Biography
Born in Houston, Texas, Nesmith was an only child, and his parents, Warren Audrey Nesmith and Bette Nesmith Graham, separated when he was very young. With his father gone, Nesmith's mother worked as a secretary. Their fortunes changed when Bette invented typewriter correction fluid, later known commercially as Liquid Paper.
Nesmith was an indifferent student, and in his teen years an occasional prankster. An urban legend says a prank with a firecracker went wrong, leaving Nesmith with a hand injury, and that a doctor suggested he learn to play guitar to recover his dexterity (the incident never actually happened). An early accident with a hammer smashed the ring finger on Nesmith's right hand, and he did not learn to play guitar until his twenties. He did, however, participate in choral and drama activities during his years at Thomas Jefferson High School in Dallas. He also began to write verse poetry.
In 1962, Nesmith's mother married Robert Graham, triggering a rebellious phase for Nesmith. He took the family car without permission and drove to California. Upon his return, he discovered that his mother had enlisted him in the U.S. Air Force. Nesmith was stationed at Sheppard Air Force Base in Wichita Falls, Texas and he later claimed that he had been discharged after he tipped over a general's airplane while washing it.
After leaving the Air Force, Nesmith obtained a G.E.D. and then moved in with an uncle, Chick Adair. Nesmith enrolled in San Antonio College, where he met John Kuehne (later to be known as John London) and began a musical collaboration. He also met 16-year-old Phyllis Ann Barbour, whom he later married.
During this time John Kuehne decided to move to Los Angeles to pursue a musical career, and Nesmith decided to follow him. Nesmith and Barbour moved back and forth from Texas. Nesmith landed a role in the Monkees pilot, which was filmed in October 1965. In October 1967, the episode "Monkees in Texas" was filmed, in which a brief cameo appearance was given to Nurit Wilde, a socialite and former mistress of John Phillips (of The Mamas & the Papas), and close friend of Peter Tork.
In late 1967, Barbour was pregnant with the Nesmiths' second child when she suffered a head injury in a car accident. Because they were practicing Christian Scientists, they decided to just rest instead of seeking medical treatment. Their second son, Jonathan, was born in February 1968.
Nesmith was divorced and remarried to Kathryn Bild from 1976 to 1988. In 2000, he married Victoria Kennedy.
Early work
After a tour of duty in the Air Force, Nesmith won a singing spot with a band by knowing a number of Chuck Berry's songs. He bought a guitar with his parents' help, learning as he went, and joined a series of working bands, performing folk, country, and occasionally rock and roll. His verse poems became the basis for song lyrics, and after moving to Los Angeles with Phyllis and friend John London, he published a number of his own songs. Nesmith's "Mary, Mary" was recorded by the Paul Butterfield Blues Band, while "Different Drum" was recorded by Linda Ronstadt and the Stone Poneys. "Pretty Little Princess", written in 1965, was recorded by Frankie Laine and released as a single in 1968 on ABC Records. Later, "Some of Shelly's Blues" and "Propinquity" were made popular by the Nitty Gritty Dirt Band on their 1970 album Uncle Charlie & His Dog Teddy.
Nesmith began his recording career in 1965 with a one-off single released on Edan Records. He followed with two singles recorded under the name "Michael Blessing", released on Colpix Records—coincidentally also the label of Davy Jones, though they had not met.
The Monkees
From 1965 to early 1970, Nesmith and Jones were members of the pop rock band The Monkees, created for the television situation comedy of the same name. The only Monkee to learn of the audition from the famous press advertisement asking for "four insane boys", Nesmith won his role largely by appearing blasé when he auditioned. He further distinguished himself by carrying a bag of laundry to be done on the way home, and wearing a wool cap to keep his hair out of his eyes, riding his motorcycle to the audition. Producers Bob Rafelson and Bert Schneider remembered "Wool Hat", and called Nesmith back.
Once he was cast, Screen Gems bought his songs so they could be used in the show. Many of the songs Nesmith wrote for The Monkees, such as "The Girl I Knew Somewhere", "Mary, Mary", and "Listen to the Band" became minor hits. One song he wrote, "You Just May Be The One," is in mixed meter, interspersing 5/4 bars into an otherwise 4/4 structure.
The Gretsch guitar company built a one-off natural finish 12-string electric guitar for Nesmith when he was performing with The Monkees (Gretsch had a promotional deal with the group). He earlier played a customized Gretsch twelve-string, which had originally been a six-string model.
