The Marshall Tucker Band / Poco - The Midnight Special 1975 - Part 1
The Marshall Tucker Band / Poco - The Midnight Special 1975 - Part 2
The Marshall Tucker Band headlined The Midnight Special on January 24, 1975, delivering a standout performance that showcased their signature blend of Southern rock, country, and blues. The episode featured guest appearances by The Charlie Daniels Band, Olivia Newton-John, Poco, and Wolfman Jack. During their set, The Marshall Tucker Band performed "This Ol' Cowboy" and "24 Hours At A Time", highlighting their instrumental prowess and improvisational style. The band also took time to introduce its members, giving audiences a glimpse into their camaraderie and musical chemistry. This appearance was a defining moment for the band, helping to solidify their reputation as one of the leading acts in Southern rock during the 1970s. From: https://www.facebook.com/americanamusicsociety/posts/the-marshall-tucker-band-headlined-the-midnight-special-on-january-24-1975-deliv/1007673191542122/
I really don't know what Richie Furay was looking for when he left Poco. Perhaps it was the commercial success that had eluded him with the band. Perhaps he wanted critical acclaim. Well, he had some of that with Poco, but maybe he wanted to be on the A list of musicians. If it can be said that he was burned out then how do you explain Rusty Young's desire to continue? After all, Rusty had been with Poco as long as Richie and was probably experiencing some of the same feelings of frustration, especially after the relative failure of the Good Feelin' To Know album.
And then there's Paul Cotton, who had been a working musician as long as Richie. Timothy B. Schmitt had been with Poco since their 2nd album, and was probably puzzled by the band's failure to get a big hit or a gold album. Concert attendance was always good, but that big hit was just out of reach. Then you have to consider George Grantham, the drummer who also sang and added so much to the Poco sound. Anyway, Furay quit and left Poco to the other four, and it can truly be said they carried on in an outstanding fashion. If anything, they got even tighter without him.
If you look at Poco's history, you'll see that they had their greatest commercial success without Furay, Grantham, or Schmitt with 1978's Legend album and the hit singles that album contained. But, getting back to Cantamos. It's an excellent album, with or without Richie Furay. The songs are overall consistently good. The album is more satisfying than Poco 7, the first album without Furay. Cantamos is where the four man Poco really began to shine. I suppose you can think of 7 as the foundation for this album. Anyhow, get Cantamos, give it a good listen, and watch the image of Richie Furay fade out of your mind. Richie was off trying to be a STAR when this album was released and was getting lost along the way. Poco stuck together and produced some really good albums and Cantamos is one of the best. From: https://www.amazon.com/Cantamos-Poco/dp/B000093FKR
The Marshall Tucker Band arrived at a crossroads on it’s third album, Where We All Belong. With two successful LPs already under their belt, the Spartanburg, SC sextet was on the verge of even greater popularity. Marshall Tucker’’s eclectic brand of musical Americana had won them a fervent following as a touring act. Now, thanks to lead guitarist Toy Caldwell’’s knack for hook-laden songwriting, they were edging closer to breaking into Top 40 radio. Where We All Belong gives a taste of both ends of the Marshall Tucker spectrum: the expansive jam band and the more tightly-focused recording act. Released in 1974 as a two-record LP, the album found the band refining its own distinctive brand of country-rock on the studio cuts.
Anticipating the mass appeal of cowboy culture a few years later, Toy and his band adopted a bit of a Wild West attitude in their music. For all the prominence of pedal steel guitar and down-home lyric imagery in its tracks, though, Where We All Belong was far more adventuresome than most mainstream country music of its time. Balancing the well-honed studio cuts were the in-concert recordings that round out the album. The genre-spanning versatility and instrumental excellence of Marshall Tucker’’s membership is caught here in all its unfettered glory. As a live act, the band had the power to drive audiences delirious with their soaring jams, as these recordings demonstrate. From: https://www.amazon.com/Where-Belong-Marshall-Tucker-Band/dp/B000139TGC
I really don't know what Richie Furay was looking for when he left Poco. Perhaps it was the commercial success that had eluded him with the band. Perhaps he wanted critical acclaim. Well, he had some of that with Poco, but maybe he wanted to be on the A list of musicians. If it can be said that he was burned out then how do you explain Rusty Young's desire to continue? After all, Rusty had been with Poco as long as Richie and was probably experiencing some of the same feelings of frustration, especially after the relative failure of the Good Feelin' To Know album.
And then there's Paul Cotton, who had been a working musician as long as Richie. Timothy B. Schmitt had been with Poco since their 2nd album, and was probably puzzled by the band's failure to get a big hit or a gold album. Concert attendance was always good, but that big hit was just out of reach. Then you have to consider George Grantham, the drummer who also sang and added so much to the Poco sound. Anyway, Furay quit and left Poco to the other four, and it can truly be said they carried on in an outstanding fashion. If anything, they got even tighter without him.
If you look at Poco's history, you'll see that they had their greatest commercial success without Furay, Grantham, or Schmitt with 1978's Legend album and the hit singles that album contained. But, getting back to Cantamos. It's an excellent album, with or without Richie Furay. The songs are overall consistently good. The album is more satisfying than Poco 7, the first album without Furay. Cantamos is where the four man Poco really began to shine. I suppose you can think of 7 as the foundation for this album. Anyhow, get Cantamos, give it a good listen, and watch the image of Richie Furay fade out of your mind. Richie was off trying to be a STAR when this album was released and was getting lost along the way. Poco stuck together and produced some really good albums and Cantamos is one of the best. From: https://www.amazon.com/Cantamos-Poco/dp/B000093FKR
The Marshall Tucker Band arrived at a crossroads on it’s third album, Where We All Belong. With two successful LPs already under their belt, the Spartanburg, SC sextet was on the verge of even greater popularity. Marshall Tucker’’s eclectic brand of musical Americana had won them a fervent following as a touring act. Now, thanks to lead guitarist Toy Caldwell’’s knack for hook-laden songwriting, they were edging closer to breaking into Top 40 radio. Where We All Belong gives a taste of both ends of the Marshall Tucker spectrum: the expansive jam band and the more tightly-focused recording act. Released in 1974 as a two-record LP, the album found the band refining its own distinctive brand of country-rock on the studio cuts.
Anticipating the mass appeal of cowboy culture a few years later, Toy and his band adopted a bit of a Wild West attitude in their music. For all the prominence of pedal steel guitar and down-home lyric imagery in its tracks, though, Where We All Belong was far more adventuresome than most mainstream country music of its time. Balancing the well-honed studio cuts were the in-concert recordings that round out the album. The genre-spanning versatility and instrumental excellence of Marshall Tucker’’s membership is caught here in all its unfettered glory. As a live act, the band had the power to drive audiences delirious with their soaring jams, as these recordings demonstrate. From: https://www.amazon.com/Where-Belong-Marshall-Tucker-Band/dp/B000139TGC
