#NURIT WILDE SON TV#

That being said, I'd like to start a discussion on a TV show I've been watching since I was a baby via Nickelodeon and sister network MTV.įor those of you readers unfamiliar with the show, here's the Inside Information, unless otherwise noted courtesy of 'The E! True Hollywood Story.' Nesmith closed the set with “Thanx for the Ride,” something of a benedictory song from “Loose Salute” that tied in with the rustic surroundings in the mountains above and beyond Palm Springs.My sincere apologies for not having written in too long, but I have been VERY busy lately with the crazy little world called Life over the last several months.

“In some ways it seems like he’s grown into this music,” Sandoval said during a break in the rehearsal on Saturday. Producer-promoter Andrew Sandoval, the man behind much of the latter-day Monkees activity, said he’s long hoped for a First National Band outing with Nesmith, and said both audiences and Nesmith himself appear hungry for it. Nesmith’s lithe voice, even at 75, remains limber enough to execute the yodels that punctuate a few of his songs, the fine-grit edge somehow embodying the wide-open spaces of the West much of his music channels. Nesmith demonstrated his facility for thinking, and writing, beyond the short-form tradition of pop song in “Tomorrow and Me,” a meditation on the end of a relationship that unfurls with unhurried elegance: “I’ve forgotten how long I’ve been sitting here / Watching my reflection in a disappearing beer / The loneliness is so thick you can slice it / The emptiness is too much for me to fight it.” Rhodes - and Finney - employ the steel guitar inventively, not just to evoke notes of melancholy often found in country music, but to bring an orchestra’s worth of color, texture and shading to the arrangements. I discovered a reciprocity between performer and performee, the actor and the audience, that was a balance.”Ī similar response greeted him Sunday, when cheers of recognition erupted at the strummed opening chords of “Calico Girlfriend,” the first track from “Magnetic South.” The set included a half-dozen songs from that initial solo outing, with another six from its successor, “Loose Salute,” three from “Nevada Fighter” and fleshed-out arrangements for the band of three songs from 1972’s “And the Hits Just Keep on Comin,’” the album he recorded as a duo with Rhodes.įinney often used Rhodes’ innovative parts from the recordings as his starting point, but frequently added dimensions of his own to prevent the set from simply replicating the original versions.

“This was real understanding and encouragement from a crowd I knew to be authentic music lovers and connoisseurs. “The audience’s approval and acknowledgment were overwhelming,” he wrote. He included that song Sunday in a midshow solo acoustic segment spotlighting the four songs he performed at the Troubadour one night in a pre-Monkees performance that he said redefined the role music would play in his life - an experience he detailed in last year’s memoir, “Infinite Tuesday - An Autobiographical Riff.” His songs for the Monkees became increasingly sophisticated and accomplished: His Texas roots came through on the Monkees’ first album with his song “Papa Gene’s Blues,” which demonstrated a level of lyrical and musical ambition that was impressive within the context of a manufactured pop group. “We can’t do anything with these,” he recalled during rehearsal on Saturday at a studio coincidentally a block away from RCA’s former West Coast headquarters in Hollywood, and around the corner from the amplifier repair shop that Rhodes ran when he wasn’t recording and touring with Nesmith or leading the house band at the fabled Palomino club in North Hollywood. But the response wasn’t always favorable. Nesmith, like Tork, had been knocking around the music business before he was chosen for “The Monkees,” and was able to contribute a cut or two to each Monkees album.

Nurit wilde son