In its December 27, 1966 issue, Look magazine published a feature on The Monkees with quotes from each member of the group as well as Raybert co-founder Bert Schneider. The article also includes photos from an October 18, 1966 recording session at RCA Hollywood staged for reporter Betty Rollin. With Michael in the producer's chair flanked by Don Kirshner and Lester Sill, an attempt was made to add Micky, Davy, and Peter's backing vocals to Michael's song, "Mary, Mary," but things quickly unraveled. Andrew Sandoval documented this event in his book, The Monkees: The Day-by-Day Story of the '60s TV Pop Sensation, and audio from it will finally see the light of day on the upcoming super deluxe edition box set for the group's sophomore album, More Of The Monkees:
"The Monkees wisecrack their way through a series of rehearsals - labeled 1A-4A and noted on the box as 'no good' - and seven 'real' takes. The antics of Davy and Micky are legitimately funny, but after 20 taped minutes, Nesmith says, "Honest to God, no shit - let's cool it."
The overdub session would eventually come to a halt, and no group backing vocals for "Mary, Mary" would be included in the final take of the song.
After much anticipation, Rhino Records has unveiled details surrounding the release of the super deluxe edition box set commemorating The Monkees' second album, More Of The Monkees. Pre-orders for this 3-CD collection, produced by Monkees archivist Andrew Sandoval and available on December 15, 2017, begin today at Monkees.com. (UPDATE 12/9/2017: Rhino is now showing a release date of December 22, 2017.)
Limited to 4,500 numbered copies and boasting 91 tracks (55 of them previously unreleased), including the original mono and stereo mixes, alternate takes, backing tracks, and remixes, the set also contains highlights from The Monkees' January 21, 1967 concert at Memorial Coliseum in Phoenix, Arizona. "This is the most exciting archival dig through The Monkees' vault since 2009's The Birds, The Bees & The Monkees deluxe edition," Sandoval told Monkees.com. "Every track is newly mastered for this set; the live material is the most historically significant of their career." (Sandoval confirmed on Facebook that the Phoenix live material has vocals and is in stereo.) A special 7" vinyl single, "I'm A Believer" (remix) / "(I’m Not Your) Steppin’ Stone” (vocals only), will also be included.
Here is the first look at the hardbound 7"x7" box:
And a big thank you to Rhino's John Hughes for sharing these exclusive photos of the packaging with the Live Almanac:
Over the last seven years, many of the classic Monkees albums have been afforded lavish treatment by Rhino's specialty Handmade division, beginning with The Birds, The Bees & The Monkees in 2010. A box for Head arrived later that year (both now sold-out), and Instant Replay (2011) and The Monkees Present (2013) followed. Due to the success of those projects, Rhino Handmade went back to the beginning of The Monkees' catalog, issuing The Monkees in 2014 (which is currently unavailable).
Originally released on January 10, 1967, More Of The Monkees became one of the biggest selling Monkees albums (certified quintuple platinum by the RIAA) and was the longest to stay at #1 on the Billboard chart (an incredible 18 weeks). It contains the group's most successful single, "I'm a Believer," which spent 7 weeks at #1 throughout late 1966 and early 1967, along with songs that have long been associated with The Monkees ("Mary, Mary" and "Steppin' Stone," a Top 20 hit, to name two). The remainder of its tracks include selections that have been staples in the group's live show for decades, and it features contributions from songwriters like Michael Nesmith, Tommy Boyce & Bobby Hart, Gerry Goffin & Carole King, Neil Sedaka, Jack Keller & Diane Hildebrand, and Neil Diamond. But the album also has a well-documented backstory that included a power struggle for creative control over The Monkees' music, one that pitted the band against music publisher Don Kirshner.
