The Monkees - "The Birds, The Bees & The Monkees" Vinyl, Reissue, Remastered, Stereo, 1968/1996 (Sundazed Music)

This past 12-months, I have been slowly and carefully purchasing The Monkees' catalog on vinyl. Never a huge fan, but for sure, an admirer of their complicated work and history. The Monkees seemed to be made for a man like me, due to my age and era as a teenager. I watched every episode of the Monkees show as it was originally broadcast, I believe on NBC Network (this is from memory). Also, I purchased the first two Monkees albums, due to my love of the show. I quickly moved on to other aural pleasures, but alas, The Monkees never left! How a band that had the last grasps of the Brill Building aesthetic working for them, as well as being part of the Hippie world, and then this 'fake' band became a 'real' band. Not only that, they sabotaged their Monkees career by making the most post-punk film of its era "Head." It's laughable that the Rock n' Roll Hall of Fame, so far, ignored them. Is there anything more rock n' roll and crazed than The Monkees?

"The Birds, The Bees & The Monkees is their fifth album and was made when the TV series was dead in 1968. In such a manner, this album is their version of The Beatles "White Album." In that, each member of the band produced their own songs, in separate studios, away from the others. Peter Tork, I believe, is not even on the album, except for the one song and hit "Daydream Believer." Still, when everything is falling apart, some exciting art does come up. The stronger cuts on the album are contributed by Michael Nesmith. His work here is psychedelic, with traces of drones and wild keyboard playing. There are seconds or maybe a whole minute where one would think that Tony Conrad or La Monte Young showed up at the sessions. The Davy Jones contributions are very Pop (with the capital P).  His head and soul are very much part of the London West-End stages, even as a rock n' roll figure on an American TV show and in real life. I miss Mickey Dolenz's voice on this album. He is singing on three songs, but for my taste, I feel Dolenz is one of the great pop/rock singers of his era and is still fantastic. I suspect that there is no such thing as a bad Mickey Dolenz vocal or track. 

"The Birds, The Bees & The Monkees" is very much a transitional work that is between their beginnings and their wandering years. Boyce and Hart contribute to their production (uncredited) and songwriting on two songs, and that reflects on the past. Nesmith is very much the present on this album. A strange record in an appealing manner. 

The Monkees -"Head" Vinyl, LP, OST, Reissue, Remastered, 1968/2011 (Rhino)

The Monkees shouldn't be brilliant, but somehow due to sonic magic, classic Brill Building songwriting, great character, fantastic TV show, and the songwriting/performing talents of Davy Jones, Michael Nesmith, Peter Tork, and Mickey Dolenz - they became this great oddity.  In theory, two musicians and two actors, which when the camera is turned off shouldn't be a band.  Yet, somehow they not only became a band, but a weird hybrid of showbiz, commercialism, and art.  In the long run, maybe they're more important than the other Fab Four, The Beatles.

When the show died down, The Monkees made a film called "Head" written by Jack Nicholson and directed by The Monkees TV producer, Bob Rafelson.   No "Head" there will probably be no "Easy Rider" or "Five Easy Pieces" or the career of Jack Nicholson as the iconic star.   What makes "Head" so unusual is that the film questions the nature of a 'manufactured band" and how that, becomes a genuine work of art.   Malcolm McLaren wanted to do his own version of The Monkees by having the Sex Pistols, but the truth is, The Monkees were even more radical than the Pistols/McLaren.  

Which comes to this unique and great original soundtrack album, "Head."  On the surface, it is only six Monkees' songs, plus spoken dialogue from the film, and incidental music from Ken Thorne.  Supervised by Nicholson in some mysterious sense, and mostly self-produced by the 'band,' except for the magnificent track "Porpoise Song" produced and co-written (with Carole King) Gerry Goffin. "Head" is just as radical as the film.  The album is psychedelic but obviously made by pop songwriting geniuses, such as King/Goffin and Harry Nilsson, as well as Tork and Nesmith.  This is probably the one album that is the death of the Brill Building aesthetic as well as the idea of an organic band at work.  On one level, it's a f**k you to the world, but also an entrance way to another world.  The Monkees were contained by their songwriters, the TV series, showbiz schedule, and here they needed to break free from the constraints of their society.  They do so, without a chance that they will ever come back to their commercial 'home.'   A remarkable album or document of a time that can only be 1968. 

Also on a personal note, I visited the set of "Head" with my father, Wallace Berman, when I was 15, and watched the Mickey Dolenz performance of "Can You Dig It."   It was odd for me to be there, watching my favorite TV stars being part of the spectacle that's movie-making. 

Robert Wyatt - "Different Every Time Volume 1 - Ex Machina" 2 x Vinyl, Compilation, 2014 (Domino)

There are artists who one can follow, and it opens up to other artists and worlds.  It's similar to eating an artichoke, and as you strip each leaf, you can put different flavorings on it, which alters the taste significantly.  Then you reach the artichoke heart, and that itself is a different taste, but if you marinated it with a sauce, another element for the taste buds.  Robert Wyatt is like that as well.  "Different Every Time" is a two-volume set of double vinyl albums, where one is focusing on Wyatt as a contributor or collaborator, and the other is a selected greatest hits package, both curated by Wyatt.  Now, we focus on "Ex-Machina" which is his 'hits' package. 

 If you are a long time fan of Wyatt, there is never a perfect compilation.  Wyatt is not all over the map, but his landscape where he makes his music is physically small, but branches out in Left politics, jazz and pop standards, and his original compositions.  Some written by himself and other times with his wife and graphic artist, Alfreda Benge.   Wyatt made choices here that are superb, but there will always be that obvious song left out.  For me, it's his version of Neil Diamond's (The Monkees) "I'm a Believer."  On the other hand, we do have his version of "Yesterday Man," which is an exceptional composition by Chris Andrews, who wrote hit material for Sandie Shaw.   I do recommend a listener to track down Andrews version, which is very much a ska-pop arrangement.  Wyatt's version is soulful and a feeling of regret.  A beautiful melody and in the voice of Wyatt it becomes an emotional reflection on a lost romance.   Only Wyatt can sing a song with political overtures and make it sound like a lost soul reflecting on a grand disappointment.   His voice is unique, and there is nothing out there like a Wyatt vocal.

The album covers a great deal of Wyatt's solo work but also touches on his first two well-known bands, Soft Machine and Matching Mole.   Side one is taken up with Soft Machine's "Moon in June" which is 20 minutes long, and not a boring second is allowed.  The Wyatt humor takes place. Still, there is an English attitude of expressing oneself that's very restrained and in order.   Wyatt also made his incredible masterpiece album "Rock Bottom," but there is only one song to represent that record, and it's a live recording of the song "A Last Straw."   There is a focus at least material wise, on recordings made in the 80s, 90s and up to a few years ago.  More of exposure to Wyatt's brain working which is not nostalgic, but expressing his desires for current work.   If one has all the Wyatt recordings, including the 45 rpm single "Yesterday Man" (which to me if you don't have the song, it's worth buying the double-album set), then you don't need it. Still, if you are new in the Wyatt world, this is an excellent introduction and entrance way to a magnificent artist.