A talented musician and proven songwriter, he had been labelled a fraudster by the press on the back of the hardly earth-shattering news that he and his fellow Monkees hadn't played their own instruments on early recordings.
Despite attempts to redress the balance and wrest artistic control from producer Don Kirshner and the TV network bigwigs, a disillusioned Nesmith bought out his contract and embarked on a solo career heavily in debt.
How satisfying it must then have been to deliver a sparkling country-rock jewel on shedding his trademark woolly hat. Magnetic South, released in 1970, was certainly a wake-up call for those industry insiders who had accorded him little respect despite his previous writing credits for the likes of Linda Ronstadt (Different Drum), the Paul Butterfield Blues Band (Mary Mary) and the Monkees.
The album, the first of three to credit backing to The First National Band, reflects the influence of contemporary country-rock pioneers the Flying Burrito Brothers and New Riders Of The Purple Sage. Its easy-on-the-ear mix of Western-flavoured honky tonk, twanging ballads and wry lyrics finds Nesmith instantly at home, revelling in the freedom to explore the new territory that was opening up before him.
Joanne is a perfectly formed tale of lost love. Nesmith's vocals glide skyward then resolve in a plaintive moment that brings a tingle to the spine. Hollywood, written while he was still with the Monkees, anticipates the move to turn his back on a fair-weather friend while Little Red Rider slinks seductively, Mama Nantucket kicks up some hootenanny dust and One Rose eases past in waltz time.
The First National Band are ably led throughout by pedal steel player OJ Red Rhodes, whose partnership with Nesmith would be long-lasting. Check Calico Girlfriend and Keys To The Car for evidence of the pair's intuitive chemistry.