Kirshner, known as "The Man With the Golden Ear," was brought into the Monkees project in the summer of 1966. Initial rehearsals by The Monkees to play their music on record and as a live act had progressed through the spring of 1966, but deadlines were fast approaching to meet the pending debut of The Monkees television series on NBC in September of that year. The group's grueling schedule of filming, recording, and rehearsing caused Kirshner to streamline the process. He refused to allow The Monkees to play their instruments on record, instead having them provide only vocal work in the studio, and it was Kirshner who selected the songs The Monkees were to perform. Kirshner went on to supervise the first two Monkees singles and albums, a situation that built resentment, particularly on behalf of Michael and Peter.
Legend holds that in early 1967, Micky, Davy, Michael, and Peter discovered that More Of The Monkees had been released without their consultation, and went to a record shop to pick up a copy. Disliking the cover image (featuring The Monkees in J.C. Penney fashions) along with Kirshner's self-congratulatory liner notes, the stage was now fully set for a showdown between the two camps. An unsettled Michael Nesmith made his unhappiness clear about how The Monkees' music was being created in a January 1967 interview with the Saturday Evening Post, just as the group had started to appear live in concert. "The music had nothing to do with us," he said. "It was totally dishonest. Do you know how debilitating it is to sit up and have to duplicate somebody else's records?"
The Monkees quickly joined forces in the ensuing battle against Kirshner. During a tense meeting with the band and Kirshner in a Beverly Hills hotel room that same month, the situation between the two sides escalated. "The incident when Mike Nesmith put his fist through the wall at the Beverly Hills Hotel is very vivid and near and dear to my heart," Kirshner told Monkees archivist Andrew Sandoval years later. "I had flown out to the Beverly Hills Hotel to give the boys a quarter of a million dollars apiece from some of the royalties on the first album. Mike had given me a lot of heat that he didn't like the records and he didn't like the albums. He wanted to do it his way. It was a little disconcerting to me because every album and single I put out was number one, but he had a right to his opinion." When Nesmith threatened to quit unless The Monkees were given some control over their musical output, Kirshner's attorney proceeded to remind Michael about his contract. Nez responded, by punching his fist through the wall, telling the attorney, "That could’ve been your face." "I was very impressed," Kirshner chuckled, "because I thought the Beverly Hills [Hotel] had pretty strong walls." Kirshner was later sacked and The Monkees soon began recording with a new producer, Chip Douglas, while also providing their own instrumental backing in the studio.
Looking back today, the "controversy" about who played what instrument on the earliest Monkees recordings seems trite as many of the top groups at that time (The Mamas & the Papas, The Beach Boys, The Byrds, etc.) also utilized ace studio musicians (The Wrecking Crew) just like The Monkees. But in 1967, along with the "manufactured" criticisms that had already befallen The Monkees, the infamous "they don't play their own instruments" story line became one that has, to this day, never fully dissipated.
But now, fifty years later and after the dust has settled, Rhino Records and Andrew Sandoval will afford us another opportunity to revisit the blockbuster More Of The Monkees album. Here is the complete track listing for the super deluxe edition, and you can listen to Sandoval go in-depth about the contents of the box on the latest episode of "Zilch."
