Michael Nesmith Albums (18)
What The Critics Say
Michael Nesmith is a puzzling character. Over the years, he's been a folk singer, a television star and a teen idol with the Monkees, and an alt-country pioneer with his First National Band. Of course, most of that happened in the mid-'60s and early '70s. All these decades later, the erstwhile trailblazer seems as though he doesn't quite know where he's headed anymore. His 2005 solo effort Rays is a wild foray into spacey electronic music peppered with awkward guitars. Nesmith is a rebellious soul with more than a hint of an ornery streak, so whether he thinks this silliness is really good, or is just the manifestation of his desire to be category-defying, is anyone's guess. Regardless of his motivation, Rays lacks the straight-shooting charm and psychedelic whimsy that have made Nesmith's catalog so enjoyable. Rays, with its electronic touches and synthetic sounds, is rigid and lifeless. Bogged down in technology and synthetic instruments, it may be an attempt at sounding futuristic or cutting edge, but the short-sighted sound is as instantly outdated as '80s fashion. Much of the record was most likely obsolete before it even hit record store shelves. The scarcity of vocals on the album adds to its cold, uninviting feel. There is likely a sect of die-hard Nez fans who will declare that this is the greatest record ever. But to casual listeners, it offers little reward. Overall, Rays is burdened with the feeling that Nesmith is simply trying too hard. Even if there are some bright spots, they get lost among the shuffle. Unlike Nesmith's solo work and his albums with the First National Band -- much of which sounds just as fresh and contemporary today as it did in the early '70s, Rays will not hold up to history. Cinematic and atmospheric, the album has the feel of a blockbuster movie that's all CGI and no heart. Then again, Nesmith's a smart guy. Having pioneered alt-country a few decades ago, it could be that Nesmith has his sights set on the next untapped frontier. Maybe 20 years from now, listeners will look back at Rays and realize it was the wave of the future, a masterpiece ahead of its time. Only time will tell. For now, it'll just have to sit on the shelf and wait to be rediscovered. ~ Karen E. Graves, All Music Guide
'The Long Sandy Hair of Neftoon Zamora'
Release Date 6/8/2004
Tracks 13
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What The Critics Say
After reinventing himself as an engagingly spacey cowboy on the splendid Magnetic South, Michael Nesmith took a slightly more eclectic approach on his second album with the First National Band, Loose Salute. While country flavors still dominate the album (and Red Rhodes' pedal steel work was even stronger this time out), the up-tempo numbers swing a bit harder (especially the rollicking "Dedicated Friend"), there's a funky R&B undertow to "Bye, Bye, Bye," the rhythm guitars on "Silver Moon" suggest Nesmith had heard a bit of reggae, and "Tengo Amore" brings a Latin influence into the mix. But Nesmith's love of old-school country still rings clear on every cut (especially the steel-dominated remake of the Monkees' "Listen to the Band"), and after letting the world know about his deeper side on Magnetic South, Loose Salute found Nesmith writing about more direct and organic themes (love, faith, ditching work, leaving the Monkees). Nesmith also took over as producer, and he gets a tougher and tighter sound from the band than Felton Jarvis managed on Magnetic South. Loose Salute doesn't cohere quite as well as Magnetic South, but the material is strong, the band sounds great, and Michael Nesmith offered even more surprises than he had in his first turn at bat; it's one of the strongest records in his catalog as a solo artist. ~ Mark Deming, All Music Guide
'Timerider: The Adventure of Lyle Swann'
Release Date 1/1/2000
Tracks 15
Label Rio
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'Live at the Britt Festival'
Release Date 1/1/1999
Tracks 19
Label Cooking Vinyl
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What The Critics Say
Recorded live at the Britt Festival in Jacksonville, OR, in 1991, this is Michael Nesmith at his best. A tight, almost entirely acoustic band performing a complete retrospective of his career, pre-Monkees, First National Band, and his solo years. The hits are all here, as well his classic songs (such as "Different Drum," "Joanne," "Rio," and "Papa Gene's Blues," to name a few). "Silver Moon" has never sounded better. Also, one can hear the fun the band is having (it is also evident on the video of the same name). Nesmith also provides witty and fascinating narrative between the songs, which only adds to the overall atmosphere and ambience of the recording. The recording itself is brilliant -- not over-produced and overdubs are not used. This is a well-recorded, honest live representation of the concert. On a sad note, longtime collaborator Red Rhodes passed away shortly after this concert, making this his last appearance with Nesmith. This CD is a nice tribute to his stunning pedal steel playing and his loyalty to a truly underrated and often misunderstood artist. ~ Aaron Badgley, All Music Guide
What The Critics Say
The Garden (1994) is Michael Nesmith's companion release to The Prison (1974). Both works are a departure from his more traditional releases, as the music is specifically designed to aurally complement an equally engaging written novella/short story -- included in the extended liner notes booklet. The idea is for consumers to commence reading Nesmith's prose while simultaneously listening to the recording. The concept may at first seem unusual, although the results are nothing short of profound. No special speed-reading skills are required. Rather, the most useful thing that a potential enthusiast can bring to the multimedia project is an open mind, sense of adventure, and respect for the infinite possibilities inherent within such an subtly demanding correlation . As Nesmith is quick to point out in his preface, The Garden is not a sequel in the strictest sense of the term -- meaning that there isn't a true continuation of the narrative which began in The Prison. Instead, they are correlated thematically and stylistically