Poco
Self-Titled

Poco’s second album is an unusual blend of country-rock, with some long, jazzy instrumental breaks that center around Rusty Young’s pedal steel, which doesn’t sound like any pedal steel guitar you’ve ever heard. It’s played with a wah-wah pedal and, if that wasn’t enough, the resulting sound is sent through a Leslie organ speaker.

We know it sounds crazy, but it really works. There is nothing else like it on record, nothing that we’ve ever heard anyway.

This vintage Epic pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.

What The Best Sides Of Poco Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1970
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Country Prog Rock

Most of side two is taken up by a single track, "Nobody’s Fool / El Tonto de Nadie, Regresa." It’s a suite in which the band stretches out instrumentally in a somewhat proggy way, although one could make the case that Bluegrass music is all about “stretching out instrumentally.”

The extended forays are held together by the brilliant pedal steel playing throughout. I have the feeling that Jim Messina, who left the band shortly after this album was released, was the guiding force behind breaking out of the 3-minute pop song format that Poco began with. Whoever may be responsible, they deserve credit for making what is in our minds one of the best Country Rock / Country Prog records of all time.

What We're Listening For On Poco

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
• The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

AMG

Although they give the album 4 stars, they appear to bestow their favors on the shorter pop songs that take up side one. What’s uniquely interesting to me is the long proggy jam on side two: "Nobody’s Fool / El Tonto de Nadie, Regresa."

Loggins and Messina would go on to make the extended pop song with a long instrumental middle section a key feature of practically all their albums and I’ve always found those tracks to be the most adventurous and compelling. See if you don’t agree.

Engineering

Speaking of Loggins and Messina, this very Poco album was recorded at least in part by their go-to future right hand man, Alex Kazanegras. Jim Messina left the band soon after this album was finished and brought Alex with him to record the classic Sittin’ In with Kenny Loggins in 1971, a Desert Island Disc if there ever was one.

We’re big fans of the sound Kazanegras achieved in the studio on L&M’s albums, no doubt with a great deal of assistance from Jim Messina, a man who knew his way around a recording studio, having helped with the recording and production on the second and third Buffalo Springfield albums, both Desert Island Discs in their own right.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

• Hurry Up
• You Better Think Twice
• Honky Tonk Downstairs
• Keep On Believin'
• Anyway Bye Bye

Side Two

• Don't Let It Pass By
• Nobody's Fool / El Tonto De Nadie Regresa

AMG 4 Star Review

The first two-thirds of Poco's second album is 25 minutes of some of their best music. These songs represent the group's blend of country and rock at its finest and brightest, with the happy harmonies of "Hurry Up" and "Keep on Believin'" totally irresistible. Jim Messina's "You Better Think Twice" is a perfectly constructed and arranged song, one that should have been a huge hit but mysteriously never found its place in the Top 40 pantheon. Listening to this recording, though, it's easy to see why unimaginative radio programmers and much of the record-buying public couldn't find a niche for Poco.

The knock was "too country for rock, too rock for country," but in fact, they were just ahead of their time, a tough spot to be in the world of popular entertainment. What about the last 15 minutes of this disc? It's a lengthy instrumental called "El Tonto de Nadie, Regressa." A cynic would say it's filler, but given the trend at the time toward side-long cuts, it's probably simply Poco's attempt at hipness. In retrospect, it can be seen as the forerunner to Messina's lengthy jams with Loggins & Messina a few years later; the sound is remarkably similar.

...Poco is well worth owning by anyone interested in the early days of this particular band, and of country-rock in general. The trademark sweet, high harmonies belying the heartbreak expressed in Richie Furay's lyrics, Messina's distinctive lead guitar, and Rusty Young's amazing ability to get an organ sound out of his pedal steel guitar are all here in full blossom.