33 1/3 Revolutions Per Monkee

I Love the original series and the feature film Head remains one of the greatest cinematic delights to me.

But this TV special...is as I say flawed...

The show seems shot on tape and the many effects look horrible at times.

Plot wise it is similar to Head - Take the Monkees image and rip it up.

Sadly it gets rather heavy handed and certainly not a good move (the 3 specials originally planned ended here) while the music is actually rather good (Not commercially released due to lost tapes) things like 'Wind Up Man' are actually insulting to the people who loved the group...

One thing quickly here - who remembers Brian Auger and the Trinity compared to the pre-fab 4.

So summing up, it depends on your thoughts on the Monkees, It's not always the best watch (The dance routine has aged badly) and you may feel they are biting the hand that fed them too hard (drawing blood) but there's enough here to make it interesting but not essential.

I love 33 1/3, not just because I'm a Monkees fan, but the fact that it is an incredibly thought-worthy show. The Monkees take us through the history of music, as they have lost their identities, becoming Monkees number 1, 2, 3, and 4. Beautiful...marks the departure of Peter Tork from the group, leaving shortly after this was shot. Wonderful music and a blast-out end...I love it!!

"33 1/3 Revolutions Per Monkey" was intended to be only the first of three TV specials for NBC following the cancellation of the TV series, filmed Nov 23-27 1968, for broadcast Apr 14 1969 (pre-empting an episode of LAUGH-IN). The result was so discouraging that no further specials appeared, the group reduced to a trio by Dec 30 1968, as Peter Tork bought out his contract and bid farewell to his three years of Monkees mayhem. Sunk singlehandedly by producer/writer Jack Good, previously seen as an actor in the episode "Monkees Mind Their Manor," who should have allowed the four to carry this videotaped fiasco themselves; instead, it becomes a psychedelic freakout like "Head," minus the charm, The Monkees reduced to supporting players in their own special. Best known for the British OH BOY!, plus America's SHINDIG, Good slapped together a disastrous script focusing on newcomers Brian Auger and Julie Driscoll, British imports little known elsewhere, with at least a warm tribute to 50s rockers Jerry Lee Lewis, Little Richard, and Fats Domino. Only at the beginning and the end are The Monkees well served, a crushing disappointment with so many unnecessary extras cluttering things up. The plot rehashes the group's manufactured image yet again, this time in insulting fashion, as if any four guys could have been hired and enjoyed the same kind of success. The songs were all produced by Bones Howe, famous for his work with The 5th Dimension, except for three produced by Michael Nesmith himself. Micky duets with Julie Driscoll on a slow, blues-based rendition of Neil Diamond's "I'm a Believer"; Peter sings Michael Martin Murphey's "I Prithee (Do Not Ask for Love)," a slower, sitar-based version than the one recorded July 25 1966 by Nesmith (with Micky's lead vocal, available on MISSING LINKS 2); Nesmith duets with himself on his own "Naked Persimmon," a schizophrenic masterpiece depicting Monkey Mike battling with alter ego Papa Nes, the Cosmic Cowboy, making sharp jabs at former Colgems president Don Kirshner ('the Devil incarnate'); Davy dances to "Goldie Locks Sometime," a fairytale pastiche adding Red Riding Hood, Cinderella, and Alice in Wonderland. This track was composed by Bill Dorsey, who also wrote the very brief "Darwin" (sung by all four Monkees), the slightly longer "String for My Kite" (Davy), and "Wind Up Man," depicting all four as mechanical singers laughing at the brainwashed audience. The group embarrass themselves in costume for "I Go Ape" (sung by Micky), a cover of the 1958 hit from Neil Sedaka and Howard Greenfield, then the guest stars gather for the 50s salute: Micky sings Danny and the Juniors' 1958 smash "At the Hop" (composed by Artie Singer, John Medora, and David White); Davy and Peter take turns with The Diamonds' 1957 hit "Little Darlin'" (composed by Maurice Williams); all four share vocals on "Shake a Tail Feather" (composed by Otha Hayes, Verlie Rice, and Andre Williams), originally a 1963 recording for The Five Du-Tones, more recently a hit from James and Bobby Purify. It's certainly a grand sight to see Brian Auger, Jerry Lee Lewis ("Whole Lotta Shaking' Going' On," "Down the Line"), and Little Richard ("Tutti Frutti," "Long Tall Sally"), all atop Fats Domino ("I'm Ready," "Blue Monday"). More extras take up space before the truly bittersweet finale: as Davy's "String for My Kite" fades, Peter comes in and sits at the clavinet, doing an amazing solo performance of Bach's "Solfeggietto," followed by Nesmith and Dolenz, on guitar and drums, beginning the only group performance of Nesmith's "Listen to the Band," issued as the group's tenth single Apr 26 (12 days after this telecast). The 45 was recorded in Nashville June 1 1968, with Nesmith on electric guitar, but no other Monkees present; this take is slower, but features all four for the last time during the 60s (unfortunately, at the three minute mark, more extras arrive, and the whole thing just collapses into cacophonous chaos). The closing credits feature the rip off "California Here It Comes" (from the 1921 standard by Al Jolson, Buddy De Sylva, and Joseph Meyer), the final vocal for Peter Tork (the four would first reunite on two occasions during the 1986 revival). By the time this was broadcast, the group (now a trio) had already issued their seventh LP Feb 15, INSTANT REPLAY, followed by THE MONKEES PRESENT Oct 11, then (minus Nesmith) the June 1970 release of CHANGES.

