The Monkees’ 10 defining songs that shaped pop-rock history

It’s quite challenging to establish a clear order for the Monkees‘ songs, as it is with most well-known bands. However, I believe the Monkees present an unusual conundrum, which might be linked to their unique backstory. This could be one of the reasons.

You might be aware that the four members of The Monkees – Micky Dolenz, Davy Jones, Mike Nesmith, and Peter Tork – didn’t form a band through organic means. They didn’t grow up together, bonding over similar musical tastes or influences. Instead, they were brought together by producers for a television show, with only some of them having previous experience in music.

The Monkees were initially thought up by filmmaker Bob Rafelson and his partner Bert Schneider. Rafelson’s concept for a fictional rock band was developed before the Beatles became famous, but it didn’t become popular commercially until the Beatles took over the global music scene.

As a result, the concept took on a strong resemblance to the Beatles, drawing inspiration from both their musical style and their eccentric, absurd sense of humor.

What kind of music did the Monkees play?

As a devoted fan, I’ve always been fascinated by the unique journey of The Monkees. Contrary to popular belief that they rose to fame through organic musical growth, they were actually formed as a result of a casting call. Micky and Davy, my beloved heroes, hailed from theater roots and possessed enchanting voices, but they weren’t accomplished musicians initially. This fact didn’t faze Bob Rafelson, Bert Schneider, or Don Kirschner, the architects of their sound, who were on a mission to find adorable singing boys with compatible comedic personas.

Initially, Mike and Peter had impressive musical skills, yet they were seldom given the chance to compose songs or handle instruments in their early days. Instead, established songwriters like Tommy Boyce and Bobby Hart, as well as Carole King and Gerry Goffin, would provide the tunes, while top session musicians from the renowned Wrecking Crew would play the instruments. The boys were expected to sing and maintain a good image.

Over time, each of the Monkees grew restless under these limitations. Dolenz mastered drumming (with his usual humility, stating that playing drums wasn’t as complex as rocket science). Meanwhile, Nesmith composed more songs and played guitar on additional tracks, while Tork took on various tasks.

The transition to self-governance brought a blend of achievements and setbacks for The Monkees. Following their takeover of their creative work, they produced some exceptional music. However, their market popularity started to wane. This decline was partly due to evolving musical preferences as the ’60s drew to a close.

In the late ’60s, I found myself parting ways with Tork and the rest of our band as we disbanded by the break of the ’70s. Remarkably, in just five years between 1966 and 1970, we put out nine original albums. Sporadic reunions over the following four decades yielded an additional four albums.

The Monkees disbanded due to several factors, one being the challenge of agreeing on a single “best” collection of their music because each member had unique preferences in music, as they were initially compelled to form a group by producers.

Davy and Mickey were drawn to the dramatic aspect of popular music. While Davy primarily stuck with traditional pop tunes, Mickey dabbled in a more psychadelic style. Mike’s music was heavily influenced by country, and Peter showcased his versatility by moving from rock to acid to progressive genres.

Through their joint efforts, they grew more connected, leading Davy to experiment with heavier rock genres, whereas Mike delved into pop and psychedelic compositions. As a result, the Monkees established a unique sound, though it was always straightforward to discern which band member contributed to each track.

Returning to my original grievance, the selection of the Monkees’ finest songs will vary based on your preferred style or era. Keep in mind that although I label this as a “best” list, it truly represents my personal “favorites.

Because I enjoy tunes that span various genres, I can expand my playlist slightly. However, it’s likely that I might overlook some of your favorites, and there could be strong disagreements about which songs I rate the highest.

But that won’t stop me from writing it all down.

Honorable Mentions

As a devoted admirer, it’s not common for me to extend acknowledgments beyond my top picks in lists like this. However, the caliber of songs from the Monkees is simply too impressive to limit them to just ten favorites. Thus, here they are, presented in the order they were released, fifteen more outstanding tracks from the Monkees’ discography.

I hope this list brings as much joy to you as it does to me!

“Papa Gene’s Blues” (1966)
“Take a Giant Step” (1966)
“(I’m Not Your) Steppin’ Stone” (1967)
“For Pete’s Sake” (1967)
“Salesman” (1967)
“The Door Into Summer” (1967)
“Auntie’s Municipal Court” (1968)
“Daydream Believer” (1968)
“Valleri” (1968)
“Porpoise Song” (1968)
“Long Title: Do I Have to Do This All Over Again?” (1968)
“Listen to the Band” (1969)
“Never Enough” (1996)
“Birth of an Accidental Hipster” (2016)
“Me & Magdalena (Version 2)” (2016)

And now, on to the top ten.

