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33⅓ Revolutions per Monkee 1969
Description: 33 1⁄3 Revolutions per Monkee is a tv unique starring the Monkees that aired on NBC on April 14, 1969. Produced by Jack Nice (creator of the tv series Shindig!), the musical guests on the present included Jerry Lee Lewis, Fats Domino, Tiny Richard, the Clara Ward Singers, the Buddy Miles Express, Paul Arnold and the Moon Express, and We Three in musical performances. Although they were billed as musical guests, Julie Driscoll and Brian Auger (alongside their then-backing band The Trinity) found themselves testing a prominent role; in fact, it can be argued that the unique focused more on the guest stars (specifically, Auger and Driscoll) than the Monkees themselves. This unique is notable as the Monkees' final performance as a quartet until 1986, as Peter Tork left the group at the end of the special's production. The game is a enjoy on "​33 1⁄3 revolutions per minute".
Released: 14 Apr 1969 Director: Art Fisher Writers: Jack Good (creator), Jack Good, Art Fisher Actors: Micky Dolenz, Peter Tork, Michael Nesmith, Davy Jones Genres: Music
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See The Monkees ~ 33 1/3 Revoluti on youtube.

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See Peter Tork [The Monkees] - Sol on youtube.

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See The Monkees - Listen To The Ba on youtube.

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See 33 1/3 Revolutions Per Monkee on youtube.

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See Monkees "Listen To The Ba on youtube.

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See The Monkees - Circle Sky (Live on youtube.

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See The Monkees - Goldilocks For A on youtube.

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See 33 1 3 Revolutions Per Monkee on youtube.

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33⅓ Revolutions per Monkee Reviews:

The sole musical unique by The Monkees was shot right after their film "Head." This unique was a very strange effort. The producer, Jack Good, was known in Britain for his musical programs.However, it is unclear as to his familiarity with The Monkees, or American audiences. This unique had a script, and it was used to deconstruct The Monkees as tv superstars, and show them as musical superstars.It starts with Brian Auger, of The Trinity, portraying a Sorcerer who will take four young boys "off the street" and create them superstars through brainwashing. Then, he will test them to brainwash the world. With the aid of unique effect, Micky Dolenz, Peter Tork, Michael Nesmith, and Davy Jones appear. Then, they are encased in tubes and the brainwashing begins. To escape this, every "floats away" to their own private world.Micky Dolenz performs a blues ver of "I'm a Believer" in a duet with Julie Driscoll. Peter Tork sings "Prithee" in a blissful, gauzy setting. Michael Nesmith performs "Naked Persimmon" in a duet with himself, and Davy Jones performs "Goldilocks Sometimes" in a dance number on an over-sized scene representing the room of a child.Next, The Monkees perform "Wind Up Man" dressed as toy troops finished with key. Next, the Monkees are dressed as apes in performance of "I Go Ape."Once the group has been brainwashed, they are introduced as 1950s rockers and perform with the likes of Fats Domino, Tiny Richard, Jerry Lee Lewis, The Buddy Miles Express, and The Clara Ward Singers.Finally, Brian Auger stops the entire affair, introduces himself and Julie Driscoll, and then plot ends.Davy performs "String for my Kite." Peter performs a piece on keyboards. Micky and Mike join them and start performing "Listen to the Band." Then, all the guests join them in a jam, with dancers added to the mix.Throughout the show, there are another performances. The Trinity performs "Come on Up." Paul Arnold and The Moon Express perform a dance number depicting evolution. There is one nice stage with Brian Auger testing a tiny piano on top of a baby grand that Jerry Lee Lewis is playing, which is on top of a grand piano being enjoy by Tiny Richard, which is all on top of other grand being played by Fats Domino.One of the largest issues is that the melody was recorded, but the vocals presented "live." Therefor, many of the vocals are lost. Other disappointment is that the numbers have a live performance feel, but are not allowed to resolve. The plot gets in the method of the music.There are a lot of visual effects, and to transport the action along, the plot, though overly ambitious, is interesting for a musical unique to skip a more traditional presentation.Like so many things in the history of The Monkees, this was a nice "could have been, could have been." here, for the first time they are regarded as musical performers, in company with greats and cutting edge actual stars. Plus, there were issues with the production that forced changes in the recording (shot on videotape) venue.But, again with The Monkees, it is a testament to their creativity of the moment. Many have regarded the series and the film "Head" as a statement of the times when they were made. More than just pop-culture, but statements on society. "33 1/3 Monkees per Revolution" does the same thing with emphasis on music. While the classic rock and roll performers survived the changes in the 1960s, their popularity did wane. And Brian Auger, Julie Driscoll and The Trinity never achieved the popularity having national exposure might have helped. But, The Monkees welcomed them in this unique as equals, and the courtesy seemed to be reciprocated. But, over the thirty-five years, it still seems that The Monkees is the group that folks remember the most. And, like their albums, it is the melody that helps the special. Too terrible there was never an album made of these performances.Ironic that the unique culminates with "Listen to the Band." This performance is special for few reasons. One being that it is for the unique that is centered around music, something that The Monkees were criticized for in their career. Second, it is the last time that all four members of the group played together as an original band.This is a special experience. It is worthy of viewing, if nothing more than the nostalgia. It is unlike anything I have ever seen before or since. Too terrible that producers haven't tried grand experiments like this since.


