‘Headquarters’
Daily/Nightly
This Diary And Information Is Excerpted
From Andrew Sandoval’s Forthcoming Book
Daily Nightly, A Definitive Chronology Of Monkees History.
March and April, 1967
MARCH 1967
16 magazine reports that “Monkee Pads” will soon be opening in big cities across the United States. The “pads” are said to be “a cross between a discotheque and an ice cream parlor”. J.C.Penney’s department store will have a “Monkee Corner” in their stores with a full Monkees fashion line of clothes for guys and a matched Mary Quant designed set for girls. It is also reported that the group will star in a Columbia Pictures feature film.
THURSDAY
2 MARCH 1967
Davy Jones attends the 1966 Grammy® awards at the Beverly Hilton Hotel’s International Ballroom. Unexpectedly, Jones is asked to “stand in” for the scheduled, but mysteriously absent presenter, Bob Newhart. Jones winds up presenting two of the night’s biggest awards (“Song of the Year” and “Record of the Year”). Although The Monkees are nominated in two categories for their “Last Train To Clarksville” single (“Best Contemporary Group Performance” and “Best Contemporary Group Recording”), Davy goes home empty handed. Also this evening, sessions for the ‘Headquarters’ album officially begin.
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio B, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 7:00PM - 12:00AM
PROCEDURE: Set-Up, Rehearsals and Tracking
“Randy Scouse Git”
(Micky Dolenz)
[Rehearsals + Takes Unknown]
Master # UZB3-8371
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – piano
Micky Dolenz – drums
Chip Douglas – bass
The Monkees set up at RCA Studios in preparation of spending the entire month of March recording the album Headquarters. The first order of business is to find a drum sound for Micky which they can use for the duration of the sessions. Other activities include sound checks of Michael Nesmith (on 12-string guitar), Peter Tork (on piano) and Chip Douglas (on bass). Throughout the evening, Mike, Micky, Peter and Chip run through a new song of Micky’s which was written on and about his recent trip to London. The arrangement soon evolves from Micky’s basic idea to the album closer we know now as “Randy Scouse Git”. After several unnumbered rehearsals, takes 1 through 25 are committed to tape. After take 25, engineer Hank Cicalo switches tape designations to 1A, 2A and 3A (these are actually takes 26 through 28). It is unknown how many total takes are made during this session or which take or takes are ultimately used to complete the final master used for the album.
“Band 6”
(Micky Dolenz/Peter Tork/Michael Nesmith/David Jones)
[Takes Unknown]
Master #UZB3-8378
Personnel: Michael Nesmith – steel guitar
Peter Tork – electric guitar
Micky Dolenz – drums
Also at this session Micky, Michael and Peter fool with a rendition of the Warner Bros. cartoon theme. This piece of studio mayhem is originally logged as “Band Three”, but when take 3 of this session goof is eventually issued on ‘Headquarters’ it is retitled “Band Six”.
FRIDAY
3 MARCH 1967
Micky Dolenz’s pre-Monkees recording, “Don’t Do It”, is issued in England by the London-American label. Also, another ‘Headquarters’ session takes place.
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio B, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 7:30PM - 12:00AM
PROCEDURE: Tracking
“You Told Me”
(Michael Nesmith)
[Takes Unknown]
Master #UZB3-8380
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – banjo
David Jones – tambourine
Micky Dolenz – drums
Chip Douglas – bass
The Monkees record a new Michael Nesmith song called “You Told Me”. No session tapes exist for this recording date, but it is known that take 15 made on this evening was considered the master. Based on Musician’s Union documents it is possible that Davy Jones adds his tambourine as an overdub on this track at a later date.
SATURDAY
4 MARCH 1967
On this date The Monkees move permanently into RCA’s Studio C where the remainder of the ‘Headquarters’ sessions are recorded. In all, this session runs a full twelve hours as The Monkees record “I’ll Spend My Life With You” and add overdubs to “Randy Scouse Git”.
