DISC TWO
1. TOU TOLD ME
Take 15
This early mix of the song features a different vocal from Michael Nesmith and slightly different intro patter. Later the instrumental contents of this multi-track were bounced down to two tracks with a new double tracked vocal from Nesmith plus backing vocals from the rest of the group taking up the remaining two tracks of the master.
2. ZILCH
Peter Tork Vocal Track
3. ZILCH
Davy Jones Vocal Track
4. ZILCH
Micky Dolenz Vocal Track
5. ZILCH
Michael Nesmith Vocal Track
Because the session tapes no longer exist for this spoken word track, it was somewhat of a challenge to present this unique piece in a new way for this release. It seemed that the only sensible thing to do was to separate all four individual tracks of the four track master. This gives you the listener the ability to dissect, analyze and possibly reassemble the contents.
6. I’LL SPEND MY LIFE WITH YOU
Master Backing Track Take 9
Another Boyce and Hart penned track that shared a similar lineage to the previously discussed “Mr. Webster”. This alternate mix of the master backing track includes more of the barely heard organ track than the final version included on Disc Three.
7. RANDY SCOUSE GIT
Master Backing Track Take 23
Although this is the final backing track for the released version of “Randy Scouse Git”, this would not be the last mutation the song would go through during the ‘Headquarters’ sessions. Just see Track 19.
8. FORGET THAT GIRL
Rehearsal
This rehearsal shows the originally intended Motown flavor that producer Chip Douglas had hoped to inject in his composition “Forget That Girl”. This recording was actually found alongside the earlier rehearsal of “All Of Your Toys” hinting at the fact that Douglas showed the song to the group well in advance of their formally recording it.
9. FORGET THAT GIRL
Master Backing Track
Here is the finished backing track of “Forget That Girl” which displays the more pop oriented direction the band took the song in.
10. WHERE HAS IT ALL GONE
(First Version) Tracking Session Take 1
A minor mystery and a major revelation, “Where Has It All Gone” is a heretofore unheard Michael Nesmith penned track. Based on its master number designation, it was probably presented to the group during the acoustic demo sessions, as featured on Disc One, in February 1967. The recording featured here from March is Take 1 and was made just before a dinner break. Before the start, Micky hungrily announces that the group “will split if it’s any good, or not”. Despite the song’s intriguing melody, it would be one of the few from this era that Nesmith never returned to in his later MONKEES or solo recordings.
11. MEMPHIS TENNESSEE
Presumingly having returned from dinner, the session for “Where Has It All Gone” picked back up with this brief jam which detoured into Chuck Berry’s “Memphis Tennessee”. Micky, apparently not too busy drumming to put anybody down, readily points out that Peter is grooving so hard that he has missed the ending. Chip Douglas charitably calls this “a cookin’ track”.
12. TWELVE-STRING IMPROVISATION
Nesmith leads the band through this next bit from the “Where Has It All Gone” session, which is a seemingly unnamed, and definitely unrehearsed, twelve-string riff based jam. While this could be called superior to the previous jam, Chip is nonetheless eager to get back to the task at hand.
13. WHERE HAS IT ALL GONE
(Second Version) Master Basic Track Take 12
For later takes of Nesmith’s “Where Has It All Gone” Peter dispensed with the tricky picking and played a simple organ part. In particular, the organ inclusive version captured here would be the final take made for the night (Take Number 16). Although this particular take was labeled master, no further work was done on this promising song.
14. JERICHO
Probably recorded at the vocal overdub session for “Forget That Girl” (and not “Shades Of Gray” as previously reported) this spoken word bit concerns a legend of biblical proportions. In order to gain full impact, we have returned to the original work tapes from this date and have included a few extra seconds not previously heard in the standard ‘Headquarters’ CD bonus track mix of this “comedy” bit.
15. FORGET THAT GIRL
Rough Backing Vocals
As depicted by “Jericho”, Micky, Peter and Davy were in quite a loose and possibly non-productive mood when they set about recording the backing vocals for “Forget That Girl”. While Chip tells Hank that “if you run the track all of this will stop” he didn’t quite get what he had hoped for with this performance. In fact the behavior exhibited here may give credence to former producers Boyce and Hart’s decision to only allow one MONKEE in the studio at a time for fear of losing control.
16. PETER GUNN’S GUN
Master numbers hint that this Henry Mancini influenced jam was recorded at about this point in the sessions. It is believed that “Band 6” and “Peter Gunn’s Gun” were the band’s only attempts at rearranging popular TV themes for the steel guitar.
17. I WAS BORN IN EAST VIRGINIA
Informal Recording
A Peter Tork banjo favorite, “I Was Born In East Virginia” was, like “Zilch” and “Band 6”, one of several impromptu jams that the band attempted to weave into the final album.