I saw "33-1/3 Revolutions Per Monkees" (IMDb's spell-check won't allow me test the singular of "Monkees") when it was aired in Britain on BBC1 in May 1969, six weeks after it was aired Stateside. The Beeb transmitted this present in black and white, so I was surprised soon on to learn that it was shot in colour.Along with "Head", this was one of the Monkees' two efforts to prove they deserved to be taken seriously as musicians. The opening stage is excellent, with every of the four boys trapped in a giant use tube and interrogated by a disembodied voice. One by one, every boy attempts to assert his individual identity ... only to be zapped, assigned a number, and left speaking in a zombie-like voice. This is all done rapidly, with rhythmic dialogue spoken to a steady pulsing beat. I want the whole unique had been as imaginative as this. The opening stage is clearly the Monkees' response to the charge that they were 'manufactured'.Later, we receive some preening hipster with a cod cut-glass accent who introduces himself as Charles Darwin. (Geddit? ... Darwin? Monkees?) He makes dire comments like: 'And the fittest shall survive.'There is one fairly interesting sequence in which every Monkees-member performs a solo number. 'Darwin' says us (while shifting his accent to sham Viennese) that these four numbers represent four psychiatric disorders: fixation, withdrawal, schizophrenia, regression. First comes Mickey Dolenz, doing a weird Warholised number. Second comes Peter Tork, the dullest Monkees-man, doing the most boring number: a shameless George Harrison imitation. Mike Nesmith does a novelty song as himself and a rhinestone cowboy in split-screen, which apparently is meant to symbolise schizophrenia.By a long chalk, the greatest is the 'regression' number, performed by Davy Jones, who was definitely the most talented of the Monkees. This is a very weird number. Dressed as a tiny man in a Buster Brown suit, Jones wanders through an over-sized nursery and sings along to a tinkly music-box tune. In the nursery he meets girls dressed as tiny women from children's stories (Red Riding Hood, Alice in Wonderland, Goldilocks, Raggedy Anne, etc) and he dances with them whilst he sings. If any another adult male performer had done this number, it would have seemed dangerously paedophilic, but Jones is artless (in the favourable sense of the term) and he manages to create this sequence seem genuinely innocent. The girls are all virtuoso dancers, pirouetting expertly and doing hitch-kicks in petticoats: very delightful, but killing the illusion that they're now tiny girls. I was impressed ... but only with this sequence and with the opening number.The rest of this TV unique was rather dire. I've not seen it since its original UK airdate. I'm glad I saw it, but I don't wish to see it again. Well, maybe the number with Davy and all those petticoat girls.A side comment for David Bowie fans: it's well-known that Bowie's true name was David Jones, and that he changed it so as to avoid confusion with other performer called Davy Jones. Bowie fanatics in America usually assume that the "Davy Jones" in this storyline was the Monkees' vocalist. Wrong! Despite his Mancunian origins (and his stint as a kid actor on 'Coronation Street'), Davy Jones of the Monkees was never well-known in Britain. The performer who prompted Bowie's name change was a fully various Davy Jones: a Jamaican calypso singer who was very famous in England in the early 1960s.


I love 33 1/3, not just because I'm a Monkees fan, but the fact that it is an incredibly thought-worthy show. The Monkees take us through the history of music, as they have lost their identities, becoming Monkees number 1, 2, 3, and 4. Beautiful...marks the departure of Peter Tork from the group, leaving shortly after this was shot. Unbelievable melody and a blast-out end...I love it!!



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