The Monkees revolutionized pop music in the 1960s by creating some of the most memorable songs that still resonate today, from the infectious “I’m a Believer” to the rebellious “Steppin’ Stone.” What began as a manufactured television band quickly evolved into legitimate musical artists who worked with legendary songwriters like Neil Diamond, Carole King, and Tommy Boyce and Bobby Hart to craft timeless pop perfection. Featuring Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork, The Monkees produced chart-topping hits that dominated the airwaves and proved they were far more than just TV personalities. Their catalog spans from psychedelic rock to country-tinged ballads, showcasing remarkable versatility and enduring appeal that continues to captivate music lovers across generations.
I’m a Believer
Written by a young Neil Diamond and released in 1966, “I’m a Believer” became The Monkees’ signature song and one of the decade’s most successful singles. The track spent seven consecutive weeks at number one on the Billboard Hot 100, selling millions of copies and helping their album More of the Monkees achieve an 18-week run at the top of the charts. Micky Dolenz’s exuberant vocal performance transforms Diamond’s composition into pure pop magic, while the production by Jeff Barry features that instantly recognizable organ line and driving beat that made it a radio phenomenon. The song’s transformation from romantic cynicism to joyful belief resonated with audiences worldwide, proving The Monkees could compete musically with The Beatles and The Beach Boys on purely artistic terms.
Last Train to Clarksville
The Monkees’ debut single announced their arrival with undeniable power when it reached number one in November 1966. Written by the legendary songwriting team Tommy Boyce and Bobby Hart, this track showcased session guitarist Louis Shelton’s George Harrison-esque guitar work that perfectly captured the Beatles-inspired sound producers sought. Beneath its catchy melody lies a surprisingly subversive message about a soldier calling his loved one before deployment to Vietnam, wondering if their planned meeting might be their last. Micky Dolenz’s vocal performance demonstrated his natural abilities as a pop singer, delivering emotional depth while maintaining commercial appeal that helped establish The Monkees as serious recording artists.
Daydream Believer
Davy Jones delivered the finest vocal performance of his career on this 1967 masterpiece written by John Stewart of the Kingston Trio. The song features Peter Tork’s excellent piano introduction before Jones’ tender vocals transform the track into a pop standard that has been covered by countless artists including the Four Tops, U2, and Susan Boyle. The production captures a perfect balance between melancholy reflection and optimistic hope, exploring themes of faded dreams and everyday reality with remarkable emotional sophistication. This track reached number one on the charts and remains one of The Monkees’ most beloved recordings, demonstrating their ability to deliver genuine emotional depth beyond their manufactured origins.
Pleasant Valley Sunday
Gerry Goffin and Carole King wrote this brilliant 1967 social commentary that critiques suburban conformity with sharp, observant lyrics delivered over a driving rock arrangement. The production features fuzzy, distorted guitars and a powerful rhythm section that gives the song genuine edge beneath its melodic surface, with a guitar riff reportedly inspired by The Beatles’ “Paperback Writer.” Micky Dolenz’s lead vocal carries both irony and genuine feeling, capturing the song’s ambivalence about comfort and conformity in American suburban life. The track climbed to number three on the Billboard Hot 100, proving The Monkees could deliver sophisticated social commentary while maintaining commercial appeal during their fight for creative control and recognition as legitimate musicians.
Valleri
This 1968 single showcases The Monkees at their most energetic and purely fun, featuring relentless forward momentum and an absolutely irresistible chorus. Tommy Boyce and Bobby Hart created this track at Don Kirshner’s request for a “girl’s-name song,” delivering one of the group’s best psychedelic rockers complete with quirky, ahead-of-its-time flamenco-style guitar work from session legend Louis Shelton of the Wrecking Crew. Micky Dolenz’s vocal performance is exuberant and powerful, while Chip Douglas’s production creates a wall of sound with layered vocals and guitars that demonstrate The Monkees’ rock credibility. The song reached number three on the Billboard Hot 100 and became the band’s last top-ten hit in America, though its pure joy and infectious energy make it impossible to resist even decades later.
