Album: Infinite Rider on the Big Dogma

Introduction
"Infinite Rider on the Big Dogma" is the ninth studio album by American musician Michael Nesmith, launched on March 30, 1979, by Pacific Arts Records. Nesmith is best known as a member of the 1960s pop band The Monkees, but his post-Monkees work has been thoroughly innovative and influential, especially in the country-rock and video categories. "Infinite Rider on the Big Dogma" is an eclectic, experimental collection of songs that defy classification, with elements of country, rock, pop, and new age, mixed with Nesmith's signature amusing and introspective songwriting.

The Recording Process
Michael Nesmith taped "Infinite Rider on the Big Dogma" at his own studio, Videoranch, which was found on his home in California. He worked as a manufacturer of the album and also got the help of co-producer David MacKay, who had formerly worked with Nesmith on his earlier solo albums. The album includes an outstanding cast of musicians, including guitar player O.J. "Red" Rhodes, bassist Joe Chemay, drummer John Ware, and keyboard gamer Lyle Ritz, among others.

Nesmith's recording procedure for the album was quite experimental in nature. He utilized a mix of cutting-edge methods, such as digital sampling and looping, in combination with traditional analog techniques. This melding of old and new technology led to a distinct sound that was both fresh and classic.

Standout Tracks
"Infinite Rider on the Big Dogma" is a varied album in terms of musical styles and lyrical material, making it difficult to classify or identify. However, numerous standout tracks exhibit the various aspects that make this album distinct within Nesmith's catalog.

1. "Dance" - The album opens with this upbeat, transmittable pop tune. Including a driving bass line, catchy guitar riffs, and Nesmith's unique vocals, "Dance" is an enjoyable, danceable track that sets the tone for the rest of the album.

2. "Magic" - This tune features a more reflective, introspective tone. Showcasing Nesmith's propensity for storytelling, "Magic" varieties from humorous to melancholic, with a subtle undercurrent of social commentary.

3. "Cruisin'" - One of Nesmith's more pop-oriented tracks, "Cruisin'" is a catchy, energetic tune that records the feeling of liberty and adventure associated with travelling down an open highway.

4. "Capsule" - A haunting, atmospheric ballad, "Capsule" showcases Nesmith's ability to develop vivid, psychological soundscapes with a minimalist technique. The sporadic instrumentation and evocative lyrics produce an unforgettable listening experience.

Effect and Legacy
Despite not attaining considerable industrial success, "Infinite Rider on the Big Dogma" was popular by critics and remains a cult favorite amongst fans of Michael Nesmith's work. The speculative nature of the album, both in terms of musical styles and recording techniques, functioned as an important action in Nesmith's development as an artist, paving the way for his future tasks and his continuous influence in the music industry.

"Infinite Rider on the Big Dogma" also holds an unique location in Nesmith's career, as he would quickly begin to focus his skills on developing the then-nascent art of music video production. Nesmith's eager understanding of the appearances of music and his ingenious method to storytelling would help him become a pioneer on the planet of video, ultimately earning him the first-ever Grammy Award for Best Music Video for his work on "Elephant Parts" in 1982.

In general, "Infinite Rider on the Big Dogma" stands as a crucial and underappreciated gem in Michael Nesmith's discography, showcasing the breadth of his skill as an artist, songwriter, and manufacturer.