told Me," and "Sunny Girlfrie
EXTD=nd" pointed the way toward Nesmith's post-Monkees career as a pio
EXTD=neer of the country/rock movement. \n\nTork co-wrote "For Pete's 
EXTD=Sake," which became the group's closing theme for the show's seco
EXTD=nd season. Mickey Dolenz served up the frenetic "Randy Scouse Git
EXTD=." [Note: Released as a single overseas, the song went Top 10 in 
EXTD=England and Australia.] And while the rave-up "No Time" is credit
EXTD=ed to recording engineer Hank Cicalo, the liner notes say the lyr
EXTD=ics were written by Nesmith and Dolenz and that the music was, ac
EXTD=cording to Tork, a "Chuck Berry rip-off." \n\nOf the six bonus tr
EXTD=acks, only the instrumental "Peter Gunn's Theme" and "Jericho" ar
EXTD=e previously unreleased. The instrumental is an interesting stab 
EXTD=at the Henry Mancini classic, but "Jericho" is two minutes of hal
EXTD=f dialog and half harmonizing on the gospel standard between Dole
EXTD=nz and Tork. Nesmith's demo of "Nine Times Blue," which he would 
EXTD=later record with the First National Band, is the highlight. \n\n
EXTD=Despite the Monkees' success with HEADQUARTERS as a real band, it
EXTD= also became their last. The next two albums saw them return to u
EXTD=sing more session players. But if you're looking for validation t
EXTD=hat the Monkees were more than just a pre-fab made-for-TV group, 
EXTD=this album succeeds in spades. HIGHLY RECOMMENDED \n\n\n\nAMAZON.
EXTD=COM CUSTOMER REVIEW\nLeonard Nimoy becomes a Vulcan!!!!, February
EXTD= 28, 2005 \nBy  Patrick Zappi (New Jersey, USA)\n\nMy title is a 
EXTD=favorite analogy of Micky Dolenz in regard to the Monkees morphin
EXTD=g from a sitcom cast into a fully-functioning pop-rock group. Aft
EXTD=er the dismissal of their musical director Don Kirschner in early
EXTD= 1967, the Monkees recorded their third album "Headquarters". Kir
EXTD=schner, a publishing tycoon who's songwriting stable included Car
EXTD=ole King and Neil Diamond, had enforced a strict "vocals only" po
EXTD=licy on the Monkees during the sessions for their first two album
EXTD=s. While his song selections for singles were excellent, ie: "Las
EXTD=t Train to Clarksville" and "I'm a Believer", Kirschner's failure
EXTD= to involve the Monkees in the instrumentals and often backing vo
EXTD=cals on their recordings caused the group to be crucified by the 
EXTD="serious" rock press. The producers of the Monkees television ser
EXTD=ies sympathized with the group, who were playing all of their ins
EXTD=truments on tour, and ousted Kirshner. Chip Douglas, who was play
EXTD=ing bass and arranging vocals for the Turtles, was chosen by Mich
EXTD=ael Nesmith to produce the Monkees recording as a self-contained 
EXTD=band. On "Headquarters" the group accentuates Nesmith and Tork's 
EXTD=country and folk roots while still utilizing the great pop values
EXTD= they had inherited. Not suprisingly, the sound quality is not dr
EXTD=astically different from their earlier efforts although it took t
EXTD=he Monkees significantly longer to make viable recordings than th
EXTD=e studio instrumentalists that proceeded them. Nesmith, clearly a
EXTD=t the helm as he intended, delivers three rousing and melodic cou
EXTD=ntry-pop performances: the churning "You Told Me", the bouncy "Su
EXTD=nny Girlfriend", and the wonderfully urgent "You Just May Be the 
EXTD=One". Micky Dolenz writes his first song, the novel "Randy Scouse
EXTD= Git", a diary of a wild party thrown for the group by the Beatle
EXTD=s, who he refers to as "the Kings of EMI", (the Fab Four's Britis
EXTD=h record label). Although no single was released from this album 
