Thanks a lot to Peter Mills for sharing this vintage review of The Monkees' fourth album, Pisces, Aquarius, Capricorn & Jones Ltd. And if you haven't already, make sure to check out Peter's excellent book, The Monkees, Head, and The '60s.
Recently I asked longtime Monkees fan Fred Velez to recall his experiences with Peter Tork in the early 1980s, a time when Peter started to reemerge on the scene after laying low throughout most of the 1970s. Fred was gracious enough to document his memories in this essay for The Monkees Live Almanac.
In the early 1980s it seemed highly unlikely that a revival of The Monkees was possible. There had been some spikes in interest during the 1970s with the solo recordings of Michael Nesmith and the joint activities of Micky Dolenz and Davy Jones, both with Dolenz, Jones, Boyce & Hart and their own tour with Micky’s sister, Coco, backed by The Laughing Dogs. But as Nez moved into the blossoming music video industry, and Davy and Micky branched out on their own, The Monkees seemed to become a distant memory.
Conspicuously missing in action was Peter Tork. After his resignation from The Monkees in December 1968, Peter attempted to launch a fresh chapter of his career with a new band, Release. Peter's time with Release left almost nothing behind. "I didn't know how to stick to it," he told the Los Angeles Times in 1992. "I ran out of money and told the band members, 'I can't support us as a crew any more, you'll just have to find your own way.'"
His Monkees money having dried up, Peter faced financial challenges and suffered from drug abuse in the early '70s. “I gave a lot of money away to friends, on the theory that it would come back to me in the long run," Peter told People. In the subsequent years, he maintained a low profile, eventually landing a job as a teacher at Pacific Hills, a private secondary school in Santa Monica, California, where he taught English, Math, Drama, Eastern Philosophy, and "Rock Band Class" in the mid-1970s. In 1976, Peter made a surprise appearance with Dolenz, Jones, Boyce & Hart at their Disneyland show on July 4, and again a year later at the launch of Micky and Davy's appearances at the Starwood Club in Hollywood. He even contributed to a Monkees holiday single in 1976 under the helm of Chip Douglas. Peter then performed in New York City for the first time since the 1960s at the birthplace of punk rock, CBGB’s, drawing both Monkees fans and curiosity seekers. With these combined appearances it seemed like he was testing the waters in an effort to launch a full-time comeback. Fanzines like Monkee Business and the Peter Tork Fan Club meticulously kept fans up-to-date on Peter’s activities.
By late 1979/early 1980, Peter began playing gigs at small clubs, including the Speakeasy in New York’s Greenwich Village, where he began his career as a folk singer. It's at the Speakeasy that I first had the opportunity to finally see Peter live in concert. He performed a mix of folk and rock music, and sprinkled in Monkees tunes like "Take a Giant Step" and "Steppin' Stone." Peter was funny and charming and showed his chops as a musician, bouncing from guitar, piano, and banjo effortlessly. After the shows he would hang out and talk with fans, and was very friendly and engaging. As a result of these interactions at the Speakeasy I was able to get acquainted with Peter and ultimately established a friendship with him that continues to this day. I found that Peter was very humbled by the fans that supported him during the early years of his reemergence. Peter then toured with a newly formed group, Cottonmouth, including performances at New York City's Lone Star Cafe and Bottom Line. At the Lone Star show I sat in the front row of the balcony where I had a great view of Peter and the band. Peter's tenure with Cottonmouth was short-lived and I was so glad to have been able to see him during this time.
Peter also started to make appearances on public-access TV programs like The Uncle Floyd Show, a parody of 1950s/1960s children's shows. The Uncle Floyd Show developed a cult following and began featuring musical acts. Among the big names that appeared included The Ramones, Squeeze, Jan & Dean, Cyndi Lauper, and local New Jersey band Bon Jovi. I was quite the fan of the Floyd show and became friends with Floyd and the cast. One day in July 1980 I received a phone call telling me that Peter Tork would be making an appearance on Floyd’s show. Needless to say, I was dutifully parked in front of my television set on the day of the broadcast as Floyd introduced Peter, who lip-synced to the songs "Good Looker" and "Hi Hi Babe." In between numbers Floyd interviewed Peter, who was just as funny and charming as he was on The Monkees TV series. During their discussion, Peter mentioned that The Monkees would be appearing together at the  Emmy Awards to present an award. Sadly, this reunion never took place. The book, The Monkees: A Manufactured Image, notes that the Emmys appearance was nixed when The Monkees decided to honor an ongoing actors' union strike that resulted in an wide-scale boycott of the ceremony. Peter’s first appearance on The Uncle Floyd Show, however, was so well-received that he returned several more times.
