Discussion in 'Music Corner' started by AnalogueAndy, Mar 1, 2017.
Before I'd send Nez a copy of the Sandoval book, I still need to pick one up for myself!
Why should Lennon and McCartney be forced to forever live up to the mass media image that they got swept up in as young men through the storm of Beatlemania? Why should they have to conform to the wildly unrealistic expectations of rabid fans for the rest of their lives when they would rather be pursuing different projects that appealed to them? Hadn't they earned that right by then? Didn't they give us enough? Sure, sometimes they missed the mark in their solo careers, they were flawed human beings, not infallible rock gods. I imagine that it was the unrealistic expectations on the part of fans like you that soured Lennon so much to the whole Beatles phenomenon. It was probably a similar kind of thing for Nesmith. I can understand not really loving the direction he chose as a solo artist, but if you truly respect them, you have to accept their choices.
any mentions of coming to the UK to produce L.A.Turnaround for Bert Jansch in the book ?
Very enjoyable listening experience. Have played it three times through start to finish so far.
Will dive into the book this weekend, any early thoughts on the book?
I'm enjoying the book, but not as much as others. If you've read his postings on facebook, you'll know what to expect. Parts of the book I've really enjoyed. Others parts, less so. It's not a straightforward biography, but it is roughly chronological. Nez has been described as a "control freak" and he spends a lot of time trying to demonstrate that's not necessarily true. I find it curious that he is so eloquent in describing how clueless/lucky/nasty he's been in his life. He rarely dishes dirt, which I appreciate. I find it worth reading, but a struggle at times.
I don't believe so. He's weirdly specific in what works he mentions, even including his own - I don't recall, for example, "Tropical Campfires" being brought up.
As noted, anyone who's read his lengthy FB posts has an idea of what they're in for. It's a challenging read and at times my mind wandered, especially when things veered to matters spiritual and technical that are largely beyond my neanderthal grasp.
Only a control freak would do that. Have you heard the Head commentary? He talks about how he honestly didn't know what was going on during the movie. He's rewriting his own history to suit how he has changed how he wants people to see him. That's what happens when a control freak gets older. He sounds like he would deny saying his own words from the past if you put them in front of him.
Well come on, then - start sharing snippets from the book! What do you expect the rest of us to do - buy a copy????
Halfway through. I'm enjoying it immensely. Thoughtful, straightforward about his regrets, non-linear.
I finished the book today. I found that I enjoyed it less as it went along. I'm really hoping that Nez will someday discuss his solo music career in more detail in a subsequent book. By barely discussing his musical motivations, I got the impression from the book that his music career during and after The Monkees means little to him. Since his career in music is presumably why most people would buy the book, that perspective seems unsatisfying. To me at least. I do enjoy his philosophical musings, but I'd prefer less of that and more about what made him famous. Yes, his interactions with M,D, & P after 1970 were a small part of his life, but they are a big part of why I'm interested in the first place. He doesn't have to answer to me though, so this will probably end up an unrequited desire. (I tried to use some big and fancy words in this post. Just like papa Nez!)
As the lattice of the narrative congealed into a prismatic paradigm, I began to refract the quintessence through the foment of translucent undulation, notwithstanding the panoply of the vicissitudes, of course.
But even without going into a whole "and then Peter overdubbed the piano part" thing, which I knew we wouldn't get, I really would have liked a little more focus on the music. I would have figured that the songs on the accompanying CD were discussed in the book, but that really wasn't the case.
I received the vinyl of this title today.
Let's start with the bad: Bare bones packaging. I was hoping for a gatefold or maybe something other than a plain white paper liner. Nope. Only 9 songs, but I knew that when I bought it. Each side is about 16 minutes. The price. Nearly $60 shipped.
The good: It sounds quite good with a quality pressing. Many of the solo songs sound as good, probably better, than I remember. As others have mentioned, the FNB tracks seem improved a bit somehow. I kind of wish he'd skipped the Monkees songs since I have those 20 times already, but it is fun to hear solo & Monkees tunes on the same record. He signed it. Actually personalized it with a pithy phrase I regret asking for, but only a bit. The high price may make this quite collectible. It's nice to have a song from Rays on vinyl. I really like how "Rays" sounds.
Did I need this? No, but I'm glad I have it.
That's a great album title, right there!
I think it's clear that Nez made a conscious decision to keep his interactions with the other Monkees and his children for the most part off the table in his story. To be fair, they rarely came up in his FB postings - and even the Davy eulogy (of sorts) was deleted eventually.
I'll pick the book up next week. I was listening to a sample of him reading from the book on Amazon and had to smile because he sounded just the same as he did all those years ago. A little older of course but still the same.
I believe that these songs were both recorded around the time of The Byrds initial World Pacific sessions (the Preflyte tracks).
Nez and The Byrds crew (working independently) were both pioneering the electric folk-rock sound...although few heard any
0f these tracks at the time.
One thing that I think was a bit of a missed opportunity was a little discussion on "Justus", not as an album but rather as what happens when a "band" (to use the book's definition of such, where a band can be four guys with instruments, the people making "Repo Man", or the developers of music television) reconvenes with the same participants, but after the passage of time. I think it would have been interesting to read Nesmith's take on how the chemistry had changed, or how it was similar. Of course, that whole experience seemed to go rotten and that could have steered the book in a more negative direction, where discussion of the others would have been inevitable and probably not very rosy.
Enjoying the book so far, but Nez does have a tendency to bounce around a bit. Overall enjoyable.
i like the fact that he is very open about his own shortcomings, but doesn't complain about other people. reading between the lines, I suspect that's why he doesn't talk about the other Monkees much. I have noticed in interviews with him that he's been pretty generous in lauding their musical abilities.
I agree, but I also believe he's aware that there's not much to be gained at this point airing any dirty laundry if there is any. I guess I'm hoping it's not a case (in the book) of "if you can't say anything nice (about his fellow Monkees), don't say anything at all." I would like to hear all about the reunions and aborted reunions. By saying nothing, I get the impression there's nothing good to say. I hope I'm wrong . . . I often am.
I suspect his intent is to the contrary. Over the last few years - via the concert appearances, conventions, and meet & greets - it has become enormously clear to him that multitudes hold the Monkees and their collective work very near and dear to them. I think this generosity of spirit - or willingness to shoulder the blame for any misfires in the enterprise - is what guided his silence on certain aspects of the project. He wants people to enjoy the Monkees on their terms.
I finished my library copy the other day. When done I realize not one word said about Justus, but something about Headquarters being the only time the Monkees were actually playing together.
Justus is important to this middle aged fan, just like side 3 of The Wall is for younger people.
Exact same heartache as Bruce Springsteen not mentioning my beloved Lucky Town and Human Touch in his autobiography.
Maybe Nez should write a quickie book-- maybe download only-- with stories or thoughts on all his albums-- including the monkees. Just self-publish it.
Interesting to think that he is a featured Monkee on 10 of the band's 12 albums. That's more than Peter.
I do treasure how Michael brings up Jimi Hendrix and Bo Diddley a lot.
Like for me, it's Elton John in the 70s. I try and sell people in real life on him, I even gave a friend the live album Here and There. When an artist gets in your soul you want to testify.
Separate names with a comma.