(I’m Not Your) Steppin’ Stone
Released as the B-side to “I’m a Believer,” this Paul Revere and the Raiders cover became a garage rock classic in The Monkees’ hands. The track features aggressive, raw guitar work and Micky Dolenz’s sneering vocal delivery that captures genuine punk attitude years before the punk movement existed. The production is deliberately immediate and unpolished compared to their more refined A-sides, giving the song an authenticity that resonated with fans who wanted to hear The Monkees rock out with genuine edge and attitude.
Porpoise Song (Theme from Head)
Gerry Goffin and Carole King wrote this psychedelic masterpiece for The Monkees’ 1968 film Head, creating one of the most beautiful and fragile sounds to emerge from the American counterculture. The track features organ, cello, woodwinds, horns, and massive amounts of echo without losing its floaty, ambient atmosphere. Despite its lyrically incomprehensible nature, the song represents both a bold artistic statement and a deeply sincere artistic achievement that demonstrated The Monkees’ willingness to experiment with progressive rock sounds. This track has since been reappraised as one of their finest artistic moments, showcasing the depth and sophistication they achieved when given creative freedom.
A Little Bit Me, A Little Bit You
Neil Diamond wrote this second Monkees classic for the band, though he never recorded his own studio version (though rumors persist he sang backing vocals). Davy Jones took the lead vocal and delivered a performance that propelled the song to number two on the Billboard Hot 100 in 1967, with only Frank Sinatra and Nancy Sinatra’s “Somethin’ Stupid” keeping it from the top spot. The production showcases Diamond’s gift for crafting perfectly structured pop songs with memorable melodies and emotional hooks that made The Monkees’ recordings so commercially successful and artistically satisfying.
She
Opening their second album More of the Monkees in 1967, “She” became one of The Monkees’ most popular album tracks despite never being released as a single. Written by Tommy Boyce and Bobby Hart, this track has appeared on most of the band’s hits compilations due to its undeniable catchiness and appeal among fans. The song demonstrates the songwriting duo’s ability to craft instantly memorable melodies with sophisticated arrangements that showcased The Monkees’ vocal harmonies and commercial instincts perfectly.
Papa Gene’s Blues
Michael Nesmith’s rootsy composition appeared on The Monkees’ debut self-titled album as one of his earliest songwriting efforts and production sessions. The track takes the intended Beatles-inspired approach in a decidedly country direction with its big singalong chorus beaming with joy, wonderful twangy guitar work from legendary session player James Burton, and happily frenetic percussion. This song established both the band’s stylistic range and Nesmith’s authorial voice from very early on, showing they possessed genuine musical talent and individual artistic perspectives beyond their manufactured television origins.
Listen to the Band
Michael Nesmith’s brass-enhanced, country-tinged composition made its debut at the end of the 33⅓ Revolutions Per Monkee television special in April 1969. The track showcases Nesmith’s evolving country-rock fusion style that would later influence the entire genre through his post-Monkees work with the First National Band. After the special aired, the group wouldn’t reunite as a quartet until 1986, making this song a poignant farewell to their initial creative period and a testament to Nesmith’s distinctive musical vision.
The Monkees Theme Song
How can any list of great Monkees songs exclude the legendary theme from their television show that introduced millions to the band? For most fans, this was the first Monkees song they ever heard, establishing the playful, energetic spirit that defined their public persona. The song’s infectious energy and memorable melody captured the essence of the show’s premise about four young men trying to become successful musicians while having fun and getting into adventures, making it an instant classic that brings nostalgic memories to anyone who experienced the 1960s.
Sometime in the Morning
Released on their More of the Monkees album in 1967, this track showcases the band’s ability to deliver tender, introspective moments alongside their more energetic hits. The song’s gentle melody and thoughtful lyrics demonstrate the sophistication of the songwriting team working with The Monkees, creating depth and variety within their catalog. This album track has remained a fan favorite for its sincere emotional delivery and beautiful arrangement that highlighted the band’s versatility beyond their chart-topping singles.
