Kal David and Paul Cotton formed Illinois Speed Press after establishing some key Chicago-related connections. Their claim to fame, however, was setting the stage for Poco.
David, then a member of the Exceptions with a bass player named Peter Cetera, formed the Rovin’ Kind in 1965. This new group also featured Cotton, who later go on to replace Jim Messina in Poco. They won a battle of the bands in 1966 then appeared on American Bandstand, before becoming the house band at the Whiskey a Go Go in Chicago.
That’s when they caught the ear of future Chicago producer James William Guercio, who signed them to Columbia Records and convinced them to change their name to Illinois Speed Press. Their self-titled first album became part of a rush of Chicago-area band debuts as Columbia released new LPs from Chicago Transit Authority, the Flock and Aorta.
But Illinois Speed Press almost immediately began falling apart. Guercio fired keyboardist Michael Anthony, drummer Fred Page (born Fredrick Pappalardo, he became friends with Chicago’s Danny Seraphine before later dying of a rare form of leukemia), and shortly thereafter bassist Rick Lewine. For their follow-up album Duet, Illinois Speed Press soldiered on as the duo of Paul Cotton and Kal David.
Their dual guitar attack found David employing an R&B-influenced style, while Cotton delved into more folk/country-influenced stylings. David and Cotton also had a strong vocal chemistry. Those tight harmonies were reminiscent of Cotton’s future band Poco, and some of these songs were even rearranged and reworked by Poco after Illinois Speed Press imploded.
Listening today, Illinois Speed Press’ music sprinkles seeds of the California country/folk rock sound that would later gain popularity with the likes of America, the Eagles, Crosby Stills and Nash (and sometimes Young) and, of course, Poco. What largely set Illinois Speed Press apart from those other bands was Kal David.
His influences were rooted heavily in R&B; elements of Chicago’s urban electric-blues movement are also evident his style. Bands like America and Crosby Stills and Nash had more of a folk influence in their music, while the Eagles and Poco had more of a country influence. Illinois Speed Press’ addition of R&B truly gave them a sound that was unique.
Both of Illinois Speed Press and Duet are an absolute delight to listen to, and one could argue that aside from the superfluous “overture” that opens the debut, there is not a bad or weak track on either. Both were available briefly on compact disc as a two-album set, but there’s something to be said for listening to the original releases on vinyl. There’s a warmth to their sound that lends itself more to the original analog recordings than it does the later digital CD release.
“Here Today,” from their debut, wraps itself around the listener like a warm blanket on a cool fall day. In fact, both albums have the same autumnal feel to them as Poco’s Indian Summer album a few years into Cotton’s tenure.
For fans of Poco, these albums are an absolute must. Getting to hear earlier arrangements of songs like “Get In the Wind,” “P.N.S. When You Come Around” and even “Bad Weather” is a real treat for anyone who is already familiar with Poco’s later approach. And given how different Poco’s updates are from the original Illinois Speed Press versions, it’s a true testament to how Poco took those songs and made them their own. They also really show the underrated strengths that the late Paul Cotton brought to Poco when he replaced Jim Messina.
A GOOD BUY: I was able to find both of their albums on vinyl at different record shops in the Chicago metro area, both for $5 or less. Value for dollar, this is easily some of the best vinyl I’ve ever found!
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