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In the photograph below, The Monkees pose with Don Kirshner, Tommy Boyce & Bobby Hart, and Lester Sill during filming of the first season of The Monkees television series: 
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 Magnetic South was the first solo album released by Michael Nesmith after his departure from The Monkees. Arriving in June 1970, the LP featured The First National Band: Red Rhodes (pedal steel), John Ware (drums), and John London (bass). It was the first in a trilogy of albums by the group, containing brand new material along with many songs that were recorded during the Monkees era but ultimately passed over for release on Monkees albums. Tracks like "Calico Girlfriend," "Nine Times Blue," "Little Red Rider," and "Hollywood" were re-recorded and reinterpreted during sessions for Magnetic South. The first single, "Little Red Rider," failed to chart, but "Joanne" became a hit, peaking at #21 on the Billboard Hot 100. Despite this success, Magnetic South would only reach #143 on the Billboard Top LPs chart. Loose Salute followed in late 1970, and the trilogy was completed with Nevada Fighter in 1971.  (Click to enlarge) Note the dedications made by Nez on the back cover: to his fellow Monkees, Lester Sill, Bert Schneider, Jack Nicholson, and Mimi. The "Tomorrow Man" is thought to be a sly reference to Don Kirshner, who was producing a group named Toomorrow at the time (which featured Olivia Newton-John as one of its members).
Last year, Monkees fans voted Magnetic South as their favorite Nesmith solo album.
As always, thanks a lot to Ben Belmares for providing the front and back cover images, along with the labels, that are seen above! This article concerning the power struggle between The Monkees and Don Kirshner most likely comes from a trade magazine (probably Billboard) in early 1967.  Longtime record executive Lester Sill was involved with the Monkees project from the very start. In the early days, Sill was the music coordinator for the group, overseeing the recording process under the helm of Don Kirshner. When Kirshner was sacked in early 1967, Sill took over as musical supervisor. He later became president of Colgems Records.  (From the March 1969 issue of Monkees Monthly)  (From the April 1968 issue of Flip magazine)  Check out these two letters published in Davy's 1987 autobiography, They Made a Monkee Out of Me. The first is from Bert Schneider to Lester Sill and shows Schneider's concerns about royalties The Monkees will receive from sales of their records (along with his concerns about then recent recording sessions conducted by Boyce & Hart - perhaps referencing material like "Kicking Stones" and "Ladies Aid Society"???). The second letter is addressed to Ward Sylvester (sender unknown) and concerns the 'controversy' over the title of the song "Randy Scouse Git," which was being prepped for single release in England in 1967.  (Click to enlarge) Leter Sill was the original music coordinator for The Monkees, overseeing the recording process under the helm of Don Kirshner. When Kirshner was sacked in early 1967, Sill took over as musical supervisor. He later became president of Colgems Records.
  Longtime record executive Lester Sill was involved with the Monkees project from the very start. In the early days, Sill was the music coordinator for the group, overseeing the recording process under the helm of Don Kirshner. When Kirshner was sacked in early 1967, Sill took over as musical supervisor. He later became president of Colgems Records. In this frank two part interview that originally aired in July and August 1988 on the Headquarters radio show, Sill discusses many topics, including how he got started in the music business, the Beverly Hills Hotel incident, The Monkees as musicians, his impressions of Michael, Peter's recording techniques for "Lady's Baby," traveling and recording during the 1967 summer tour, the Head soundtrack mylar cover, Bob Rafelson and Bert Schneider, his regret on releasing "D.W. Washburn" as a single in 1968, and much more. (Both episodes also contain some unique audio, too, including "The Girl I Knew Somewhere" from the Mobile, Alabama '67 bootleg, Davy performing in Japan in the early '80s, live material from the 1987 US tour, etc.)  Don Kirshner, Michael Nesmith, and Lester Sill in the studio in 1966  Lester Sill is on the right (From the December 27, 1966 issue of Look) This photo was for sale on eBay a while back, and was advertised as being taken in a New York City hotel.  Head premiered in New York City on November 6, 1968 and The Monkees stayed at the Hilton Hotel. I'm wondering if the photo above comes from this time period. Andrew Sandoval writes the following in his book detailing the events of November 6, 1968: "The Monkees travel to New York City to attend the premiere of their movie Head, which is held not in a cinema but rather at the Columbia Pictures studio on West 54th Street. A party is thrown afterwards for guests including Janis Ian, Andy Warhol, Boyce & Hart, Carole Bayer, Lester Sill, Bert Schneider, Bob Rafelson, Peter Fonda, Peter's brother Nick Thorkelson and his grandma. A discotheque is set up and a room that includes small television sets playing portions of the movie. (The group stay at the Hilton hotel.)"
 Micky speaks about his musical influences, songwriting, Circus Boy, and looks back at his song "Mommy and Daddy" in a new interview with Examiner.com. Note that Micky says he played drums (and piano) on "Mommy and Daddy," apparently allowing us to add this song to the list of tracks where Micky was the drummer in the studio after the Headquarters sessions (the others being "The Door Into Summer" and "Cuddly Toy"). Fans have long speculated that Micky drummed on "Mommy and Daddy" as it sounds like his playing style, and Andrew Sandoval's book credits Micky as "possibly" playing drums on it (most likely because the session logs were incomplete or missing). It will be interesting to see if Andrew has updated the personnel listing for "Mommy and Daddy" in the upcoming deluxe edition of The Monkees Present. I love that song. I wrote it on my mom’s old piano at my little house up in Laurel Canyon. I don’t remember what exactly inspired me. I am part Native American Indian on my mom’s side. I was supporting their cause in the late ‘60s, which might have had something to do with it. It’s kind of a musical cousin to “Randy Scouse Git” in terms of the protest angle. Besides my vocals, I played drums and piano [August 1968] on the song and intended to include it on Instant Replay, our first album released after Peter left the band. However, Screen Gems music coordinator Lester Sill deemed my lyrics (e.g. “Ask your mommy and daddy who really killed J.F.K.?... Ask your mommy if she really gets off on all her pills”) too controversial for our teenage audience. These days it’s not so shocking. I’m eternally grateful that Mike encouraged me not to abandon the song, so I eventually rewrote it. The record label decided that it was acceptable, and it was finally released on our penultimate Colgems album, The Monkees Present [October 1969] in addition to being the B-side of Mike’s “Good Clean Fun.” The original, unedited version appeared decades later on the reissue of Monkees Present [Note: a lavish three-CD deluxe set chronicling the album sessions is slated for mid-August]. I’ve sang it a few times in concert, but that would have been a long, long time ago. I haven’t performed it recently. But never say never [laughs]. I always thought “Mommy and Daddy” was one of my best. -Micky Dolenz |
Remembering
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