Douglas Farthing Hatfield, better referred to as Chip Douglas, was one of the most ubiquitous figures over the folk-rock and pop/rock and roll scenes from the middle/later ’60s. He got into music skillfully in the first ’60s in Honolulu, HI, where he was leading his very own folk trio. Ultimately, he discovered himself dealing with Henry Diltz and Stan Light, and they had been became a member of by Cyrus Faryar, past due from the Whiskeyhill Performers. White ultimately exited over personal and mental complications, and was been successful by Jerry Yester, and he became a member of Douglas among the group’s two primary arrangers. THE PRESENT DAY Folk Quartet went its program across a bit more than 2 yrs, where they made information in colaboration with such assorted numbers as Jim Dickson and Phil Spector, and constantly appeared to be simply outside the limelight. Their lineup splintered after 1966, and Douglas became a member of the Turtles as their bassist, being successful Chuck Portz. He produced his debut using the group on “Content Together,” that was documented using Douglas’ agreement and hit the main chart placement in past due 1966. Meanwhile, commercial music events taking place elsewhere had been finally employed in Douglas’ favour — an organization known as the Monkees, which have been conceived solely as a tv creation for the NBC group of which they had been a part, demonstrated to have significantly more curiosity about music and their very own credibility compared to the show’s companies and music directors acquired reckoned with; with least three from the four associates, Michael Nesmith, Peter Tork, and Micky Dolenz, also acquired enough understanding of the Western world Coast music picture to actually do something positive about it. Nesmith apparently noticed the Turtles playing on the Whiskey a chance Use Hollywood and contacted Douglas about getting their manufacturer. The group have been infuriated with the set up and discharge of Even more of the Monkees without their understanding or input, along with the tales that had received out to the press in regards to the associates’ less-than-full involvement within the record-making procedure, and had been determined showing what they could perform as musicians on the following record. Douglas, who’d emerge from a folk history much like that of Nesmith and Tork, and who was simply an arranger, appeared a potentially organic match for the Monkees, particularly if the group wished to move away from what they thought to be the slick, Brill Building-style creation on those 1st two albums and the first singles. The group’s 1st work with Douglas, “All your Toys,” was sabotaged by inner record label politics, however they flipped around and generated a whole album, Headquarters, which Douglas also performed bass and equipped one of the most overtly commercial tracks, “Neglect That Woman.” The recording never generated an individual nonetheless it still offered more than a million copies, and it do have a totally different feel through the group’s two prior LP produces, having a leaner, much less slick believe that showed their very own musical dreams and sensibilities. Quite simply, Douglas did precisely what the new era of makers was likely to perform, pulling the task collectively musically to furnish the designer having a canvas which expressing himself. Ironically, their following efforts will be something of the step backward, even while their commercial achievement was prolonged — “Pleasant Valley Weekend” and “Daydream Believer” had been huge strike singles, as well as the record label as well as the series’ makers had been happy once again using what was appearing out of the group’s orbit, however when it emerged time to perform their following record, Pisces, Aquarius, Capricorn & Jones, Ltd., the group sensed that these were once again getting designed to embrace somebody else’s music, in cases like this Douglas’. Not that was poor in its outcomes (many fans respect the album because the greatest they ever do), nonetheless it wasn’t actually reflective of the musical sensibilities. Douglas parted firm using the Monkees after 1967, although one legacy he still left them with aside from some very nice recordings was a connection with Harry Nilsson, after that an up-and-coming songwriter whose “Cuddly Gadget” — an extremely nasty melody in its sensibilities, couched in probably the most innocent pop trappings — was documented with the Monkees. His following stop was making the Turtles, to whom he brought the first Roger McGuinn/Gene Clark melody “You Demonstrated Me,” which became their last actually big strike. Ironically more than enough, he never completely still left the Monkees’ orbit, and caused Micky Dolenz, with Dolenz, Davy Jones, and Tork, on / off over the following few years, between use Linda Ronstadt, the Lovin’ Spoonful, and John Stewart, amongst others. Within the years since that time, he continues to be peripherally involved with documentaries regarding the group’s background, and his music and his productions have already been repackaged with an ever-growing body of anthologies and reissues. The Turtles’ music continues to be kept on the net through a variety of reissues and repackagings, and also the present day Folk Quartet materials — you start with its unissued Phil Spector-produced solitary “THIS MAY BE the night time” for the Spector package in the past due ’80s — in addition has resurfaced on Compact disc in the 21st hundred years.
|1||Met singer/songwriter Harry Nilsson when the Modern Folk Quartet recorded a song he co-wrote with producer Phil Spector. He in turn introduced Nilsson to The Monkees, who recorded two of his songs ("Cuddly Toy" and "Daddy's Song"). The Turtles later recorded Nilsson's "The Story of Rock And Roll" and "The Battle Of The Bands".|
|2||While all four of The Monkees performed "Riu Chiu" on the Christmas episode of their TV show, their studio recording of the song featured his voice instead of Michael Nesmith's. Nearly a decade later, he re-teamed with Micky Dolenz and Davy Jones, to record another Christmas song sent out to The Monkees fan club.|
|3||Had only recently joined The Turtles, arranging and playing bass on their #1 hit "Happy Together", when he was approached by Michael Nesmith to become The Monkees' new producer, after Nesmith saw The Turtles play at the Whisky-a-Go-Go. Douglas' reply that "I've never produced a record in my life" was met by Nesmith's confident "Don't worry -- I'll show you everything you need to do." The Turtles soon found a replacement in bassist Jim Pons; after a year (and two albums) with The Monkees, Douglas returned to The Turtles -- this time as their producer.|
|4||Ended up with ownership of his song "Steam Engine," one of the last recorded tunes from The Monkees, after a dispute with Screen Gems over session costs kept him from signing the publishing paperwork. Years later, when The Monkees' masters were being prepared for re-release, "Steam Engine" had to be included...and Douglas got a long-awaited settlement of the matter, resulting in the birth of his own publishing company, as well as a long-delayed payment. (He also wrote an extra verse, to add to the song, when he was asked to provide a lead-sheet and noticed the lyrics seemed too brief.).|
|Hey, Hey We're the Monkees||1997||TV Movie documentary producer: " What Am I Doin' Hangin' Round?", "Randy Scouse Git", "Daydream believer" / producer: "No Time", "For Pete's Sake" - as Douglas Farthing Hatlelid|
|The Ernie Sigley Show||1974||TV Series writer - 1 episode|
|The Kraft Music Hall||1968||TV Series writer - 1 episode|
|The Monkees||TV Series producer - 26 episodes, 1967 - 1968 writer - 2 episodes, 1967 - 1968 arranger - 1 episode, 1967|
|A Physical Education||1986||Video|
|Heart and Soul||1988||Documentary short special thanks|
|Behind the Music||2000||TV Series documentary||Himself|
|E! True Hollywood Story||1999||TV Series documentary||Himself|
|Hey, Hey We're the Monkees||1997||TV Movie documentary||Himself|
|Television Parts Home Companion||1985||Video short||Himself - Player (as Chip Douglas Hatlelid)|
|The Big T.N.T. Show||1966||Documentary||Himself (as The Modern Folk Quartet)|
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