The problem for oldies acts seeking to regain former chart glories is that they must successfully traverse the dangerous path between seeking a new audience and not offending the loyal faithful from the past. Most, unfortunately, fail in this exercise and frequently end up being disregarded or ignored by the first audience group and criticized unmercifully by their long-term fans.

In 1987, the Monkees (minus Mike Nesmith) decided to answer the challenge and reformed with a view to again taking the charts by storm as they had done in the mid-sixties. After being passed over by the major recording companies they eventually struck a deal with the Rhino Records label to cut an album and promotional single. The subject twelve-track album, “Pool It”, was the result of the exercise.

In terms of sales, the album was a disappointment to all involved and on release sold 125, 000 units. Further, the single release from the set, “Heart and Soul”, made only #87 on Billboard’s Hot 100 Chart. Numerous explanations have been given for the album’s inability to set the charts on fire. The CD liner notes dedicate 4 paragraphs to this issue blaming everyone from MTV, the radio stations and even the Monkees themselves for failing to play at some “super bowl”. The most likely reason, however, is that the Monkees new contemporary 1980’s sound did not appeal to the young market. Further, the dramatic departure on the majority of the tracks from the Monkees’ sixties sound probably alienated more than of few of their long-term loyal followers.

As a 30 year fan of the group the most disappointing feature of the collection for me is that “Pool it” is not in the true sense a Monkees CD. On every track the Monkees opted not to perform as a group but rather as individual artists using the Monkees name as a marketing tool. There is not one track, for example, where any of them sing back up or play in the band when another is undertaking lead vocals. The result, though not a musical travesty, is an assortment of songs that overall lacks the feel of their best album work from the past where they worked as a team. The collection is a far cry, for example, from the classic “Headquarters” (1967:US #1).

In terms of reviewing the tracks on the CD, I have decided to keep with the spirit of the collection and categorize the numbers concerned according to the lead vocalist. As I generally prefer the Davy Jones numbers on the collection, I will deal with his contributions first.

The Davy Jones Tracks:

“Counting the Ways” is the last track on the collection and a fine example of “saving the best until last” policy. It is a slow ballad that showcases Davy Jones’ natural vocal abilities. The song apparently reminded Davy of how he misses his family when on the road touring. The personal significance of the song clearly brought out the best in him and the track represents one of his finest ballad performances. It suffers nothing from comparison with the strongest ballads from his earlier Monkees years including “I Wanna Be Free” (1966). The number is also complemented by some excellent electric guitar work as well as interesting changes in tempo that serve to emphasise the sincerity and inherent beauty that is so much a part of this performance.

“I’ll Love you Forever” is also a particularly strong number. It is a gentle ballad complemented by a beautiful acoustic guitar solo. The song is heartland Davy Jones territory and his vocal treatment is perfectly suited to the material.

A most interesting track is the hard driving rocker “Every Step of the way”. This is not the sort of material that one usually associates with Davy Jones as he normally veers towards middle of the road style compositions and ballads. Embracing the opportunity to sing in a different style, Davy gives the song everything that he has got, including the odd Buddy Holly hiccup. The result is well worth the effort and the track is one of the best on this set.

Another departure from the standard Davy Jones fare is the medium tempo calypso style “She’s Moving in with Rico”. Though a lightweight number about a guy who is given the push by his girl in favour of a local hero named Rico, the melody in parts is quite catchy. Davy again gives one of heck of a performance and it is impossible to envisage how this song could be improved upon.

By comparison to the previous tracks, “Long Way Home” is a disappointment. This slow to mid tempo ballad is let down by the quality of the material. Davy and co. do the best they can to bring the song alive, but unfortunately their efforts are wasted on a lost cause.

The Micky Dolenz tracks

Micky Dolenz sings on five tracks including the single release “Heart and Soul”. All of his numbers are very much in tune with the contemporary sounds of mid 1980’s music. For my money “Midnight” is the standout. The number is a social commentary on the pitfalls of those who try to make a quick buck in the drug trade. It tells of the tragic story of a lost soul who unsuccessfully tries to get out of the poverty trap by becoming a runner in an illegal drug deal. In addition to great lyrics, this mid-tempo song is given an excellent vocal performance by Micky with just the right amount of foreboding.

The rest of the numbers are examples of standard mid-eighties pop music. It is not that they are bad, it is just that they are unmemorable as they are so much like everything else that was being done at the time. The faster paced “Heart and Soul” is the best of the four due to the catchy chorus. The fact that the remaining Monkees could not even be bothered to sing with Micky on this very much a group number (others had to be hired to do this task) is, however, very disappointing.

Of interest there is a comment in the liner notes that seems to subtly recognise that Micky’s choice of songs for inclusion on the album was not ideal. Specifically, the comment is made that for this album “Micky ignored his impeccable taste in songs and deferred to his then wife’s preferences”.

The Peter Tork tracks:

Peter Tork sings two tracks on the CD, namely “Gettin’ in” and “Since You Went Away”. In short, they are so appalling that they defy description. “Getting in” is a sort of Bryan Ferry meets “Rock Lobster” number and is best only imagined. “Since You Went Away” is not much better and contains poignant lyrics like ‘You said that if I had brains I’d pawn them”. On the positive side, its songs like these that make one really appreciate the remote control.

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As a comeback album and a Monkees album per se, “Pool it” is overall a disappointment. Though there are some gems on the CD (mostly thanks to Davy Jones), half of it is made up of tracks that are either indistinguishable, suffer from poor material or can only be described as absolute clunkers. There are also the issues that the Monkees do not sing as a group on the CD and that the style of at least 50 percent the collection is far removed from the classic Monkees’ sound. Given these factors, it is fortunate that the CD can be picked up in the mid-price range. In terms of a potential purchase, I would recommend the CD to Monkees’ enthusiasts who have a forgiving disposition (like the author).


Recommended: No

Great Music to Play While: Hanging With Friends