Page Ten
THE MICHIGAN DAILY
Sunday, October 17, 1971
:Pa1lqe1 T e1111 nil .T HE. .- .. M IC"H IG.AN-"- " -- :-..D A ILY- S
t we've been waiting for
The crowd up and screaming .. .
Poco does have that effect on people
(Continued from P1 2
on a characterscally lah
note. Some of this sounds like
bad white thylhm nd blue
with stink Iorns a Robert-
son's clipped lead uiar. The
vocals alone are as good as
usual, here and throughout
most of tr album.
The Dylan song, ce
is a Masterpiece, is probably
the best cut on the album
seamy traveogue brimming
with the bard's dry humor
Garth Hudson's ic. rue ac-
cordion is hauntin
dermonstration of genius fro
the Band's foremost instrumen-
talist. As cood as tb sdng is,
can we excuse the folowing
lyrical abortion: "Saili' roud
the world in a dirty gondola
Oh to be back 'n th nd of
Coca-Cola." Tha phr::. e col
be said to represent both tn
best and the worst in Dylan
Next are a pair of songs da
ing with the sad extinction of
such American i' d as the
eagle, blacksmith anld afr-
mentioned buffal. 'Th frt
"Last of the Blacsmihs. a
a typically - frntic ica
Manuel vocl andl
while "Wher Do Go
Here?" has a huma cho
and a lot of leaden imagery.
Van Morrison lends his mush-
e 1
outed presence to "4% Pan-
,a duet-between he and
nu. Another song of disen-
int this is distinguished
orrison's spastic
al i saions.
Out in Chinatown,"
the oly ct on the album un-
d hr mntesisn a bouncy
onenity ih some nice ly-
c by obertson, some of which
Conu is had once stated
l c the land/Below the
soi ce ctme and love/ They
hand/The fire dra-
bu/Buddha has lost his
u swears we will meet
a n/n u a little while.,,
t made up my mind
about"TeMoon Struck One,"
bu 'isn't a song I would
hav epecedfrom the Band.
nating six - note
d on Robertson's
a nursery-rhyme
m r s strange childhood
haps this is a master-
p pur d simple, but it is
a song that will linger
n u mind.
'. n' Out Loud" and
areboth lousy songs.
y the latter. The first is
by
reminiscent of "Sleeping" from
Stage Fright but not as inter-
esting. "Volcano" finds Robert-
son pleading with his gal to
come across. By comparing this
labored tune with "Jemima
Surrender," from the Band's
phenomenal second album, we
can see how the mighty (i.e. the'
boys from Big Pink) have fallen.
"Jemima" was racy and down-
to-earth: "I hand you my rod
and you hand me that line/Ev-
erytime But ain't doin' much
fishin'/Or drinkin' any wine."
The lyrics to "Volcano" are
more complex and mechanical,
and the whole song involves a
definite regression from the
Band's country - simple, but
clever, lyrics. Also, "Jemima"
rocks a lot more.
A high point of Cahoots is
"Smoke Signal," thanks mainly
to Helm's vocal and an ihterest-
ing guitar solo by Robertson.
In this song Robertson warns
all fat cats to heed the smoke
signals, which as near as I can
tell spell out R-E-V-O-L-U-
T-I-O-N. Dig: "When they're
torn out by the roots/Young
brothers join in cahoots/And
send a smoke signal near and
far/A smoke signal no matter
where you are."
Helm is a little off his feed
on "River Hymn," straining for
the notes and laboring with a
pretty corny song. The addition
of angelic background vocals by
some sweet birdies is a tip that
the Band wanted to close out
Cahoots on a moving, trium-
phant note. But not even this
updated "Ol' Man River" can
wash away the sour taste of a
truly disappointing album.
(Continued from Page 2)
along sing-along quality of this
new song. "Bad Weather" and
"Hard Luck" were followed by
Poco, specifically about t h e
Furay's two old classics, "A
Child's Claim to Fame" a n d
"Pickin' Up the Pieces."
An unusual concert rendi-
tion of "What A Day" brought
the band back to electricity.
Three more new songs and the
final "C'Mon" closed the show.
The boys trudged off the stage
a little way and the crowd
screamed for more, but some
EMU clown had a bright idea
and turned on the lights, can-
celing out Poco's encore.
Providing a strong supporting
attraction was Doug Kershaw,
the fiddling Cajun. Accompan.
ied by Ann Arbor's three Bud-
dies in the Saddle (Steve New-
house, guitar; Pete Ostle, bass;
and Lou Weiner, drums), Ker-
shaw ran though a collection of
his requested songs, including
"Diggy Diggy Lo" and his trade-
mark "Louisiana Man." No sy-
rupy tenor or guitar-picker with
a Buck Owens painted-on smile,
Kershaw is a genuine country
boy with a strong expressive
voice and a frenzied instrument-
al style which he demonstrated
on fiddle, accordion and acous-
tic guitar.
After the concert Rusty
Young talked a little about
band's evoution to the m o r e
commercial hard rock. "We've
gotten into rock a lot more late-
ly, especially since Paul joined
the, group," commented Russ.
"But of course, on some nights
we'll play more country than we
did tonight." He further explain-
ed that former lead Messina left
Puco to pursue a solo career.
Rusty expressed his complete
approval of Poco's new album
From the Inside, and said he
thought he did a lot of playing
on it. "The solo I play on "Hoe-
down" is pretty commercial
stuff," admitted Russ of his
Lloyd Green-like break on that
song.
Poco seems to be on the road
most of the year and the frantic
schedule apparently is taking its
toll on the band members, who
were very subdued after t h e
concert. "We'd like to take some
time off in November to do some
studio recording," said R u s s.
He said Poco's next album may
be a double, evenly divided be-
tween acoustic and electric mnu-
sic.
Talking a little about his art,
Rusty named Buddy Emmons
and Curly Chalker as his favor-
ite -steel players, adding t h a t
he often gets together w i t h
Emmons in Los Angeles.
With this Young slumped
back, the most tired musician
I have ever seen.
I
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