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Track List
01) You Told Me
02) I'll Spend My Life With You
03) Forget That Girl
04) Band 6
05) You Just May Be the One
06) Shades of Gray
07) I Can't Get Her Off My Mind
08) For Pete's Sake
09) Mr. Webster
10) Sunny Girlfriend
11) Zilch
12) No Time
13) Early Morning Blues and Greens
14) Randy Scouse Git
01) You Told Me
02) I'll Spend My Life With You
03) Forget That Girl
04) Band 6
05) You Just May Be the One
06) Shades of Gray
07) I Can't Get Her Off My Mind
08) For Pete's Sake
09) Mr. Webster
10) Sunny Girlfriend
11) Zilch
12) No Time
13) Early Morning Blues and Greens
14) Randy Scouse Git
2:24
2:26
2:25
0:41
2:02
3:21
2:24
2:12
2:05
2:34
1:06
2:11
2:33
2:31
Data Complete
60%
Total Rating
60%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1967
Pop
Cheerful
Rock/Pop
---
Medium
Album
0 copies
Album Description
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After the release of More of the Monkees, on which the band had little involvement beyond providing vocals and a couple Mike Nesmith-composed songs, the pre-fab four decided to take control of their recording destiny. After a well-timed fist through the wall of a hotel suite and many fevered negotiations, music supervisor Don Kirschner was out and the band hit the studio by themselves. With the help of producer Chip Douglas, the band spent some time learning how to be a band (as documented on the Headquarters Sessions box set) and set about recording what turned out to be a dynamic, exciting, and impressive album. Headquarters doesn't contain any of the group's biggest hits, but it does have some of their best songs, like Nesmith's stirring folk-rocker "You Just May Be the One," the pummeling rocker "No Time," the MOR soul ballad "Forget That Girl," which features one of Davy Jones' best vocals, Peter Tork's shining moment as a songwriter, "For Pete's Sake," and the thoroughly amazing (and surprisingly political) "Randy Scouse Git," which showed just how truly out-there and almost avant-garde Micky Dolenz could be when he tried. Even the weaker songs like the sweet-as-sugar "I'll Spend My Life with You," the slightly sappy "Shades of Gray," or the stereotypically showtune-y Davy Jones vehicle "I Can't Get Her Off My Mind" work, as they benefit from the stripped-down and inventive arrangements (which feature simple but effective keyboards from Tork and rudimentary pedal steel fills from Nesmith) and passionate performances. Headquarters doesn't show the band to be musical geniuses, but it did prove they were legitimate musicians with enough brains, heart, and soul as anyone else claiming to be a real band in 1967.
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Available in:
After the release of More of the Monkees, on which the band had little involvement beyond providing vocals and a couple Mike Nesmith-composed songs, the pre-fab four decided to take control of their recording destiny. After a well-timed fist through the wall of a hotel suite and many fevered negotiations, music supervisor Don Kirschner was out and the band hit the studio by themselves. With the help of producer Chip Douglas, the band spent some time learning how to be a band (as documented on the Headquarters Sessions box set) and set about recording what turned out to be a dynamic, exciting, and impressive album. Headquarters doesn't contain any of the group's biggest hits, but it does have some of their best songs, like Nesmith's stirring folk-rocker "You Just May Be the One," the pummeling rocker "No Time," the MOR soul ballad "Forget That Girl," which features one of Davy Jones' best vocals, Peter Tork's shining moment as a songwriter, "For Pete's Sake," and the thoroughly amazing (and surprisingly political) "Randy Scouse Git," which showed just how truly out-there and almost avant-garde Micky Dolenz could be when he tried. Even the weaker songs like the sweet-as-sugar "I'll Spend My Life with You," the slightly sappy "Shades of Gray," or the stereotypically showtune-y Davy Jones vehicle "I Can't Get Her Off My Mind" work, as they benefit from the stripped-down and inventive arrangements (which feature simple but effective keyboards from Tork and rudimentary pedal steel fills from Nesmith) and passionate performances. Headquarters doesn't show the band to be musical geniuses, but it did prove they were legitimate musicians with enough brains, heart, and soul as anyone else claiming to be a real band in 1967.
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