Peter on Radio – Monkees Weekend

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From: Brad Waddell

You can pre-order the first Monkees episodes on DVD with this link:

Mnkees Volumes 1 & 2 DVD

http://www.amazon.com/exec/obidos/ASIN/B00005BJXV/flexquartemonkee

Thanks for your support of Monkees.Net!

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From: Lauren

For those of you in the Albany, NY area & surrounding areas, on Monday
April 16, Peter will be on the Ric & Jaime morning show on Oldies 98.3
WTRY (www.wtry.com). The morning show runs from 5:30-10:00am, but
guests are usually on after 7:00am. The station itself is not streaming
on its site at this time.

Lauren

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From: Mandy Krueger

This goes out to all Monkees fans living in the
Milwaukee, WI area. The local Oldies radio station,
95.7 WRIT, is having a Monkees weekend this week in
anticipation of Micky performing at Potowatomi Bingo
on May 9th. Just thought people might want to know.
I know I’LL definitely be listening this weekend.

Mandi

=3D=3D=3D=3D=3D
~Don’t quit just before the miracle~PT
~I either want to be a fool or a king~MN
~It’s not about age, it’s about life~DJ
~Age only matters if you’re cheese~MD

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From: Kim

Micky on Boy Meets World
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Boy Meets World
Band on the Run
30 min.
Cory and Shawn form a bogus band to impress some girls. Norm: Micky Dolenz.=

Larry: Billy Vera. Gordy: Rick Nielsen.

Cast: Jhoanna Trias, Jewelie Hull, Micky Dolenz, Billy Vera, Rick Nielsen,=

Betsy Randle, William Russ, Anthony Tyler Quinn, Ben Savage, Rider Strong,=

William Daniels
Category: Comedy

Show times
DateTimeChannel
Thursday, 26 6:30 PM EST64 DISNEY

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http://washingtonpost.com/wp-dyn/articles/A4645-2001Mar28.html

The Monkees: Were They for Real?

By Eli Attie
Special to The Washington Post
Wednesday, March 28, 2001; Page C05

Within the rock canon, the Monkees have the same problem as those tofu hot=

dogs you stumble across at the supermarket. They look like the real thing.=

With the proper accouterments, they’d probably even taste like the real
thing. But deep down, you just know they’re not the real thing.
Never mind the fact that Monkees albums routinely featured session work by=

the likes of Neil Young, Hendrix drummer Buddy Miles and Presley guitarist=

James Burton. Never mind that they scored four consecutive No. 1 albums in=

the ’60s =AD more than the Rolling Stones, the Who and the Kinks combined
(the Stones had one, the others none). And never mind that they earned
enough respect from their peers that a Monkee, Michael Nesmith, joined Mick=

Jagger and Donovan as invited guests when the Beatles recorded “A Day in
the Life.”

All of which raises the question: Is it really a fatal flaw to be a
fabricated boy band?
The very existence of “Monkees Music Box” =AD a four-CD collection spanning=

30 years and more than 100 songs =AD would seem to answer that question in=

the negative. But the real answer is a bit more complicated.
Granted, the Monkees had terrific songs =AD many, many of them. But the
reason for that had more to do with economics than creative energy. With a=

hugely popular TV show to hype their wares, a songwriting credit on even
the deepest album cut was a moneymaking proposition. That’s why Carole
King, Harry Nilsson, Neil Diamond and scores of Brill Building prodigies
competed to get songs on Monkees records. Just consider the fact that in
late 1966, “I’m a Believer” sold a million copies on advance orders alone =
=AD
before anyone had heard it. Be grateful it’s their best song; oldies radio=

would be playing it anyway.

The Monkees also had more musical talent than is generally attributed to
them. “Headquarters,” the one Monkees album on which they play their own
instruments, is up to snuff for any ’60s pop band. A number of their hits
were written by the Prefab Four themselves. Nesmith even went on,
ironically enough, to write for other artists (including Linda Ronstadt’s
first hit with the Stone Poneys, the 1968 angst-pop classic “Different Drum=
“).

Which brings us back to the sprawling “Music Box” =AD and the idea that the=

Monkees deserve serious reconsideration, well beyond their hits. For the
most part, they simply don’t. For every “Daydream Believer,” there’s a
clunker like “For and Zam,” an atrociously heavy-handed anti-war dirge.
Just as we’re clicking our spurs to Nesmith’s country-rock eclecticism, our=

speakers are invaded by Davy Jones’s Broadway-style bombast. And
inexplicably, after battling their handlers for the right to play their own=

instruments, the Monkees virtually surrendered it after one album.

