Let It Be: Fiat Monkees & Golden Beatles
By Grant Williams

“And when the brokenhearted people
Living in the world agree
There will be an answer, let it be.”
– Let It Be, The Beatles

 

“Oh, and our good times starts and end
Without dollar one to spend.
But how much, baby, do we really need?”
– Daydream Believer, The Monkees

 

“But today there is no day or night
Today there is no dark or light.
Today there is no black or white,
Only shades of gray.”
– Shades of Grey, The Monkees

 

“Living is easy with eyes closed
Misunderstanding all you see.”
– Strawberry Fields Forever, The Beatles

 

 

Things That Make You Go Hmmm…

Madness!! Auditions. Folk & Roll Musicians-Singers for acting roles in new TV series. Running Parts for 4 insane boys, age 17-21. Want spirited Ben Frank’s types. Have courage to work. Must come down for interview.

On September 8-10, 1965, this ad appeared in the Hollywood Reporter and Daily Variety, as two aspiring filmmakers, Bob Rafelson and Bert Schneider, inspired by what was to become one of the best and most influential musical films of all time, set about trying to cast the leads in a television show about four crazy kids living the rock ‘n’ roll lifestyle that the protagonists in the aforementioned film had made so appealing to the masses.

 

Monkees%20LP%20Cover.psd

 

That film was A Hard Day’s Night, its stars The Beatles, and the four young men (chosen from 437 applicants) who would be groomed to supplant them in Americans’ hearts and minds were Davy Jones, Mickey Dolenz, Peter Tork, and Mike Nesmith. Together, these four part-time musicians and wannabe actors would become The Monkees; and Rafelson & Schneider’s plan was to make them bigger than even The Beatles could dream of being. Armed as they were with the power of television entering its golden age, they had the odds stacked in their favour — or so it seemed.

In 1965, the Beatles were the preeminent band in the world and at the very peak of their power. The time seemed right for a knock-off band that would enable its architects to live the high life and create untold riches out of thin air. After all, The Beatles were genuinely talented songwriters and musicians, and those were in limited supply, even in the 1960s. It was far easier to produce a band that didn’t have to rely on something tangible, such as talent, in order to be accepted by the public — as long as you could sell it to people by capitalizing on The Beatles’ success.

That band was to be The Monkees.

The premise was, in the words of Dolenz, to produce “a TV show about an imaginary band … that wanted to be The Beatles, [but] that was never successful”.

The Beatles were music’s gold standard; the Monkees would be a convenient fiat alternative.

Interestingly enough, given this week’s reference to The Beatles, the word fiat comes from the Latin fiat, meaning “let it be” (or “it shall be”; but, since Paul McCartney didn’t choose that as the title of his anthem to the assumption that everything will magically work out in the end, it’s not quite as convenient for the purposes of my ramblings).

How did the fiat alternative to John, Paul, George, and Ringo fare? Well, the answer is perhaps somewhat surprising.

Initially, The Pre-Fab Four, Mike, Davy, Peter, and Mickey (it just doesn’t have the same ring[o] to it, I’m afraid), were assiduously kept away from the musical instruments they were supposed to play when recording the songs that would, according to Rafelson & Schneider’s strategy, sell by the millions and make everybody rich — despite the fact that they were all reasonably accomplished musicians and, in the case of Nesmith and, latterly, Dolenz, capable of composing successful pop songs.

Jones was chosen to sing lead vocals (something that rankled with the rest of the band, who felt that Dolenz’s more distinctive voice was far more likely to set the band apart); Dolenz was picked as the drummer (even though Jones was far more accomplished in that role, but his diminutive stature meant he disappeared behind the high-hat cymbals); Nesmith took lead guitar (even though Dolenz was an accomplished guitarist but had never played drums before); and that left Tork, who picked up the bass (even though Nesmith was skilled in the playing of that instrument) and keyboards.

In short, an alternative to the most successful band of the day was created by parties interested in having a simpler, more lucrative alternative under their control. It was created and configured not with its long-term viability in mind but rather with appearances as the main driver, in the expectation that, even though the level of talent underpinning the band was hardly of the calibre of Lennon & McCartney, it would be enough — at least for a while.

And guess what? It was.

In August 1966, the Monkees’ debut single, “Last Train to Clarksville”, was released and Monkeemania was born. The group’s network TV show debuted a month later, in September 1966 (in the days when there were only a handful of channels to watch). It was designed to appeal to the teen audience enthralled with the lovable Brits, and so the band’s popularity was assured — despite the impracticalities of the project, which were highlighted very clearly in a review that ran in the Washington Post:

The series stars a fearsome foursome in the Monkees, a wholly manufactured singing group of attractive young men who come off as a combination of The Beatles, the Dead End Kids and the Marx Brothers. Critics will cry foul. Longhairs will demand, outraged, that they be removed from the air. But the kids will adore the Monkees …. unlike other rock ‘n’ roll groups, the boys had never performed together before. Indeed, they’d never even met …. they’ve been working to create their own sound.