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM - 3:00PM, 5:30PM - 8:00PM & 8:30PM - 1:00AM
PROCEDURE: Tracking & Overdubs
“I’ll Spend My Life With You”
(Tommy Boyce/Bobby Hart)
[Takes Unknown]
Master #UZB3-8382
Personnel: Michael Nesmith – steel guitar
Peter Tork – acoustic 12-string guitar, organ & celeste
Micky Dolenz – electric guitar
David Jones – tambourine
Chip Douglas – bass
Tommy Boyce and Bobby Hart’s “I’ll Spend My Life With You” had previously been recorded during the ‘More Of The Monkees’ sessions. The Monkees re-recording made on this date is a dramatic improvement over the old version. No session tapes exist for this recording date, so it is unclear how elaborate the tracking process was for the song. It is quite possible that Peter Tork’s organ and celeste parts were added as overdubs at a later session. Tape boxes designate that Take 9 from today’s session was considered the master.
“Randy Scouse Git”
(Micky Dolenz)
[Takes Unknown]
Master #UZB3-8371
Musician’s Union documents and tape boxes indicate that Micky’s “Randy Scouse Git” received its first round of overdubs on this date. Nevertheless, since no session tapes exist from this day’s work, it is unclear exactly what work occurred. The multi-track master from this date of “Randy Scouse Git” is marked take 33b. Musician’s Union records also indicate that John London was present at this session, but the extent of his involvement is unclear.
MONDAY
6 MARCH 1967
A session scheduled for today in RCA’s Studio C at noon is cancelled for unknown reasons.
TUESDAY
7 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:30PM - 5:30PM & 6:00PM - 2:00AM
PROCEDURE: Tracking & Overdubs
“Forget That Girl”
(Douglas Farthing Hatlelid)
[Takes Unknown]
Master #UZB3-8379
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – electric piano
Micky Dolenz – drums
Chip Douglas – bass
Unknown – acoustic guitar
The Monkees record “Forget That Girl”, a Chip Douglas song first introduced to them by the producer in January 1967. Tracking session tapes for this particular song no longer exist, so it unclear how many takes were made.
“Where Has It All Gone”
(Michael Nesmith)
Version One [Take 1 & Takes 1-4]
Master #UZB3-8377
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – electric guitar
David Jones – tambourine
Micky Dolenz – drums
John London – bass
The Monkees also tackled a Michael Nesmith song on this date, “Where Has It All Gone”. Early attempts at this track featured both Michael and Peter playing electric guitar. Only one take was made before the band stopped for a break (probably around 5:30PM). When they returned the band slipped into a quick jam on Chuck Berry’s “Memphis, Tennessee” and a Nesmith 12-string dominated improvisation. The group then returned to “Where Has It All Gone” making four more takes (these were labeled takes 1 through 4, discounting the earlier take 1).
“Where Has It All Gone”
(Michael Nesmith)
Version Two [Take 5-16]
Master #UZB3-8377
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – organ
David Jones – tambourine
Micky Dolenz – drums
John London – bass
At Chip Douglas’ suggestion, the band try recording a different arrangement of “Where Has It All Gone” beginning with take 5. The primary difference between the two versions is that Peter switches from guitar to Hammond organ for the remainder of the recorded takes (9 in all). The take closest to being labeled master was the final take, number 16. Notwithstanding, the group never returned to this intriguing song and it would remain incomplete, with no further instrumental or vocal overdubs attempted.
WEDNESDAY
8 MARCH 1967
The Monkees third single, “A Little Bit Me, A Little Bit You” (coupled with version two of “The Girl I Knew Somewhere”) is released to advance orders of 1.5 million copies in the United States. The RIAA simultaneously audits sales records and awards a gold single to the group on the day of release. Since August 16, 1966, The Monkees have sold a combined 12 million albums and singles in the United States alone. Also, sessions continue for Headquarters at RCA Studio C.
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:30PM - 5:30PM & 6:00PM - 12:00AM
PROCEDURE: Overdubs
“Forget That Girl”
(Douglas Farthing Hatlelid)
[Takes Unknown]
Master #UZB3-8379
“Randy Scouse Git”
(Micky Dolenz)
[Takes Unknown]
Master #UZB3-8371
Musician’s Union records indicate that Chip Douglas, along with Michael, Peter and Micky, spent eleven hours in the studio doing overdubs on this date. No tapes exist of today’s session, but union documents indicate that work centered on the songs “Forget That Girl” and “Randy Scouse Git”.
