Title- Rose of Cimarron
Label- ABC
Released- May 19, 1976
Length- 35:35
Personnel- (additional personnel listed track by track)
Rusty Young- Vocals, acoustic and electric 12-string guitars, mandolin, banjo, Dobro, pedal steel guitar
Paul Cotton- Vocals, 6 and 12-string electric and acoustic guitars, Spanish guitar,
Timothy B. Schmit- Vocals, bass guitar, Spanish language vocals
George Grantham- Vocals, drums, tympani
Producer- Poco, Mark Henry Harman
Recording Engineers- Mark Henry Harman, Doug Rider
The year is 1976. Poco has existed as a group since 1968. Their catalogue contains 8 studio albums and 1 live album. Epic has released a “Very Best of Poco” consisting of tracks from the first 7 studio recordings and two tracks from “Deliverin'”, the live album. Poco has undergone personnel changes 3 times; first the departure of Randy Meisner because of “creative differences”. Then, Jim Messina who left to pursue producing avenues and eventually joins up with Kenny Loggins. And, of course, the loss of Richie Furay after 6 recordings seemed to be, at the time, a tolling of the death knell for this very talented group.
However, each time someone left the group, someone else stepped up who pushed the band in new directions. Meisner leaves for Rick Nelson, Jim picks up the bass until Timothy joins up, then Jim goes back to guitar and eventually leaves after the 3rd album for greener pastures. But each one of these talented artists joined Rusty Young and George Grantham and took the band to new places, musically. Schmit added not just great, inventive bass lines but his high falsetto more than made up for the vocals of Meisner and Messina. Add to that, the songwriting abilities and talent on most any guitar brought to the band by Paul Cotton, after his own success with Illinois Speed Press, gave the band, seemingly, all it needed to break out of the “Eagles vs. Poco who?” argument.
Rose of Cimarron was the fourth album for this foursome of Poco players. Preceded by Seven, Cantamos, and Head Over Heels, Rose of Cimarron found the band firing on all four cylinders. Cotton provided the spark for Rusty Young to start singing as well as writing. Schmit became more and more innovative in finding ways to make the bass guitar a lead instrument and not just part of the rhythm section. All of this was guided by the ever solid drumming of Grantham. The album is the first Poco album to be led off by not one, but TWO, compositions from Young. Ten tracks… four from Rusty, four from Paul, and two from Timothy. And what tracks they are!
Track 1- “Rose of Cimarron” (Young) (6:42) Additional personnel- Mark Henry Harman (celeste), Milt Holland (percussion), Tom Sellers (piano, string arrangements), Sid Sharp (concert master)
Stepping away from his pedal steel and dobro duties, Rusty Young picks up the acoustic 12-string and gives us an opening phrase that any Poco fan will instantly recognize in the same way that Eagles fans know Don Felder’s opening lick from “Hotel California”. It only lasts sixteen measures and away we go… the whole band jumping in. Layer upon layer of instrumentation brings gives us dobro on top of acoustic guitars on top of piano on top of mandolin and so on. But the real treat is yet to come.
After giving us a taste of the chorus with Paul doing the honors, Timothy takes over on the verse. And here is where headphones or earbuds or a really kick ass loud stereo becomes important. Listen to the lead fills on the left channel by Paul. The middle is taken up by some amazing dobro playing and over on the right lurks the acoustic 6 string, mandolin, piano, banjo, and harmonica.
If you have been keeping up with my reviews, you know I have never been a fan of strings on Poco recordings. Not here. Tom Sellers integrates the strings and orchestra at 3:08 into the recording. They provide a PERFECT counterpoint to all the sounds of a country/rock band. You also should know by now, I am not a fan of extended tracks. I think there are edits that could be made to make tracks more “playable”. One again, not here. If you cut the recording at 4:20, you will miss the exquisite lead electric guitar playing of Paul Cotton. The whole thing crescendos at around 5:10 and the strings lead you out but the piano in the right channel continues and gives this ending so much texture. Faintly, you can hear Rusty’s banjo as the song comes to an end. It’s kind of like when I fall asleep… so pleasant and so soothing as you slip away. Speaking of which…
Track 2- “Stealaway” (Young) (3:12) This time, Young starts immediately into the two lines of the chorus with just an acoustic guitar accompaniment. And after the same 16 bar intro as the previous track, Paul chimes in with another amazingly innovative guitar lick. And once again, the whole band kicks into gear. I am telling you, that if you listen to the bass playing by Timothy on any of these tracks, you will hear a master at work. He carries so much of the band by being in the forefront that it is no wonder he is regarded as one of the best. At 20 seconds into this recording, Grantham kicks his bass drum into overdrive. It amazes me how fast 3:12 goes by while listening to this track. Cotton’s electric lead playing is as good anything from Neil Young (in my opinion). And Grantham’s fill at 1:40 is so spot on. I don’t want this song to end. Cotton could keep playing for 30 minutes as far as I am concerned! And the rest of the band, as well! I want more!
