Retro Reviews: Michael Nesmith and First National Band: Magnetic South

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

Michael Nesmith and the First National Band – Magnetic South (1970)

**** 1/2

Producer: Felton Jarvis

Musicians: Michael Nesmith, Red Rhodes, John Ware, John London, Earl E. Ball,

Songs: Calico Girlfriend, Nine Times Blue, Little Red Rider, The Crippled Lion, Joanne, First National Rag, Mama Nantucket, Keys to the Car, Hollywood, The One Rose (That’s Left in My Heart), Beyond The Blue Horizon

Reviewed by Matthew Anthony Allair

    Generally, anything associated with The Monkees is seen as dubious - as to why I don’t know, - as they were not pretentious about who they were. I felt criticisms of The Monkees by my peers felt more pretentious and precious than anything the band were accused of.  Michael Nesmith’s new small quartet is quite refreshing, and Michael’s vocals remain uniformly strong on this release. He was already building a good reputation as a song writer before he joined The Monkees, and his Texas and country influences had already crept through with his Monkees output in the past, so this new project should be of little surprise. While The Byrds had already dabbled in the country field with Sweethearts of The Rodeo a few years ago, this feels like a progression. Michael has assembled a tight unit of great players to augment the album with Rhodes, Ware, London and Ball. Nesmith’s writing manages to be insightful and whimsical. Thus, the album may be a next step between the fusion of rock, pop, and country.

    The driving seventh chords of “Calico Girlfriend” set the tone while Michael’s rich vocal melodies demonstrate his pop instincts haven’t left him. Rhodes Pedal Steel work acts as a glue for this material. The odd moment shifts into “Nine Times Blue”, an apology for a mistreated lady, there’s a kind of self-awareness to the number that is impressive. There’s another shift into “Little Red Rider”, a number with a sweeping chorus, with a nice dynamic end. “The Crippled Lion” has a blues country feel with Nesmith’s rich melody guiding along. “Joanne” has been released as the single, a reflective number with a southern yodel. The first half is closed out by the brief “First National Rag”, a piece that acts as a live set rest, and considering that Michael is ever the showman, the side closer seems apt. The rhythm support is steady throughout.

    The second half opens with the playful “Mama Nantucket”, the country ballad “The Keys To The Car” shifts the pace with a laid-back narrative. The number “Hollywood” is a slow burn and one of the longer numbers on the album, with a good push and pull between the verses, it also allows a little more playfulness between London and Ware, there’s also some unexpected electric piano from Ball, this progresses into the most surprising number on the proceedings. The ballad “The One Rose” brings back some grounding, there’s even a hint of music hall with his approach on this Del Lyon cover. The album closer “Beyond The Blue Horizon” opens with some country blues piano and a kind of mind cinema, before it morphs into the proper number. It evokes pictures of rural farm life, another cover from Richard Whiting, but Michael’s strong vocal builds into a satisfying ending.

    I suspect the album will defy assumptions, and it makes a fitting edition to the country cannon.