THURSDAY
9 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:30PM - 5:30PM & 6:00PM - 12:00AM
PROCEDURE: Overdubs & Reductions
“You Told Me”
(Michael Nesmith)
[Takes Unknown]
Master #UZB3-8380
“I’ll Spend My Life With You”
(Tommy Boyce/Bobby Hart)
[Takes Unknown]
Master #UZB3-8382
The first round of overdubs for “You Told Me” and “I’ll Spend My Life With You” are recorded on this date. Musician’s Union documents indicate that Michael, Peter and Micky were definitely present for the first portion of today’s session. It is very possible that the second half of this day (6:00PM - 12:00AM) was given over to reduction “bounce downs” of the new overdubs, making future embellishments (such as vocals) possible.
FRIDAY
10 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM - 12:00AM
PROCEDURE: Demo, Overdubs & Reductions
“I Had A Dream Last Night”
(Douglas Farthing Hatlelid)
[Takes 1-2]
Master #UZB3-8385
A Chip Douglas solo demo of his own song “I Had A Dream Last Night” is recorded at this session. There is no Monkees involvement with this recording and the group never attempts recording this song.
“I’ll Spend My Life With You”
(Tommy Boyce/Bobby Hart)
[1 Test Take + Takes 1A-9A]
Master #UZB3-8382
Take 12 of the backing track for “I’ll Spend My Life With You” is remixed and reduced down to two tracks of a four track tape at this session. A total of ten attempts are made at this process, with the seventh pass (called take 7A) used for the final master. The letter designation at the end of the take number pertains to added instruments. The letter A would indicate that only one overdub had been made onto the song thus far.
“Forget That Girl”
(Douglas Farthing Hatlelid)
[Takes Unknown]
Master #UZB3-8379
Also at this session Micky, Davy, Peter and Chip Douglas record background vocals for “Forget That Girl”. This process is a little shaky, with Micky insisting he double his voice alone without the others to achieve correct pitch. Regardless of Micky’s suggestion the final master features his voice alongside Davy, Peter and Chip, indicating that they managed to get it right after all.
SATURDAY
11 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM - 12:00AM
PROCEDURE: Tracking, Overdubs & Reductions
“Forget That Girl”
(Douglas Farthing Hatlelid)
[Takes Unknown]
Master #UZB3-8379
At this session some additional instrumental overdubs are attempted on “Forget That Girl”. Since Davy’s lead vocal has already been recorded and an open track is still required for the final background vocals, Michael, Micky, Peter, Davy and Chip attempt to perform these new overdubs live while the master is “bouncing down” to two tracks of another four track tape. Unfortunately, they are unable to synch their parts of piano, guitar and percussion with the existing tracks. These overdubs are considered abortive and never used.
“I Was Born in East Virginia”
(Traditional)
[Takes Unknown]
Master #UZB3-8386
Peter and Micky made a few attempts at recording this old mountain music standard with Peter plucking the banjo. One abandoned idea was to tag one of these performances onto the end on “Randy Scouse Git” in place of the final discord. Though the edit is made on an early multi-track master, this concept does not reach the final album. During this session Peter and Micky also briefly sang a bit of Tom Paxton’s oft-covered “The Last Thing On My Mind”.
“Forget That Girl”
(Douglas Farthing Hatlelid)
[Takes Unknown]
Master #UZB3-8379
“I’ll Spend My Life With You”
(Tommy Boyce/Bobby Hart)
[1 Test Take + Takes 1A-9A]
Master #UZB3-8382
Also at this session, Micky, Peter, Davy and Chip record vocal overdubs for “Forget That Girl” and “I’ll Spend My Life With You”. During this process Micky lapses into a story about the walls of Jericho as he clowns around on a horn left in the studio.
MONDAY
13 MARCH 1967
Today’s session in RCA’s Studio C is cancelled for unknown reasons.
