With the shooting wrapped up later that year, the compilation of a soundtrack album was almost an afterthought. De facto bandleader Mike Nesmith helmed it very briefly before passing it on to Nicholson. With only the handful of songs featured in the movie, and no real oversight, Nicholson was free to build a lot of filler material from scratch. The album’s skeleton became a series of musique concrète assemblages of film dialogue, a sort of aural mortar that holds together six incongruent musical bricks. Of the six actual songs on Head, the strongest are a pair of sophisticated, psychedelic tunes by the recently divorced Carole King (she of “The Loco-Motion” and “Will You Love Me Tomorrow” fame). The album’s Davy Jones showpiece is an early Harry Nilsson track called “Daddy’s Song” that describes the plight of an absentee father against an inappropriately jaunty Broadway backdrop; Mike Nesmith contributed a slicing, inscrutably lo-fi rock song with muddy organ and nearly inaudible vocals. Peter Tork, who had been almost entirely cut out of the creative process of the band’s earliest recordings, pitched in two surprisingly mature, Eastern/existential-leaning songs of his own.