EXTD=stateside (a big mistake commercially), "RSG" climbed to #2 on th
EXTD=e UK charts. Peter Tork weighs in with his exuberant composition 
EXTD="For Pete's Sake" (sung by Dolenz) which later surfaced as the cl
EXTD=osing theme for the Monkees television show, (you remember, "...i
EXTD=n this generation, we gotta be free!). Davy Jones and Peter Tork 
EXTD=croon the album's centerpiece, the poignant "Shades of Gray", wri
EXTD=tten by Barry Mann and Cynthia Weill who penned "You've Lost That
EXTD= Lovin' Feeling", among countless other hits. Jones provides anot
EXTD=her highlight with the wonderfully atmospheric "Early Morning Blu
EXTD=es and Greens", which paints such a vivid mental picture with its
EXTD= descriptive lyrics written by Diane Hildebrand. This is a great 
EXTD=album with a real "group" sound as opposed to the tv "soundtrack"
EXTD= feel of the first two albums. Check it out, ...this is probably 
EXTD=their second best effort after "Pisces, Aquarius, Capricorn and J
EXTD=ones Limited". \n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the most 
EXTD=important rock albums of the 60's, August 7, 2004 \nBy  J. K. Bax
EXTD=ter "my right hand is a chainsaw" (Near Philadelphia, PA)\n\nRele
EXTD=ased in perhaps the second most important year of rock history (t
EXTD=he first probably being 1954), Headquarters is one of the definin
EXTD=g albums of that year. By the end of the fabled "Summer Of Love",
EXTD= the Beatles seminal "Sgt Peppers Lonely Hearts Club Band" held t
EXTD=he number 1 spot on the billboard charts. Numbers 3, 4 and 5 were
EXTD= the Rolling Stones, Doors and Jefferson Airplane respectively. C
EXTD=an you guess who number 2 was? That's right, the Monkees. \n\nThe
EXTD= Monkees were also the top selling act of 1967, but it was based 
EXTD=on the success of their first 2 albums, the self titled "The Monk
EXTD=ees" followed by "More Of The Monkees". However, it was the relea
EXTD=se of "More Of The Monkees" that led to the boys earning the righ
EXTD=t to record an album playing all of their own instruments (save f
EXTD=or the bass work of producer Chip Douglas, and a horn and cello p
EXTD=layer) and also the ousting of producer Don "The Golden Ear" Kirs
EXTD=chner. \n\nHeadquarters is, at heart, a garage band tour de force
EXTD=. That's right, 4 millionaires, 4 of the most popular figures in 
EXTD=music and television in the year 1967, but the force behind this 
EXTD=album is just so raw, I even want to use the word "punk" here! \n
EXTD=\nThink about it; Micky Dolenz had been playing the drums serious
EXTD=ly for less than a year. Nesmith and Tork were adequate at guitar
EXTD=, and Tork could play a bit of piano, but neither were fully poli
EXTD=shed musicians (yet). And Jones could merely sing and bang a tamb
EXTD=ourine or shake some maracas. To top that all off, Dolenz was the
EXTD= only one of the 4 who was commonly accepted to have held a good 
EXTD=range of voice. \n\nSo why is this important? Well, the 4 Monkees
EXTD= just went into the studio and made it happen. Some of the songs 
EXTD=they wrote, and some were written by the usual Monkees songwritin
EXTD=g teams....but the band had total control here. They were scarcel
EXTD=y more than amateur musicians, but they turned in a classic rock 
EXTD=milestone that was number 1 on the charts...until the most import
EXTD=ant rock album of all time knocked it off. Holding number 2 durin
EXTD=g the summer of '67 is not a bad achievement! \n\nAlso, even give
EXTD=n the excellent selection of tracks here, like Nesmith's country-
EXTD=tinged (does he usually do any other kind?) rocker "You Told Me",