TUESDAY
14 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM
PROCEDURE: Tracking & Overdubs
“Pillow Time”
(Janelle Scott/Matt Willis)
[Takes Unknown]
No Master #
Today’s session (of unknown length) centers on Micky Dolenz recording vocal overdubs for an undefined group of ‘Headquarters’ tracks. However, Dolenz strays from the work at hand and spends much of this session experimenting with different types of reverb and tape effects. Engineer Hank Cicalo does his best to keep up with Dolenz’s antics, recording an item that one tape box titles, “Micky At Carlsbad Caverns”, as well as several eerie unnumbered takes of the song “Pillow Time”. This song was co-written by Micky’s mother and it will be re-recorded in 1969 for ‘The Monkees Present’ album. Another tape from this session is made up completely of sped up drum effects. None of these experiments make it to the ‘Headquarters’ album.
WEDNESDAY
15 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM - 12:00AM
PROCEDURE: Unknown
Nothing is known about this recording session. No session tapes or Musician’s Union contracts exist from this date. The only record from this session comes from a Union studio log which details the venue and start time.
THURSDAY
16 MARCH 1967
In New York, Don Kirshner files a thirty-five and one half million-dollar lawsuit against Columbia Pictures Screen Gems, Abe Schneider, Jerry Hyams and Bert Schneider. Kirshner’s claims include breach of contract and alleged conspiracy directly leading to his February 27th discharge. He is seeking $17 million dollars in compensatory damages alone. In L.A., the ‘Headquarters’ sessions roll on.
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM - 3:30PM & 4:00PM - 7:00PM
PROCEDURE: Tracking
“Shades Of Gray”
(Barry Mann/Cynthia Weil)
[Takes Unknown]
Master #UZB3-8383
Personnel: Michael Nesmith – steel guitar
Peter Tork – piano
David Jones – tambourine
Micky Dolenz – drums
Jerry Yester – bass
One of the ‘Headquarters’ album highlights, “Shades Of Gray” is “tracked” at this session. No session tapes exist of this song so it is unclear how many takes were actually made. Cello and French horn parts are overdubbed at later sessions.
“Masking Tape”
(Barry Mann/Cynthia Weil)
[Takes 1-18]
Master #UZB3-8383
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – electric guitar
David Jones – tambourine
Micky Dolenz – drums
Jerry Yester – bass
After recording “Shades Of Gray”, Michael switched back to his trust 12-string and Peter picked up an electric 6-string guitar for the obscure “Masking Tape”. Session tapes exist for takes 6 through 18 of this song and show the band laying into the song’s Stax-like groove with great enthusiasm. Despite their eagerness, “Masking Tape” never develops beyond this basic tracking stage.
“You Just May Be The One”
(Michael Nesmith)
[Takes 1-4]
Master #UZB3-8383
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – bass
David Jones – tambourine
Micky Dolenz – drums
To close out this session, Peter switched to bass for Michael Nesmith’s “You Just May Be The One”. The four takes made of this song capture the most solid group playing recorded during the ‘Headquarters’ sessions. Tape boxes and master number designations hint that this may have been the group’s second attempt at cutting “You Just May Be The One”. However, it is possible that these references are being made to the earlier non “group” generated version recorded in July 1966. Also of note, this particular recording session was photographed by Tiger Beat magazine.
FRIDAY
17 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:30PM - 3:30PM & 4:00PM - 7:00PM
PROCEDURE: Tracking
“I Can’t Get Her Off My Mind”
(Tommy Boyce/Bobby Hart)
[Takes Unknown]
Master #UZB3-8389
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – tack piano
Micky Dolenz – drums
Jerry Yester – bass
The first part of today’s session is used to remake a 1966 Boyce and Hart reject, “I Can’t Get Her Off My Mind”. Though he will sing lead on the final track, Davy Jones is not present for any part of today’s session. No session tapes exist for this song, so it is unknown how many takes are made, or which take is used for the master.
“No Time” (First Version)
(Hank Cicalo)
[Takes 1-5]
Master #UZB3-8390
“Blues” [Take 1]
(The Monkees)
Master #UZB3-8391
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – piano & banjo
Micky Dolenz – drums
Jerry Yester – bass
Keith Allison & Gerry McGee – unknown
When today’s session picks up again at 4:00PM, guitarists Keith Allison and Gerry McGee are brought in to spice up the simple Chuck Berry-like “No Time”. The results are desultory and after one take of “No Time”, the band winds into an overly long jam simply titled “Blues”. After this musical detour, the musicians lumber through another four takes of “No Time”. Later at the same session, Peter Tork switches from piano to banjo and leads the musicians through his standard “Cripple Creek” and another unidentified “Banjo Jam”.