In reality, the Monkees didn’t play their own instruments on their debut album (which led to enormous conflict between the band and their producers), but the popularity of “The Fiatles” was undiminished. Their “upbeat, young, happy, driving, pulsating sound” was all that mattered to both their creators and their audience. As long as the masses accepted The Monkees, the talent underpinning their success was of altogether secondary importance.

The following year, 1967, something rather extraordinary happened.

That year, The Beatles released a collection of songs in an album entitled Sgt. Pepper’s Lonely Hearts Club Band — which would go on to be voted the number-one album of all time by Rolling Stone magazine (a position it retains to this day). Meanwhile, another popular rock combo of the day, The Rolling Stones, released two albums, Between the Buttons and Their Satanic Majesties Request; Jimi Hendrix introduced the public to Are You Experienced?; and The Doors unveiled their eponymous debut album, featuring “Break on Through”, “The End”, and “Light My Fire”.

Well, guess what?

The number-one, top-selling album of 1967 was (drum roll, please):

More%20Of%20The%20Monkees.psd

Yes folks, More of The Monkees, featuring “When Love Comes Knockin’ (At Your Door)”, written by Carole Bayer Sager and Neil Sedaka; “Sometime in the Morning”, penned by Gerry Goffin and Carole King; “(I’m Not Your) Steppin’ Stone”, by Boyce and Hart; and the instant classic “I’m A Believer” … hot off the pen of Neil Diamond.

Not only that, but if we let our eyes wander down the list of 1967′s best-selling albums, we find at number two The Monkees, which included “(Theme from) The Monkees” and “Last Train to Clarksville” — both of which were writen by Boyce and Hart.

Monkee%20Album%20Cover.psd

Now, to be absolutely clear, I am not bagging the Monkees — I happen to love their music — but merely making the (somewhat labored) point that sometimes a fiat alternative to something backed with something a little more valuable, can have its day in the sun and even supplant its intrinsically more sound cousin for a brief period.

But ultimately, over time, something which is real will always be recognized by the masses as superior to something created for superficial purposes — particularly during times of crisis.

For those keeping score at home, The Beatles and The Rolling Stones are second only to Bob Dylan’s 11 albums in the top 500, with 10 each, and the Beatles have 4 albums in the top 10 (including, of course, the number-one album of all-time in Sgt. Pepper).