Track 3- Just Like Me (Schmit) (2:45) “Keep on Tryin’ “on Head Over Heels was a breakout song for Schmit. He still plays the song in his live shows. And this track continues that vein of excellence. After the two opening tracks, we get a chance to just chill and listen to Tim’s voice on top of a beautiful background of instruments and vocals. The focus on vocals is such a pleasant journey into musicianship. Well crafted, short, sweet and to the point…
Track 4/5- Company’s Comin’/Slow Poke (Young) (Young) (2:39) (2:04) Additional personnel- John Logan- banjo, Al Garth- fiddle, Milt Holland- washboard, Annie Emery/Jenny Grantham/Jennifer O’Keefe/Doug Rider/Jeddrah Schmit/Noreen Schmit- handclaps
On Pickin’ Up the Pieces, it was “Grand Junction”. Off From the Inside, the track was “Railroad Days”. Crazy Eyes had “Fool’s Gold”. Seven? “Rocky Mountain Breakdown”. Cantamos continued the pattern with the last half of “Sagebrush Serenade”. Any one of these tracks should have been on any bluegrass playlist in 1976 and today as well. So much is made of “The Nitty Gritty Dirt Band” and their bluegrass background and sound. But the banjo playing on these two tracks is as good any I have ever heard. And I have heard quite a few banjo players both live and recorded: John Hartford, Roy Clarke, Earl Scruggs, Steve Martin, Grandpa Jones, Pete Seeger, Tommy Smothers and so on and so on. The banjo picking on this track is as good as anything produced by any of the preceding. Throw in “Company’s Comin’” and its throwback lyrics that give a nod to “Pickin’ Up the Pieces” and you have almost 5 minutes of pure bluegrass joy. I dare you to listen to this track and NOT tap your feet. I dare you. I double dog dare you! Let me know if I win. (By the way, this was only the 2nd time Rusty took the lead vocal part. You can find which was the 1st time a few reviews back!)
Track 6- “Too Many Nights Too Long” (Cotton) (5:59) Additional personnel Al Garth- violin, Steve Ferguson- piano, Milt Holland-marimba, percussion
Like “Rose of Cimarron”, the opening track of side 2 is long. It clocks in a just a tick under SIX MINUTES??? What? It can’t be that long? I get lost in this song and consider it six of the best minutes in music. Paul’s opening licks on 12 string sound so laid back. Add the mandolin and the second 12-string. Then bring in the bass and drums. And suddenly, we are on a journey into a story of loneliness, escape, “running below the pale moonlight”, and staying in one place too long. I absolutely love this song and the emotions evoked by this tale of escape. Later recordings (Bareback at Big Sky) omit Timothy’s Spanish verses. And that is a shame. Those lines give the song intrigue and a flavor of the southwest that we can picture in our imaginations. This composition is almost a movie in a song. I can see it happening between my ears.
Track 7- “P.N.S. (When You Come Around)” (Cotton) (3:15) Additional personnel Al Garth-fiddle, Steve Ferguson-piano
I remember hearing this song way back when the album came out in 1976. And it bugged me for, oh, let’s say 42 years because I could never figure out what “P.N.S.” meant. (I still haven’t a clue about the song title for “N.S.U.” from Cream’s Disraeli Gears). This year I found out. It has no deep meaning. When Paul wrote the song as a member of Illinois Speed Press, he didn’t have a title and so it was known as “Paul’s New Song”. So much for that…
I have sung this song so many times driving or in the shower or just out walking. It is one of those “ear worms” that just stick with you. From the drop of the first notes and the lead lick, it sticks like oatmeal in your stomach on a winter’s morning. Al Garth (a former member of Loggins and Messina) switches from the violin mode on “P.N.S.” to fiddle mode for this tune. It is as country as anything you can still hear today. And proves once again, that Poco could have fit onto any music chart.