1. She (Remastered) [Mono Mix] 2.40
2. When Love Comes Knockin' (At Your Door) [Remastered] [Mono Mix] 1.48
3. Mary, Mary (Remastered) [Mono Mix] 2.20
4. Hold On Girl (Remastered) [Mono Mix] 2.28
5. Your Auntie Grizelda (Remastered) [Mono Mix] 2.36
6. (I'm Not Your) Steppin' Stone [Remastered] [Mono Mix] 2.34
7. Look Out (Here Comes Tomorrow) [Remastered] [Mono Mix] 2.16
8. The Kind Of Girl I Could Love (Remastered) [Mono Mix] 1.54
9. The Day We Fall In Love (Remastered) [Mono Mix] 2.25
10. Sometime In The Morning (Remastered) [Mono Mix] 2.31
11. Laugh (Remastered) [Mono Mix] 2.29
12. I'm A Believer (Remastered) [Mono Mix] 2.49
13. She (Stereo Mix) [Remastered] 2.42
14. When Love Comes Knockin' (At Your Door) [Stereo Mix] [Remastered] 1.50
15. Mary, Mary (Stereo Mix) [Remastered] 2.19
16. Hold On Girl (Stereo Mix) [Remastered] 2.31
17. Your Auntie Grizelda (Stereo Mix) [Remastered] 2.32
18. (I'm Not Your) Steppin' Stone [Stereo Mix] [Remastered] 2.26
19. Look Out (Here Comes Tomorrow) [Stereo Mix] [Remastered] 2.18
20. The Kind Of Girl I Could Love (Stereo Mix) [Remastered] 1.54
21. The Day We Fall In Love (Stereo Mix) [Remastered] 2.27
22. Sometime In The Morning (Stereo Mix) [Remastered] 2.32
23. Laugh (Stereo Mix) [Remastered] 2.31
24. I'm A Believer (Stereo Mix) [Remastered] 2.49
25. I'll Be Back Up On My Feet (First Recorded Version) [Remastered] 2.38
26. Of You (Mono Mix) [Remastered] 1.58
27. I Don't Think You Know Me (Second Recorded Version - Mono Mix) [Remastered] 2.20
28. Words (First Recorded Version - Mono Mix) 2.51
29. Look Out (Here Comes Tomorrow) [Mono TV Mix] 2.56
30. Tear Drop City (1966 Mono Mix) [Remastered] 2.18
31. Sometime In The Morning (Alternate Mono Mix) 2.32
32. Valleri (First Recorded Version - Mono TV Mix) [Remastered] 2.32
1. Whatever's Right (Backing Track) 2.32
2. Valleri (First Recorded Version - Backing Track 1 & 2) 3.02
3 . (Theme From) The Monkees [Second Version - Backing Track - Take 1] 1.06
4. Words (First Recorded Version) [Mono TV Mix][Remastered] 2.49
5. She (Mono TV Mix) 2.36
6. I Love You Really (Version One) 0.13
7. I Love You Really (Version Three) 0.13
8. I Love You Really (Version Two) 0.12
9. Ladies Aid Society (Backing Track - Part One - Take 22) 2.40
10. Ladies Aid Society (Backing Track - Part Two - Take 1) 1.19
11. Ladies Aid Society (Original Mono Mix) [Remastered] 3.25
12. Kicking Stones (Backing Track - Take 11) 2.57
13. Kicking Stones (Original Mono Mix) 2.21
14. I Don't Think You Know Me (First Recorded Version - Mike's Vocal - 2017 Stereo Remix) 2.21
15. Mr. Webster (First Recorded Version - 2017 Stereo Remix) 2.52
16. Hold On Girl (First Recorded Version - 2017 Stereo Remix) 2.46
17. Through The Looking Glass (First Recorded Version - 2017 Stereo Remix) 2.34
18. Different Drum (TV Version) 0.39
19. Undecided 0.30
20. Sometime In The Morning (Backing Track - Take 1) 2.43
21. Sometime In The Morning (2017 Stereo Remix) 2.30
22. I Don't Think You Know Me (Backing Track - Take 4) 2.22
23. I Don't Think You Know Me (2017 Stereo Mix) 2.24
24. Your Auntie Grizelda (Session Excerpt) 0.54
25. Your Auntie Grizelda (Mono TV Mix) 2.37
26. Hold On Girl (Alternate Backing Track) 2.44
27. Hold On Girl (2017 Stereo Remix) 2.34
28. I'm A Believer (Backing Track - Take 4) 3.17
29. I'm A Believer (Alternate Vocal Take - 2017 Stereo Remix) 2.41
30. Look Out (Here Comes Tomorrow) [Backing Track - Take 3] 2.10
31. Look Out (Here Comes Tomorrow) [Unedited Version - 2017 Stereo Remix] 2.55
32. Mary, Mary (Vocal Overdub Session) 11.04
1. (I Prithee) Do Not Ask For Love [2017 Stereo Remix] 3.18
2. Tear Drop City (Original Speed - 2017 Stereo Remix) 2.22
