Poco

"Too country for rock and too rock for country." Probably the most common criticism of a band that, for all it's greatness, never quite decided what it wanted to be. For this listener's money, "Poco", the band's eponymous second effort affectionately refered to as "The Orange Blossom" album back in the day, is hands down the group's best record. From the opening Richie Furay vocal on "Hurry Up" to the closing cymbal flourish by George Grantham on "El Tanto De Nadie Regresa", this album shimmers with the promise of its inviting cover art- an american pastoral of snow-capped mountains, green fields and sunshine. The hope of a new decade that, well, didn't quite live up to youthful expectations. But, back to the music. For those of you who like your country rock with the emphasis on ROCK, with blues and jazz phrasings that truly swing tossed into the mix, this album delivers (no pun intended as to its successor) like none other by the band and like few other bands. "Hurry Up" is an immediate departure from the tight, pleasant country rock of "Pickin'Up the Pieces", featuring deeper contemplation of loves many sides by Richie, and an extended, funky break fueled by Jim Messina's guitar, the tune culminating in a classic Poco 5-part vocal harmony. "You Better Think Twice" follows, an up-tempo country-rocker sung by Jimmy, which became the band's first big radio song. Good effort, but frankly, the all-accoustic version on "Deliverin'" is more memorable and captures all the joys of upbeat Poco in 4-plus minutes. Next up is "Honky Tonk Downstairs" a nod to country-side Poco fans which now plays as a pleasant, if uneventful tune, but at the time was nothing if not a distraction from the momentum built through the first two songs. Would that there had been programmable CD players back when; this tune would have magically disappeared. The group rebounds on "Keep on Believin'", a title which just about summed up the socio-political optimism which drew so many of us to the band at a time when there was increasingly less reason to feel that way. "Good times have finally arrived, it's been so long..." The vocals soar and the gutiars drive the tempo. Side one ends with a true masterpiece, the often overlooked, achingly beautiful "Anyway Bye Bye." I cannot think of a better vocal performance by Richie Furay in any song, at any time, for any band or label, than this one. Even the closing yowls resonate with deep feeling, and the musicianship is first-rate. The extended jam allows the band to show off its versatility, with Tim Schmit's jazzy bass leading the way. Rusty kicks in with his "is that a steel guitar or organ" tricks, and George and Jimmy help carry the jam to a place of blended country funk, blues and jazz where no band (least of all the Eagles - had to get one jealous insult in) would dare to tread. Truly remarkable, only to be followed by the sit-up-and take-notice second side, one that established Poco's short-lived reputation as among the most innovative, happening bands in America. A full-sided suite of love, betrayal and revenge, opening with the sweetness of "Don't Let It Pass Bye" (a must through the headphones late at night), perhaps the band's vocal harmony tour-de-force. This dreamy love song of waking up with your perfect love beside you, gives way to "Nobody's Fool", a new and improved take on the version included on the first album, and a jarring departure in theme from the romantic reverie of "Don't Let It Pass Bye." The boys segue impressively into "El Tanto de Nadie, Regresa" from there, and the 15 minutes of fun begins. Mad percussion (thank you Joe Lala ) blending with Tim's rolling bass and George's precise timekeeping propel this jam with Jimmy and Rusty taking turns in the lead. Think of the Stones' classic "Can't You Hear Me Knockin'" as an apt comparison to this funkified jam. (which came first?) The music simmers and soars, never drags, then climaxes with a positively scorching lead rave-up by Rusty (reminding one and all how truly remarkable are his chops). As a nice closing touch, the boys pull out of the jam to culminate ("Regresa"?)their brilliant effort with one final burst of thematic harmony: "Cause I got the same...from you." As perfect a side of music as could be. Say what you will about Poco, and they certainly have their detractors, it's hard to deny them their due on this album. Why they didn't stay with this winning formula of combining the best of rock, country blues, and jazz, who knows. Perhaps the quest for the all-important Top 40 hit got the best of them; perhaps too much of the talent drifted away. All I can say is that it was a rare moment on subsequent albums in which the band reached for, or grasped, the musical highs that distinguished this album from those that came after. But for all the disppointments which followed, Poco can still point to this album and say, in 5-part harmony of course, we did this. And few have done it better.