session musicians like "Fast" Eddie Hoh. (Producer Chip Douglas also had identified Dolenz's drumming as the weak point in the collective musicianship of the quartet, having to splice together multiple takes of Dolenz's "shaky" drumming for final use.) By this point, the four did not have a common vision regarding their musical interests, with Nesmith and Jones also moving in different directions—Nesmith following his country/folk instincts and Jones reaching for Broadway-style numbers. The next three albums featured a diverse mixture of musical style influences, including country-rock, folk-rock, psychedelic rock, soul/R&B, guitar rock, Broadway and English music hall sensibilities. At the height of their fame in 1967, they also suffered from a media backlash. Nesmith states in the 2007 Rhino reissue of Pisces, Aquarius, Capricorn & Jones Ltd., "Everybody in the press and in the hippie movement had got us into their target window as being illegitimate and not worthy of consideration as a musical force [or] certainly any kind of cultural force. We were under siege; wherever we went there was such resentment for us. We were constantly mocked and humiliated by the press. We were really gettin' beat up pretty good. We all knew what was going on inside. Kirshner had been purged. We'd gone to try to make Headquarters and found out that it was only marginally okay and that our better move was to just go back to the original songwriting and song-making strategy of the first albums except with a clear indication of how [the music] came to be... The rabid element and the hatred that was engendered is almost impossible to describe. It lingers to this day among people my own age." Tork disagreed with Nesmith's assessment of Headquarters, stating, "I don't think the Pisces album was as groovy to listen to as Headquarters. Technically it was much better, but I think it suffers for that reason." With Pisces, Aquarius, Capricorn & Jones Ltd., the Monkees' fourth album, they went back to making music for the television show, except that they had control over the music and which songs would be chosen. They used a mixture of themselves and session musicians on the album, including the Wrecking Crew, Louie Shelton, Glen Campbell, members of the Byrds and the Association, drummer "Fast" Eddie Hoh, Lowell George, Stephen Stills, Buddy Miles, and Neil Young—a practice that continued for all their studio albums except Justus. Using Chip Douglas