After the musicians clear out, Harry Nilsson enters the studio to record a private demo session for Chip Douglas. Nilsson performs more than ten potential songs for The Monkees to record, including “Cuddly Toy” and “The Story Of Rock And Roll”.
SATURDAY
18 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:30PM - 3:30PM & 6:00PM - 2:30AM
PROCEDURE: Tracking & Overdubs
“The Story Of Rock And Roll” Version One
(Harry Nilsson)
[Takes 1-23]
Master #UZB3-8394
Personnel: Michael Nesmith – electric guitar
Peter Tork – piano
Micky Dolenz – drums
Chip Douglas – bass
From 12:30 to 3:30PM Chip Douglas attempts to lead Michael, Micky and Peter through Nilsson’s “The Story Of Rock And Roll”. Twenty-three takes are made in all, though only three of these are complete versions. None of these recordings is deemed successful enough to be called master and work on this track is left incomplete for the time being.
“I’ll Spend My Life With You”
(Tommy Boyce/Bobby Hart)
[Takes Unknown]
Master #UZB3-8382
After a two and a half hour break, all four Monkees (plus John London) return to the studio to put the finishing touches on “I’ll Spend My Life With You”. No tapes exist to tell exactly what was added on this date, but Musician’s Union records do indicate that the final master is completed at this session.
SUNDAY
19 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 2:00PM - 6:00PM & 6:30PM - 11:00PM
PROCEDURE: Tracking & Overdubs
“The Story Of Rock And Roll” Version Two
(Harry Nilsson)
[Takes 1-31]
Master #UZB3-8394
Personnel: Michael Nesmith – electric guitar
Peter Tork – piano
Micky Dolenz – drums
Chip Douglas – bass
The Monkees return to the studio for a rare Sunday session. On this date, the group make another attempt at recording “The Story Of Rock And Roll”, with thirty-one takes taped. Although the results of this session are superior to those of Saturday’s efforts, no take is deemed good enough to be called the master. “The Story Of Rock And Roll” will never progress beyond this rough backing track stage. Whilst recording the song, Peter and Micky briefly stroll through the Elvis classic “Don’t Be Cruel”, and the entire group takes time for an aimless jam marked on the tape box as “Jim’s Blues No. 2”. After this jam, Michael Nesmith performs his new song “Hollywood” for the group, but unfortunately this is not properly recorded.
“I Can’t Get Her Off My Mind”
(Tommy Boyce/Bobby Hart)
[Takes Unknown]
Master #UZB3-8389
During the second half of today’s session, all four Monkees are present for overdubbing and completion of Boyce and Hart’s “I Can’t Get Her Off My Mind”. Union documents also indicate that John London is present for this portion of the recording date. Nevertheless, the extent of his involvement remains unclear. No session tapes exist for this portion of today’s session.
MONDAY
20 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: Unknown
PROCEDURE: Unknown
Nothing is known about this recording session. No session tapes or Musician’s Union contracts exist from this date. The only record from this session comes from a Union studio log, which indicates that The Monkees were scheduled to record at RCA Studio C on this date.
WEDNESDAY
22 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 9:00AM - 12:30PM, 1:00PM - 6:00PM & 6:30PM - 1:00AM
PROCEDURE: Tracking & Overdubs
“Early Morning Blues And Greens”
(Jack Keller/Diane Hildebrand)
[Takes Unknown]
Master #UZB3-8393
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – electric piano & organ
David Jones – maracas & jawbone
Micky Dolenz – drums
Chip Douglas – bass
“Shades Of Gray”
(Barry Mann/Cynthia Weil)
[Takes Unknown]
Master #UZB3-8383
Personnel: Frederick Seykora – cello
Vincent De Rosa – French horn
“No Time” (First Version)
(Hank Cicalo)
[Takes Unknown]
Master #UZB3-8390
This day sees a marathon fifteen-hour session as The Monkees rush to complete ‘Headquarters’. Today is the first session listing for the moody “Early Morning Blues And Greens”, however work tapes indicate it may have been tracked four days earlier on March 18th, 1967. Cello and French horn overdubs (as arranged by Michael Nesmith and notated by Peter Tork) are dubbed onto the lovely “Shades Of Gray” (probably take number 9B). Also on this date some work is done on version one of “No Time”. Nevertheless, this take will soon be scrapped after a superior version is recorded six days later.
