Skip to main content

Three Dog Night - Harmony

Three Dog Night
Three Dog Night has been one of those nifty pleasures for me over the last couple of years. As a kid they were on the radio all the time ... at least it seemed that way up to around 1974 or so, then they weren't on the radio anymore. I'd always liked music and my little AM radio was always on. When Harmony came out in 1971 and I remember really liking "An Old Fashioned Love Song" although at the time I had no idea what the album was called.

Of course over the decades time has a way of blurring and I've picked up a number of albums that I've really enjoyed. The albums have come to me out of sequence and I tend to first try to find the classic hits, and then from there listen to album allowing the deeper album tracks some time to breathe.

I'm still in awe of the band. The fact that Three Dog Night wasn't centred on a lone front man is a source of wonder. Cory, Chuck and Danny were amazing singers and the band was so good. Mike Allsup the guitarist is so good, and my goodness keyboardist Jimmy Greenspoon to me is the foundation of the band's sound. Everything is anchored and propelled by the rhythm section of Joe Schermie on bass and Floyd Sneed on drums.

Three Dog Night may not have written their hits, but their versions are definitive. Harmony yielded two classic songs, Hoyt Axton's "Never Been to Spain" and Paul Williams' "An Old Fashioned Love Song." These are the big radio hits, and while they're the best songs on the album, the rest of the record was really enjoyable. One of my favourite deep cuts is simply called "Jam" and was written by the band. The other is "My Impersonal Life" that has a great groove and some great organ work by Jimmy.

Of course it's kind of hard to be objective with the weight of five decades of nostalgia tipping the balance to the more familiar songs. The ones that are new to me will never feel the same no matter how good they may be.

back cover
For me it's been about the discovery of a band that had way more to offer than the hits on the radio ... and my goodness they had a lot of hits on the radio. For all their success they don't seem to get any respect because they were interpreters of songs rather than songwriters. Which seems to be a bit rich considering how many artists never wrote anything they sang. Three Dog Night may not have written their hits, but you'd be hard pressed to find a better version of the songs they recorded. 

Comments

Popular posts from this blog

Styx - Paradise Theater

Styx was hands down one of my favourite bands as a kid. They were a strange band, even back then. They were a hard rock band, almost progressive at times, who had a penchant for sucky ballads. I know there's a tendency for people to zero in on "Babe" as the song that killed the band's credibility. The roots go way back to almost the beginning when Styx released "Lady" on their second album. It showed a side to the band that needed to be kept in check, and for the most part the band kept things on a pretty tight leash. The band had been setting a gruelling pace, releasing an album a year (two in 1972) and by the time they released Paradise Theater (if I end up writing theatre later it's because that's how we spell it here) in 1981 they'd dropped ten albums in less than a decade. I snapped this up as soon as I saw it, and it became a fixture on my turntable. Like the band had announced on "Borrowed Time" from 1979's Cornerstone , ...

Billy Rankin - Growin' Up Too Fast

Growin' Up Too Fast was never widely released on CD (if at all), and it was one of the albums I really wanted to get back after a basement flood wiped out my vinyl collection in the '90s (when no one really gave a shit about records, and my insurance gave me a couple hundred bucks for an appraised $10,000 collection). Way back in 1984, my (dearly departed and greatly missed) buddy Dave let me borrow his cassette copy, which included a bonus track of "Get It On (Bang A Gong)." When I eventually bought the album, I didn't know it was a bonus track, or even what a bonus track was. If that sentence was hard to read, just go back and skim it. I'm sure you'll get the gist. I'd find out later Billy was an off-and-on-again member of Nazareth and wrote some absolutely killer songs for them. At the time, though, all I knew was this guy laid it out cold with the opening cut, "Baby Come Back," then proceeded to lay down one killer tune after another bef...

Garfield - Strange Streets

I'd seen this before in the bin, but kept flipping through the stacks. I'd see it a few more times, each time stopping to look at it a little more. There was something kind of cool about the cover where the stylized Celtic knot had the dotted yellow line - it was a strange street for sure. I pulled the record out of the jacket and I was struck by the centre image. There was the familiar Mercury label, the same one I'd seen a thousand times on BTO's Head On album. Well, I'd bought things based on odd associations before - like when I had to buy anything that Solid Rock Records released (this was generally a good thing) - so who knows, maybe this was a hidden gem. There weren't any real scratches or rash, just a lot of dirt and dust. It seemed to clean up okay, but we'll see how it goes. The album opens with the title track, and this wasn't straight-ahead pop or rock. It was leaning toward the progressive, but with a pop bent. Oddly enough, the vocals rem...