Felix Cavaliere’s Rascals and the Monkees’ Micky Dolenz: Spring 2022 Tour

By Harvey Kubernik

Micky Dolenz of the Monkees and Felix Cavaliere’s Rascals are teaming up for live dates in 2022. Micky is fresh off the 41-date The Monkees Farewell Tour. Felix has a new album due soon and an autobiography coming in March.

Their trek kicks off January 22 at The Palladium in New York City and includes dates April 23 in Lancaster, Pennsylvania, Red Bank, New Jersey on May 12 and a May 14 appearance at the Patchogue Theater, Patchogue, New York.

A few years ago I saw the duo perform a stellar show in Los Angeles and excited they will hit the road together again.

(Left: Felix Cavaliere. May 1968. Photo by Henry Diltz)

During 2013 I interviewed Felix Cavaliere of the Rascals. A portion of our conversation was published in Record Collector News magazine in Southern California.

“It’s one thing to make hit records and have hits. I always felt we had a different purpose out there,” volunteered Felix Cavaliere. “And I see people going through their past. And their healing processes and their memories of those years. And they start crying. What I see are people reaching out for what I call that ‘sixties’ positive energy.’ We get clobbered in the media for the sixties but you know what? There were good causes out there,” Cavaliere underscored.

About his Hammond B-3 organ, a predominant instrument in the Rascals lineup, Felix explained, “When I saw an organist playing and singing he was doing bass, rhythm, lead vocal. And I said, ‘This is really encompassing a whole part of the music spectrum.’ One of the beauties of the Hammond is that it sort of fills in the sonority area where the voices are. So when you have singers and Hammond there is a blend. It really fills a room with this beautiful sound. That’s what turned me on. The overall orchestration of the instruments. The Rascals had studio bassists on the albums, jazz session men. Like the Doors who employed a bass player on their albums.

“The band happened after hearing the Beatles… To me it was ‘I could do this.’ The first time I saw them early they were a band playing and singing live. They had not really done what they did with George Martin. I know they had great singers and the players are OK. But they were starting to write their own songs. They had great songs. I thought, ‘I can do this.’ And I wanted to get the best guys I could find. The best singers and musicians. And it worked. From inception to record deal was six months.

“That’s unheard of. Ahmet (Ertegun) courted us. So did Phil Spector. Seriously, I wanted to produce the group. Ourselves. That was the goal. I didn’t want anybody to take hold of this. The good luck was that Atlantic put into the room these geniuses, Arif Mardin and Tom Dowd. We opened Arif up to what he was capable of doing. The freedom was there. We had unlimited studio time. And our second record, ‘Good Lovin’ was number one.

“Initially when we were presented with ‘Ain’t Gonna Eat Out My Heart Anymore’ I kind of had a crazy reaction to the songwriters coming in. ‘Cause I wanted to write our own songs. But we hadn’t gotten to that point yet where we could start demanding stuff. The songwriters on ‘Ain’t Gonna Eat Out My Heart Anymore’ had a nice soulful thing and were Motown writers. ‘Hey, I’m a kid. Let me learn here and take it to the next step.’ I wanted to do our own thing and from the beginning that was my plan. And again, it was Beatles-stimulated. No question about it. All those English groups really opened the door for us and everybody.

“There is a different kind of pecking order once you have a big hit,” stressed Felix. “All of a sudden they have to listen to you a little bit more, you know. It was interesting and a bit pre-mature. In those days the only way you could work in a club was if you did other people’s songs. There was no way in New Jersey or New York you were gonna go in there and play originals. They’d throw you out on your heels. That was it. It was my job, our job, to come up with songs that were songs on the radio. And we had to fight for some of them like ‘Mustang Sally.’ They never heard that. But they were legitimately on the black radio stations and we brought them to the gig. What a place to test songs.

“When we played ‘Good Lovin’’ people got up and danced. So you kind of knew instantly what could be a hit record. If in fact it ever got to that level. You could see it and hear it. You had a built in Nielsen-type rating thing. But we had all covers. After that the spotlight was on us. And we had to follow a million seller. That’s not easy. The so-called sophomore jinx. So I really put my foot down, ‘You know damn it. We’re gonna write now. No more bringing outside stuff in.’

“We had a tough time. ‘You Better Run’ and ‘Come On Up’ came out. And, thank God, this woman came into my life and we started with ‘I’ve Been Lonely Too Long.’

“And, with ‘I’ve Been Lonely Too Long’ and ‘Groovin’’ at that point in my life I fell in love and I found a muse. It was just gaga land. I was gone. All of those love songs were about this one particular person. And it was so interesting and the culmination was ‘How Can I Be Sure.’ And then it was over. Things happen for a reason and the reason was to write those songs. That is what she was there for. The word muse is real. The stories were genuinely about being in love.

“There’s a certain divine thing that happens in every group,” posed Felix. “And Gene just fit. Initially he wasn’t funky but he learned. Dino was a wild horse drummer. And between (arranger) Arif Mardin and (engineer) Tommy Dowd they calmed it down. I didn’t have my recording chops together but Tom did. We overplayed, like all young kids and learned to chill.

“The thing about Atlantic Records was that it was not a corporate entity. The studios were open to anyone. No signs to keep out. One day Otis Redding sticks his heads in and says, ‘My God! They’re white!’ Which I loved. That was cool.

“At Atlantic everyone was jealous of us because we had eight-track. Can you imagine that? This is where you put the genius of Tommy Dowd. Forget it. He just knew and had tricks they had developed on the four tracks that we kind of inherited and learned. I learned from watching Tom. For example, you put the low bass and the high tambourine on the same track. And you can kind of make a change with EQ’s rather than overdubs and all that. Because we didn’t have any tracks, where to put stuff and how to blend.

“And don’t forget, stereo came in during that period of time. I found out that John F. Kennedy used to fly Tommy to the White House to do his press conferences. ‘Cause he was so enamored with his idea of stereo.”

© 2021 Harvey Kubernik

Felix Cavaliere. January 29, 1968. (Photo by Henry Diltz)

HARVEY KUBERNIK is the author of 20 books, including Leonard Cohen: Everybody Knows, Neil Young Heart of Gold, Canyon Of Dreams, The Magic And The Music Of Laurel Canyon and Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972.

Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. For November 2021 the duo wrote Jimi Hendrix: Voodoo Child published by Sterling/Barnes and Noble.

Otherworld Cottage Industries in 2020 published Harvey’s book, Docs That Rock, Music That Matters. Kubernik’s writings are in several book anthologies, including The Rolling Stone Book Of The Beats and Drinking With Bukowski. This century he wrote the liner note booklets to the CD re-releases of Carole King’s Tapestry, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special and The Ramones’ End of the Century.

In November 2006, he was a speaker discussing audiotape preservation and archiving at special hearings called by The Library of Congress and held in Hollywood, California.

During 2020 Harvey Kubernik served as a Consultant on the two-part documentary Laurel Canyon: A Place in Time directed by Alison Ellwood which debuted on EPIX television. In 2022 Kubernik is involved in several music documentaries and for the last decade is Editor-In-Chief of Record Collector News magazine.