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Well remembered for his Monkees jolly japes, he loved his Gretsch 12-stringers...

https://www.monkeeslivealmanac.com/gear.html

Bill

I didn't rate the 'Monkees' but loved Nesmith's Rio- a classic if there ever was one. Ray Moore had a habit of playing it around 6.00am in the early morning...

RIP Mr Nesmith.

I always enjoyed the opening riff to "Pleasant Valley Sunday", but as session players were often involved, I am not sure if it was Mr Nesmith playing on the original recording?

PS I believe Carol King wrote the song - IMHO her live version on Youtube was, and is, FAB.

Kindest regards,
Christopher

Nothing to do with his music, but his mother Betty Nesmith invented in 1956 (and probably patented)
Correction Fluid!!!
Most typists I remember in offices used gallons of the stuff prior to computer text correction!!

Mike

anniv 63 wrote:Nothing to do with his music, but his mother Betty Nesmith invented in 1956 (and probably patented)
Correction Fluid!!!
Most typists I remember in offices used gallons of the stuff prior to computer text correction!!

Mike

That's a very interesting factoid!

Mike Nesmith reportedly did play the Pleasant Valley Sunday electric guitar riff. He was the driving force behind the Monkees gaining control over their music and recordings. He nearly punched out Don Kirshner, their musical director in the beginning, who wanted to continue the status quo of outside songwriters and session musicians.

Nesmith was a very talented songwriter. He wrote Different Drum - Linda Ronstadt's break out song. After the Monkees, Nesmith formed the First National Band, one of the first country rock bands. Their recording of Joanne was a minor hit in the US and a very well crafted recording, written and sung by Mike.

He is also credited with creating one of the first TV programs to feature music videos. And he was an author. Highly respected by many in the entertainment industry here in the US. He had quite an amazing career!

Phrygian wrote:He nearly punched out Don Kirshner, their musical director in the beginning, who wanted to continue the status quo of outside songwriters and session musicians.

Kirshner and Al Nevins were the power brokers of the Brill Building songwriting and production 'factory' in the late 50s-early 60s.

Bill