The A’s, The B’s & The Monkees

The Monkees may have started as a corporate-created television band, but history has been far kinder to them than early critics ever were. Often dismissed as manufactured pop, The Monkees are now widely recognized as an underrated musical act whose influence, songwriting, and cultural impact deserve serious reevaluation. What began as a TV experiment evolved into a genuine band that fought hard for creative control and ultimately reshaped its own legacy.

A perfect entry point for rediscovering their depth is The A’s, The B’s & The Monkees, a newly released 2CD compilation that highlights just how strong their catalog truly is. As the title suggests, this collection gathers both A-sides and B-sides released between 1966 and 1970, offering a well-rounded portrait of the band’s hit-making years and their deeper, often overlooked tracks.

The set includes chart-topping classics such as Last Train To Clarksville, I’m A Believer, Pleasant Valley Sunday, and Daydream Believer, songs that helped define the sound of late 1960s pop radio. Just as compelling are the B-sides, which reveal a band growing bolder and more experimental. Tracks like (I’m Not) Your Stepping Stone, The Girl I Knew Somewhere, and Tapioca Tundra showcase sharper lyrics, heavier arrangements, and a willingness to push beyond bubblegum expectations. Presented in an attractive digipak format, the 2CD set feels designed for both longtime fans and new listeners curious about the full scope of The Monkees’ work.

While The Monkees were initially assembled for television, all four members were legitimate musicians who resisted being treated as studio puppets. Their fight for artistic autonomy culminated with the 1967 album Headquarters, the first record on which they played their own instruments. That battle for control was so visible that the band even accumulated an FBI file, documenting their concerts and alleging the presence of subliminal left-wing political messages during performances. Few “manufactured” bands attracted that level of scrutiny.

Each member brought a fascinating personal history that enriched the group’s story. Michael Nesmith stood out not only as a songwriter and pioneer of country rock, but also for his family legacy. His mother invented Liquid Paper, the correction fluid that became a household staple. Nesmith also wrote Different Drum, which became a major hit for Linda Ronstadt. Davy Jones came from a theatrical background and was nominated for a Tony Award for his role in Oliver! before joining The Monkees. He was also a former jockey and briefly served in the U.S. Army, though he was discharged as the sole provider for his family.

Micky Dolenz began his career as a child actor, starring in the television series Circus Boy. Within The Monkees, he emerged as a dynamic lead singer and later directed the series finale, proving his talents extended well beyond performing. Peter Tork, known for his musicianship and philosophical leanings, directed an episode of the show and was deeply interested in yoga and the Book of Tao, bringing a reflective and spiritual dimension to the group.

Behind the scenes, The Monkees benefited from some of the best songwriting talent of the era. Neil Diamond penned I’m A Believer, one of the biggest hits of the 1960s, while the legendary Carole King and Gerry Goffin contributed material that elevated the band’s sound far beyond novelty pop. Their cultural footprint even intersected with rock history when Jimi Hendrix and The Experience were hired as their opening act on tour. The pairing proved too volatile for long, and Hendrix left after only a few shows, but the moment remains one of the strangest and most fascinating footnotes in rock lore.

Despite their success, The Monkees remain absent from the Rock & Roll Hall of Fame, a decision many fans and critics attribute to lingering bias over their manufactured origins. This omission feels increasingly unjust given the quality of their later work, their chart dominance, and their influence on pop and rock music. Adding to the irony, their instantly recognizable television anthem (Theme From) The Monkees never actually charted in the United States, even though it became one of the most iconic theme songs of the era.

The A’s, The B’s & The Monkees make a strong case for why this band deserves renewed respect. Beneath the TV origins and pop packaging lies a catalog rich with great songwriting, cultural relevance, and artistic growth. Far from being a footnote in music history, The Monkees remain a vital and often misunderstood part of the 1960s soundscape.