10. “Tomorrow’s Gonna Be Another Day” (1966)

Tommy Boyce penned several popular songs featured on the Monkees’ first album, and two of them had similar tunes. The following two tracks are included in this collection. If you have some knowledge of their discography, you might be able to identify the third one. I believe “Tomorrow’s Gonna Be Another Day” didn’t receive as much attention as its counterpart, but it still embodied the essential elements of a great early Monkees hit tune.

With powerful rhythmic beats reminiscent of both rock and pop genres, seasoned musicians such as Louie Shelton on the guitar, Larry Taylor handling the bass, and Billy Lewis drumming provide a strong foundation for Micky’s excellent vocals.

9. “Tapioca Tundra” (1968)

Among the Monkees, Mike Nesmith was undeniably their most accomplished songwriter. His compositions often stemmed from his affection for country music, yet he demonstrated an exceptional ability to blend that traditional sound with contemporary pop and psychedelic elements. This talent is particularly evident on this track from The Birds, the Bees, and the Monkees, which many consider one of their finest albums during their initial period.

As a fan, I’d describe it as blending a lively vaudeville rhythm with the melodious crooning of an old-time cowboy, allowing Nesmith to strum his guitar and serenade us. “Tapioca Tundra” was the less popular counterpart to the Boyce/Hart hit “Valleri,” featuring Louie Shelton’s captivating flamenco guitar work. Though “Valleri” is catchy, I find myself drawn more to the intrigue of “Tapioca Tundra.

8. “I’m a Believer” (1966)

One hit single that’s closely associated with The Monkees is “I’m a Believer,” penned by Neil Diamond. This tune appeared on their second album, titled “More of the Monkees.” Together with the rock anthem “(I’m Not Your) Steppin’ Stone,” it topped the Billboard charts as a double-sided hit for seven consecutive weeks at the start of 1967.

Mickey teamed up with Davy and Peter on the vocals, while session musicians handled the music composition. Unfortunately, Mike wasn’t given any credit for his part in the project. The original Monkees’ song has been eclipsed by Smash Mouth’s rendition from the movie Shrek, which I must confess I find quite appealing due to its modern hard rock interpretation. However, this doesn’t diminish the fact that the Monkees’ original version remains fantastic in its own right.

7. “Your Auntie Grizelda” (1967)

It’s important to note that Peter Tork wasn’t known for his lead vocals, but rather for his exceptional skills in playing various instruments and harmonizing beautifully. In a way, his vocal abilities were similar to Ringo Starr’s – while they weren’t technically outstanding, their unique personalities shone brightly, making them beloved members of their respective bands. The Beatles often gave Ringo a song on each album because his personality was infectious and always added something special, even if he wasn’t considered the most polished vocalist.

Indeed, Peter also partakes, yet when presented in moderate measures, I’m quite fond of his peculiar style. The chaotic tunes by Jack Keller and piercingly insightful verses penned by Diane Hildebrand are beautifully expressed through the monotonous whine that Tork employs.

6. “Saturday’s Child” (1966)

David Gates penned this renowned “flower power pop” tune, which Mickey sang on their debut album. With minimal contributions from the Monkees, it’s worth noting that the majority of the song was written and performed by different artists. If you prefer songs with more Monkees involvement, you might choose to view this track less favorably for that reason.

I prefer not to engage in that activity. The song could be considered a Monkees’ piece due to Micky performing it and its inclusion on their album, but it aligns seamlessly with the rest of the collection. I believe it’s somewhat off-target to debate that a Monkees’ song is only valid if the four officially recognized members played a major role in its creation.

In essence, throughout most of their time together, the Monkees musical group functioned as a corporation, with multiple contributors. The challenge lay in seamlessly combining these diverse voices, and “Saturday’s Child” perfectly encapsulates this blending.

5. “Last Train to Clarksville” (1966)

Here’s my ultimate pick from their debut album, and most of what I’ve said about “Saturday’s Child” still stands true. This tune showcases Boyce and Hart at the pinnacle of their pop prowess, and it bears a striking resemblance to “Tomorrow’s Gonna Be Another Day,” but with an even more energetic vibe.

