About The Song
Within the eclectic and often experimental musical landscape of The Monkees’ later catalog, the track “Wind Up Man” stands out as a particularly intriguing and somewhat whimsical exploration of human behavior and societal expectations. Released on their 1968 album, The Birds, The Bees & The Monkees, this song, primarily credited to Harry Nilsson, marks a departure from some of their more straightforward pop hits, delving into a more metaphorical and slightly satirical territory. While not as commercially successful as their earlier chart-toppers, “Wind Up Man” offers a fascinating glimpse into the band’s evolving artistic ambitions and their willingness to embrace more unconventional songwriting.
The involvement of Harry Nilsson in the creation of “Wind Up Man” is a key element in understanding its unique character. Nilsson, a highly respected singer-songwriter known for his quirky melodies, clever lyrics, and distinctive vocal style, had a significant, albeit sometimes behind-the-scenes, connection to The Monkees. He penned several songs for the group, including the iconic “Cuddly Toy” (featured on their 1967 album Pisces, Aquarius, Capricorn & Jones Ltd.). “Wind Up Man” bears Nilsson’s unmistakable stamp, characterized by its slightly off-kilter musicality and its thought-provoking, metaphorical lyrics. His influence pushed The Monkees beyond their initial bubblegum pop sound, encouraging them to explore more nuanced and imaginative themes.
While the specific recording details might vary, it’s generally understood that by the time of The Birds, The Bees & The Monkees, The Monkees were gaining more control over their musical output. While session musicians still played a role, the individual members – Micky Dolenz, Davy Jones, Peter Tork, and Michael Nesmith – were increasingly contributing their own instrumental and vocal talents. In the context of “Wind Up Man,” the arrangement and performance likely reflect a growing confidence and willingness to experiment with different sonic textures.
The lyrics of “Wind Up Man” present a metaphorical commentary on the often-mechanical and predictable nature of human existence. The central image of a “wind up man” evokes the idea of individuals being driven by external forces or societal expectations, moving through life with a predetermined set of actions and responses. The opening lines, “Everybody knows a wind up man / You wind him up and he does what he can,” immediately establish this central metaphor. It suggests a lack of autonomy, a sense of being controlled or programmed to fulfill certain roles.
The verses elaborate on the characteristics of this “wind up man,” highlighting his conformity and adherence to routine: “He gets up in the morning and he goes to work / He comes back home and he acts like a jerk.” This starkly simple description paints a picture of a life devoid of genuine passion or individual expression. The “jerk” comment adds a layer of cynical observation, perhaps suggesting the frustrations and resentments that can arise from living a life dictated by external pressures.
The chorus reinforces the cyclical and somewhat futile nature of the wind-up man’s existence: “Wind him up, let him go / He don’t know where he’s going / Wind him up, let him go / Keep on blowing.” The act of “blowing” here could be interpreted in several ways – perhaps referring to the passage of time, the winds of fate, or even the empty rhetoric that often accompanies a life lived without purpose. The repetition of “he don’t know where he’s going” underscores the lack of self-direction inherent in the wind-up man’s existence.
The second verse delves further into the wind-up man’s social interactions: “He talks about the weather and he talks about his wife / He talks about the troubles and the worries of his life.” These are the mundane topics of everyday conversation, suggesting a superficial level of engagement with the world. The inclusion of “worries of his life” hints at an underlying dissatisfaction, even within the confines of his predictable routine.
Musically, “Wind Up Man” possesses a slightly quirky and whimsical feel that complements its lyrical themes. The melody is memorable but not entirely conventional, with unexpected twists and turns that reflect the song’s slightly off-kilter perspective. The arrangement likely features a blend of traditional pop instrumentation with perhaps some more unusual sonic elements, reflecting the experimental spirit that sometimes characterized The Monkees’ later work. Micky Dolenz’s vocal delivery, often characterized by its energetic and playful quality, likely brings a certain lightheartedness to the somewhat cynical lyrics, creating an interesting juxtaposition.
While “Wind Up Man” may not have achieved the same level of chart success as earlier Monkees hits like “I’m a Believer” (1966) or “Daydream Believer” (1967), its inclusion on The Birds, The Bees & The Monkees demonstrates the band’s growing artistic maturity and their willingness to explore more complex and unconventional themes. The collaboration with Harry Nilsson, a respected figure in the songwriting world, further solidified this shift.
In retrospect, “Wind Up Man” can be seen as a commentary that remains relevant even today. The song’s exploration of conformity, societal pressures, and the search for individual meaning resonates with contemporary audiences who may feel similarly constrained by external expectations. While The Monkees are often remembered for their catchy pop anthems and their comedic television show, tracks like “Wind Up Man” reveal a deeper layer to their musical output, showcasing their capacity for thoughtful observation and artistic experimentation. It serves as a reminder that even within the seemingly lighthearted world of pop music, there can be room for insightful social commentary delivered with a touch of whimsical charm, thanks in no small part to the unique creative vision of Harry Nilsson and the evolving artistry of The Monkees in 1968.