When Peter was scheduled to make his second guest spot, I got another phone call from one of the Floyd cast members informing me that Peter was returning while also asking if I would like to come to the studio in-person. Without hesitation I said 'Yes!' and with my friend and fellow Floyd fan, Derek Tague, showed up at the West Orange, New Jersey studios. The 1980 Monkees Convention, organized by Monkee Business Fanzine editor Maggie McManus, had taken place in Trenton, New Jersey just about a month previous, and I was wearing the convention T-shirt. I brought along a couple of things from my collection, including a Monkees talking hand puppet and the Monkeemania 2-LP vinyl album from Australia, which was brand new product at the time. Peter performed his first song, and then Floyd brought me on camera to say hello to Peter! I was very nervous but managed to get through the appearance as Peter commented and joked about the memorabilia I was holding. After the taping, Peter graciously posed for pictures outside the studios with Floyd and cast members of the show (as seen above). My friend, Derek, who was behind the camera, caught one of me and Peter laughing and sharing a fun moment together.
Peter went on to make even more appearances on Uncle Floyd. During one guest stint he premiered his very first solo single, recorded with his latest band the New Monks, a tongue-in-cheek reference to his old group. The single featured Peter’s versions of "Steppin' Stone" and "Higher and Higher." In August 1981, Peter toured with the New Monks in Japan, which was going through its own resurgence of Monkeemania that would carry over to America several years later. One of the concerts was broadcast on Japanese television. Peter and the band were greeted by screaming fans, echoing the wild days when The Monkees toured there in 1968. Around this time, Peter and The New Monks also performed at the Rockages Convention in New York City, a show I was fortunate enough to attend. I was able to shoot some Super 8mm film of the concert (seen below starting at 9:25), capturing the band as they performed "Werewolves of London," "Don’t Be Cruel," and "Higher and Higher." Afterwards I visited with Peter and the New Monks backstage, and told Peter how much I enjoyed the show. The New Monks lasted until March 1982 before disbanding. A short while later in July, Peter was the focus of a comedy sketch on Late Night With David Letterman.
In the summer of 1983 Peter would hit the road with a new band, The Peter Tork Project. Among the members was the late Jerry Renino, who would later play bass with The Monkees in the late '80s into the early '00s, while also backing Davy Jones in Breakaway, of which future Monkees guitarist Wayne Avers was also a member. The Project played several shows that I caught in New York City, including Irving Plaza, and a return visit to the Bottom Line. The gig at the Bottom Line was particularly memorable as it was followed by a screening of The Monkees’ movie Head, with Peter sitting in the audience watching the film.
The Peter Tork Project's sound featured a more aggressive approach than what I had been used to at previous Tork concerts, and it suited songs like "Steppin’ Stone," with their version almost resembling the Sex Pistols' cover. Another highlight of the Project's set was "Vagabond John," a cautionary song about a friend's abuse of drugs, which became a favorite of mine whenever Peter performed it. Someone took a very bad, shaky picture of me and Peter together, but it's the only one of us at the Bottom Line.
In the winter of 1983 I saw Peter and The Project once again at a club on a very cold night in Staten Island. MTV was becoming popular around this time and the club had a big screen that showed music videos (one that stood out was "Undercover of the Night" by The Rolling Stones). Peter and the band took the stage and blasted through a high-powered set which included their blistering version of "Steppin' Stone." After the show I went to see Peter as he chatted with folks backstage. The bouncer kept us at a distance, but Peter spied us and excused himself to say 'thanks' for braving the night freeze. Unable to secure a recording deal, The Peter Tork Project dissolved in February 1984. Shortly after, Peter spoke about The Monkees in an interview with Entertainment Tonight.