EXTD= the excellently arranged "Shades Of Gray" (featuring perhaps Jon
EXTD=es and Tork's best vocal work to date), the supremely catchy "For
EXTD= Pete's Sake" (co written by Tork), featuring wistful Dolenz voca
EXTD=ls and brilliant Nesmith guitar work (this song was actually the 
EXTD=closing tune to the credits of the television show during season 
EXTD=2), the album did not actually feature a single in the united sta
EXTD=tes. (Dolenz raucous "Randy Scouse Git" was actually a big hit in
EXTD= the UK, were it was known as "Alternate Title".) All this and it
EXTD= still held down number 2 on the charts! \n\nThis CD reissue feat
EXTD=ures 6 bonus tracks, including an alternate version of the admoni
EXTD=shing yet still sunny "All Of Your Toys", a version of Nesmith's 
EXTD="The Girl I Knew Somewhere" actually featuring Nesmith on vocals 
EXTD=as opposed to Dolenz, who sang the original released version, as 
EXTD=well as "Pillow Time", featuring some great studio chatter by Dol
EXTD=enz. \n\nOverall, this stands as a rock document to what the Monk
EXTD=ees were able to do when allowed to simply be a rock band. It hel
EXTD=ps to also see this album for what it really is: the ultimate gar
EXTD=age album. \n\n\nAMAZON.COM CUSTOMER REVIEW\nThis is what rebelli
EXTD=ng against your handlers really means, July 23, 2004 \nBy  Anyech
EXTD=ka (Rensselaer, NY United States)\n\nThis is the album where The 
EXTD=Monkees most worked and played together as a real band. They didn
EXTD='t write all of the songs on here (indeed only six of the twelve,
EXTD= and two of those songs are more like fooling around in the studi
EXTD=o than real songs), but they did more writing on this album than 
EXTD=they'd been allowed to do on the two previous albums. They even m
EXTD=entioned on the back the only two instruments they hadn't played 
EXTD=(a horn and cello on "Shades of Gray"), making sure to let the pu
EXTD=blic know that this was a real group effort, a real band's album,
EXTD= not some manufactured thing thrown together by the powers that b
EXTD=e. The modern-day boygroups who think they're rebelling against t
EXTD=heir own handlers by having a public break and legal battle with 
EXTD=some sleazy manager have a lot to learn from The Monkees; after T
EXTD=he Monkees rebelled against their handlers, they went into the st
EXTD=udio as a real band, learnt to play their own instruments, wrote 
EXTD=songs on their own. They didn't go back to making the same type o
EXTD=f bubblegum pop with studio musicians or a mere two songs they "c
EXTD=o-wrote" with thirty other people. They became a real band, a ban
EXTD=d who, love them or hate them, has stood the test of time, someth
EXTD=ing the boygroups of today only wish they could achieve. They did
EXTD=n't need to distort their voices or instruments with synthesisers
EXTD=, since they were great already. They were talented musicians fro
EXTD=m the get-go; they didn't "decide" to become real musicians like 
EXTD=the boygroups did. \n\nThis is not the teenypop that was featured
EXTD= so prominently on their first two albums. There are some beautif
EXTD=ul and mature songs on here like "Shades of Gray," "You Told Me" 
EXTD=(a great opening number by Mike), "You Just May Be the One," Mick
EXTD=y's number "Randy Scouse Git" (which was called "Alternate Title"
EXTD= in England, since the original title means "horny Liverpudlian j
EXTD=erk" in British slang), and "Mr. Webster." Even the songs Davy si
EXTD=ngs are a big step up from the schmaltzy songs he was usually stu
EXTD=ck singing, and for having been made during the Summer of Love (i
