The Life and Career of Michael Nesmith—Singer, Songwriter, and Monkee

With today's death of Michael Nesmith, 78, only one Monkee remains—Micky Dolenz, to sing the songs and carry on the legend of the supergroup, as he remembers it. [Photo credit: Billboard Magazine, 1967 trade ad, in public domain via Wikipedia.]

Of course, if there were four Monkees, you can count on there being four stories (and more) of how this one-time legendary supergroup came together to entertain teenagers and the adults they morphed into for over 50 years in multiple variations of the core four band.

The “boys” that Screen Gems productions advertised for with a simple casting call produced an iconic pop rock group from four complete strangers who came together, some who knew how to play their instruments and sing fairly well, and others who needed some fine tuning to be solo artists. Together they were magic. [Photo credit: Billboard magazine, May 1967, public domain.]

The four guys who made fame and fortune at the guidance of music producer Don Kirshner were indeed The Monkees: Micky Dolenz, Michael Nesmith, Peter Tork, and British actor/singer Davy Jones. As writer Rich Podolsky shares in his book “Don Kirshner: The Man with the Golden Ear,” Kirshner “selected and executive-produced all of their songs.” Of the four, Mike Nesmith was the most business-minded. A native Texan, he was born in Houston and was raised in Dallas for most of his life. Legend was that his mother had been a brilliant creative who invented Liquid Paper (a godsend to anyone with an clerical job) and so he was exposed a normal business life at home during early influential years.

Nesmith’s business inclinations almost destroyed the group as soon as it had skyrocketed to national prominence. Behind the scenes, most TV audiences were not going to see the group in concert for a while. They had recorded their songs under Kirshner’s team including Snuff Garrett and per Podolsky, “Garrett found the foursome so difficult that after just one session he quit and flew to his mother’s home in Texas.” Keep in mind that Snuff Garrett was one of the most brilliant successful calm figures in the music business….he’d already had 24 Top 10 songs to his credit.

Jeff Barry was next on deck as producer—he found them entirely disagreeable to work with too. No one was paying any attention to this among their fan base because copies of “16 Magazine,” “Tiger Beat,” and “Teen Beat” had 50 pages devoted to “Which color does Micky like best?” and “What’s an ideal date with Mike Nesmith like? And few fans cared that recording sessions for Monkees’ records were closed to the public and window shades kept down purposefully so you couldn’t see the legion of studio music professionals playing on the tracks.

Yes, you’re hearing them sing on the albums (in many places), but even the first Monkee albums were enhanced by the additional of professional studio vocalists who could manage to sing “just like” The Monkees should be singing on the tracks. Yes, you are hearing Micky and Davy in many lines but the harmony blends on choruses were impacted for the better. Many fans become infuriated to consider this proven fact but the point was you enjoyed the albums and the music.

It’s just what they did with many groups back then—Gary Puckett’s “Union Gap,” Paul Revere & the Raiders (except Mark Lindsey), the entire Partridge Family (until they found out David Cassidy could sing), and Gary Lewis’s “Playboys” were all studio singers plus the headliners’ voices.

But the four fiery personalities, led most vocally by Mike Nesmith, were not satisfied with that arrangement. Don Kirshner for his part, offered them a major royalty check to make up for it, but the guys weren’t having it. Podolsky noted, “Nesmith said they wanted to play their own instruments and pick their own songs.” Execs reminded them to “read their contracts,” and Mike Nesmith “punched a hole in the wall,” as Podolsky wrote.

Meanwhile, America tuned in to NBC for their TV show, they lined up to buy 45s and 33s with The Monkees’ photos all over them, and the band caused collateral damage such that Don Kirshner was fired—after they’d had three million-selling singles and two 3-million selling albums each. That’s not the thank-you one would presume to receive—egos, pride, and attitude in the 1960s, having risen from total obscurity to national prominence.