3. Looking For The Good Times (Backing Track with Backing Vocals) 2.04
4. I'll Spend My Life With You (First Recorded Version - 2017 Stereo Remix) 2.32
5. Apples, Peaches, Bananas And Pears (2017 Stereo Remix) 2.18
6. Don't Listen To Linda (First Recorded Version - 2017 Stereo Remix) 2.29
7. I Never Thought It Peculiar (Mono TV Mix) 2.13
8. Laugh (Mono TV Mix) 2.33
9. The Day We Fall In Love (2017 Stereo Remix) 2.30
10. The Girl I Left Behind Me (Backing Track) 2.34
11. Mary, Mary (2017 Stereo Remix) 2.20
12. Valleri (First Recorded Version - 2017 Stereo Remix) 2.38
13. Words (First Recorded Version - 2017 Stereo Remix) 2.52
14. Your Auntie Grizelda (2017 Stereo Remix) 2.36
15. Look Out (Here Comes Tomorrow (With Peter's Narration - 2017 Stereo Remix) 2.50
16. I Never Thought It Peculiar (2017 Stereo Remix) 2.27
17. Laugh (2017 Stereo Remix) 2.46
18. She's So Far Out, She's In (Live In Arizona, 1967) 2.44
19. You Just May Be The One (Live In Arizona, 1967) 2.06
20. I Wanna Be Free (Live In Arizona, 1967) 2.54
21. Sweet Young Thing (Live In Arizona, 1967) 2.25
22. Papa Gene's Blues (Live In Arizona, 1967) 2.14
23. I Can't Get Her Off Of My Mind (Live In Arizona, 1967) 3.00
24. Cripple Creek (Live In Arizona, 1967) 3.08
25. You Can't Judge A Book By The Cover (Live In Arizona, 1967) 4.25
26. Gonna Build A Mountain (Live In Arizona, 1967) 3.17
27. I Got A Woman (Live In Arizona, 1967) 6.27
On July 25, 1966 at Western Recorders Studio in Hollywood, California, Michael Nesmith oversaw his fourth recording session as a producer for The Monkees, cutting one of the group's most enduring hits, his very own "Mary, Mary."
Beginning at 8pm that evening, Michael led Peter Tork, one of several guitarists on the song, and members of The Wrecking Crew (including Hal Blaine on drums and Glen Campbell on guitar) through 9 takes, while also tackling the backing tracks for both "Of You" and "(I Prithee) Do Not Ask For Love," ultimately running overtime and finishing at 12:15 in the morning. Micky Dolenz added a doubled lead vocal for "Mary, Mary" two days later.
Long considered a highlight in The Monkees' canon, "Mary, Mary" was featured on their best selling album, 1967's More of The Monkees, and it's been a staple in the group's live show since its first performance in Honolulu, Hawaii in December 1966.
Nez spoke about "Mary, Mary" with Rolling Stone in 2016:
"This was an early song. I hadn't been writing long, but I was interested in finding a place that was between country and blues. At the time, I was working for Randy Sparks. He had started a publishing company after his success with the New Christy Minstrels, who were a folk-rock band. He hired me as a writer, and one day in his office I wrote 'Mary, Mary.' Frazier Mohawk took it to the Paul Butterfield Blues Band, and they recorded it. That was very encouraging.
Randy then sold my catalog to Screens Gems Columbia Music, which was the music catalog for the Monkees television show. They picked it to go on the second record. That was all fine, but they didn't want me to play or sing on it. 'They' being Screen Gems, which was run by Don Kirshner. Run-DMC covered it years later. I just loved their take on it. They changed around the lyrics some, but I didn't care. The song isn't exactly deep."
Here's Peter, Micky, and Davy in the studio during sessions for More of The Monkees:
Jeff Barry produced "I'm a Believer," a song that ultimately became The Monkees' signature hit. He's pictured below with Michael Nesmith at a recording session for the track at RCA Studios in Los Angeles on October 22, 1966.