How much do you like this song? How much would you pay for this album so far? $9.95? $10.95? But wait, there’s more!
Track 8- “Starin’ at the Sky” (Schmit/Logan) (2:58) Additional personnel Al Garth- alto saxophone, Steve Ferguson- electric piano
Well of course! After the ultimate “kiss off, I don’t need you anymore… good riddance” song, we have to have the “Oh crap, what did you do to me? You ruined me!” song! And Timothy, along with co-writer Johnny Logan, gives it to us. I have been jealous of the lead playing in this song since the first time I heard it. But I just don’t have the chops. And I have been noodling on the guitar since age 14! I have begged God (many times) “Please, just give me the talent to write just ONE SONG like this! And I will never ask for another thing, ever again, I promise!” (BTW, it still hasn’t happened. I no longer eat all my broccoli… defiance!)
Once again, going to the headphones/ear buds, listen to the subtle use of banjo over on the right channel and Paul on acoustic over on the left side. And just to blow your mind, Poco adds a little sax solo by Al Garth. SAX? Holy hell, these guys can get away with anything! And the sax is bright and shiny and short unlike most “wailing” sax breaks. It is perfection.
Track 9- “All Alone Together” (Cotton) (3:21) Additional personnel Al Garth-fiddle, Steve Ferguson- piano
After the previous two tracks, there is another chapter yet to be told. If “P.N.S.” is “I don’t care” and “Starin’” is “but I did care, once”, then “All Alone Together” is the “help me make it up off the ground so maybe I can care again” statement. They are a perfect trio of songs.
Pedal steel paired with fiddle and a steady country two-step beat, this song could easily have been covered by any number of country artists or fit right into the catalogue of Vince Gill, Dwight Yoakum, or even Merle. Poco is perfect once again! But the song never got wide spread exposure and that just sucks!
Track 10- “Tulsa Turnaround” (Cotton) (2:40) Additional personnel- Al Garth-fiddle, Steve Ferguson- piano
To bring this album to a close, the band chose another Cotton composition. And it has the right feel. Pedal steel lines, fiddle music, a great lead line and a nice easy melody. It is like sipping a good Kentucky bourbon… smooth with just the right bite when it hits the back of your throat (if you’ve never had a good Kentucky bourbon, you are missing out on one of Gods’ best gifts!) The song is short, sweet and to the point.
Wow! Just wow! As I have been discussing with others, on line and in person, there is a category of recordings that I call the “perfect recording”. Others call these “deserted island” recordings (as in “If you were on a deserted island with a good stereo, what records would you want to have?”).
This album tops that list. I can listen to this over and over and over again. It is the perfect blend of all that is Poco. Add in Al Garth and Steve Ferguson and Poco is over the top. Garth was asked to join the band on a permanent basis but left after some unspecified disagreement. Garth had been a founding member of the band behind Loggins and Messina and had recorded with John McEuen of NGDB, Dan Fogleberg, Kinky Friedman, Iain Matthews, Claire Lynch, Amazing Rhythm Aces, Glenn Frey of Eagles, and Timothy B. Schmit on his solo efforts. Garth did tour with the band in 1976 and 1977 but never became permanent part of the band. (Too bad… who knows what might have happened.)
Once again, Epic Records decided to put the screws to Poco because they broke their contract after 8 recordings and still owed Epic one more album. Epic released Poco Live on top of the release of Rose of Cimarron in the same way they released Very Best of Poco to compete with Head Over Heels. And once again, Epic succeeded in splitting the market for the record. The album Rose of Cimarron peaked at #89 on the charts. Once again, Poco was thwarted. And Epic came out the winner in album sales of a group they only sought to harm.
I don’t know how many times I can listen to this recording and think just how fickle and wrong the music industry can be. Rose of Cimarron stands head and shoulders above other albums of 1976 which included Songs in the Key of Life, Boston, and, of course, Hotel California.
I just don’t get it. And I probably never will. Oh, well… think I will slip in the old earbuds and listen to Rose of Cimarron for the 5th time in two days. Yup, it’s that good. It really is.
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