Smartly, Mike Nesmith had taken the initiative and made sure his own compositions were the ‘B’ side of the hit records all over the radio. Rolling Stone reminds us that four of Mike’s compositions included “Mary, Mary,” “Circle Sky,” “Listen to the Band,” and “The Girl I Knew Somewhere,” all but one considered deep tracks except for the most devoted Monkee fans, who know the words to every song.

Devoted Buckinghams' fans also know that The Buckinghams knocked The Monkees off the number one spot on Billboard's charts where they'd been with "I'm a Believer" when their song, "Kind of a Drag" reached the top spot.

Nesmith worked steadily in the music business after The Monkees. Back in the early 1970s, Carl Giammarese remembers the days when he and Dennis Tufano (as the duo Tufano & Giammarese) opened for Mike Nesmith at a Chicago club called Orphans, located at 2462 N. Lincoln. Orphan’s was a premiere folk club for over 20 years. Giammarese remembers Nesmith as being a sort of cerebral, seriously focused guy, which tracks with his career longevity and success, always concentrating on the music. [Photo credit for Orphan's building: dnainfo.com]

The four musicians were far from a band of brothers, united only when fighting the corporate structure. Reunion tours would show that Mike Nesmith was the only one who never cared to tour with Micky, Davy, and Peter. In 1986, David Fishoff created The Monkees’ 20th anniversary tour, adding Gary Puckett & The Union Gap, Herman’s Hermits, and The Grass Roots, and quoting the LA Times’ review, played “to a crowd of more than 11,000 screaming fans that spanned two generations.” Still, no Nesmith.

However, for a concert on September 7, 1986, Nesmith joined the others at The Greek Theatre:

From May 12, 2011 to July 23, 2011, the 45th Anniversary tour included Dolenz, Tork, and Jones. Forty-six successful shows spanned Europe and North America; talk about staying power. [Photo source: Ticket Sarasota.] Meanwhile Mike Nesmith collected more royalties than the others, whether he was on the road or not. It is why indie artists have learned to own their own publishing rights these days. They learned from those who came before them.

And, it was possibly the final concert appearance for Davy Jones in the 2012 Concerts at Sea Cruise, on board with The Buckinghams, Paul Revere & the Raiders, and Charlie Thomas’ Coasters. During the show I attended, Davy said boldly, yet wistfully, as he sang “Mary, Mary” that it was a song written by Mike Nesmith, the “smart one of us” in the group. Jones passed away unexpectedly the next month.

It could be that Nesmith just preferred not being where Davy Jones was, because he agreed to tour almost immediately after, with Micky Dolenz and Peter Tork.

Nesmith may not be the originator of music videos or MTV, but he was certainly among the pioneers of the genre. The Monkees TV shows were inspirational for that, kooky antics while performing hits, but in 1977, a video called “Rio,” Nesmith’s solo album furnished his label’s request for “a nice promotional clip of Nesmith singing along to the music.”

In 2018, Nesmith (note billing) and Dolenz toured “as the Mike & Micky Show). Peter Tork died in 2019. Mike Nesmith never stopped working.

Four years ago, “he created the music video for Cruisin’ as part of the (1981) Grammy Award winning (for video) “Elephant Parts.” There are over 10,800 subscribers to Michael Nesmith’s Videoranch on YouTube.

Again, he may in some places be credited for an originator of MTV, several people seized early opportunities to put music and film together to promote record sales (today called digital downloads). A story worth reading is in Sean O’Neal’s article in Texas Monthly: “On MTV’s Fortieth Anniversary, Don’t Forget to Thank Michael Nesmith.” [Photo credit: Texas Monthly.]

A final musical legacy that Mike Nesmith leaves include son Christian Nesmith and his wife and music partner, Circe Link. A fun video of two Nesmiths and a Link is here:

Son Jonathan Nesmith is both musician and artist. Check out his Facebook page here.