as both are presented in a linear and consecutive approach. Each of The Garden's seven chapters are also visually enhanced, if not somewhat inspired by a series of Claude Monet paintings. There is a much more subtle connection between the prose and these unqualified masterworks, yet he is able to relate them in a contextual sense. The music retains Nesmith's inimitable and signature sound, yet compared to his most concurrent effort, Tropical Campfires (1992), The Garden is exceedingly ethereal and more often than not instrumental. There are vocals that feature not only the artist, but also his children Jason -- who is likewise the central character in the short story -- Christian, and Jessica. The backing band also includes Christian Nesmith as well as most of the musicians the senior Nez had collaborated with on the aforementioned Tropical Campfires, most notably Desert Rose Band string man John Jorgenson (guitar/sax/bassoon/mandolin/oboe/bandurila/mandocello), Joe Chemay (bass), and John Hobbs (keyboards), as well as studio maven Sid Page (violin). ~ Lindsay Planer, All Music Guide
'Tropical Campfires'
Release Date 1/1/1992
Tracks 12
Label Pacific Arts
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What The Critics Say
Along with Lindsay Buckingham's Out of the Cradle, this album may be one of the finest and most underrated albums of the 1990s. Nesmith and his crack band run through 12 of the most delicious slices of Americana to be put on record in ages. The mood of the album is a cross between Bahamian, tropical, country, and other forms, all forging a unique synthesis of pop that might be very hard to match. Nesmith's songs and vocals are wholly original and personal, and tunes such as "I Am Not That" and "Laugh Kills Lonesome" bear the indefinable Nesmith stamp of humor with a compact and irresistible force. In addition to the excellent originals, Nesmith and his band cover two classic Cole Porter songs with excellent results, and both ("In the Still of The Night" and "Begin the Beguine") fit the menu perfectly. Absolutely delectable. ~ Matthew Greenwald, All Music Guide
What The Critics Say
This compilation of later solo material is often glossy and overreaching but still quite impressive. ~ Jeff Tamarkin, All Music Guide
'Infinite Rider on the Big Dogma'
Release Date 1/1/1979
Tracks 10
Label Pacific Arts
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What The Critics Say
As the '70s drew to a close, Michael Nesmith's music had still retained all of the intellect, intrinsic charm, and dry wit that had defined his tenure as a Monkee, as well as his country-rock-flavored solo material from earlier in the decade. The cryptically titled Infinite Rider on the Big Dogma was "Papa Nez"'s ninth post-Monkees solo studio effort in as many years. The Southwestern motif that practically defined Nesmith's First and Second National Band(s) remained throughout his late-'70s releases, although now the distinct pedal-steel guitars had been morphed into the more traditional rock & roll electric ones. The ten tracks cover a lot of ground, from the '50s sock-hop ballad "Magic" to a more modern approach to love songs on "Carioca" -- featuring one of Nesmith's finest unions of lyric to melody. These contrast well with the full-fledged heavy-rockers "Factions" and "Horserace," or the slightly Caribbean feel of the up-tempo "Flying." Not only does this variety of styles aptly demonstrate Nesmith's maturity as a composer, it is also a more accurate reflection of the versatility in his work. Concurrent to this album, Nesmith was also investing his time and money into a new venture that took the best part of the Monkees project -- the marriage of music to a visual image -- a step further with the creation of his own Pacific Arts Video company. It was here that Nesmith planted the seeds of what would become MTV -- as well as producing the first Grammy-winning musical home video -- Elephant Parts. The feature-length title contains videos for several tunes on this album -- including "Crusin'," "Magic," and "Flying." ~ Lindsay Planer, All Music Guide
What The Critics Say
The Prison (1974) is a brilliant multimedia concept marrying the personal and inner visual experience of Michael "Papa Nez" Nesmith's novella with the aural medium of an equally original soundtrack. Earliest pressings came housed in a 12" by 12" box set. The short story was presented in an LP-sized booklet with the music featured on the respective A and B sides of a single long-player. As opposed to much of his previous recordings, Nesmith's approach is decidedly more ethereal as the songs drift and dance one into the other with purpose and subjective intent. While Nez's prose as well as the songs' overall lyrical content are not inextricably linked, they aptly balance the respective chapters that correspond to each of the LP sides. The music is a definite departure from the straight-ahead country-rock leanings that Nesmith had exhibited with his First and Second National Bands. Even the copious contributions of David Kempton's ARP synthesizer and the metronome-esque Roland drum machine can't dismantle what are some of his most heartfelt and affectively enchanting melodies to date. "Hear Me Calling?" and "Dance Between the Raindrops" capture much of the Southwestern and Tex-Mex motifs that would continue to evolve on From a Radio Engine to a Photon Wing (1977) right through to his Tropical Campfires (1994) long-player. The sage advice and thematic moral of The Prison deal directly as well as metaphorically with achievement and existing through experience rather than fear. "Elusive Ragings" is pure existential Nez, with a decidedly more personal slant toward relationships and the otherwise inner turmoil of humanity. These concepts also directed The Garden (1994), which was a continuation of this story, although neither are mutually exclusive or necessary to the other. Notably, the 1990 CD reissue has much improved sound quality and the technological advancement allows for a seamless experience. The short story and the music are independently compelling when experienced individually. However, when practiced as complementary media, The Prison is nothing short of a quiet revolutionary occurrence. ~ Lindsay Planer, All Music Guide