Andrew posted the following photo on his Instagram account:
Today marks the 50th Anniversary of the recording of "Your Auntie Grizelda, " Peter Tork's lone showcase on The Monkees' second album, More of The Monkees. The song was recorded at American Recording Company on Ventura Boulevard in Studio City, California on October 14, 1966, and Andrew Sandoval wrote about the session (which also included work on "Hold on Girl") in his book, The Monkees: The Day-by-Day Story of the '60s TV Pop Sensation:
Jeff Barry is an award-winning songwriter and record producer. Among the most successful songs that he has co-written are "Da Doo Ron Ron," "Then He Kissed Me," "Be My Baby," "Chapel of Love," and "River Deep - Mountain High" (all composed with his then-wife Ellie Greenwich and Phil Spector); "Leader of the Pack" (written with Greenwich and Shadow Morton); and "Sugar, Sugar" (written with Andy Kim).
In the 1960s, Barry would partner, both professionally and personally, with Ellie Greenwich to form one of the decade's most prolific songwriting and producing teams. By 1966, he was part of Don Kirshner's Brill Building team. Barry produced a plethora of tracks on The Monkees' second LP, More of the Monkees, along with their most successful single, "I'm a Believer," and its follow-up, "A Little Bit Me, A Little Bit You." After The Monkees seized control of their musical output in early 1967, Barry wouldn't participate in a Monkees recording session until 1970 when he produced the group's final album, Changes, recorded with Micky Dolenz and Davy Jones. The album included numerous songs written by Barry like "Oh My My," "Ticket on a Ferry Ride," "Do You Feel It Too?," and "Tell Me Love."
In this 1990 interview with Paris Stachtiaris and John Di Maio on the Headquarters radio program, Barry talks about his career in the music business, working with The Monkees, and his relationship with Michael Nesmith.
This is the second in a series of guest articles that have been submitted to The Monkees Live Almanac in celebration of the group's 50th Anniversary.
The efforts of songwriters/producers Tommy Boyce and Bobby Hart played a critical role in defining the sound of The Monkees. From the first beats of "(Theme From) The Monkees," their mark would forever be on the project. In addition to the theme song, the series pilot featured Davy Jones taking lead on the classic "I Wanna Be Free," while "Let's Dance On" featured Micky Dolenz, and both numbers were included on The Monkees' debut album. It was a California sound, appropriately reflecting on the characters of four young musicians living in a beach house.
The story behind the early Monkees music, however, was much more complicated. Musical supervisor Don Kirshner had attempted to lure a big name producer to helm the project, and had successfully recruited Snuff Garrett into the studio, which by all accounts, was a disaster. Sessions with Carole King also flamed out, and with a full television season on the horizon, options were growing slim.
Fifty years after the fact, the complications are revealed to be enormous. Andrew Sandoval, archivist, historian, and manager of The Monkees, spoke with Michael Nesmith in an interview for Rhino’s Handmade Edition re-issue of the debut album, The Monkees. "They asked if I would do some things. I said, 'Well, I can do some things, but if I was going to put together a rock 'n' roll band, I don’t know that I would put together a band with David, Micky, and Peter. You know, these are good guys to work with, but we all have very different musical tastes and sensibilities. I'm not that prolific or prodigious.' [They said] ‘Well maybe Tommy and Bobby and you can do it.'"
Time was running short, and by the beginning of July 1966, Boyce & Hart were in charge. Along with Jack Keller, the duo cranked out an enormous amount of material in a short time. Meanwhile, Nesmith produced additional Monkees tracks at a studio nearby. Between them, the entire debut album was recorded in that month's time frame.
Boyce and Hart’s "Last Train to Clarksville" became the choice for the first single. Its power propelled it up the charts in advance of the show, but once the series hit the air on NBC in September of 1966, its success skyrocketed. "Last Train to Clarksville" would eventually hit number one in November, knocking "96 Tears" by Question Mark and the Mysterians off the top.