However you perceive Mike Nesmith, for the majority of Baby Boomers, only wistful memories of our youth continue to flash by as brightly as a neon sign burning a hole through the night. Rather than any Monkees’ songs, a personal favorite of Nesmith’s compositions was one he wrote in 1964, “A Different Drum,” as recorded by the inimitable Linda Ronstadt. And to the one who remains, Micky Dolenz, thanks for keeping the music going as long as you have thus far.

“Recording Academy” Overlooks Peter Tork’s Passing: They Missed the Boat Again

As one of probably thousands of media members on the distribution list for press releases for “all things Grammy,” my inbox has been waiting for about twelve hours now. I’ve been wondering whether “News from the Recording Academy” would land, to let me know what most of America already knows, that a Baby Boomer favorite musician, Peter Tork, passed away today at the age of 77. So far, I’ve received two communiques from that august body known simply as the “Recording Academy,” neither of which referenced Tork.

The first missive arrived at 5:02 CST, “Recording Academy™ Statement RE: Fred Foster. Everyone knows Fred, right? Fred was a good fellow alright, and he had a 60-year career as a “famed producer, songwriter, and music business executive” who is credited with the “...launch of many iconic artists into the spotlight, including Kris Kristofferson, Dolly Parton, and Roy Orbison.” The release continues: “Fred will be deeply missed by many, but remembered as a pioneer within our industry. Our thoughts are with his loved ones during this difficult time.” Signed by (good ol’) Neil Portnow, President/CEO Recording Academy.

My thoughts at 5:02pm ran something akin to “Hey Neil, Peter Tork died today. Anyone run down the hall to tell you?” I must confess I pictured the former head of Casablanca Records with a cartoon balloon over his head with the caption: “Unless someone brings me something to sign, I don’t have anything left to do today.” Again, I’m miffed, and my emotions could possibly be guiding my dispirited thoughts.

But wait, there’s more! At 6:18 pm CST, there was a new e-mail in my inbox from the “Recording Academy” alright, but this time it was a “Recording Academy™ Statement RE: Dominick Argento.”

Naturally, he’s an important figure in classical music with unquestioned contributions to the music industry—no disrespect there. However, I learned only today that “Dominick was a GRAMMY® and Pulitzer Prize-winning composer recognized for creating musical masterpieces inspired by the literary works of renowned writers such as Charles Dickens, Edgar Allen Poe, and Virginia Woolf…In 2003 he was honored with the Best Classical Contemporary Composition GRAMMY for ‘Argento: Casa Guidi at the 46th Annual GRAMMY Awards®.”

Here’s the thing. Fred Foster and Dominick Argento are most deserving of recognition and remembrance in their fields, unquestionably so. But the point is that Peter Tork also deserves a statement from the Recording Academy®.

To be sure, the individuals in the made-by-TV-for-Baby Boomers group, The Monkees, may arguably not top your list of favorite singers, musicians, and none of them were (at that point, save Mike Nesmith) considered composers, at least initially. They were actors who brought personalities on paper to real-life pop music fun, the remembrance of which has endured for six decades now. The popularity of The Monkees, however, and the death of Peter Tork has spread across social media today. The notice of his passing made a real impact. The Monkees’ vocals were unique at the least and considered the very best, especially if you were an impressionable teenage girl who read “Tiger Beat,” “16 Magazine” and similar publications among those that advertised Dippity Do, Noxema, and Breck and Prell shampoos. Let’s face it, in the summers of love that were the 1960s, the eyes heard what they wanted to hear.

The Monkees, created in the clever mind of Don Kirshner, were manufactured to meet the need that Kirshner was visionary enough to see—four “zany” guys who could capture the hearts of teenage girls sufficient for them to buy their albums. Estimates are that The Monkees sold over 75,000,000 records. Their first label, of course, was Colgems, because of Don Kirshner’s relationship as director of Screen Gems’ Music Division as he’d sold his Aldon Music to Screen Gems-Columbia Music. (Those interested in the definitive book on Don Kirshner should check out Rich Podolsky’s “The Man with the Golden Ear.”)

