Posts Tagged ‘1974

17
Jan
18

Three Dog Night “Joy to the World: Their Greatest Hits”

I don’t usually care for greatest hits records (Chicago IX is a big exception) but I picked up a clean copy of this one for a couple of dollars for listening because I love some of their songs. I had a copy of the Harmony LP when I was little and I pretty much wore it out. It’s funny, this unadorned (no pics!) 14 song record strikes me as totally contemporary, in a physical object sense, but it’s 44 years old! The songs on here are from the years which I think of as the pinnacle of Western pop culture, and a few of these songs, to me, are as good as Top 40 radio has ever been. They were a huge band, but I don’t ever remember seeing them on any of those late night music shows, and I would not have recognized any of the guys. From the few pictures I’d seen, I thought it was a perfect band name because they all looked a bit lycanthropic and sleepless. I always assumed that the expression “three dog night” had something to do with heavy partying, but Internet tells me it means a night that’s so cold you have to take three dogs to bed with you for warmth! Thanks Internet.

This was a band with three lead singers with distinctive styles, but I never knew their names or who was singing what, and I still don’t, really. It’s a tight band, and I like the sound. What is most remarkable and interesting is the vast array of songwriters they did songs by. You can spend a rainy afternoon looking over their discography songwriting credits. My favorites here, first are the songs from Harmony, “An Old Fashioned Love Song,” written by Paul Williams, and “Never Been to Spain,” which is written by Hoyt Axton, as well as “Joy to the World,” another of my favorites. Probably my favorite song on the album is Allen Toussaint’s “Play Something Sweet (Brickyard Blues)”—which is one of those songs that’s a bit corny in your memory, but loud, through good speakers, is like a new song. The sad thing is, my favorite TDN song, Randy Newman’s “Mama Told Me Not to Come” is not on this record. It was, however, on their first greatest hits album. If you think about it—for a band whose first album came out in 1968—that this was their second greatest hits album—that’s just totally nuts.

One other odd thing I’m reminded of is there are a couple odd things that always kind of drove me crazy, as much as I love these songs. One is in Harry Nilsson’s song “One,” the lyric, “One is the loneliest number that you’ll ever do.” I guess that’s more on Nilsson than TDN, and I’m sure people think that’s great, but it makes me think of someone out at restaurant, saying, “I’ll do the wings with the Sriracha aioli dipping sauce”—for some reason that’s always bugged me. And on “An Old Fashioned Love Song,” on the wind-down toward the end, where they’re singing, “Just an… ol/love song, just an… ol/love song”—kind of mixing the word old and love… if you listen to it again you’ll hear what I’m trying to describe. For some reason that just always bugged the shit out of me. I mean it still does—it bugs the living shit out of me. And I love that song.

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29
Aug
17

Sarah Vaughan “Send In The Clowns”

As much as I like Sarah Vaughan, and as much as I like clowns, and as much as I like the year 1974 (when this was released), you’d think it’d be an automatic home run. But no. First of all, I was never crazy about the song, “Send in the Clowns,” and here is a kind of cloying version that sounds more like the lame 1980s than ’74 (and interestingly, Sarah Vaughan also released a record called Send In The Clowns in 1981). The very next song, though, is a nice soul song (I’m not going to list all the songs here, but okay, I especially like this one: “Love Don’t Live Here Anymore”). Then the next one sounds like it could accompany a Blaxploitation movie. The next one is another smooth soul number. Then another one that’s more smooth than soul, but it’s okay. Side two is all really pretty good, though the last song is just way too much—it sounds like something from a live review in a very big supper club or small casino. It’s not pleasant. But really, the rest of the record is growing on me. I think this is one of those rare, but not unheard of, “skip the first and last song” LPs.

The album cover, put out by Mainstream Records, has the same exact picture on front and back, which I find just really unforgivable—I mean, why? You have the opportunity to put a full-color, twelve inch by twelve inch piece of art into the world—put a picture on the back of Sarah Vaughan applying makeup, or removing it, or cooking breakfast, or drinking tea, or a picture of your cat, or your kid’s art, or your laundry—anything but the same photo that’s on the front cover! The picture, of a clown, I’ve always assumed is Sarah Vaughan in clown makeup, but really it could be someone else, like maybe a clown. Anyway, as far a clowns go, it’s not too gnarly, but as far as album cover pictures go, it’s disturbingly gnarly. She’s wearing an odd clown suit, of which I think there is some significance, but I can’t find an example in the many, many, many, many clown images on the internet, so I just don’t know. Maybe someone will fill me in. She’s drinking from a straw, from a glass/cup/coconut concealed behind a paper umbrella. I don’t know, the whole combination of things is really kind of odd and unpleasant, though I can’t really put my finger on why. Maybe that’s part of the problem. Also, she’s not just a clown, but a man clown. But do clowns even have a gender? I mean, what are they, really? But anyway, this song, by Stephen Sondheim, isn’t about clowns, literally—duh. The lyrics are great, actually, but I’ve never heard a version of this song (and there’s been like a million of them?) that I liked. I don’t like the song. Maybe if there’s a version out there sung a cappella by Gilbert Gottfried, I could warm up to that.




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