As with the other Monkees, Nesmith came to be frustrated by the manufactured image of the whole project. He was permitted to write and produce two songs per album, and his music was frequently featured in episodes of the series.
The Monkees succeeded in ousting supervisor Don Kirshner (with Nesmith punching a hole in a wall, to make a point with Kirshner and attorney Herb Moelis), and took control of their records and song choices, but they worked as a four-man group on only one album. The band never overcame the credibility problems they faced when word spread that they had not played on their first records (at Nesmith's instigation, calling the band's first non-studio press conference, where he called More of The Monkees "probably the worst record in the history of the world"). However, their singles and albums continued to sell well, until the disastrous release of Head.
Nesmith's last Monkees commitment was a Kool-Aid commercial, in April 1970. With the band's fortunes continuing to fall, Nesmith asked to be released from his contract, and had to pay a default: "I had three years left...at $150,000 a year," which he had to pay back. He continued to feel the financial bite for years afterwards, telling Playboy in 1980 "I had to start telling little tales to the tax man while they were putting tags on the furniture."[citation needed]. Indeed, while Nesmith had continued to produce his compositions with the Monkees, he withheld many of the songs from the final Monkees' albums, only to release them on his post-Monkees solo records.
Later career
As he prepared for his exit from The Monkees, Nesmith was approached by John Ware of The Corvettes, a band that featured Nesmith's friend John London (who played on some of the earliest pre-Monkees Nesmith 45s as well as numerous Monkees sessions) and had 45s produced by Nesmith for the Dot label in 1969. Ware wanted Nesmith to put together a band. Nesmith said he would be interested only if noted pedal steel player Orville "Red" Rhodes would be a part of the project, and a long musical partnership was born that would continue until Rhodes' untimely death in 1995. The new band was christened Michael Nesmith & The First National Band and went on to record a trilogy of albums for RCA Records in 1970.
Nesmith has been considered one of the pioneers of country-rock (along with Gram Parsons) and had moderate commercial success with the First National Band. Their second single, "Joanne," hit #21 on the Billboard chart & #17 on Cashbox, with the follow-up "Silver Moon" making #42 Billboard/#28 Cashbox. Two more singles charted ("Nevada Fighter" #70 Billboard/#73 Cashbox & "Propinquity" #95 Cashbox) and the first two LP's charted in the lower regions of the Billboard album chart. No clear answer has ever been given for the band's breakup, the albums they recorded remain on par with the Flying Burrito Brothers, Poco and New Riders of the Purple Sage as some of the best country-rock music.
Nesmith followed up with the Second National Band, a band that besides Nesmith, consisted of Michael Cohen (keyboards and Moog), Johnny Meeks (bass), Jack Panelli (drums) and the always present Orville Rhodes (pedal steel), as well as an appearance by singer, musician, and songwriter Jose Feliciano (conga drums). The album, [album artist=Michael Nesmith & The Second National BandTantamount to Treason, Volume One[/album], was a commercial and critical disaster. Nesmith then decided to cut one of the best albums of his career, featuring only him on guitar and Red Rhodes on pedal steel, And the Hits Just Keep On Comin'.
Nesmith got more heavily involved in producing, and was given a label of his own through Elektra Records, Countryside. It featured a number of artists that were produced by Nesmith, including Garland Frady and Red Rhodes. The staff band at Countryside also helped Nesmith on his next, and last, RCA album, Pretty Much Your Standard Ranch Stash.
In the mid-1970s Nesmith briefly collaborated as a songwriter with Linda Hargrove, resulting in the tune "I've Never Loved Anyone More," a hit for Lynn Anderson and recorded by many others, as well as the songs "Winonah" and "If You Will Walk With Me" which were both recorded by Hargrove. Of all three songs, only "Winonah" was recorded by Nesmith himself. During this same period, Nesmith started his multimedia company Pacific Arts, which initially put out audio records, 8-tracks and cassettes, followed in 1981 with "video records." Nesmith recorded a number of LPs for his label, and had a moderate worldwide hit in 1977 with his song "Rio", the single taken from the album From a Radio Engine to the Photon Wing. More importantly, Nesmith created a video clip for "Rio" which, in a roundabout way, helped spur Nesmith's creation of a television program called Pop Clips for the Nickelodeon cable network. The concept was sold to Time Warner/Amex, who developed it into the MTV network. His single "Cruisin'" was the first video of the MTV generation. Nesmith also won the first Grammy Award (1981) given for Video of the Year for his hour-long Elephant Parts and also had a short-lived series inspired by the video called Television Parts.