18. FORGET THAT GIRL
Rejected Overdub Session
Similar in function to “The Girl I Knew Somewhere” overdub session (Disc One Track 8), this track shows the group attempting to add instruments while bouncing down to a second tape machine. The results of this session were ultimately abortive, but the chat remains priceless. Mike discussed his February 1967 plane flight to London with Mama Cass (who is apparently the source of the “psycho jello” term that opens “Peter Gunn’s Gun”). Meanwhile, Micky prepares his lounge act for future use on “Don’t Call On Me”, Chip takes off the recently released “Strawberry Fields Forever” and engineer Hank Cicalo playfully tells the guys to “wipe off that wall” which is in reference to the group painting covering the studio glass.
19. RANDY SCOUSE GIT
Alternate Mix With Unused Tag
A truly unique hybrid, this is an unused master featuring alternate vocals from Micky and a bizarre tag of “I Was Born In East Virginia”.
20. MICKY IN CARLSBAD CAVERN
Not actually in Carlsbad Caverns, but an incredible simulation. More correctly this is Micky with Hank Cicalo experimenting with echo and tape effects. The title is derived from the original tape box.
21. PILLOW TIME
Take 1
As with the previous track, Micky is too busy with his studio explorations to tackle overdubbing the harmony parts on the empty bridges of Mike’s songs. Instead Hank helps Micky lay down this surreal sounding sequence of take’s on his mother’s composition “Pillow Time”. The mix included here is substantially longer than the previously excerpted one found as a bonus track on the ‘Headquarters’ compact disc. Micky later re-recorded “Pillow Time” as a straight jazz song for THE MONKEES ‘Present’ and as a lullaby for his solo Kid Rhino release ‘Micky Dolenz Puts You To Sleep’.
22. SHADES OF GRAY
Master Backing Track Take 9B
This track, written by the famed songwriting team of Barry Mann and Cynthia Weil, wound up being one of ‘Headquarters’ major highlights when completed. This particular heretofore unheard instrumental mix of the backing track exhibits the multi-track before it was bounced down, therefore, presenting the subtle instrumentation in outstanding clarity.
23. MASKING TAPE
Tracking Session Composite Takes 6 To 8
It is unknown what this song is or even who wrote it. Nevertheless, this track is the closest THE MONKEES came to cutting a “groove” during the ‘Headquarters’ sessions. While the band never formally returned to this song, a later session tape for ‘Headquarters’ features Micky suggesting that they play “Masking Tape” again. Interestingly, both Chip and Micky can briefly be heard running through the lyrics at the top of this track confirming that this was not just a one-off lyricless jam.
24. YOU JUST MAY BE THE ONE
Tracking Session Composite
From the same session as “Masking Tape”, this is undoubtedly the best example of a group performance on ‘Headquarters’. Perhaps the main reason behind the solidness of this track could be the fact that the group performed “You Just May Be The One” live at all of their early live dates. A brief discussion regarding the difference between their live and studio sound can be heard preceding this terrific run through which is Take Number 4. The final master is actually Take 2 from this session.
25. YOU JUST MAY BE THE ONE
Master Backing Track
Here is the final master backing track for “You Just May Be The One”, Take 2 to be exact, with an added acoustic guitar. If it sounds slightly slower than you are used to, that’s because the master was actually sped up when mixed down for the record release. Perhaps it was felt that this would make it sound more exciting.
26. NO TIME
(First Version) Tracking Session Composite Takes 3 To 5
In contrast to the togetherness of “You Just May Be The One”, this early version of “No Time” shows some studio pro infiltrating the “group only” sessions. Chip Douglas can’t recall why additional musicians were brought in for this date, and hearing the results it is obvious that this idea never quite gelled. However, the sidemen were not without their credentials. Guitarist Gerry McGee had previously appeared on all of the Boyce and Hart MONKEES productions including “Last Train To Clarksville”. Meanwhile, Keith Allison was an old buddy of Nesmith’s and had also previously appeared on some Boyce and Hart-era MONKEES recordings. MFQ and future LOVIN’ SPOONFUL member Jerry Yester was no stranger to these sessions, having already recorded “Masking Tape” and “Shades Of Gray” with the group. One can only guess that it was just a few too many cooks that turned this particular recording into a rather mushy jam. THE MONKEES, without their heavy friends, would re-record this song a week later. Please see Disc Three Tracks 11 and 12.
27. BLUES
Excerpt
Also from the “no Time” session, this “Blues” jam actually stretched pout for more than ten minutes. However, space and musical quality limitations required us to give you just the ‘highlights’ featured here. Please accept my promise that you aren’t missing much. But, should you not believe me, you may listen to the entire unedited track on The Rhino Homemade website.
