A big thank you to Richard Flynn of All Things Music Plus+ on Facebook for sharing this rare advertisement promoting The Monkees' third single, "A Little Bit Me, A Little Bit You"/"The Girl I Knew Somewhere," originally published in the March 18, 1967 issue of Record World.
The July 15, 1967 issue of music industry trade magazine Cash Box featured an ad for The Monkees' double-sided smash single, "Pleasant Valley Sunday"/"Words":
Thanks a lot to Yan Helgos Folkerts for sharing this review of The Monkees' seventh LP, Instant Replay, that was originally published in the February 15, 1969 issue of Cash Box.
Here's an outtake from the 1969 photo session that produced the Cash Box ad seen above. It was first published in the December 2000 issue of Monkee Business Fanzine. Monkees stand-ins and associates Ric Klein (left) and David Pearl (right) lend assistance.
Rhino Records executive John Hughes just posted a photo on Facebook of an ad that can be found in this week's issue of Billboard. Is a Grammy nomination in The Monkees' future?
The Wichita Train Whistle Sings was the first solo album by Michael Nesmith, recorded during weekend sessions on November 18-19, 1967 at RCA Hollywood while he was still a member of The Monkees. The album comprises instrumentals of Nesmith originals that were performed by a full orchestra, including members of the Wrecking Crew, Los Angeles's top session musicians. Shorty Rogers, who scored "Daydream Believer" and other tracks for The Monkees, handled the arrangements, and Hank Cicalo, engineer on numerous Monkees recordings, was also on hand. Michael acted as producer and co-arranger. Here's the track listing of the LP:
Several of the songs had been previously aired on Monkees albums or would be heard on subsequent releases, while two others ("Carlisle Wheeling" and "Nine Times Blue") remained unreleased in their original form until Nesmith re-recorded them with the First National Band (with the Monkees-era versions remaining in the vaults until the Missing Links series in the late 1980s).
Michael spoke about the Wichita sessions with Keith Altham of New Musical Express. "I've been writing for a year and a half and I did not want to be blinded by dollar signs or tied down to what is commercially acceptable. I wanted to find something new. This is it. It cost me approximately $50,000 to do it."
True to his word, Nez spared no expense. Not only did he hire the best musicians (who would be paid double time due to the weekend booking), Michael had the whole event catered by Chasen's, a top tier restaurant in Los Angeles. Over 50 musicians contributed to the Wichita project, including Red Rhodes (pedal steel), Hal Blaine and Earl Palmer (drums), Larry Knechtel (piano), Tommy Tedesco (guitar), and Doug Dillard (banjo). "Earl Palmer and I were on cloud nine, because it was a drummer's dream to be able to kick this gigantic band in the butt," wrote Blaine in his 1990 autobiography. "The town was buzzing with excitement about the session. Shorty Rogers was doing the arrangements...It sounded like World War III. In fact, Nesmith was going to call it that, but changed it to The Pacific Ocean and ultimately called it The Wichita Train Whistle."
The weekend recording fest was also famous for an incident that occurred at the end of the sessions. The lead sheet for the final track attempted ("Don't Call On Me") included an instruction that called for the players to improvise a cacophony of sound. As the track concluded, Tommy Tedesco took off his Fender guitar (which was still plugged into the amplifier), and threw it high into the air. The guitar hit the floor and smashed into pieces. "He had the pieces mounted and framed," Blaine later recalled. Members of the Wrecking Crew reminisced about that infamous moment in a recent documentary centered around L.A.'s top players:
Hal Blaine had nothing but fond memories of the Wichita sessions. "The Nesmith dates came off without a hitch. It was the greatest party I've ever been invited to. Two days of Chasen's food, and more music than you could expect in a lifetime. Gene Cipriano, the saxophonist/oboist, got his reeds jammed with caviar. We were like kids in a candy store."
The Wichita Train Whistle Sings was released in 1968 by Dot Records. The final issue of Monkee Spectacular covered Michael's first solo endeavor:
A party was held to mark the occasion. Nez cut a cake in the likeness of the LP's front cover:
An advertisement for The Wichita Train Whistle Sings appeared in the June 8, 1968 issue of Billboard:
The UK publication Monkees Monthly noted positive reviews for Wichita, including one from the Los Angeles Times:
Music journalist Leonard Feather wondered if the sounds heard on The Wichita Train Whistle Sings were a preview of what contemporary popular music would be like in the early 1970s:
"Don't Cry Now" was selected as the LP's first and only single, backed with "Tapioca Tundra." The A-side is noteworthy as it never appeared on a Monkees album or any of Nesmith's later solo efforts, nor was it ever given a vocal treatment (though Michael has confirmed that lyrics existed for the song).