I would see Peter several more times during the mid-'80s in group and solo shows, many times at his favorite haunt, New York City's Speakeasy. By 1986 with Monkees reruns being aired on MTV, the buzz surrounding The Monkees' 20th Anniversary Tour was at a fever pitch. During the lead-up to the '86 reunion tour, Peter made yet another appearance at the Speakeasy. Unlike previous outings when the audience was more subdued, the vibe was much different as the club was electrified with excitement. When Peter took the stage, the Speakeasy exploded with screams and Peter was momentarily taken aback and remarked, "Wow, you guys must have been watching MTV!," which elicited even more wild shouts. The reaction to this particular Speakeasy show in contrast to Peter's early '80s appearances at the club was like night and day. While I was very happy for Peter’s current success, I couldn’t help but miss the more intimate Speakeasy performances of yesteryear.
Seeing Peter Tork in the early 1980s prior to the Monkees reunions that followed was a very special time for me and a select group of fans like Maggie McManus, Jerry Beck, Helen Pantuso (who later spearheaded a campaign for The Monkees' star on Hollywood Boulevard), and a few others. We were part of a little club that Peter would point out and acknowledge from the stage and take the time to meet with us after each show. It was a memorable era which I will always cherish. Nowadays when I see Peter, it's nice to smile and reminisce about the 'old times.'
Fred Velez is the author of the book A Little Bit Me, A Little Bit You: The Monkees From A Fan’s Perspective. A previous essay, '1975/77 – The Early Monkees Reunion Years,' was published on The Monkees Live Almanac in 2016.
Here are The Monkees on The Hy Lit Show from Philadelphia on Monday, November 18, 1968:
Ward Sylvester, a pivotal figure in the career of The Monkees, their television series, live performances, and more, passed away on June 11, 2017. He was 77. Ward managed a pre-Monkees Davy Jones, served as an associate producer for The Monkees television series, oversaw the first Monkees concert tour, acted as executive producer for their 1969 television special, 33 1/3 Revolutions Per Monkee, and later collaborated with Michael Nesmith on various projects throughout the 1980s and 1990s. All four Monkees selected Sylvester as their manager in 1995 in preparation for the group's 30th Anniversary festivities.
Ward was born on October 1, 1939. In the early 1960s, he was Vice President of Columbia Pictures and would play a key role in the burgeoning career of a young Davy Jones. In his 1987 autobiography, They Made a Monkee Out of Me, Davy remembered visiting with Sylvester in 1964 during his stint as 'The Artful Dodger' in the Broadway production of Oliver! "Ward Sylvester, a Screen Gems executive, had come to see Oliver! After the show he came backstage and said he'd like me to come to Hollywood and do some tests - was I interested? Was I interested? ... Meeting Ward and doing those screen tests was the beginning of the ideas and connections that led to The Monkees — though no one knew it then."
The Hollywood Reporter announced the partnership between Jones and Screen Gems (Columbia's television division) in September 1964, two years before the debut of The Monkees, saying that Davy "has been signed to a long-term contract by Screen Gems. In addition to appearing in future TV series for Screen Gems, Jones will also record for the firm's Colpix Records and make features for Columbia Pictures."
With Davy Jones now affiliated with Screen Gems, the company searched for a vehicle for his talents, and as fate would have it, the Monkees project ultimately provided his pathway to success. Years later, Davy recalled the earliest days in the casting process for The Monkees television series. "To get things rolling, Ward and I would go around to different clubs looking for prospective members for the TV show. We saw Sonny and Cher and The Byrds on one bill, and across the street was little Stevie Wonder. We went to see Authur Lee and Love - this is all in one night. The guitar player from Love, a tall, good-looking blond guy, we thought would be good for the show. The Monkees vests and yellow shirts that we wore in our pilot came from what Sonny Bono was wearing."
"We saw the MFQ - the Modern Folk Quartet - with Chip Douglas," Davy continued. "We looked at Jerry Yester as a potential candidate. Word was getting around, and people like Paul Peterson and Paul Williams, and actors from across the country were buzzing about this. They decided to have open auditions, so they put the Madness ad in Variety." By November 1965, after over 400 potential applicants were screened, the audition process had been completed. Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork were now The Monkees.
