Creating a smash hit isn’t always a cause for celebration—at least not for The Mamas & The Papas. In 1966, the group was at odds over “Monday, Monday,” a song that quickly skyrocketed to fame despite the band’s mixed feelings. The catchy tune, packed with their harmonious vocals and the stellar support of the Wrecking Crew, became an unexpected success.
Within just a day of release, “Monday, Monday” sold a staggering 160,000 copies and soon claimed the No. 1 spot on the Billboard Hot 100. It marked the band’s only chart-topping single, a milestone that cemented the song’s place in music history. But success didn’t change the band’s outlook on the song itself.
Surprisingly, nearly everyone but songwriter John Phillips saw it as a flop. While fans couldn’t get enough, most of the group felt it lacked the magic they aimed for. Instead, “Monday, Monday” became a hit that left the band members wondering what they had missed.
The Birth of a Reluctant Hit
John Phillips came up with “Monday, Monday” in 1965 during sessions for If You Can Believe Your Eyes and Ears, The Mamas & The Papas’ debut album. Pressured by producer Lou Adler and his bandmates to deliver something as impactful as “California Dreamin’,” Phillips later claimed he wrote the song in just 20 minutes.
According to Michelle Phillips, John’s ex-wife and bandmate, the song’s creation was casual yet determined. In her autobiography, she recalled how John emerged from a friend’s bathroom with his guitar, saying he wanted to write a song with universal appeal. He strummed and sang the first line: “Monday, Monday, can’t trust that day”—a phrase that didn’t exactly wow the group.
The initial reaction was far from enthusiastic. The band had serious doubts about the song’s potential, but that single line would eventually become one of the most memorable hooks of the 1960s.
A Divided Band Over “Monday, Monday”
Michelle Phillips and Cass Elliot didn’t hold back their feelings on “Monday, Monday.” In her autobiography, Michelle recalled that they bluntly told John Phillips it was “the worst song” they’d ever heard, calling it “pretentious.” The criticism led to heated arguments in the studio, until producer Lou Adler finally intervened, telling the group, “You do the singing. I’ll do the releasing.”
Denny Doherty, though less vocal, also had reservations. While he appreciated the catchy background vocals in the intro—“bah-da-da-da-da-dum”—he wasn’t thrilled about the song overall. Yet, he chose not to make a fuss about it.
To Doherty, the song seemed like a nod to everyday struggles. He later remarked that he thought it was just “a song about the working man,” capturing the universal dread of Mondays that everyone could relate to.
Mixed Feelings on a Grammy-Winning Song
For Denny Doherty, “Monday, Monday” was far from special. He bluntly called it “a dumb song about a day of the week” and felt relief when their vocal rehearsals wrapped up. To him, the song didn’t stand out—he was just glad to be done with it.
Interestingly, Cass Elliot later changed her tune about the song. In a 1968 Rolling Stone interview, she called it one of her favorite Mamas & The Papas tracks. Given that she was promoting her solo album at the time, she likely chose not to dwell on past doubts about the hit.
Winning a Grammy for Best Contemporary R&R Group Performance in 1967 probably helped smooth over any lingering frustrations. Despite their rocky feelings, the song’s success gave them recognition that may have softened the earlier tensions.