The Candy Store Prophets also provided instrumental backup during the solo segments. Opening acts for some of these shows included Bobby Hart’s band, The Candy Store Prophets, Jewel Akens, and an all-female group, The Apollas.
Davy would also sometimes play bass when Peter moved to keyboards. Towards the end of “Mary, Mary,” Davy would play the drums allowing Micky to come down to center stage. Cities visited during this time period included Nashville, Tennessee Tulsa, Oklahoma Detroit, Michigan Cleveland, Ohio Phoenix, Arizona San Francisco, California Winnipeg, Manitoba & Toronto, Ontario, Canada and Wichita, Kansas.įor their first concerts The Monkees performed solely as a four-piece band with Micky behind the drums, Mike on lead guitar, Peter balancing bass guitar, keyboard, and banjo duties, along with Davy's percussion efforts on tambourine and maracas. Production on the first season of The Monkees had wrapped in early February 1967, and the group started to record their third album, Headquarters, that month. The rest of these dates were not so much an official tour as it was visiting regional markets on weekends during breaks of filming and recording. After the flurry of performances in December, The Monkees visited nine more cities in the United States and Canada through May 1967. Or, as Micky Dolenz has been fond of saying over the years, "It's like Leonard Nimoy really becoming a Vulcan." The four musicians and actors hired to portray a music group on a television show were now actually morphing into a real live group. More than ever, it seemed important in the eyes of a watchful press along with vocal dissenters in the music community that The Monkees prove their ability as a concert act. It was against this backdrop that The Monkees' debut performances were given. The quartet took the reins of the recording process, which resulted in their first album as a truly self-contained unit, Headquarters, released in the summer of 1967. Do you know how debilitating it is to sit up and have to duplicate somebody else's records?" After a tense meeting with the band and Kirshner in a Beverly Hills hotel room that same month, where Nesmith put his fist through the wall, Kirshner was dismissed. An unsettled Michael Nesmith, in an interview with The Saturday Evening Post in January 1967, made the situation clear. He refused to allow The Monkees to play their instruments, instead having them provide only vocal work in the studio. The group's grueling schedule of filming, recording, and rehearsing caused Kirshner to streamline the process. Initial rehearsals by The Monkees to play their music on record and as a live act had progressed through the spring of 1966, but deadlines were fast approaching. Kirshner had been brought into the Monkees project in the summer of 1966.
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