THURSDAY
23 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 1:00PM - 6:00PM & 7:00PM - 2:30AM
PROCEDURE: Tracking & Overdubs
“For Pete’s Sake”
(Peter Tork/Joseph Richards)
[Takes Unknown]
Master #UZB3-8390
Personnel: Michael Nesmith – electric 12-string guitar
Peter Tork – electric guitar
David Jones – tambourine
Micky Dolenz – drums
Chip Douglas – bass
Unknown – electric guitar
“Shades Of Gray”
(Barry Mann/Cynthia Weil)
[Takes Unknown]
Master #UZB3-8383
Personnel: Frederick Seykora – cello
Vincent De Rosa – French horn
Another long session, as The Monkees record the Peter Tork original, “For Pete’s Sake”. No session tapes exist for this song, so it is not possible to attribute who performed one of the electric guitar overdubs. However, based on review of union documents it is most likely a member of The Monkees. Also on this date, further “sweetening” is done to the cello and horn parts on “Shades Of Gray”.
SUNDAY
26 MARCH 1967
Davy Jones appears at the Miss Teen International Pageant. The program is telecast live on ABC Television.
TUESDAY
28 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM
PROCEDURE: Tracking & Overdubs
“No Time” (Second Version)
(Hank Cicalo)
[Takes 1-7]
Master #UZB3-8390
Personnel: Michael Nesmith – electric guitar
Peter Tork – piano
David Jones – tambourine
Micky Dolenz – drums
Chip Douglas – bass
Unknown – electric guitar
“Just A Game”
(Micky Dolenz)
[Takes 1-3]
Master #UZB3-8491
Personnel: Micky Dolenz – vocals & electric guitar
Peter Tork & David Jones – percussion
Chip Douglas – bass
The final tracking session for ‘Headquarters’ takes place today, with the song “No Time” being remade with superior results. Of the seven takes taped, take 7 is used as the master with an additional rhythm guitar part immediately added as an overdub. It is unclear which Monkee performed this part. Also at the end of this session, Micky debuts a new song, “Just A Game”. Logged as “There’s A Way”, this song will later be remade for the 1969 ‘Instant Replay’ album. The version of the song recorded today is rudimentary and is considered a “work in progress”.
WEDNESDAY
29 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 1:00PM
PROCEDURE: Overdubs, Reductions & Mixdowns
Today at RCA Studios clean up work (reductions, overdubs and possibly mixdowns) is performed on undisclosed ‘Headquarters’ tracks.
THURSDAY
30 MARCH 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 12:00PM
PROCEDURE: Overdubs, Reductions & Mixdowns
All tracks to be included on ‘Headquarters’ are finalized on this date. A multi-track master reel of all the album tracks is compiled and it is likely that most of the album is mixed down to mono and stereo on this date too.
FRIDAY
31 MARCH 1967
The Monkees (with a full entourage, including bodyguards) fly to Canada for a brief tour. But wait, there’s one more date…
TUESDAY
18 APRIL 1967
RECORDING SESSION
FORMAT: 1/2” Four Track
PRODUCER: Chip Douglas
ENGINEERS: Hank Cicalo
LOCATION: Studio C, RCA Recording Studios, 6363 Sunset Blvd., Hollywood, CA
TIME: 11:00AM - 12:00PM
PROCEDURE: Overdubs
“Sunny Girlfriend”
(Michael Nesmith)
[Takes Unknown]
Master #UZB3-8373
Weeks after work was wrapped on the ‘Headquarters’ album, Chip Douglas returned to the studio for this one-hour overdub session Attending were John London, Jerry Yester and drummer Eddie Hoh. It is highly unlikely that any overdubs attempted today on “Sunny Girlfriend” were either successful or made it to the final master of the song. This date is only included here for the sake of completeness.
© 2000 Andrew Sandoval. Reproduced by Permission.