EXTD=t was #1 for the first week, till it was knocked down to #2 by th
EXTD=e most overrated album of all time), the only song on here that m
EXTD=ight be classified as psychedelic is "Early Morning Blues and Gre
EXTD=ens." These songs are so far from their bubblegum songs, in fact,
EXTD= that the only time I'd count on hearing any of them played on th
EXTD=e radio would be during one of those speciality programmes that a
EXTD=re on usually during the weekend. Though I fell in love with The 
EXTD=Monkees for their fun happy upbeat bubblegum pop, this record is 
EXTD=also a great album for a new fan to fall in love with them with. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nHow come..., December 28, 2003 
EXTD=\nBy  John Skurat (Lakehurst, NJ United States)\n\nit was okay fo
EXTD=r Hal Blaine and Glen Campbell to play on Beach Boy records, a ma
EXTD=jority of English pop bands at the time to use session musicians,
EXTD= and the Aniamls and the Byrds to record song by Brill building w
EXTD=riters, but the Monkees got attacked for supposedly not playing t
EXTD=heir instruments as some sort of rock'n'roll blasphemy. This is t
EXTD=he same kind of crap which keeps Black Sabbath out of the Rock An
EXTD=d Roll Hall of Fame, while SERIOUS artists like Billy Joel get in
EXTD=ducted. But, that is beside the point. Face it, the songs from th
EXTD=e Monkees TV show stuck with us children who happened to either b
EXTD=e there at the start, or were grabbed by the ears when syndicatio
EXTD=n came calling in the early '70's. But, it wasn't until Rhino re-
EXTD=released these pop gems did I actually investigate. WOW!! Was I t
EXTD=hrown for a loop. While, yes, the first two albums were productio
EXTD=n line efforts, there were plenty of blissful pop moments, especi
EXTD=ally on MORE OF THE MONKEES. So, as many other reviewers have poi
EXTD=nted out, HEADQUARTERS, is the pre-fab four's RUBBER SOUL, the re
EXTD=psonse to Monkeemania and its trappings that RS was to Beatlemani
EXTD=a. There really isn't a bad moment. Even slighter tunes like "I C
EXTD=an't Get Her Off My Mind" and "No Time" lend range and diversity.
EXTD= From the bass drop opening of "You Told Me", a shimmering slice 
EXTD=of Nesmith-penned pop to the outre ramblings of Dolenz' "Randy Sc
EXTD=ouse Git", this is a piece of psych-tinged sixties pop the stands
EXTD= comfortable next anything by the Byrds, Mamas and the Papas, Hol
EXTD=llies or Turtles. And, the bonus tracks "All Of Your Toys" and th
EXTD=e alternative Nesmith-sung take of "The Girl I Knew Somewhere" on
EXTD=ly strengthen the set. Other personal faves are the Chip Douglas-
EXTD=penned "Forget That Girl", Nesmith's sublime "You Hust May Be The
EXTD= One" and Tork's "For Pete's Sake", which was such a strong track
EXTD=, it became the show's closing theme in year 2. As someone pointe
EXTD=d out, some of the songs aren't necessarily as strong as earlier 
EXTD=efforts. Of course, given the "DIY" attitude, it only makes a fan
EXTD= dream of the possibilities if the boys were able to actually get
EXTD= a hold of earlier gems like "Sometime In The Morning", "She", or
EXTD= "Look Out (Here Comes Tomorrow)", and apply the same energy. Yea
EXTD=h, there are warts in the playing, but it sounds fresher than the
EXTD= cookie-cutter approach of session musicians. It appears that tim
EXTD=e is being kind to the Monkees, in spite of the jealousy and misp
EXTD=laced anger of the rock intelligentsia of the time. HEADQUARTERS 
EXTD=and the follow-up PISCES, AQUARIUS, CAPRICORN AND JONES LTD. (the
EXTD= Monkees REVOLVER), are the proof why they deserve that kindness.