The Wichita Train Whistle Sings peaked at #144 on the Billboard charts. Michael talked frankly about the reaction to the album with Flip in its December 1968 issue:
FLIP: From what we've seen, everyone liked Wichita Train Whistle, but few bought it, despite the fact that your being a Monkee is supposed to be a big selling factor and the fact that it was a good album. Any idea what happened?
Nesmith: You overestimate the selling power of The Monkees. They don't sell.
FLIP: The Monkees records sell. Every album they've put out has been a million seller.
Nesmith: Yeah, but that's the Monkees records, and they don't sell that much now. Now that we're off television they're not selling worth a darn, not anymore. The album (Wichita Train Whistle) sold very well actually, where it was played. In Los Angeles alone it sold over 22,000 albums. And if the rest of the country'd played it, it would have been alright, but the rest of the country didn't.
FLIP: Any idea why?
Nesmith: There were a lot of managerial problems. It wasn't promoted right, it wasn't distributed right, and couple that with the fact that being a Monkee has with it the stigma of being a bull artist, and nobody gave a damn. Nobody cares what we play or say or think or anything, 'cause they think, "well, you're just a bunch of plastic weirdos," except the kids, you know, and the kids aren't old enough to do anything yet, but when they're old enough then you'll see something.
FLIP: You'd think this album would have done away with a lot of that and that a lot of people would have realized that at least you are a legitimate musician.
Nesmith: Yeah, but a lot of people didn't, a lot of people didn't want to mess with it, just refused to accept it, just because of the fact I am a Monkee.
FLIP: You think that hurt more than it helped?
Nesmith: Yeah, I'm convinced of it.
FLIP: Any plans to do it again?
Nesmith: Oh yeah, you know we made some good money off the album, so we'll probably do another one, probably just one more though, no more.
FLIP: Will you collaborate with Shorty Rogers again?
Nesmith: Yeah, I'm sure I'll go with Shorty again.
Over time, an urban legend developed (mentioned by Wichita musician and renowned drummer Hal Blaine in his autobiography) that Michael recorded The Wichita Train Whistle Sings as a tax write-off, a notion that Nez has disavowed over the years. "I made the record to make the record," he told Andrew Sandoval in the mid-2000s. Listen below to the Wichita version of "Nine Times Blue."
Lindsay Planer of AllMusic broke down the sounds of Wichita in a part of her assessment of the album:
Immediately evident is the big-band style in which these sides were physically documented -- incorporating an open microphone placement which is used when recording larger orchestration. The resulting effect lends a natural-sounding warmth that closely miked and/or amplified techniques often lack. The music itself reflects Nesmith's left-of-center attitude and often unpredictable sense of humor. For instance, the full-bodied and otherwise bombastic arrangement of "Nine Times Blue" is speared right through the middle with a Doug Dillard banjo solo. He throttles up the tempo as the full orchestra breaks into a double-time mambo for the second half of the song. Other reinventions include the once psychedelic "Tapioca Tundra" into a freewheeling escapade replete with a soaring string section that remains amazingly agile throughout. The Wichita Train Whistle Sings project also allowed Nesmith the opportunity to record a few songs that he would revisit during his solo career, such as the pseudonym-esque "Carlisle Wheeling." The strict, if not somewhat lumbering, 4/4 time signature performed here is the antithesis of the easy country-rock sound most synonymous with the tune. He would eventually issue it under the name "Conversations" on his second solo album, Loose Salute. Also worthy of note is "Don't Cry Now," as it is the only track on the album to have never been issued by either The Monkees or Nesmith. Wichita Train Whistle Sings is much more of a timepiece or cultural artifact than an album designed to express artistic achievement or in any way reestablish Nesmith's post-Monkees direction. Fans of his quirky and offbeat sense of humor as well as his delicious melodies will find much to enjoy.
A big thanks to Ben Belmares for sharing his scans of The Wichita Train Whistle Sings LP with
The Monkees Live Almanac:
I'd also like to acknowledge JD at Monkee45s.net, who is responsible for some of the scanned images appearing in this piece.
In September 1965, Hollywood television producers Bob Rafelson and Bert Schneider placed an ad in The Hollywood Reporter and Daily Variety that read, "Madness!! Auditions. Folk & Roll musicians-singers for acting roles in new TV series. Running parts for 4 insane boys, age 17 - 21. Want spirited Ben Frank's-types. Have courage to work. Must come down for interview." By November 1965, after over 400 potential applicants were screened, the audition process had been completed. Micky Dolenz, Davy Jones, Michael Nesmith, and Peter Tork were now The Monkees.
