“Mary, Mary”: The Underrated Michael Nesmith Gem That Traveled Far Beyond The Monkees
It never topped the charts. It wasn’t even released as a single by The Monkees. But “Mary, Mary” has quietly carved out a place in music history — not just for its catchy chorus and rhythmic charm, but for its unique journey through genres, artists, and eras. Written by Michael Nesmith before The Monkees ever recorded it, the song tells a deeper story about the band’s evolution, early tensions, and eventual push for creative control.
Let’s take a closer look at this underappreciated track, how it came to life, and why it still resonates decades later.
A Song That Preceded the Band
Before The Monkees recorded “Mary, Mary” for their 1967 album More of the Monkees, the song had already found life — in a most unlikely place. The Paul Butterfield Blues Band, known for their gritty, guitar-driven blues-rock, laid down the first released version in 1966. It was a curious pairing: Nesmith’s bright pop structure colliding with the Butterfield band’s darker, bluesy delivery. The result was a hybrid oddity — one that hinted at the flexibility and strength of Nesmith’s songwriting.
For Nesmith, who joined The Monkees as an already capable writer and performer, the early success of “Mary, Mary” outside of the group validated his musical instincts. But inside The Monkees’ camp, things weren’t so harmonious.
A Power Struggle Behind the Scenes
The Monkees’ instant fame through television brought with it a tightly controlled musical environment. Under the direction of producer Don Kirshner, the band’s early recordings were often crafted by professional songwriters and performed by top-tier session musicians — with the band members themselves limited mostly to vocals.
This didn’t sit well with Nesmith or his bandmates, who were all musicians in their own right. They bristled at the “manufactured band” label and longed for more creative input. Though The Monkees’ version of “Mary, Mary” was ultimately recorded, it remained a compromise — a Nesmith original, yes, but one still surrounded by hired guns.
On the recording, Micky Dolenz took the lead vocals, Peter Tork contributed on guitar, but most of the instrumentation came from the Wrecking Crew — a legendary group of session players that included James Burton, Glen Campbell, Larry Knechtel, and Hal Blaine.
Despite its quality and radio potential, “Mary, Mary” wasn’t released as a single by the group. It was passed over in favor of other hits, remaining an album track — though one that would endure far beyond its initial release.
Run-DMC, Reinvention, and Revival
Two decades after The Monkees’ version hit the airwaves, “Mary, Mary” found new life in an entirely different genre. In 1987, Run-DMC sampled the track — most notably its rhythm and Dolenz’s vocals — for their album Tougher Than Leather. With added rhymes, a booming beat, and streetwise swagger, the hip-hop legends reintroduced the song to a new generation, proving that great songwriting transcends time and genre.
It became a standout track on their album and even found chart success, giving “Mary, Mary” the hit status it arguably always deserved.
What Is “Mary, Mary” Really About?
At its core, “Mary, Mary” is a straightforward emotional plea: a man trying to understand why the woman he loves has left, and what he can do to bring her back. Nesmith’s lyrics are rhythmically sharp and conversational — intimate without being overwrought. Lines like “The one thing I will vow ya / I’d rather die than to live without ya” reveal earnest vulnerability, while the bridge — “I’ve done more than a clear-thinkin’ man would do” — shows a man nearing his emotional limits.
It’s a pop song that manages to hint at deeper relational frustration, all wrapped in melodic ease and clever phrasing.
A Stepping Stone to Musical Freedom
While “Mary, Mary” never became a massive hit for The Monkees, it marks a pivotal moment in their story — a turning point in the band’s quest to take control of their art. It foreshadowed the eventual creative breakthroughs that would define their later work, especially on albums like Headquarters, where they played their own instruments and called the shots.
So whether you first heard it through an oldies playlist, a hip-hop sample, or spinning vinyl, “Mary, Mary” stands as proof that some songs — and some bands — are far more than their surface reputations suggest.