Pacific Arts Video became a pioneer in the home video market, producing and distributing a wide variety of videotaped programs. Pacific Arts eventually ceased operations after an acrimonious contract dispute with PBS over home video licensing rights and payments for several series, including Ken Burns' The Civil War. On February 3, 1999, a jury awarded Nesmith $46.8 million in compensatory and punitive damages, prompting his widely-quoted comment, "It's like finding your grandmother stealing your stereo. You're happy to get your stereo back, but it's sad to find out your grandmother is a thief." PBS appealed the ruling and a settlement was reached with the results kept confidential.
He was the executive producer for the movies Repo Man, Tapeheads, and Timerider: The Adventure of Lyle Swann, as well as his own solo recording and film projects. In 1998, Nesmith published his first novel, The Long Sandy Hair of Neftoon Zamora. His latest studio album, Rays, was released on April 4, 2006.
Since 1990, Nesmith has hosted the Council on Ideas, a gathering of intellectuals from different fields who are asked to brainstorm solutions to world problems.
In 1992, Nesmith undertook a concert tour of North America to promote the CD release of his RCA solo albums (although he included the song "Rio", from the album From a Radio Engine to the Photon Wing. The concert tour ended at the Britt Festival in Oregon. The Live at the Britt Festival recording was released on both video and compact disc.
In 1995, he reunited with The Monkees to record their last studio album (and first to feature all four since Head) titled Justus, released in 1996. He also wrote and directed a Monkees television special, and briefly toured the UK with the band in 1997. He re-departed when the tour came to America later in the year, following media criticism of his recent stage performances.
Nesmith spent a decade as a board of trustees member and nominating member of the American Film Institute and is currently President and chairman of the board of trustees of the Gihon Foundation.
Nesmith's instigated a project titled Videoranch 3D, a virtual environment on the internet that hosts live performances at various virtual venues inside the Ranch.
In 2017, he released a memoir and companion "soundtrack" album titled Infinite Tuesday: An Autobiographical Riff.
In 2019 Nesmith toured focusing on his 1972 album, And the Hits Just Keep on Comin', in a two piece configuration with pedal steel player Pete Finney, the first time in this format since 1974 with Red Rhodes.
Horserace
Michael Nesmith Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
At the fairgrounds in Baltimore
And the reason that they came were two horses by the name
Of Beauty and The Magnum Force
Of Beauty and The Magnum Force
There was tension in the crowd when the message was announced
That all the other horses had been scratched
We had to put our money on the first or the last
We had to put our money on first or the last
Said, come on Beauty, bet on the Beauty
I'm bettin' on Beauty to win
You got the power, I saw it in your eye
You got the power to win
Oh my Beauty, run like a rocket
You run like a rocket, you win
Yeah, that's it, Beauty, you're a lot more than pretty
My Beauty's runnin' to win
There was a thirty minute wait while they realigned the gate
So before I bet, I made one final check
The Magnum Force was lookin' sleek but I figured she was weak
'Cause she was sassy while the Beauty was laid back
She was sassy and the Beauty was laid back
So, come on Beauty, I'm bettin' on Beauty
I'm bettin' on Beauty to win
I said, you got the power, I saw it in your eyes
You got the power to win
Oh my Beauty, you run like a rocket
Run like a rocket, you win
Yeah, that's it, Beauty, you're a lot more than pretty
My Beauty's runnin' to win
The Beauty had it won from the sound of the gun
She was smokin' and The Magnum Force looked sad
A lot of folks were really chapped, they figured Magnum had it wrapped
They didn't know that the Beauty was so bad
They didn't know that the Beauty was so bad
Said, look at Beauty, she runs like a rocket
She runs like a rocket to win
Yeah, she's got the power, I saw it in her eyes
She's got the power to win
Oh, my Beauty, keep on runnin' runnin'
I know my Beauty will win
Yeah, my Beauty, she's a lot more than pretty
My Beauty ran and she won
Said, come on Beauty, I'm bettin' on the Beauty
Bettin' on the Beauty to win
I know she's got the power 'cause I saw it in her eyes
I know she's got the power to win
So come on, Beauty, you run like a rocket
Run like a rocket, you win
Yeah, that's it, Beauty, you run like a rocket
You run like a rocket, you win
The song ‘Horserace’ by Michael Nesmith tells the story of a horse race in Baltimore where only two horses - Beauty and The Magnum Force - participated. The tension among the crowd was high as everyone placed their bets, hoping to predict the winner. The song is an ode to the winning horse, Beauty, who was considered an underdog by many but powered through to win the race. The lyrics are filled with excitement and a sense of triumph, with the singer urging the horse to run like a rocket and showcasing his belief in her abilities.