In truth, a great many ’60s bands hired help. The Byrds’ “Mr. Tambourine
Man” was recorded almost entirely with session musicians. The Stones’ first=

single was written by John Lennon and Paul McCartney. But what those bands=

had that the Monkees lacked was a unifying core: common musical passions, a=

common sensibility, a sense of soul that shone through even if Glen
Campbell did play the solo.
In the end, that’s the problem with the Monkees, rock’s first casting-call=

sensation. They weren’t a band, they were an act. When the songs were
great, the Monkees were great. When the songs fell short, it was far worse=

than artistic failure. It was more like the sound of a broken cash register=
.
That being said, for a manufactured band, there’s never been better
workmanship. The component parts were pretty sturdy, too. The best moments=

on “Music Box” are a joy to behold. But there’s a lesson here for the ‘N
Syncs and Backstreet Boys of the world: Cling to every fleeting moment of
fortune and adulation. And don’t wait around for that invite to the Rock
and Roll Hall of Fame.
(To hear a free Sound Bite from this album, call Post-Haste at 202-334-9000=

and press 8182.)
=A9 2001 The Washington Post Company

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From: “Steven Bradley”

Headline news in the English papers yesterday (Thursday 12 April ) was the
death of Sir Harry Secombe. One of Britain’s best-loved entertainers, his
50-plus years in show business encompassed radio, television and film,
appearing in comedy, drama, musicals and as a TV presenter.

Sir Harry, originally made famous in the British 1950’s radio comedy ‘The
Goons’, appeared with Davy Jones in ‘Pickwick’, a stage musical based on a
Charles Dickens novel. After Secombe’s run in London of almost 700
appearances from 1963, the future-Monkee joined the production for a 3 mont=
h
stint in LA and San Francisco in 1965, playing the part of Sam Weller. This
was an ideal opportunity for David, fresh from his Tony-nominated success i=
n
‘Oliver!’, to showcase himself to the powers-that-be in Hollywood, leading
of course to his role in the Monkees.

Davy has fond memories of working with Harry. “It was great fun working wit=
h
Secombe” he recalled in his autobiography, ‘They Made A Monkee Out Of Me’.
“He gave me a beautiful silver cigarette case when I left, engraved ‘thanks
for all the laughs and wonderful co-operation. Affectionately, Harry’. Davy=
,
who was to spend much time with Harry and his family, described him as a
“wonderful, warm person. I really respect his work”. Sir Harry was 79 and
had been unwell for a few years. He will be sadly missed by his many fans,
of all generations, no doubt including David himself, as a fan, friend and
fellow actor.

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From: “Bonnie Verrico”

Hi everyone! Here’s some exciting news for Shoe Suede Blues
fans:

Coming in April…

“EVEN WHITE BOYS GET THE BLUES”
…a new CD from Peter Tork’s friend and Shoe Suede Blues
colleague, Tadg Galleran.

This solo project from the co-founder of Peter Tork’s Shoe
Suede Blues band includes Urban Blues, Country Rock, Jazz
Swing and soulful ballads.

To create “Even White Boys Get the Blues,” world-class
harmonica great Tadg Galleran assembled a “dream team” of
musicians who complement his own blues harp and piano work
with the grace and strength of seasoned professionals. The
CD contains thirteen songs, nine of which were either
self-penned or co-written with such luminary Blues greats as
James Armstrong (“Don’t Kiss and Tell”) and Lee King (“Even
White Boys Get the Blues”).

Of Tadg’s skill and talent, Peter Tork writes:

“Tadg asks that you pronounce his name to rhyme with “Bad”.
Typical. Typical of the impish, knowing awareness he brings
to the Blues. He has an honest, bluesy voice and delivery
and a sly sense of humor; you can relax, the man knows what
he’s doing.

The Blues is awfully easy to simulate, and maybe not very
hard to do either, IF you have the soul and the chops. Tadg
has both. I recommend him.” Peter Tork

This CD will be available soon on an Ecommerce website at
www.tadggalleran.com. Copies will also be available at
upcoming Shoe Suede Blues performances and from the Fiore
Promos Agency, Merchandise Dept., 2014 Tanglewood Drive,
Waldorf, MD 20601, fiore@erols.com.

Bonnie
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Peter Tork & Shoe Suede Blues
Spring Tour! April 20-May 6, 2001
www.petertork.com
www.shoesuedeblues.com
www.shoopies.net

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