POCO – All Music Guide One of the first and longest-lasting country-rock groups, Poco had their roots in the dying embers of Buffalo Springfield. After Neil Young and Stephen Stills, the co-founders of that group, exited in the spring of 1968, only guitarist/singer Richie Furay and bassist Jim Messina remained to complete the group's swan song, Last Time Around. The final Springfield track, "Kind Woman," included only Furay and Messina, with a guest appearance on steel guitar by Rusty Young -- at the time, he was something of a rarity as a talented lap-steel guitarist who was comfortable working in a rock idiom, and had previously belonged to a folk-rock-turned- psychedelic band called Boenzee Cryque. Young stuck with Furay and Messina, in the process skipping a scheduled audition for a new group that ex-Byrds member Gram Parsons was putting together. Auditions followed before the fledgling group reached out, at Young's urging, to ex-Boenzee Cryque drummer/vocalist George Grantham, and also to bassist/singer Randy Meisner, who had previously played with a band called the Poor. This lineup rehearsed for four months before making their debut at the Troubadour in Los Angeles, in November of 1968. A month later, they made their first appearance at the Fillmore West on a bill with the Steve Miller Band and Sly & the Family Stone. At the time, they were using the name Pogo, but that didn't last. Walt Kelly, the creator of the comic strip Pogo, from which they'd freely admitted borrowing the name, didn't appreciate the group's choice and filed a lawsuit. Not wanting to lose all of the recognition and goodwill they'd built up locally over the previous five months, the result was a change of just one consonant, to Poco. They impressed everyone who heard them, but getting them a recording contract was itself a difficult proposition -- Meisner, Young, and Grantham weren't a problem, as they were essentially unsigned to any label, but Messina and Furay, as members of Buffalo Springfield, were most definitely tied to Atlantic Records. As it happened, Columbia Records was interested in the group -- and hovering somewhere around this situation was David Geffen, then a young talent agent who was fast on his feet and persuasive in his manner. He, in turn, was trying to sort out the contractual situation surrounding ex-Springfield guitarist/singer Stephen Stills, and his new association with ex-Byrds singer/guitarist David Crosby, and Graham Nash, formerly of the Hollies, who wanted to record together but had the reverse problem; Stills was signed to Atlantic by way of Buffalo Springfield (which very much wanted Crosby, Stills & Nash), while Crosby and Nash, through their previous memberships in the Byrds and the Hollies, respectively, were both tied contractually to Columbia Records. With Geffen acting as catalyst between Atlantic chief Ahmet Ertegun and Columbia president Clive Davis, Messina and Furay had their contracts traded to Columbia in exchange for Crosby and Nash going to Atlantic. The group's lineup problems, which proved to be perennial, started almost immediately after Poco was signed to Columbia Records' Epic label in early 1969. During the recording of their debut album, Meisner suddenly left the band -- accounts vary as to precisely when this took place; he left either at the outset of the recording, or after finishing the album. But the basic disagreement concerned the fact that Messina, who had experience as both an engineer and producer, would not permit Meisner (or anyone else) to participate in the mixing of the album. Whatever the circumstances, Meisner went on to play with Rick Nelson for a few months before gravitating to a country-rock outfit that eventually christened themselves the Eagles. Poco ended up recording their debut album, Pickin' Up the Pieces, as a quartet, with Messina handling the bass parts. The album was issued in June of 1969 to enthusiastic reviews but not overwhelming sales, a pattern that would follow the band for most of its history. Poco was back to being a quintet in 1970 with the addition of bassist/vocalist Timothy B. Schmit, whose arrival coincided with the recording of their second album, Poco, on which he had two co- writing credits. The album showed the group pushing its range and received even better reviews at the time than its predecessor, but failed to generate a hit single or climb above the lower reaches of the charts. It wasn't long after that Messina decided to leave, feeling that Furay had started to exert too much control over the group's sound. Before departing, however, he secured the services of a more-than-capable replacement member, guitarist/singer Paul Cotton, a onetime member of the country band Illinois Speed Press, which had recorded for Epic. Messina also played on and produced their subsequent live album, Deliverin' -- the latter represented an interesting change in strategy for the label and the band, which, after two artistically successful but commercially disappointing albums, was now looking to present itself in the strongest light as possible. A live album consisting entirely of new material, Deliverin' offered the record-buying public a glimpse of the group's on-stage sound, which melded the excitement and energy of rock & roll with the lyricism and romanticism of country music. And it seemed to work to a degree, the album reaching number 26 and yielding a minor hit in "C'mon." Messina's departure left the group in need of a producer, and for their next album, From the Inside (1971), they turned to Booker T. & the M.G.'s guitarist Steve Cropper, who was an experienced producer but one mostly associated with Southern soul music. The resulting album had a heavier and more soulful sound than their earlier studio releases, but lacked the freewheeling spirit that had driven those albums. And, in a surprising development, this lineup -- Furay, Cotton, Young, Schmit, and Grantham -- lasted for more than one studio album. The group decided to build their next release around one of their most popular concert numbers, a Furay song called "A Good Feeling to Know," which was also issued as a single -- the album A Good Feelin' to Know (1972) never got any higher than number 69, and the single never charted at all. By this time, even Furay had begun to lose heart over the band's lack of commercial success, and began making plans to move on. The band made one renewed effort, Crazy Eyes, their most accomplished studio album to date. Released late in 1973, it became their most successful LP up to that time, reaching number 38 and staying on the charts for almost six months. Any good news surrounding its sales was muted by the departure of Furay from the band upon its release, however -- he joined up with Chris Hillman and John David Souther to form the Souther-Hillman-Furay Band. Most music columnists were predicting Poco's likely demise, but the group was able to continue as a quartet. Their next album, Seven, released in the spring of 1974, failed to replicate the success of Crazy Eyes, although it was good enough to keep the fans interested. The group was at a critical point in their history following the release of one more Epic album, Cantamos, which appeared in the fall of 1974 and got no higher than number 76 -- it was the first album on which the bandmembers produced themselves, however, and offered a brace of beautiful songs and gorgeous harmonizing, as well as virtuoso-level playing and beautiful textures, embodied in harder-rocking tracks such as "High and Dry," which seemed to live up to all of the promise the band had shown in 1968; and it included unusually strong songwriting contributions by both Rusty Young and Timothy B. Schmit. At this point, the group and their record label came to a parting the ways, as Columbia's executives felt that they'd given the band every chance for success across a period of nearly seven years, without more than middling results despite often sterling reviews and a healthy concert audience for the band. Poco signed with ABC Records in 1975, and their first album for the new label, Head Over Heels (1975), surpassed the sales of any of their recent Epic releases, climbing to number 48, and also generated a moderately successful single in "Keep on Tryin'," which reached number 50 on the Billboard chart. It was also perhaps indicative of the perception of their aging appeal within the industry that the single also got to number 45 on Cashbox's listings, which are based exclusively on record sales (as opposed to Billboard's mix of sales and radio play) -- the group seemed able to draw fans more easily to their records than their label could induce radio stations to play those records. The album's performance was all the more impressive, given that Epic issued a double-LP compilation, The Very Best of Poco, just two weeks after Head Over Heels came out. That compilation reached number 90, which was probably just enough to cost Head Over Heels a notch or two in its own chart placement, competing for the attention of the fans. Rose of Cimarron (1976) offered a gorgeous title track by Rusty Young, with a melody it was almost impossible not to keep humming once heard, and as high a "haunt count" as anything the group had ever released -- and the song was later covered by Emmylou Harris and turned into the de facto title track of her Cimarron album, and was also included on her Songs of the West compilation in the 1990s.