Randy Scouse Git
This song, penned by Micky Dolenz, appeared on the Headquarters album in 1967 under a different title in some markets due to its British slang origins. The track demonstrates Dolenz’s emerging songwriting abilities during the period when The Monkees fought for and won more creative control over their recordings. The song’s energetic production and distinctive melody showcase the band’s growth as musicians who could write and perform their own material with confidence and artistic merit.
You Told Me
Featured on their Headquarters album in 1967, this track represents the band’s efforts to establish themselves as legitimate musicians playing their own instruments. The song showcases tight instrumental performances and vocal harmonies that proved The Monkees possessed genuine musical chops beyond their television fame. This album marked a turning point where they successfully demonstrated they could create quality music independently of the session musicians who had played on their earlier recordings.
Mary, Mary
This uptempo rocker demonstrates The Monkees’ ability to deliver energetic performances with memorable hooks and tight musicianship. The song’s driving rhythm and catchy melody exemplify the pop-rock sound that made them one of the most successful bands of the late 1960s. The track showcases their talent for selecting and performing material that connected with audiences across demographic boundaries while maintaining artistic integrity and commercial appeal.
Goin’ Down
This track showcases Micky Dolenz’s impressive vocal range and the band’s willingness to experiment with more aggressive rock sounds. The song features driving guitars and a powerful arrangement that demonstrated The Monkees could rock with the best of their contemporaries. Dolenz’s dynamic vocal performance elevates the material, proving he could handle more demanding vocal arrangements beyond the pop confections that initially defined the band’s sound.
Star Collector
Appearing on their Pisces, Aquarius, Capricorn & Jones Ltd. album in 1967, this psychedelic-tinged track showcases the band during their most creative and experimental period. The song features sophisticated production techniques and complex arrangements that reflected the influence of progressive rock and psychedelic music on their artistic development. This track demonstrates their evolution from simple pop confections to more ambitious artistic statements that challenged listener expectations.
What Am I Doing Hangin’ ‘Round?
Michael Nesmith’s country-influenced composition highlights his distinctive musical vision that would later flourish in his solo career. The song blends country instrumentation with pop sensibilities, creating a unique sound that distinguished The Monkees from other pop bands of the era. Nesmith’s Nashville-tinged arrangements and authentic country feel added depth and variety to The Monkees’ catalog, proving they could successfully navigate multiple musical genres.
Unwrap You at Christmas
Featured on their 2018 album Christmas Party, this track written by Andy Partridge of XTC demonstrates that The Monkees’ appeal endures across decades. Produced by Adam Schlesinger with lead vocals by Micky Dolenz, the song combines classic Monkees energy with contemporary production values. Christmas Party marked the band’s first holiday album and their final studio release, featuring surviving members Micky Dolenz, Mike Nesmith, and Peter Tork, along with two posthumous contributions from Davy Jones using vintage recordings, proving their music remains relevant and beloved by multiple generations of fans.
Frequently Asked Questions
What was The Monkees’ biggest hit song?
“I’m a Believer” was The Monkees’ most successful single, spending seven weeks at number one on the Billboard Hot 100 in 1966-67 and selling millions of copies worldwide. Written by Neil Diamond, the song became one of the decade’s biggest-selling singles and helped establish The Monkees as legitimate recording artists beyond their television fame. The track’s infectious melody and Micky Dolenz’s enthusiastic vocal performance made it an instant classic that remains their most recognizable song today.
Did The Monkees actually play their own instruments?
Initially, The Monkees used session musicians for their recordings, which was standard practice for many pop acts of the era. However, starting with their third album Headquarters in 1967, the band fought for and won creative control, playing most of the instruments themselves and demonstrating genuine musical ability. Michael Nesmith, Peter Tork, and Micky Dolenz all had significant musical backgrounds, and their later work proved they were capable musicians who deserved recognition beyond their manufactured origins.
