Propinquity

Two autumn releases offer glimpses into the folkie-infested Boulder of the '60s and early '70s: Karen Dalton's Cotton Eyed Joe, a collection of live material recorded at the legendary Attic, and a deluxe reissue of Propinquity's sole LP from 1972. Emerging from Sing-In Boulder, an annual "high school folk music...

By Justin F. Farrar

November 29, 2007

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Two autumn releases offer glimpses into the folkie-infested Boulder of the '60s and early '70s: Karen Dalton's Cotton Eyed Joe, a collection of live material recorded at the legendary Attic, and a deluxe reissue of Propinquity's sole LP from 1972. Emerging from Sing-In Boulder, an annual "high school folk music concert," Propinquity consisted of five young natives who — for a short while, at least — became a regional success, crafting a creamy fusion of vulnerable folk rock that nowadays would sound right at home on a freak-folk mix. Boasting three quality singer-songwriters (Pat Hubbard, Carla Sciaky and Jason Potter), the group took its name from a tune by Michael Nesmith (the dude with the cap in the Monkees). This makes total sense. Although Propinquity wrote its fair share of where-is-my-place-in-this-world laments and covered the always-grim Townes Van Zandt, the band excels at breezy pop. On "Tappan Square" and "People Come," Propinquity even bounces along like a Christianized version of Crosby, Still, Nash and Young. But this isn't religious material — even though Hubbard did look like an extra from Jesus Christ Superstar.

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