In February 1966, The Monkees TV series, led by its creators Bob Rafelson and Bert Schneider, was officially sold to NBC by Screen Gems. Sylvester acted as associate producer.
Years later, Ward discussed his initial encounters with Micky, Michael, and Peter with Harold Bronson, co-founder of Rhino Records, in his 1996 book Hey, Hey, We're The Monkees. "We saw Mike first, hosting New Talent Night at The Troubadour, a folk rock club that still exists. The job required a great deal of grace because the quality of the acts was very uneven. They more or less let anybody who wanted to come up and perform. He did it with a marvelous amount of poise and wit and was able to walk that very narrow line between allowing the audience to understand the humor of it without really putting down the performers. Michael has always had a lot of class, and a maturity, even at that age, in his very early twenties...I first saw Micky performing in a bowling alley with a group called the Missing Links. Micky did seem to me to be the Jerry Lewis-like clown we were looking for. He was always on. He was very inventive and clever with a wonderful mind twist. And he was the only one who had episodic television experience, with Circus Boy, which we thought would be a plus. Peter was the most interesting one in the sense that the character he played was the least like himself. I think that the other guys played characters very close to who they really were. Peter's character had a gentle innocence and a little slow-wittedness about him. Peter has the gentle innocence, but he is not at all slow-witted. It's interesting, even though Huntz Hall was the prototype for Peter, what most reminds me of his character is Norman Drabble of the Kevin Fagen comic strip. It's called Drabble and is about a college student who is well meaning but a little fumbling. He's always embarrassed and always says the wrong thing. And Peter was able to play that. Peter is very intelligent and very well-educated. He always surprises me with allusions to classical music and to classical literature. He's very spiritual and very insightful. He had to suppress an awful lot of that to be the Peter that we know from television."
The Monkees debuted on NBC on September 12, 1966, and their first single, "Last Train to Clarksville" had already been climbing the charts that summer. While The Monkees enjoyed near instant success on TV and at radio, they were soon criticized by the press and some members of the rock community for being "manufactured." Ward Sylvester later championed the group's desire to perform on their own records and to have more creative control, especially since industry mogul Don Kirshner, who had been tapped to produce music for the show, refused to allow The Monkees to play a larger role in the making of the music for the series and albums. "When the criticism started coming through that The Monkees weren't really a group, it seemed bizarre to me that anybody would think they were," Sylvester relayed to Harold Bronson. "It's like somebody saying, 'Do you understand that Barbara Eden doesn't sleep in a bottle at night?' Of course she doesn't, she's an actress playing a part on television; she's not a genie. We lacked the foresight that the guys would start to feel that 'That's supposed to be us playing and not only is it not, but it's not something we might want to play or sing.'" Sylvester also expressed frustration with Kirshner. "I think Kirshner exacerbated it. There were a couple reasons why it got worse. Kirshner would not fly, so he didn't want to leave New York. He was always the eminence back in New York who would be mailing things to Los Angeles. Secondly, he had a great taste for personal publicity. He wanted the credit for The Monkees. Now, he certainly deserved it at the beginning. I mean, Tommy Boyce and Bobby Hart were songwriters he worked with and he helped them pick the music that they produced on the first album. But he wanted the world to know it was him, and it came out as if, 'Those four kids on the screen really don't have anything to do with it,' which was really hard on us. I think there was also a lack of respect from Kirshner. He was not dealing with them on a daily basis so it was like, 'Oh, well, they're just those four kids on the show and any four kids would do.'"
Sylvester told Bronson that The Monkees felt more at home with their musical peers than acting ones. "They also were traveling in more music than television circles because there weren't many television stars their age in those days, and their interests were more bohemian. The happening scene in Hollywood then was a music scene...The hip twenty-five-year-olds with the money and the Jaguars were in the music business. So those were the peers and the contemporaries that The Monkees would see socially. And they would see The Monkees as musicians. It became very uncomfortable, particularly for Mike, who took his own music very seriously, and for Peter, who had been a musical performer...The cumulative weight of it quickly became intolerable, and they wanted to do their own music."