The album proved to be even more of a triumph. The Monkees reached number one on Billboard's Top LPs chart, staying entrenched for a remarkable thirteen weeks, at the time a record for any debut.
Following such monumental success, it could be asked, why would musical supervisor Kirshner deviate from the formula of the first album? One of the answers is financial. The guaranteed sales of the follow-up would make landing a spot on a Monkees record a nice payday. Kirshner no doubt would feed the writers on his staff, at the expense of Boyce & Hart. Another reason was that he considered the duo as inferior writers and producers. Now that The Monkees' proverbial train had left the station and picked up speed, Kirshner intended to take another shot at steering. And one significant day in particular allowed Kirshner not only to press his case, but practically remove Boyce & Hart from their role as producers of the Monkees project.
August 23, 1966 was exactly one week after the release of "Last Train to Clarksville" as a single. The Monkees themselves were on a television sound stage shooting the season one episode, "Monkees at the Movies." Tommy Boyce and Bobby Hart entered RCA Studio B that evening, working from 7pm until the wee hours of the morning on two novelty songs, "Kicking Stones" and "Ladies Aid Society." Following the well-liked "Gonna Buy Me a Dog" on The Monkees, one could see the appeal of more humor on the next disc. However, trying to reconcile that either of these songs would fit on the second album seems practically unimaginable.
"'Kicking Stones' was originally just a poem by Boyce & Hart's buddy and sometimes hairdresser Lynne Castle," wrote Andrew Sandoval in his book The Monkees: The Day-By-Day Story of the '60s TV Pop Sensation. "The team's regular studio guitarist Wayne Erwin then set her words to music - and out came a fairytale-like creation." Andrew Hickey, author of Monkee Music, an in-depth look at every song The Monkees released, offers a critical assessment of "Kicking Stones." "To be fair to Boyce & Hart, they were producing a lot of material at this time," Hickey opines. "But there was clearly no way tracks like this could have ever been considered remotely releasable, and they must have known it." In his book Sandoval quotes a memo written by Bert Schneider, one half of Raybert Productions with Bob Rafelson that created The Monkees television series, who complains that both "Kicking Stones" and "Ladies Aid Society" were "of dubious value."
Mistakenly listed as "Teeny Tiny Gnome," "Kicking Stones" was eventually released in 1987 on the first edition of Rhino's Missing Links series of Monkees rarities. It can also be found on Rhino's deluxe edition of More of The Monkees.
"Ladies Aid Society," complete with off-key falsetto lyrics, pretends to be a protest song of sorts, with the sound of a brass band and would-be elderly women. The Monkees did choose to include the track on 1969's The Monkees Present.
Ironically, in the days just before and after these disasters, three Boyce & Hart classics would be laid to tape: "She," "Words," and "Valleri." Each would be featured prominently during the first season of The Monkees' television series. "She" eventually opened More of the Monkees. Although viewers would become familiar with the others, their releases would be significantly delayed. "Words," re-recorded under producer Chip Douglas and featuring a Monkees backing track, was chosen as the B-side to "Pleasant Valley Sunday" nearly one year later, and would climb to #11 on the charts. "Valleri" was also revamped and issued as a single in 1968, the band's last Top Ten hit.
Viewers of the TV show were also introduced to "I'll Be Back Up on My Feet." Composed by Sandy Linzer and Denny Randell, it was nowhere to be found on More of the Monkees, but was ultimately re-recorded for the band's fifth album, The Birds, The Bees & The Monkees. The song was brought out of mothballs by Micky Dolenz and Peter Tork, showing up frequently on set lists during a series of concerts conducted by the duo in 2015.
