In assigning instruments for purposes of the television show, a dilemma arose as to which of the four would be the drummer. Both Nesmith (a skilled guitarist and bassist) and Tork (who could play several stringed and keyboard instruments) were peripherally familiar with the instrument but both declined to give the drum set a try. Jones knew how to play the drums and tested well enough initially on the instrument, but the producers felt that, behind a drum kit, the camera would exaggerate his short stature and make him virtually hidden from view. Thus, Dolenz (who only knew how to play the guitar) was assigned to become the drummer. Tork taught Dolenz his first few beats on the drums, enough for him to fake his way through filming the pilot, but he was soon taught how to play properly. Thus, the lineup for the TV show most frequently featured Nesmith on guitar, Tork on bass, Dolenz on drums and Jones as a frontman, singer and percussionist. This, however, is in opposition to the lineup which would have made the most sense based upon the members' musical strengths. For example, Tork was actually a more experienced guitar player than Nesmith, while Nesmith had at one time specifically trained on the bass. While Jones certainly had a strong lead voice and sings lead on several Monkees recordings, Dolenz's voice is regarded, particularly by Nesmith, as one of the most distinctive in popular music history and a hallmark of the Monkees' sound. This theoretical lineup was actually depicted once, in the music video for the band's song "Words", which shows Jones on drums, Tork playing lead guitar, Nesmith on bass and Dolenz fronting the group. In concert appearances Tork also took much of the guitar duties, even in appearances with Nesmith, and Dolenz often plays rhythm guitar on stage. Unlike most television shows of the time, The Monkees episodes were written with many setups, requiring frequent breaks to prepare the set and cameras for short bursts of filming. Some of the "bursts" are considered proto-music videos, inasmuch as they were produced to sell the records. The Monkees Tale author Eric Lefcowitz noted that the Monkees were--first and foremost--a video group. The four actors would spend 12-hour days on the set, many of them waiting for the production crew to do their jobs. Noticing that their instruments were left on the set unplugged, the four decided to turn them on and start playing. After working on the set all day, the Monkees (usually Dolenz or Jones) would be called into the recording studio to cut vocal tracks. As the band was essential to this aspect of the recording process, there were few limits on how long they could spend in the recording studio, and the result was an extensive catalogue of unreleased recordings. Pleased with their initial efforts, Columbia (over Kirshner's objections) planned to send the Monkees out to play live concerts. The massive success of the series--and its spin-off records--created intense pressure to mount a touring version of the group. Against the initial wishes of the producers, the band went out on the road and made their debut live performance in December 1966 in Hawaii. They had no time to rehearse a live performance except between takes on set. They worked on the TV series all day, recorded in the studio at night and slept very little. The weekends were usually filled with special appearances or filming of special sequences. These performances were sometimes used during the actual series. The episode "Too Many Girls (Fern and Davy)" opens with a live version of "(I'm Not Your) Steppin' Stone" being performed as the scene was shot. One entire episode was filmed featuring live music. The last show of the premiere season, "Monkees on Tour", was shot in a documentary style by filming a concert in Phoenix, Arizona, on January 21, 1967. Bob Rafelson wrote and directed the episode. In DVD commentary tracks included in the Season One release, Nesmith admitted that Tork was better at playing guitar than bass. In Tork's commentary he stated that Jones was a good drummer, and had the live performance lineups been based solely on playing ability, it should have been Tork on guitar, Nesmith on bass and Jones on drums, with Dolenz taking the fronting role. The four Monkees performed all the instruments and vocals for most of the live set. The most notable exceptions were during each member's solo sections where, during the December 1966 - May 1967 tour, they were backed by the Candy Store Prophets. During the summer 1967 tour of the United States and the UK (from which the Live 1967 recordings are taken), they were backed by a band called the Sundowners. The Monkees toured Australia and Japan in 1968. The results were far better than expected. Wherever they went, the group was greeted by scenes of fan adulation reminiscent of Beatlemania. This gave the singers increased confidence in their fight for control over the musical material chosen for the series. With Jones sticking primarily to vocals and tambourine (except when filling in on the drums when Dolenz came forward to sing a lead vocal), the Monkees' live act constituted a classic power trio of electric guitar, electric bass and drums (except when Tork passed the bass part to Jones or one of the Sundowners in order to take up the banjo or electric keyboards). The Monkees decided that they no longer needed Chip Douglas as a producer, and starting in November 1967, they largely produced their own sessions. Although credited to the whole band, the songs were mostly solo efforts. In a couple of cases, Boyce and Hart had returned from the first two albums to produce, but credit was given to the Monkees. It was also during this time that Michael Nesmith recorded his first solo album, The Wichita Train Whistle Sings, a big band jazz instrumental collection of interpretations of Nesmith's compositions, arranged by the jazz musician Shorty Rogers. Praised in The Los Angeles Times by the author of The Encyclopedia of Jazz, jazz critic Leonard Feather wrote "Verbally and musically, Mike Nesmith is one of the most articulate spokesmen for the new and literate breed of pop musicians who have spring from the loins of primitive rock. [The album] with its carriage trade of symphony, rock, country, western, and swing, and with jazz riding in the caboose, may well indicate where contemporary popular music will be situated in the early 1970s." Considered by some to be the Monkees' "White Album" period (for example, Sandoval mentions this in the liner notes of Rhino Handmade's 2010 Deluxe reissue of the album), each of the Monkees contributions reflected his own musical tastes, which resulted in an eclectic album. Micky sang the pop songs (e.g., "I'll Be Back Upon My Feet"), and performed a double-vocal with Mike on the Nesmith/Allison composed "Auntie's Municipal Court". Davy sang the ballads (e.g., "Daydream Believer" and "We Were Made for Each Other") and Nesmith contributed some experimental songs, like the progressive "Writing Wrongs", the unusual hit song "Tapioca Tundra", and the lo-fi 1920s sound of "Magnolia Simms". This last song is notable for added effects to make it sound like an old record (even including a "record skipping" simulation) made before the Beatles "Honey Pie", which used a similar effect. Propelled by the hit singles "Daydream Believer" and "Valleri", along with Nesmith's self-penned top 40 hit "Tapioca Tundra", The Birds, The Bees & The Monkees reached No. 3 on the Billboard charts shortly after it was released in April 1968. It was the first album released after NBC announced they were not renewing The Monkees for a third season. The album cover--a quaint collage of items looking like a display in a jumble shop or toy store--was chosen over the Monkees' objections. It was the last Monkees' album to be released in separate, dedicated mono and stereo mixes. During the 1986 reunion, it would return to the Billboard charts for 11 weeks. CANNOTANSWER

Answer this question "what song was a big hit?" by extracting the answer from the text above.

The results were far better than expected.