Ben Frank’s was a 24-hour restaurant and coffee shop on the Sunset Strip. It was a favorite hangout of young people, musicians, and nearby club patrons, who'd stop by for late night food and drink.
Today, the structure still stands, except it's now Mel's Drive-In.
"Rainy Jane" was released on Davy's 1971 album for Bell Records and became a modest chart hit that year, reaching #52 on the Billboard Hot 100.
From the Live Almanac's YouTube channel comes this demo for "Rainy Jane":
In 2012, "Rainy Jane" was paired with "Girl" (made famous by its inclusion in an episode of The Brady Bunch) for a double-A side 7" single on green vinyl. A Rhino.com exclusive released in the months after Davy's passing, this collector's item, strictly limited to 1,000 copies and not made available in stores, sold out in one day.
The Monkees were originally scheduled to perform concerts in Great Britain in May 1969. In his book, Andrew Sandoval writes that UK agent Vic Lewis told Variety in March 1969 that "The trio are booked for two weeks of shows in London and other provincial cities in Britain. After that they are scheduled to spend a further two weeks performing in continental Europe." Later that month, New Musical Express in Britain reported that the shows had been postponed.
Despite this article (from the May 1969 issue of Monkees Monthly) promising the group would appear by the end of the year, those concerts ultimately never took place.
'Elephant' Innovator Serves Up Some 'Duck'
By Andy Wickstrom
As the first recording artist to win a Grammy Award for a video production, Michael Nesmith has a reputation as an innovator in the field. In the introduction to the award-winning made-for-video program Elephant Parts (1981), he referred to it as his first video album - in fact, the first video album ever. It was a spectacular blend of highly original music videos, skits and commercial spoofs.
Now comes another blend, under the painfully coy name of Dr. Duck's Super Secret All-Purpose Sauce (82 minutes, Pacific Arts Video, $39.95). If that title strikes you as trying too hard to be clever, you'll probably not find the concoction to your taste. Five years have passed in the brief history of home video, but Nesmith seems not to have noticed. His Dr. Duck is hardly more than warmed over Elephant Parts, and not the choicest cuts at that.
The charge that Dr. Duck is serving leftovers is lamentably accurate. The advertising and packaging for this tape are careful to mention the hallowed Elephant Parts, but they avoid naming the program's true predecessor, a fizzled network television show.
In the summer of 1985, NBC aired half-a-dozen installments of Michael Nesmith in Television Parts, a comedy-variety show trading on the cachet of the cassette. This led in turn to its own cassette, Television Parts Home Companion. If Dr. Duck has a "super secret," it's that some of this material was conceived for, and in some cases was shown on, the TV show. One segment (Jay Leno describing a '55 Buick) even begins in front of the Television Parts graphic.
Dr. Duck is unmistakable television fare. In contrast to the virtual one- man show of EP, this venture is awash in a guest celebrity roster fine-tuned to the hippest of demographics. Appearing in song or comedy bits (besides Leno) are Whoopi Goldberg, Jimmy Buffett, Roseanne Cash, Gary Shandling, Martin Mull, Jim Stafford, Jerry Seinfeld, Bob Goldthwait and Ed Begley, Jr. (Perhaps Nesmith's nom de video on this program comes from his ducking the camera.) It's a veritable list of Johnny or Joan's guests next week.
The mere fact that this is a TV retread is no reason to dismiss it entirely. It has some very entertaining moments. Nesmith figures in one as a Fassbinder-esque film director being interviewed by Dick Cavett. Puffing intently on short cigarettes, Nesmith expertly parodies the pretense of foreign "art" directors. In another fine bit, Lois Bromfield works herself into a frenzy while recounting the details of a slasher movie to her cowering date.
Other segments have a decidedly stale air. Goldberg does a turn as a surfer chick, a variation on the airhead Valley Girl that may have been funny two years ago but has since been worked to death by every talk-show comic. Goldberg contributes nothing new.
Even more boring is Goldthwait, who does his "Bobcat" routine introducing animal escape artist Houdini the Pig. Goldthwait is another in the current rash of comedians - such as Pee-wee Herman and Emo Phillips - who affect personas so geeky that the viewer squirms. It's funny at first but it's strictly one-note humor. After a minute's time, you've seen the entire repertoire of tics and grimaces.
There's one big music video production number that recalls the glories of EP. In Buffett's "La Vie Dansante," a Caribbean beach bum imagines a dreamy world of tap-dancing people in white tails, culminating in the appearance of a huge top hat that goes soaring among the stars with a line of dancers on its brim. That's just the kind of outlandishly beautiful image that Nesmith is known for, but has it become a trademark or a cliche?
This article was originally published by the Philadelphia Inquirer on December 7, 1986.
Live in 2021