EXTD= \n\n\nAMAZON.COM CUSTOMER REVIEW\nReasons why they were the cool
EXTD=est bubblegum act of all time, June 27, 2003 \nBy  Michael Topper
EXTD= (Pacific Palisades, California United States)\n\nOnly in the tur
EXTD=bulent 1960s could a pre-manufactured bubblegum\npop band created
EXTD= for TV teenyboppers--the first of its kind,\nactually--actually 
EXTD=rebel against the strictures of its success and become a *real* b
EXTD=and. Not only that, but all four members were talented enough tha
EXTD=t when this happened, the result was not disaster but something n
EXTD=early indistinguishable in quality from the songs written and pla
EXTD=yed on the first two albums by session musicians. In retrospect, 
EXTD=the listenability of "Headquarters" is something of a minor mirac
EXTD=le, and the album\nactually stands up as an honest, low-key and a
EXTD=ppealing blend of folk-rock, garage-rock and UK pop influences. A
EXTD=s mentioned by many observers, the fact that it is really Mike, M
EXTD=ickey, Davy and Peter playing this time around gives the tracks a
EXTD= warmer band feel than the slick but generic playing on the first
EXTD= two albums.\n"Headquarters" was perhaps recorded a few months to
EXTD=o late for the ever-changing times; by March of 1967 psychedelia 
EXTD=was on the rise and at the same time this album was recorded, so 
EXTD=was Cream's "Disraeli Gears", The Beatles' "Sgt.Pepper" and Pink 
EXTD=Floyd's "Piper At The Gates Of Dawn". Interestingly, there were s
EXTD=ome trippier cuts off of their first two albums ("Take A Giant St
EXTD=ep", "This Just Doesn't Seem To Be My Day") than there were here-
EXTD=-soon after its release, the group quickly rethought their strate
EXTD=gy and quickly began to record "Pisces Aquarious Capricorn And Jo
EXTD=nes Ltd." to catch up to the times. However, the songs on "Headqu
EXTD=arters" stand up today regardless of then-current trends, and the
EXTD=re's nary a weak one in the bunch. Nesmith's three tracks, the hy
EXTD=pnotic opener "You Told Me" (love the banjo and backing harmonies
EXTD=) and earnest, catchy country-pop tunes "You Just May Be The One"
EXTD= and "Sunny Girlfriend", rank among the finest of his early caree
EXTD=r. The Jones-sung ballads are far more sincere here than on the f
EXTD=irst two albums, largely because the orchestration is used subtly
EXTD= and sparingly, with "Shades Of Gray" becoming something of a fan
EXTD= favorite. Tork weighs in with the timely 60s rocker "For Pete's 
EXTD=Sake", while Dolenz tries his hand at an early garage-ish form of
EXTD= psychedelia on the closing epic "Randy Scouse Git"; these two tr
EXTD=acks point the way toward the group's future. "Mr.Webster" is a h
EXTD=aunting\nstory-tale with one of Jones' best vocal performances, w
EXTD=hile "No Time" is an out-and-out rocker performed with surprising
EXTD= energy by the band. The overall impression of "Headquarters" is 
EXTD=that it's a pleasing, earnest collection of songs with a consiste
EXTD=ncy of quality lacking in most Monkee albums (save perhaps "Pisce
EXTD=s, Aquarious"); it is highly recommended to any fan of mid-60s \n
EXTD=pop-rock, for it is certainly more than vapid bubblegum. Just thi
EXTD=nk, if another band had recorded this or "Pisces Aquarious" they 
EXTD=would've probably been given critical acclaim. \n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nThe Real Monkees Stand Up On Headquarters, May 11
EXTD=, 2003 \nBy  Wil (AL)\n\nIn the weird world of pop music, even th
EXTD=is was weird: a fake band made up of wannabe actors and strugglin
EXTD=g musicians starring on a sitcom decide to wrest control of their
EXTD= musical soundtracks from the powers-that-be (personified by Don 
EXTD=Kirshner) and succeed in becoming a bona fide act, with the bless
EXTD=ings of the TV show's creators. The result is an album that is ac
EXTD=tually by a real band, the aforementioned actors and musicians be
EXTD=ing the four parts: the cute, cuddly dancer/singer Davy Jones; th
EXTD=e zany spacey actor/singer Micky Dolenz; folk-inspired, banjo-pic
EXTD=kin', piano-playing Peter Tork; and the mastermind behind the cou
EXTD=p that lead to this album, country/rocker guitarist Mike Nesmith.
EXTD= \n\nThe album works, mostly because the band still had the abili
EXTD=ty to pick and choose great songs from A-list writers, most of wh
EXTD=om had been provided by the now-ousted Kirshner. Only now, the Mo
EXTD=nkees were choosing which tunes they would record. Alongside the 
EXTD=writers, each band member (minus Jones) crafted their own tunes. 