Don Kirshner used Bert Schneider's skepticism of Boyce & Hart's latest productions to his full advantage. The competition for the second album heated up in October of 1966. While Boyce & Hart, and Michael Nesmith, toiled in Los Angeles, Don Kirshner's newest handpicked producer, Jeff Barry, worked out of New York, tackling tracks by Neil Diamond, Gerry Goffin & Carole King, as well as Neil Sedaka & Carole Bayer. "I was very friendly with Boyce & Hart," Kirshner told Andrew Sandoval years later when explaining the move away from the pair in the recording studio. "But my fiduciary obligation to Columbia Pictures and Screen Gems is to get the best record, okay? My objective was one thing: not to show favoritism. I had a competitive environment, no different than, say, American Idol. The four finalists are there, you can only have one, and each of them could be a hit record star. And that's what I strive for."
Barry's productions included both "Look Out (Here Comes Tomorrow)" and "Sometime in the Morning," while Sedaka and Bayer were at the helm for "When Love Comes Knockin' (At Your Door)." All were fast tracked to the new album. The novelty song "Your Auntie Grizelda," featuring Peter Tork on vocals, "Laugh," and the sappy spoken word "The Day We Fall in Love," were soon added to the mix, and ultimately, the LP. Boyce & Hart's take on "Hold On Girl" (heard below) would later be substituted for a version produced by Barry and Jack Keller. Tommy Boyce and Bobby Hart, who produced ten songs on the debut album, were left with two on the follow-up, the same number as Michael Nesmith. The Don Kirshner takeover was complete.
More of the Monkees, as released on January 9, 1967, held the top spot on Billboard's album chart for an incredible eighteen weeks. The LP has been certified platinum five times over by the RIAA, a success that would never again be matched by the group. "I'm a Believer" would remain at #1 for seven weeks, the band's top selling single. For all its perceived weaknesses in its released form, it arguably furthered the Monkees project to dizzying levels of success.
But it still begs the question, what would a Boyce & Hart-produced second album have sounded like? We can take a pretty good guess.
The Monkees' second single, Neil Diamond's "I'm a Believer," would be a given, as would the flip side, Boyce & Hart's "(I'm Not Your) Steppin' Stone," which peaked at #20 on the Billboard singles chart in its own right.
Sandoval’s book revealed an interview with Tommy Boyce, who spoke highly of "Tear Drop City," "Through the Looking Glass," and "Don’t Listen to Linda." "I always liked that song ['Through the Looking Glass']," Boyce told Andrew Sandoval. "I knew it was a fabulous song and we always thought it should have been a single, but it never was, of course. I think it was an imaginary song we wrote about a couple of girls we knew. Sort of like an Alice in Wonderland type of thing: you walk through the mirror, 'Through the Looking Glass'...and go through this glass into a different world." One can presume, had Boyce & Hart still been in charge, that these already completed songs would have found a place on More of the Monkees. Instead, they were shelved for roughly two and a half years, before finally being released on Instant Replay, the band's seventh album.
Michael Nesmith, who received two slots on both The Monkees and More of the Monkees, had several tracks to choose from for the LP. "Mary, Mary" and "The Kind of Girl I Could Love" were the ultimate choices, but "You Just May Be The One" (first recorded version) was featured several times on the television show, and could have been chosen just as easily. "Of You," written by John and Bill Chadwick, had also been tracked by this point. "All The King's Horses" and "I Don't Think You Know Me" were other options.
Considering both Boyce & Hart as well as Kirshner's team took a crack at "Hold On Girl," it stands to reason this song would also be given heavy consideration.
Here's my educated guess - the track listing for the unreleased Boyce & Hart-produced
More of the Monkees album:
The ultimate quality of this collection can only be judged by the ear of the beholder. It is heavy on tracks sung by Micky Dolenz, and includes only three leads by Davy Jones and one by Nesmith. It does stand to reason, however, that it would have also propelled the Monkees project in a significantly positive way. The lows in this collection seemingly don't sink to the levels exhibited by "Laugh" and "The Day We Fall In Love" that appeared on the actual released version of More of the Monkees. In a theoretically perfect world, several of these songs were deserving of a place on the album, and would have mixed well with some of Kirshner's preferred tracks.
But one critical lesson from The Monkees is that nothing was as simple as it seemed.