However, the lyrics can also be interpreted as a metaphor for life. The horse race can symbolize the journey of life, with Beauty being the representation of an individual. The excitement and tension of the race reflect the ups and downs of life, while the final victory of Beauty stands for the triumph that comes after battling through struggles. The song encourages listeners to believe in their own abilities and have faith in themselves, just as the singer had faith in the winning horse.
Line by Line Meaning
There were thirty thousand fans watched the race from the stands
A large number of people were present to watch this horse race.
At the fairgrounds in Baltimore
The horse race took place at the fairground in Baltimore.
And the reason that they came were two horses by the name
The attendees were there to watch two horses, Beauty and The Magnum Force.
Of Beauty and The Magnum Force
The horses that were to race were named Beauty and The Magnum Force.
There was tension in the crowd when the message was announced
The crowd was stressed when they heard the message that only the two horses they came to see would race.
That all the other horses had been scratched
The news was that all the other horses had been disqualified.
It would be Beauty and The Force alone on the course
Only Beauty and The Magnum Force were permitted to race.
We had to put our money on the first or the last
The only option was to choose between either Beauty or The Magnum Force.
Said, come on Beauty, bet on the Beauty
The singer or speaker encourages Beauty to win the race.
I'm bettin' on Beauty to win
The singer claims to have bet on Beauty to win.
You got the power, I saw it in your eye
The singer or speaker feels confident that Beauty has what it takes to win the race.
You got the power to win
The artist acknowledges that Beauty has the ability to win the race.
Oh my Beauty, run like a rocket
The singer requests Beauty to run fast like a rocket.
You run like a rocket, you win
The singer acknowledges that running like a rocket will help Beauty to win the race.
Yeah, that's it, Beauty, you're a lot more than pretty
The singer is aware that Beauty has more to offer than just being physically attractive.
My Beauty's runnin' to win
The artist feels confident that Beauty is running to win the race.
There was a thirty minute wait while they realigned the gate
There was a wait of thirty minutes as the gate had to be realigned.
So before I bet, I made one final check
Before placing the bet, the singer or singer made a final check.
The Magnum Force was lookin' sleek but I figured she was weak
The singer felt The Magnum Force may look sleek but might not be strong enough.
'Cause she was sassy while the Beauty was laid back
The singer believed The Magnum Force was overconfident while Beauty was more relaxed.
So, come on Beauty, I'm bettin' on Beauty
The artist repeats his bet on Beauty to win the race.
The Beauty had it won from the sound of the gun
From the start of the race, it seemed that Beauty would win.
She was smokin' and The Magnum Force looked sad
Beauty ran exceptionally well while The Magnum Force seemed sad about not being able to beat Beauty.
A lot of folks were really chapped, they figured Magnum had it wrapped
Many spectators believed that The Magnum Force would win the race.
They didn't know that the Beauty was so bad
The spectators had no idea that Beauty was such an excellent racer.
Said, look at Beauty, she runs like a rocket
The singer encourages others to watch Beauty run.
I know my Beauty will win
The singer is confident that Beauty will emerge victorious in the race.
Bettin' on the Beauty to win
The singer restates that he has bet on Beauty to win the race.
I know she's got the power 'cause I saw it in her eyes
The artist is certain about Beauty winning the race because of the confident look in her eyes.
So come on, Beauty, you run like a rocket
The singer encourages Beauty to continue running like a rocket.
Yeah, that's it, Beauty, you run like a rocket
The singer commends Beauty for running like a rocket to win the race.
You run like a rocket, you win
The singer is thrilled about Beauty's win and attributes it to her rocket-like speed.
Contributed by Anna P. Suggest a correction in the comments below.