The Monkees don’t appear in the top 500.

~~~

-Grant Williams

 

 

Category: Friday Night Jazz, Music, Think Tank

Please use the comments to demonstrate your own ignorance, unfamiliarity with empirical data and lack of respect for scientific knowledge. Be sure to create straw men and argue against things I have neither said nor implied. If you could repeat previously discredited memes or steer the conversation into irrelevant, off topic discussions, it would be appreciated. Lastly, kindly forgo all civility in your discourse . . . you are, after all, anonymous.

17 Responses to “Let It Be: Fiat Monkees & Golden Beatles”

  1. GeorgeBurnsWasRight says:

    Unless my trifocals are messing up my vision again, the name of the “guest author” got omitted.

    Name, please.

    Thanks.

  2. dumdedumdum says:

    Interesting. Here are some Monkee interviews, from the still unreleased documentary on the Wrecking Crew — the studio musicians who played on the Monkee records and many other pop records in the mid 60s http://www.wreckingcrewfilm.com/premiummonkeesee/ http://www.youtube.com/watch?v=82eqrOT9udc

  3. dvaut says:

    Good piece but the rolling stone research article also shows 4 Beatle albums in the top ten and only 2 Dylan so I have to disagree with you about who is the greatest and will always be the greatest. moreover…

    http://dvautier.home.comcast.net/~dvautier/music/greatest.htm

  4. CSF says:

    Isn’t this backwards? Michael Jackson’s Thriller is the top-selling album of all time, so the market says this is the “real” value. Sgt Pepper’s is often cited as the top album by editors, so it’s the best album by fiat. The compromise method is readers’ polls, but these are inconclusive. Many place Revolver ahead of Sgt Peppers.

  5. Ny Stock Guy says:

    Stephen Stills would have been a Monkee if his teeth had been in better shape. But after he failed the audition, he did tell the producers about his buddy, Peter Tork. If fate had taken a different turn would we have had a band called Crosby, Tork and Nash? Probably not, but it’s interesting to thing that Stills was almost a Monkee.

  6. Ny Stock Guy says:

    They also considered hiring the Lovin’ Spoonful as the Monkees but decided an existing group would be too problematic.

  7. Crocodile Chuck says:

    “Monkees Trivia for Fifty, please”

    Q: ‘Who auditioned, but was rejected, for a role in The Monkees? Hint: he was also asked by Jimi Hendrix to play bass on ‘Electric Ladyland’

  8. Crocodile Chuck says:

    A: ‘Stephen Stills’. Rejected for acne scars. (check out that latest Hendrix release from earlier this year-Stills plays on it)

  9. Petey Wheatstraw says:

    Funny. I was working in the garage today, listening to my iPod. After coming into the house, I told my S.O. that I was having a philosophical dilemma over whch was the greater band: The Who or The Stones. Very difficult to quantify. The Stones have more of a stylistic range, but The Who have tweaked the Townsend/Daltry sound to a catalog of awesome expression.

    Back to the Monkees:

    Dolenz was a very talented musician (not the greatest range for a singer). The legend is that he recorded the following in one take:

    Songwriters: Hilderbrand, Diane / Tork, Peter / Jones, David Thomas / Dolenz, Micky / Nesmith, Michael

    http://www.youtube.com/watch?v=xnzrGr78Mws

    Lyrics (you’re going to need them to keep up):

    Sock it to me…

    Floatin’ down the river
    With a saturated liver
    And I wish I could forgive her
    But I do believe she meant it
    When she told me to forget it
    And I bet she will regret it
    When they find me in the morning wet and drowned
    And the word gets ’round
    Goin’ down
    Goin’ down

    Coming’ up for air
    It’s pretty stuffy under there
    I’d like to say I didn’t care
    But I forgot to leave a note
    And it’s so hard to stay afloat
    I’m soakin’ wet without a boat
    And I knew I should have taken off my shoes
    It’s front page news
    Goin’ down
    Goin’ down

    I wish I had another drink
    It wouldn’t be so hard to sink
    I should have taken time to think
    Besides I got the picture straight
    She must have had another date
    I didn’t need this extra weight
    I wish that I could see the way to shore
    Don’t want no more
    Goin’ down
    I’m goin’ down

    And now I see the life I led
    I slept it all away in bed
    I should have learned to swim instead
    And now it’s really got me stumped
    I can’t believe why I jumped
    I’d like to get my tummy pumped
    I can’t believe they drink this stuff in town
    This dirty brown
    Goin’ down
    Goin’ down

    I wish I looked before I leaped
    I didn’t know it was so deep
    Been down so far I don’t get wet
    Haven’t touched the bottom yet
    This river scene is gettin’ old
    I’m hungry, sleepy, wet and cold
    She told me to forget it nice
    I should have taken her advice
    I only want to go on home
    I’d gladly leave that girl alone
    What a way to spend the night
    If I don’t drown, I’ll die of fright
    My pappy taught me how to float
    But I can’t swim a single note
    He threw me in to teach me how
    I stayed there floatin’ like a mama cow
    And now I’ve floated way down stream
    I know this has to be a dream
    If I could find my way to shore
    I’d never, never do this anymore
    I’ll give you three, I’ve been down nine
    I’m goin’ down just one more time.
    Goin’ down.
    Goin’ down.

    Now the sky is gettin’ light
    An everything will be alright
    Think I finally got the knack
    Just floatin’ here lazy on my back
    I never really liked that town
    I think I’ll ride the river down
    Just movin’ slow and floatin’ free
    There’s a river swingin’ under me.
    Waving back to the folks on shore
    I should have thought of this before
    I’m floatin’ on down to New Orleans
    Goin’ to pick up on some swingin’ scenes
    I know I’ll know a better day
    I’ll go down groovin’ all the way
    Goin’ down
    Goin’ down
    _________________

    Lordy.

  10. mpetrosian says:

    BR, aren’t you like only 50 years old? Did you listen to the Monkeys in the sixties?

  11. RW says:

    Funny, I never thought the Monkees were anything other than a TV sitcom. The notion that they were supposed to be a serious musical act much less competition for the Beatles, Stones, Doors et al never even occurred to me …never occurred to anyone I knew either. Clearly I and the folks I knew were just out of the money making machinery loop.

  12. 873450 says:

    Compare More of the Monkeys album cover photo and lettering with Rubber Soul.

    http://d817ypd61vbww.cloudfront.net/sites/default/files/tile/image/original_450.jpg

  13. chartist says:

    When I was a kid, I watched the Monkey’s show. It surely was sappy but they sang well enough. Davy Jones was the best looking so I suspect that made him the front man. Mike Nesbitt’s mom invented white-out, so his financial future was assured. Davey Jones got big into equestrian in the Philadelphia area, where I think he lived.

    I’m sure there were many bands labeled the “next beatles”, Bad Finger comes to mind with their harmonies compared to Lennon and McCartney.

  14. Frilton Miedman says:

    Maybe I’m wrong, but I get a whiff of a gold standard endorsement, using the bubble-gum nature of the “fiat” Monkees compared to the real music of the “Gold” Beatles. (?)

    A gold standard is the economic equivalence to the assumption that Earth is the center of the universe and everything revolves around it.