33.3 Revolutions Per Monkey was the last project by The Monkees in their original incarnation, a television special intended as the first of a series. Here the plot line is a bizarre self-satire on the group's "pre-fab" formation as told by a maniacal overlord billed as Charles Darwin. The special certainly suffers from its overdose of self-aware psychedelia and its savage self-mockery, but its basic plot is hardly obsolete - fans of the feature film Josie & The Pussycats should recognize The Monkees' plot line quite quickly.

The special features a number of musical pieces, and among the highlights are Micky Dolenz and Julie Driscoll's soulful rendition of "I'm A Believer" (when the two harmonize their voices blend so well it becomes hard to decifier which one belongs to which singer), Mike Nesmith's bifurcated country-rocker "Naked Persimmons," the group's faux-1956 TV special with reallife 50s legends such as Fats Domino and Jerry Lee Lewis, and Peter Tork's instrumental on electric organ "Bach's Toccata In D."

Some have attacked the use of 1950s rock legends as second fiddle to Monkees, a grossly unfair attack as The Monkees show a genuine respect for the '50s rock genre in the special that was largely lost in the psychedelia and self-important breast-beating about '60s rock through the latter portion of the decade. That The Monkees have remained as fresh and engaging today as the '50s rock legends who appeared on the special speaks volumes about how wrong-headed Monkey-bashing was and is.

The strengths and weaknesses of the special converge in the group's final 1960s performance as a quartet, Mike Nesmith's country-rock classic "Listen To The Band." The number begins with just The Monkees, with numerous young people entering the area to dance. But other musicians enter in as well and the song degenerates into an ill-advised mishmash; Brian Auger and Julie Driscoll's intervention ruins the piece almost single-handedly. Thus does the old cliché of too many cooks prove itself in what should have been a showcase for The Monkees but instead became a major disappointment that nonetheless was no total loss.

I've only just discovered that this TV special exists-- and it was everything I could've possibly hoped for. Bizzarely structured, nonsensical attempts at a plot, and the Monkees trying (and failing) to be both the Beatles and the Partridge Family at once.

But, somehow only adding to the strangeness, are some real gems: Peter Tork's organ solo is great, as is Mike Nesmith's country duet with himself. Julie Discoll's solo performance made me take note. Fats Domino was a consummate professional and his contribution would steal the show if Jerry Lee Lewis wasn't also there, reminding everyone who's the real king of rock'n'roll.

I wouldn't suggest watching this if you're just a Monkees fan-- best to go with the movie Head or just stick with the TV show-- but I would suggest it to everyone who's interested in the history of pop music. It's a glorious time capsule of what can go wrong when societal trends are badly co-opted to try and make a band look cool.

But maybe have a stiff drink and a good smoke before you do.