And, cards on the table, those in the know realize exactly who it was in the studios and on their instruments, and whose voices were augmented now and again, same as virtually 90% of every other 1960s pop band in the country—manufactured for consumption. Also, as virtually everyone knows, without The Wrecking Crew, virtually every single album pressed in California for at least a decade of pop-rock would not be the hitmakers they were for the performers whose photos were all over the album covers and teen magazines.

To be fair, the musicians portraying The Monkees on TV, without much time to learn their instruments and practice together certainly did a terrific job of coming together sufficiently to perform their hits for audiences’ delight and 100% satisfaction. You could estimate that millions of approving fans who respect and regard Peter Tork have seen him over the decades, whether in the first go-round of The Monkees, or his own band, Shoe Suede Blues, or since 2012, the various configurations of Dolenz-Nesmith-Tork as whomever could work their schedules around appearing together for tours of varying lengths. Micky Dolenz, of course, was a popular regular in the “Happy Together” reunion tours, currently enjoying their 10th anniversary season.

Those at the “Recording Academy” who overlook the contribution made by Peter Tork by not noting his passing today along with two others who died have missed the boat…again.

The most recent example of missing the boat before this was their failure to include the 2016 passing of songwriter/musician/recording artist, Rob Meurer in their 2017 ‘In Memoriam’ segment, in print and on the GRAMMY® telecast. It’s like the lyricist to cowrite nearly 50 songs with Christopher Cross wasn’t important enough. I’ve stated my opinion on that topic before. But here today, the “Recording Academy” has done it again. As we say in Texas, “Y’all goofed up.”

Anyone who’s slogged through the GRAMMY® telecast the past few years has been dragged through the sea of banality and boredom that comes with pyrotechnics, yelling, and a few performers pretending they deserve to be on stage, attempting to add to the case for why various musicians are deserving of adulation, even if they’re 100% autotune and Brylcreem. Your mileage may vary. Some acts (can’t bring myself to call them musicians) you simply cannot unsee.

One might argue that The Monkees were not (originally) accomplished musicians, though Peter Tork played keyboard, guitar and banjo, but very quickly they became a genuine musical group. Their music is still in demand in concert today. So are the performances of their contemporaries, the pop-rock veterans. For example, the latest Concerts at Sea cruise currently sailing has The Buckinghams, Paul Revere’s Raiders, Joey Molland’s Badfinger, 1910 Fruitgum Company, Gary Lewis and the Playboys, Peter Rivera (original singer/Rare Earth), and Danny & the Juniors.

Their genre is still wildly popular as the same group that includes The Monkees. The upcoming Flower Power Cruise is similarly packed with 60s acts who have lodged themselves well into the hearts and minds of Baby Boomers who can afford a week or two away from the office to have the opportunity to meet favorite musicians from their teenage years. It’s not just floating concerts—these artists still fill arenas, theatres, state fairs, and perform individually and in package shows.

Of Tork’s passing, fellow Monkee, Micky Dolenz (@TheMickyDolenz1), said, “There are no words right now…heart broken over the loss of my Monkee brother, Peter Tork.” Rolling Stone (@RollingStone) magazine tweeted Monkee Michael Nesmith’s words, ”I can only pray his songs reach the heights that can lift us and that our childhood lives forever—that special sparkle that was the Monkees.” Iconic songwriter Brian Wilson (@BrianWilsonLife) tweeted, “There are no words right now…heart broken over the loss of my Monkee brother, Peter Tork. #paperwork #Themonkees.”

Actor Mark Hamill (@HamillHimself) tweeted, “So sorry to hear we lost #PeterTork. The Monkees never got the respect they deserved. Their music catalogue remains one of the richest in Pop History. Thanks for being such a big part of my childhood & beyond, Pete. #RIPPeterTork”.

It would be my hope that, given the number of people who’ve posted their photos of, or with, Peter Tork on Facebook today, they’d all appreciate the “Recording Academy” doing the decent thing. Well, I guess, if Neil has a few spare minutes tomorrow, he can do the right thing. I'll be right here watching my inbox.