ReviewFrom the opening track "Calico Girlfriend", it hits home that this is not Monkees music. It has a very loose sound, almost as if it may have been recorded in a hurry. What is very surprising is that Nesmith relinquishes production duties to Felton Jarvis, a veteran producer who had worked with many famous artists including Elvis Presley. In his entire subsequent career he always did his own production but perhaps Mike wanted to get an authentic Nashville sound on his first post Monkees release. My first reaction to this LP in 1970 was that it was a disappointment. There was no "Tapioca Tundra" or "Listen To The Band" and it had a very pronounced country/western sound. I don’t think I warmed up to it until after his next two LP’s were released. For years I thought it was the weakest of this trilogy but now I’m not so sure. Of the three, Magnetic South seems to have harder country sound. A few songs here like "Nine Times Blue" and "The Crippled Lion" had actually been recorded with the Monkees but never released. The Magnetic South versions are all newly recorded in 1970. Nesmith had been recording in Nashville for at least two years prior to this with local musicians. Some of these recordings had made it onto several Monkees' LP's even though there was literally no output from Mickey, Davy & Peter. He assembled a band in early 1970 called The First National Band which was centered around steel guitar virtuoso O.J. "Red" Rhodes, a veteran of close to thirty years already in 1970. Other members included John London on bass guitar who had played with The Lewis & Clark Expedition, Johnny Ware on drums, Earl P. Ball on side piano & Nesmith on guitar & vocals. The only clue that this was not a truly “country” LP was Nesmith’s lyrics which tend to be incredibly more literate than most Nashville writers of the day.
This LP would be a lot more obscure than it is but for the fact that it produced a Top Twenty hit in “Joanne”, a glorious little tune that today seems to sound much more country than it used to. Other tracks like “The Keys To The Car”, “Little Red Rider” and the rocking “Mama Nantucket” sound like they wouldn’t be out of place on a George Jones record. Then there’s “Hollywood” a five minute blend of country and psychedelia which seems to indicate Nesmith’s attitude in regard to his experiences as a teen idol with his former band. The last two tracks are covers, the country standard “The One Rose (That’s Left In My Heart)” and the 1930 classic “Beyond The Blue Horizon” which alone covers the price of admission with its sound effects, humor and ambience.
I keep coming back to this record and I’m always entertained.