"This was the point where I did start to accept there were other kinds of music than the stuff I’d grown up with. Because I’d listened to so much hip hop and soul, I was very dismissive, even of Bowie. I never began to negotiate with that until I was much older. A real Velvet underground obsessive is less favourable to this album because it’s less pure in their eyes than the cold, earlier stuff, but it’s the first one that got me and drew me into that kind of music. It’s soulful as well. Lou Reed is brilliant. He’s a cunt, but he’s brilliant. I met him once, I did a TV show with him, Metallica and Lana Del Rey in France. It was the most awful panel of people I’d ever had to sit with. The only person that was nice was Lars from Metallica. They lined us all up and we had to stand and look as if we were all bonding. Lou Reed was like a melted mannequin, he had about four breaths left in him, while Lana Del Rey looked like someone had kidnapped everyone she knew. Lars had been to so many AA meetings he was all ‘Oh hey! So nice to meet you!’ Weirdly enough Lou and dad had a bit of a history, because dad’s only tour of America was with Lou Reed and they really hated each other. Lou hated everybody arbitrarily, and dad just hated America. I think that tour ended because dad knew Rod Stewart and Ronnie Wood and they met them in LA. He complained about Lou Reed, so Rod Stewart and Ronnie Wood went and de-tuned all of Lou Reed’s guitars."

"Head is my favorite film that stars a musical artist, by some degree. And yes, that includes the brilliant A Hard Day’s Night. However, the Monkees’ triumph of a movie is a Pyrrhic victory, because Head accelerated their demise, as it sees Dolenz, Nesmith, Tork, and Jones push the self-destruct button. Directed by Bob Rafelson and cowritten by Jack Nicholson, the movie shows the Monkees tearing down their wholesome network-TV, pre–Fab Four image with wild style. Much has been read into this stream-of-consciousness movie, with its overlapping dream sequences, surreal song numbers, and drug-influenced chaos. The simplest way of describing it is this: the Monkees are sick of being on their network show and attempt to break out of the studio lot, literally and figuratively. There are several scenes where the Monkees are trapped in a box, a live number where they are revealed to be plastic mannequins, and bookending sequences where the members commit suicide. So basically, the Monkees want out. There have been some claims by the Monkees since the film came out that this message was projected onto it by Rafelson and Nicholson, but the script was clearly born of a very real frustration with their image. The movie bombed in 1968, because not many Monkees fans wanted to know that their idols had painted-on smiles. What remains is a gem of rock music cinema, with great songs and images throughout. Plus, as depressing as the theme of entrapment is, it’s frequently very funny. I got to interview Dolenz about it at a New Beverly Q&A once. A young audience member quizzed him on the deeper themes, and he just replied, “Man, I was twenty-three . . .”"