Who were the main songwriters for The Monkees?
The Monkees worked primarily with professional songwriters including Neil Diamond, who wrote “I’m a Believer” and “A Little Bit Me, A Little Bit You,” and the team of Tommy Boyce and Bobby Hart, who penned “Last Train to Clarksville,” “Valleri,” and many other hits. Carole King and Gerry Goffin contributed “Pleasant Valley Sunday” and “Porpoise Song,” while band member Michael Nesmith wrote several songs including “Papa Gene’s Blues” and contributed significantly to their later albums as they gained more creative control.
What was The Monkees’ last album release?
Christmas Party, released in October 2018, was The Monkees’ thirteenth and final studio album. Produced primarily by Adam Schlesinger, the album featured surviving members Micky Dolenz, Michael Nesmith, and Peter Tork, along with posthumous contributions from Davy Jones using vintage recordings. The album included both Christmas standards and original holiday songs written specifically for the band by contemporary songwriters including Rivers Cuomo of Weezer and Andy Partridge of XTC.
Are any members of The Monkees still performing?
As of 2026, Micky Dolenz is the sole surviving member of The Monkees and continues to perform, celebrating the band’s legacy through solo tours. Davy Jones passed away in 2012, Peter Tork in 2019, and Michael Nesmith in 2021. Dolenz regularly tours performing Monkees classics and keeping their music alive for longtime fans and new generations discovering their timeless catalog.
What albums should new fans start with?
New listeners should begin with The Monkees’ Greatest Hits compilation for an overview of their best-known songs, then explore Headquarters (1967) and Pisces, Aquarius, Capricorn & Jones Ltd. (1967), which showcase the band at their creative peak when they gained full artistic control. More of the Monkees (1967) contains many essential tracks including “I’m a Believer,” while Head (1968) demonstrates their experimental psychedelic side for those interested in their more adventurous artistic statements.
Did The Monkees tour and perform live concerts?
Yes, The Monkees toured extensively during their initial run from 1966-1971, performing live concerts where they played their own instruments despite their manufactured origins. The band reunited for tours in 1986, 1996, and multiple times in the 2010s, with Micky Dolenz and Mike Nesmith performing their final shows together in 2021 just weeks before Nesmith’s passing. Their live performances proved they were capable musicians who could deliver energetic, professional concerts that honored their classic material.
What made The Monkees different from other 1960s bands?
The Monkees were unique because they originated as a television concept before evolving into a legitimate musical act, yet they worked with some of the era’s best songwriters and eventually played their own instruments on recordings. Their willingness to experiment with different genres from pop and rock to country and psychedelia, combined with their fight for creative control, transformed them from a manufactured TV band into respected artists. Their catalog includes sophisticated social commentary, experimental psychedelic tracks, and pure pop perfection that stands alongside the best music of the 1960s.
How many number-one hits did The Monkees have?
The Monkees achieved three number-one singles on the Billboard Hot 100: “Last Train to Clarksville” (1966), “I’m a Believer” (1966-67), and “Daydream Believer” (1967). Additionally, they had four albums reach number one on the Billboard 200 chart during their initial run, making them one of the most commercially successful bands of the late 1960s. Their success rivaled The Beatles in 1967, with both bands competing for chart supremacy during the height of the British Invasion era.
What is the best Monkees song for new listeners?
“I’m a Believer” serves as the perfect introduction to The Monkees, capturing their infectious pop energy, memorable melodies, and Micky Dolenz’s dynamic vocal style in one perfectly crafted three-minute package. For listeners interested in their deeper catalog, “Pleasant Valley Sunday” showcases their ability to deliver social commentary with sophisticated rock arrangements, while “Porpoise Song” demonstrates their experimental psychedelic side. Each track represents different facets of their musical versatility and enduring appeal across multiple generations of music fans.