How bad is The Monkees' 1968 film Head? The movie begins with the group jumping off a bridge, apparently committing suicide. Davy Jones engages a waitress in witty repartee by telling her “I'd like a glass with a hair in it, please.” A shirtless Micky Dolenz crawls across the desert, ending up in fierce battle with a Coke vending machine. At one point, clad in white, The Monkees romp within a wig. “C'mon, guys, you're supposed to be dandruff!” screams director Bob Rafelson from offscreen. At various times, the band members have claimed that Head was intended as satire; revenge against NBC for canceling their show and ultimately controlling their image; and an anti-war statement. In reality it was the product of drug-fueled brainstorming sessions with Rafelson and then-screenwriter Jack Nicholson. Head bombed within weeks of release, later gaining a cult following.

Why should this mess of a film be deemed noteworthy? The soundtrack, unjustly ignored by '60s audiences, contains some of The Monkees' strongest, most original work. While Headquarters marks their emergence as a “real” band, playing their own instruments, Head shows the “prefab four” in their most cohesive, tight form. In short, through some powerful ballads and rockers, The Monkees illustrate their growth as true musicians.

When eliminating the strange spoken segments, Head becomes a collection of solid '60s pop. Thus the album begins with “The Porpoise Song,” perhaps the best-known track on the album. Written by Gerry Goffin and Carole King, the song features Dolenz's lilting vocals and a swirling organ riff. The sound creates the overall effect of floating underwater, listening to the porpoises coo to one another. It is a beautiful track that successfully bridges the gap between psychedelia and pop. Next comes “Circle Sky,” which demonstrates Mike Nesmith's skill as a songwriter and performer. Over pounding guitar chords, Nesmith drolly narrates an “extraordinary scene” which ultimately becomes banal: “and it looks like we've made it once again.” The 1994 CD reissue corrects a glaring omission: it includes the incendiary live performance of “Circle Sky” seen in the film. Dolenz's furious drumming and a throbbing bassline propel the song into warp speed. Why the live version was originally deleted from the soundtrack will remain a mystery.