EXTD=And they actually stand up against the others. This could be part
EXTD=ly due to the fact that the Monkees passed over tunes that could 
EXTD=make their own original songs look bad; there are no "I'm A Belie
EXTD=ver"'s or "Last Train To Clarksville"'s here. Instead, the band r
EXTD=ound out their own tunes with average pop compositions such as "I
EXTD= Can't Get Her Off Of My Mind", "Mr. Webster", and "I'll Spend My
EXTD= Life with You", none of which really are that great. The best no
EXTD=n-original tunes are producer Chip Douglas' "Forget That Girl" (c
EXTD=redited to a pseudonymous name, Hatelied) and the slightly melanc
EXTD=holy "Early Morning Blues and Greens", sung by Davy Jones. The so
EXTD=ng works, but it would have worked better in the hands of someone
EXTD= like Tork or Dolenz.\n\nThis isn't to say that the band's origin
EXTD=al work is not great. On the contrary, they actually surprise wit
EXTD=h their talent for crafting simple catchy tunes. Nesmith shines b
EXTD=rightest of course; "You Told Me", "You Just May Be the One" and 
EXTD="Sunny Girlfriend" are among his best early works. Tork provides 
EXTD=the classic "For Pete's Sake", which was such a strong tune that 
EXTD=the show's producers started using it over the closing credits of
EXTD= the show. Dolenz' vocal delivery is great, and the whole band re
EXTD=ally put to bed the idea that they were talentless. \nBut the big
EXTD=gest surprise has to be Dolenz' out-of-left-field, bizarre minor 
EXTD=hit "Randy Scouse Git". It's a mix of psychedelic pop and scat-ja
EXTD=zz styled vocals. The combination works in a weird garage band wa
EXTD=y, as does most of this album. The Monkees were so adamant to pro
EXTD=ve that they could really do it all, they refused the help of sid
EXTD=e musicians; the only outside instrumentalists are Douglas and so
EXTD=me brass players on the pensive, coulda been a hit "Shades Of Gra
EXTD=y". Everything else is played by the band, and they do it well. I
EXTD=t sounds like a first album, and in many ways, this was the band'
EXTD=s first. The simple pleasures of the Monkees fueled by the simple
EXTD= desire to make simple, straight-ahead garage rock gives Headquar
EXTD=ters a special place in a time when everyone else was tripping ou
EXTD=t on Sgt. Pepper's and Hendrix. It is a worthy document of a TV e
EXTD=xperiment that suddenly went crazy. The monster was loose, and ro
EXTD=aming radio with listenable pop that still gets heads bobbing and
EXTD= feet tapping to this day. For that, Headquarters deserves the pr
EXTD=aise it receives. A nice addition to any '60's rock collection. \n
EXTD=\n\nHalf.com Details \nProducer: Douglas Farthing Hatlelid \n\nAl
EXTD=bum Notes\nThe Monkees: Michael Nesmith (vocals, 12-string guitar
EXTD=); Peter Tork (banjo, background vocals); Micky Dolenz (zither, d
EXTD=rum, background vocals); Chip Douglas (bass guitar); Davy Jones (
EXTD=tambourine, background vocals).\n\nRecording information: 1967.\n
EXTD=\nOne of the Monkees' two best albums, HEADQUARTERS is also the o
EXTD=ne '60s album on which the band played nearly all the instruments
EXTD=, save for a string section and occasional bass from producer Chi
EXTD=p Douglas. Since Michael Nesmith had instigated the revolt that l
EXTD=ed to the band's musical independence, he's in the forefront here
EXTD=, and his songs are uniformly excellent. The banjo-driven "You To
EXTD=ld Me" and "Sunny Girlfriend" are two of his best country-influen
EXTD=ced tunes, and "You Just May Be the One" is magnificent REVOLVER-
EXTD=influenced psychedelic pop.\nDouglas' "Forget That Girl" features
EXTD= one of Micky Dolenz's best vocals, and Dolenz's own "Randy Scous
EXTD=e Git" is an impressionistic, trippy delight. Perhaps the album's
EXTD= best track is the Davy Jones lead "Early Morning Blues and Green
EXTD=s," a moody slice of atmospheric pop. Even oddities like "Band 6"
EXTD= and "Zilch" are interesting ephemera. \n\nThis reissue features 
EXTD=six interesting alternate takes and demos.
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