Mickey performs the song accompanied by Davy and Peter adding their high, harmonious vocals. Louis Shelton takes on the lead guitar role. This tune served as the Monkees’ initial chart-topper, igniting a remarkable streak of success during the mid-1960s.

I discovered much later, via Tom Breihan’s excellent Stereogum series about top hits, that the song’s singer was on his way to Vietnam. This discovery makes it one of the catchiest and covertly rebellious anti-war songs of the era.

4. “What Am I Doing Hanging’ ‘Round?” (1967)

A few honorable shout-outs were given to tracks from The Monkees’ fourth studio album, “Pisces, Aquarius, Capricorn & Jones LTD”. However, this one kicks off my top ten list (with a hint of another potential top three contender). This is their finest and most cohesive album, representing the ideal intersection between the pop masters who initially guided them and their growing independence in their creative output.

It’s quite clear that Nesmith puts a unique spin on his most catchy country rendition. However, the composition credit goes to Michael Murphey and Owen Castleman; he gives it a personal touch instead.

The song ‘What Am I Doing Hangin’ ‘Round’ occupies a unique position, bridging the early pop sound of the Coasters’ ‘Down in Mexico’ and the sophisticated narrative style of Bob Dylan’s ‘Romance in Durango’. All three songs explore surrendering to passion in unfamiliar territory. Each song adopts a distinct musical style, but they are all remarkable.

3. “Pleasant Valley Sunday” (1967)

Following the song “What Am I Doing Hangin’ ‘Round?” on PAC&J, Peter Tork performs a brief, humorous track titled “Peter Percival Patterson’s Pet Pig Porky.” This lighthearted, somewhat inconsequential piece can be found as a minor irritant in some Monkees’ albums. However, it interestingly anticipates the inclusion of skits on subsequent rap albums.

If you stick it out for the 30 seconds, you then get the best rock song the Monkees ever did.

On Sundays in Pleasant Valley, the music isn’t heavy metal; it’s pop. However, it has a strong rhythm and harmonious melodies that resonate. This tune is a creation of Goffin-King, a critique of contemporary suburban life. Micky takes the lead, supported as usual by Davy and Peter. Interestingly, Peter plays some piano too, while Mike gets to display his guitar skills without the usual guidance from session musicians. All in all, it’s an excellent track.

2. “Randy Scouse Git” (1967)

If you tend to prefer the Monkees’ rock & roll without too much vaudeville, then this song probably isn’t your top pick – I personally find it great. The piano by Peter and Micky’s scatting vocals don’t typically blend well with a rock tune. Similarly, it might be unexpected for Micky to play the timpani or for there to be multiple vocal tracks that overlap. However, in this song, they all come together quite wonderfully.

Nevertheless, everything functions just fine. This unique piece, titled “Micky’s composition,” is exclusive to this collection and skillfully demonstrates his distinctive musical style. Remarkably, it serves as the centerpiece on the third album, Headquarters, during the band’s struggle for artistic independence.

1. “Goin’ Down” (1967)

Micky Dolenz is unlikely to appear in lists ranking the top rock and roll vocalists. Instead of delivering powerful singing performances, he’s generally recognized as an accomplished pop singer, which is perfectly acceptable. However, the level of skill demonstrated on “Goin’ Down” should not go unnoticed.

If you question that, print out the words to this lively jazz-pop song penned by Diane Hildebrand and performed by the entire band. Once printed, simply read the lyrics aloud at a quick pace, without attempting to sing. This exercise will offer you a fresh perspective on Micky’s talents.

In simpler terms, this album by the Monkees is incredibly trippy, yet nothing else they produced came close to matching its success. They dabbled in experimental tracks on other albums too, but none were as effective as those found here. The record also features some impressive guitar work from both Mike and Peter, along with a powerful horn section that really lets loose.

Originally, “Goin’ Down” wasn’t part of any studio album; instead, it was initially released as the less-famous counterpart to the incredibly catchy “Daydream Believer.” However, despite this initial snub, it turned out to be one of the band’s favorite songs to perform live. Later on, it found its way onto extended versions of their album known as PAC&J>.

By the way, let me express my opinion before wrapping up: I firmly believe that The Monkees deserve to be inducted into the Rock & Roll Hall of Fame. I’ve edited out the strong language I used earlier in that statement for this family-friendly platform.

2025-06-04 13:01

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