When the demand emerged for The Monkees to perform as a true live act, Ward played a vital role in The Monkees' arrival on the concert stage, acting as manager during their earliest dates. Monkees historian Andrew Sandoval, in his book, The Monkees: The Day-By-Day Story of the 60s TV Pop Sensation, noted that Peter Tork traveled to San Francisco in late 1966 with Sylvester to attend concerts at venues like The Fillmore to gather ideas for The Monkees' live show. Along with choreographer David Winters, The Monkees and Ward spent time creating a diverse, fast-paced concert act, one that included a projection screen behind the band and an elaborate light show, as well as costume changes, individual solo segments, and bits of comedy between songs that emulated the group's TV series. In the final episode of the first season, "The Monkees On Tour," which documents The Monkees' January 21, 1967 appearance in Phoenix, Arizona, Ward can be seen (at 9:57) clowning around with Michael Nesmith on an escalator:
Ward continued traveling with The Monkees on the road during their ultra-successful 1967 summer tour, which featured the Jimi Hendrix Experience as the opening act on early dates as well as multiple sold-out appearances at Wembley Pool in London. He acted as 'Production Executive' for most of the second season of The Monkees, but his influence seemingly expanded and he was credited as producer for nine episodes in the latter half of the season. "During the second season, I think people's attention was wandering," Sylvester told Harold Bronson. "Bob Rafelson really wanted to make feature films. Bert [Schneider] was becoming increasingly radicalized, very interested in revolutionary politics. Each of the guys had developed more of their own aspirations, which were increasingly divergent from The Monkees. While we now see the second season of the show as having more character, I think the network perceived it as getting weirder and wondered what a third year would look like."
As The Monkees' career came to a close in the late '60s, Ward served as executive producer for the group's 1969 NBC television special, 33 1/3 Revolutions Per Monkee. He went on to become the manager of teen idol heartthrob Bobby Sherman while also producing various television movies. "He managed The Monkees and all of that," Sherman said in a 1997 interview. "And our contract was a handshake. I met him when I did a guest shot on The Monkees, and I said, `Lookit, I think I'm gonna have some success here. I need help.' And from that day to this day, we've been in business." In the 1980s, Ward collaborated with Michael Nesmith on both Televison Parts and Dr. Duck's Super Secret All-Purpose Sauce and was the executive producer for the 1992 Nesmith concert video release, Live At the Britt. He was interviewed on the Headquarters radio program in 1989 about his experiences in show business and with The Monkees.
In July 1995, during the run-up to The Monkees' 30th Anniversary, Micky, Davy, Michael, and Peter signed a management deal with Ward Sylvester. Micky told Monkee Business Fanzine that Sylvester was the only choice of all four Monkees. "He has a good history with us," Dolenz said. "He was there right at the beginning, and we all trust him." Sylvester told Monkee Business Fanzine that he was happy to take the reins. "Much of the music and film The Monkees produced was groundbreaking," he said. "Their artistry got overlooked in the bedlam. Now with some perspective, I think people are going to appreciate them all the more." Ward managed the group throughout 1996 and 1997, which saw The Monkees release their first studio album as a quartet since 1968, Justus, while also filming a brand new TV special for ABC. A tour of the United Kingdom in early 1997 (including two sold-out nights at Wembley Arena) would be the final time all four Monkees would perform together live in concert.
The Monkees Live Almanac salutes Ward Sylvester, a true icon in the long and storied history of The Monkees.
This morning, Micky Dolenz appeared on WGN Morning News in Chicago to promote his two solo shows in the city tonight and tomorrow.
Micky also visited Windy City Live:
Micky on dueting with his friend, Harry Nilsson, on Good Times!:
“When we started talking about the [Monkees' 50th] anniversary, we found a bunch of unfinished tracks from the ’60s,” says Dolenz. “When the show was on the air, we recorded tons of material because they wanted two new songs in every episode. Harry, who was one of my dearest friends, had written one for me to sing. It had his scratch vocal, but because Harry never did anything half-assed, it was a full-blown performance. I thought, ‘Oh my gosh, I can do a duet with my old friend.’ ”
David Crosby, The Monkees' Micky Dolenz and Cheap Trick's Rick Nielsen go deep on album that changed the world