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...Poco makes music that's best suited to the stage; their complete irrepressibility just doesn't come across as well on record. The roots of the music lie in Buffalo Springfield's Los Angeles rock of the late sixties. Since the Springfield was burdened with more talent than it could ever sustain, it had to collapse, and when it did, the boys in the band went separate ways. Stills and Young went on to sometime solo careers. Furay and Messina formed Poco, to get a little closer to the country than they could with the folkrockers. Poco, after a very...

Author: By Frederick Boyd, | Title: Child's Claim to Fame | 8/15/1972 | See Source »

...songs played at Boston Common on August 9 have in common a pervasive country flavor, the flavor that Furay sought in leaving the Springfield for Poco. The sets that used to begin with the irrepressible rock 'n' roll feeling of "C'mon," start with the shit-kicking, finger licking goodness of "Hoe- Down," in acknowledgement of Poco's antecedents, "Well, I'm goin' to a hoe-down--And kick up my heels--Go all night and never slow down--Yes, I love how it feels." Three more songs were played in rapid succession: "It's a Good Mornin'," "Railroad Days...

Author: By Frederick Boyd, | Title: Child's Claim to Fame | 8/15/1972 | See Source »

...with similar arrangements.) Songs like "What If I Should Say I Love You," with very large organ sounds coming from Rusty Young's pedal steel guitar, and final choruses of shouting begin to combine elements of rhythm and blues with the country arrangements. But Poco wraps each song in its own harmonies; because it is one of the few groups with four blendable voices (nobody can deny Crosby, Stills, et al's problems with harmony...

Author: By Frederick Boyd, | Title: Child's Claim to Fame | 8/15/1972 | See Source »

...Poco is just about all country rock music made by deceptively good musicians. The most significant improvement over last year's performance is the emergence of Paul Cotton as a lead guitarist, allowing the band to stretch out some of the songs. "Keeper of the Fire," with its insistent rhythms, and the stretched out "C'mon," now closing the show, gave him a chance to show his abilities. Cotton is not Dicky Betts, or Eric Clapton, but his rock lines, though predictable, are more than adequate. He's also a very fine country rock guitarist, a genre which demands special...

Author: By Frederick Boyd, | Title: Child's Claim to Fame | 8/15/1972 | See Source »

Cotton's electric influences have far from absorbed the band's other styles. Poco has long included an acoustic segment in their shows, pickin' their way through "You Are the One," "Honky-Tonk Downstairs," and their medley of "Hard Luck," "Child's Claim to Fame," and "Pickin' up the Pieces." The acoustic songs, particularly "Honky-Tonk Downstairs," retain much more country feeling than the electric music. These songs are Rusty Young's, and he acknowledges his pedal steel predecessors with some of the purest country steel guitar outside Nashville on "Honky-Tonk," and his own instrumental "Grand Junction," with...

Author: By Frederick Boyd, | Title: Child's Claim to Fame | 8/15/1972 | See Source »

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