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LOS ANGELES – The Monkees haven’t toured together in more than four decades, so it seemed only logical that at a rehearsal last week in North Hollywood, the band’s three surviving members might not be in sync.

But two days ahead of a short reunion tour that began Thursday in Escondido and visits the University at Buffalo Center for the Arts on Sunday, Micky Dolenz, Michael Nesmith and Peter Tork communicated in a secret language as if it were still 1969.

In the middle of a long jam, Nesmith, 69, took his hands off his vintage-style Gretsch guitar and began addressing Dolenz in an elaborate sequence of arm and hand signals. Dolenz, 67, answered in similar body language from behind his gold metal-flake drum kit. Tork smiled.

Nesmith, who hasn’t taken part in a full-fledged U.S. tour with the other Monkees since 1969, then translated. “This means,” he said haltingly as he continued gesturing, “chili … dog … with … cheese.”

Humor is a key element in the camaraderie among these men, who along with the late Davy Jones vaulted to fame in 1966 with their hit TV show “The Monkees” and the string of recordings they made for each week’s episode. Even though they were hired to portray a zany famous rock band on TV, the songs made bona-fide pop stars out of the four amateur actors-musicians.

Following their first run-through of the whole set at a dress rehearsal Wednesday in Escondido, Nesmith exhibited genuine curiosity, and a little nervousness, when he asked a visitor how the show would come across: “Do you think Monkees’ fans will like it?”

Nesmith has reason to question how they’ll be received since the band will be touring without Jones, who was the British heartthrob of the band in the TV series. The reunion tour follows Jones’ death this year of a heart attack. He’d toured periodically with Dolenz and Tork since the Monkees released its final album in 1970 and is being saluted in this round of shows through photos, film footage and recordings.

“Of course we miss Davy,” Tork, 70, said, “and it’s sad to be playing without him. But when Davy, Micky and I were touring, it was sad to play without Mike.”

Over the years Nesmith skipped most of the Monkees reunions, citing commitments related to his solo career – including running the Pacific Arts music and video label he launched in the ’70s, producing films (including “Repo Man”) and writing two novels. (Nesmith trivia: He produced music videos for Lionel Richie’s 1983 single “All Night Long (All Night)” and Michael Jackson’s “The Way You Make Me Feel.”)

But behind the scenes, Jones made remarks during the ’97 British tour that hinted at tension with Nesmith, and the 2011 Monkees tour ended prematurely because of reported disagreements Dolenz and Tork had with Jones.

That’s all water under the bridge. “This show, it’s not about a loss, it’s not a memorial,” Nesmith said. “It’s acknowledging the gain and the contribution that David made. At this time of our lives, we don’t have illusions about what this is: It’s about the good work we did.”

The Monkees’ career lasted barely four years but yielded four No. 1 albums, half a dozen Top 10 singles, three of which reached No. 1, a TV series that’s become a comedy classic that still airs around the world and the avant-garde 1968 film, “Head,” which reflected the anarchic zeitgeist of the late-’60s while satirically relating the story of the Monkees’ rise from creative puppets to masters of their own fate.

“There’s no other story like it in entertainment,” said music historian Andrew Sandoval, author of the 2005 career diary “The Monkees.” “They released their first single in August 1966, the show premiered in September, and by January they’d won their fight for artistic control. It’s as if the contestants on ‘American Idol’ came in one day and said, ‘Fire the judges and the producers, we’re taking over.’ ”

That refers to the famous showdown between the Monkees – with Nesmith leading the charge – and music world impresario Don Kirshner, who controlled the music the group recorded, largely from his bevy of Brill Building songwriters including Carole King and Gerry Goffin, Tommy Boyce and Bobby Hart and Neil Diamond.

Kirshner also had an authoritarian hand over how the band’s records were made and packaged. The contributions of ace Hollywood studio musicians who played most of the music on the group’s first two albums, “The Monkees” and “More of the Monkees,” went largely uncredited, creating the impression that all the music was played by Dolenz, Jones, Nesmith and Tork.

“When they handed me the second album and there were no musician credits on it, I started to smell a rat,” Nesmith said. “My position was, ‘If you don’t need me for this. Replace me. Tell people, “Michael died. Here’s the new guy, his name isn’t Michael, it’s Bubba.’ ” But the reaction was, ‘No, you’re right, there is something good here.’ That’s where the [1968 film] ‘Head’ came from.

“We thought it was a huge victory,” he said. “It was hard fought and it was brutal but it was worth it. … We came up against a corporate monster and just said no.”

That bit of pop history will underscore this tour, a portion of which will be devoted to their third album, 1967’s “Headquarters,” the first after the battle that led to Kirshner’s ousting.

The reunion show also will include all the songs from “Head,” the experimental film written by Jack Nicholson and Bob Rafelson.

Today the Monkees have no shortage of fans, and not all of them are boomers. The TV show went into syndication in the 1970s, then became a major hit with a new generation at the dawn of MTV, which ran episodes three times a day in the 1980s, leading to a major Monkees revival.