33 1/3 Revolutions Per Monkee

I would have given this a 1, but the most of the Monkees' performances saved it.

What they did with "33 1/3 Revolutions" was done better in "Head". While "33 1/3 Revolutions" had some great music (most notably Peter's keyboard solo and "Listen to the Band"), the story was muddled and less comprehensible. I fast-forwarded through much of this, usually whenever "the wizard" came on and started babbling about whatever. Even the 50's medley was a bit painful to watch.

I understood what they were trying to get at but it just felt like it had "contractual obligation" written all over it, nobody really putting in any effort to make it a better program. Considering the Monkees' history, however, they were probably glad when the entire ordeal was over.

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.

One of my biggest regrets is that I'll never get back the 55 minutes I spent watching this. The network was right to run it against the Oscars. It spared most people the excruciation. And I'm normally a Monkees fan. This was their "Magical Mystery Tour".

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.

The sole musical special by The Monkees was shot right after their movie "Head." This special was a very strange effort. The producer, Jack Good, was known in Britain for his musical programs.

However, it is unclear as to his familiarity with The Monkees, or American audiences. This special had a script, and it was used to deconstruct The Monkees as television superstars, and present them as musical superstars.

It begins with Brian Auger, of The Trinity, portraying a Wizard who will take four young men "off the street" and make them superstars through brainwashing. Then, he will use them to brainwash the world.

With the aid of special effect, Micky Dolenz, Peter Tork, Michael Nesmith, and Davy Jones appear. Then, they are encased in tubes and the brainwashing begins. To escape this, each "floats away" to their own personal world.

Micky Dolenz performs a blues version of "I'm a Believer" in a duet with Julie Driscoll. Peter Tork sings "Prithee" in a blissful, gauzy setting. Michael Nesmith performs "Naked Persimmon" in a duet with himself, and Davy Jones performs "Goldilocks Sometimes" in a dance number on an over-sized stage representing the room of a child.

Next, The Monkees perform "Wind Up Man" dressed as toy soldiers complete with key. Next, the Monkees are dressed as apes in performance of "I Go Ape."

Once the group has been brainwashed, they are introduced as 1950s rockers and perform with the likes of Fats Domino, Little Richard, Jerry Lee Lewis, The Buddy Miles Express, and The Clara Ward Singers.

Finally, Brian Auger stops the whole affair, introduces himself and Julie Driscoll, and then plot ends.

Davy performs "String for my Kite." Peter performs a piece on keyboards. Micky and Mike join them and begin performing "Listen to the Band." Then, all the guests join them in a jam, with dancers added to the mix.

Throughout the show, there are other performances. The Trinity performs "Come on Up." Paul Arnold and The Moon Express perform a dance number depicting evolution. There is one great scene with Brian Auger playing a small piano on top of a baby grand that Jerry Lee Lewis is playing, which is on top of a grand piano being play by Little Richard, which is all on top of another grand being played by Fats Domino.

One of the biggest problems is that the music was recorded, but the vocals presented "live." Therefor, many of the vocals are lost. Another disappointment is that the numbers have a live performance feel, but are not allowed to resolve. The plot gets in the way of the music.

There are a lot of visual effects, and to move the action along, the plot, though overly ambitious, is interesting for a musical special to skip a more traditional presentation.

Like so many things in the history of The Monkees, this was a great "could have been, should have been." here, for the first time they are regarded as musical performers, in company with greats and cutting edge current stars. Plus, there were problems with the production that forced changes in the recording (shot on videotape) venue.

But, again with The Monkees, it is a testament to their creativity of the moment. Many have regarded the series and the movie "Head" as a statement of the times when they were made. More than just pop-culture, but statements on society. "33 1/3 Monkees per Revolution" does the same thing with emphasis on music. While the classic rock and roll performers survived the changes in the 1960s, their popularity did wane. And Brian Auger, Julie Driscoll and The Trinity never achieved the popularity having national exposure might have helped. But, The Monkees welcomed them in this special as equals, and the courtesy seemed to be reciprocated. But, over the thirty-five years, it still seems that The Monkees is the group that people remember the most. And, like their albums, it is the music that supports the special. Too bad there was never an album made of these performances.

Ironic that the special culminates with "Listen to the Band." This performance is unique for several reasons. One being that it is for the special that is centered around music, something that The Monkees were criticized for in their career. Second, it is the last time that all four members of the group played together as an original band.

This is a unique experience. It is worthy of viewing, if nothing more than the nostalgia. It is unlike anything I have ever seen before or since. Too bad that producers haven't tried grand experiments like this since.