Here's a cover version we did of Nez's "Infinite Rider on the Big Dogma" album.

Album · 1978 · 10 Songs.

Get the Tempo of the tracks from Infinite Rider On The Big Dogma (1979) by Michael Nesmith. This album has an average beat per minute of 119 BPM (slowest/fastest tempos: 100/137 BPM). See its BPM profile at the bottom of the page.

Infinite Rider on the Big Dogma (or simply, Infinite Rider) is Michael Nesmith's ninth post-Monkees studio album and the third studio album from his own company, Pacific Arts Records & Tapes. To continue developing Pacific Arts' multimedia projects, Nesmith originally developed the album as a "video album" (however, to date, Infinite Rider has only been released as a music album). It peaked at No. 151 on the Billboard Pop albums charts.

It's 1979 and Michael Nesmith lays 'Infinate Rider On The Big Dogma' on u. is wit and musical dexterity is completely intact but rather then clone the country-rock of his earlier albums Nez lays down a series of tunes that showcase a polished,modern sound embracing styles from pop,disco,funk grooves and just plain ol' rock n' roll. Dance" says it all for this album-a high key fusion of disco-rock married to yet another one of Nez's witty little tales. Magic" finds him singing in his wistfull falsetto to a sweet little tune with a lighhearted. Ten years after leaving the Monkees, Michael Nesmith came full circle with an album that ranks among his best ever.

Producer – Michael Nesmith. Recorded By – William Bottrell, Tom Trefethen. Saxophone – Tom Saviano. Supervised By – Ann Newhuis-Schwarz. Written-By – Michael Nesmith. 모. Printed inner sleeve with lyrics. Background Vocals mostly Joe Chemay who arranged nd sang all the parts on Carioca, Magic, Capsule, Cruisin' & Light Recorded and mixed March 5-16, 1979 at the Soundcastle, Los Angeles, California. All selections 1979 Peaceful Music C. Warner-Tamerlane Publishing Corp

The cryptically titled Infinite Rider on the Big Dogma was "Papa Nez"'s ninth post-Monkees solo studio effort in as many years. The Southwestern motif that practically defined Nesmith's First and Second National Band(s) remained throughout his late-'70s releases, although now the distinct pedal-steel guitars had been morphed into the more traditional rock & roll electric ones

As the '70s drew to a close, Michael Nesmith's music had still retained all of the intellect, intrinsic charm, and dry wit that had defined his tenure as a Monkee, as well as his d solo material from earlier in the decade. The cryptically titled Infinite Rider on the Big Dogma was "Papa Nez"'s ninth post-Monkees solo studio effort in as many years.

Infinite Rider on the Big Dogma, 1994. Infinite Rider on the Big Dogma, 1994.

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