On July 18th, 1966 at RCA Hollywood, Michael Nesmith acted as producer during a recording session that resulted in several of my favorite Monkees songs. Beginning at 8pm that evening and working until midnight, Nez was assisted by engineer Hank Cicalo while leading members of the Wrecking Crew (including Glen Campbell) along with his fellow Monkee, Peter Tork, through multiple takes of "I Won't Be The Same Without Her," "Sweet Young Thing," and the first version of "You Just May Be The One."
Andrew Sandoval documented the session in his book, The Monkees: The Day-by-Day Story of the '60s TV Pop Sensation, and for this blog post, we'll place the spotlight on Gerry Goffin and Carole King's "I Won't Be The Same Without Her":
Davy's song "Smile" was recorded in Hollywood in May 1968. The backing track featured Neil Young on guitar along with members of the Wrecking Crew. It remained unreleased until first appearing on Rhino's 1995 compact disc reissue of Instant Replay.
Famed studio musician Louis Shelton, who played the famous guitar lick on "Last Train to Clarksville" and was featured on numerous Monkees songs in the 1960s, guested with Micky, Peter, and the band last night during the group's final show of their 50th Anniversary Tour in Gold Coast, Australia.
Andrew Sandoval marked the occasion in a message on Facebook:
A cool moment featuring the wonderful Louie Shelton, a Candy Store Prophet and a key component of the Boyce & Hart sound. What was really a thrill was how Micky & Peter performed "Last Train To Clarksville" tonight, like they were doing it for the first time in 1966. This was in fact the first time they had ever performed with the man who played guitar on so many of their classic recordings from 1966-1969.
Of note, this is the song they've played the most since they started performing in December 1966 (pre-"I'm A Believer"). We shared so much great history this year, and this along with the appearances of Michael and hearing Davy's voice every night brought home that there is still very much a real group called The Monkees.
Tommy Boyce & Bobby Hart's "Gonna Buy Me a Dog" played a key role in the episode, and this article highlights an attempt Michael Nesmith made at the song when he produced a backing track for it on July 7, 1966 at RCA Hollywood. That session featured multiple guitarists including Peter Tork, along with Wrecking Crew aces Glen Campbell, James Burton, Al Casey, and Jim Helms. The bassist was Bill Pitman, while Hal Blaine played drums and Billy Preston handled organ duties.
Nesmith's backing track never received a vocal and went unheard until 2006 when it was released on a deluxe edition of The Monkees' debut album. Boyce & Hart later cut their own (drastically different) version, and it was this take that was ultimately included on The Monkees.
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' 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.
A big thanks to David for the heads up about this video!
Thanks to Al Bigley for the heads up on this one!
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