TOBIAS SAMMET Unveils AVANTASIA Here Be Dragons Artbook (Video)

TOBIAS SAMMET Unveils AVANTASIA Here Be Dragons Artbook (Video)

Avantasia will release their new album, Here Be Dragons, on February 28 via Napalm Records. Frontman / mastermind Tobias Sammet has shared a new video along with the following introduction:

“Anyone familiar with Avantasia and my passion for the craft knows how deeply I value physical formats, even in this ever-expanding digital age. Here Be Dragons is no exception! The ultimate version of this album is the deluxe artbook – a masterpiece in itself, featuring three CDs and a 96-page book. It’s not just a collector’s item, it’s an invitation to dive headfirst into the rich, immersive world of Avantasia.”

Avantasia’s success has seen hundreds of millions of streams, gold awards and chart-topping albums as well as sold-out arena tours and headline slots at major festivals, cementing the band’s standing at the very top of the international metal scene. Avantasia’s 10th studio album is set to surprise fans old and new with plenty of fresh soundscape,s and the band will be bringing their most monumental show yet to arenas across Europe with their “Here Be Dragons” headline tour kicking off in March.

Make sure to secure your copy of Here Be Dragons now and check out the lyric video for “Against The Wind” below.

Tobias Sammet on “Against The Wind”: “‘Against The Wind’ is an anthemic uptempo rocket that contains lot a lot of what Avantasia stands for. What I especially like about the song is the combination of speed and power, along with an uplifting and elating harmonic and melodic approach. It comes over you with sheer force, but it drags you along to a better place, it gives you strength and encourages you to stay true to yourself in adverse wind and raise the middle finger to those who want to keep you from being yourself. Musically and vocally it’s quite a demanding tune, as you need the full toolkit of a Power Metal singer, but it’s got some loose kind of Journey feeling also in certain places that require a completely different way of feeling the song. So I was looking for a vocal partner who would have Metal skills and quite a range, but also understand the background of singers like Sam Cooke or Steve Perry. And I knew that Kenny Leckremo of H.E.A.T. would be able to pull it off. In all modesty: I think we both sound amazing together here. I love this song!”

Featuring absolute Avantasia essentials such as spellbinding choirs and theatrical symphonic metal elements, multitalented mastermind and frontman Tobias Sammet also surprises fans old and new with plenty of intriguing fresh soundscapes. Here Be Dragons gives the celebrated Avantasia sound that has been carefully crafted over a quarter of a century an exciting and powerful spin. The new album is the most consistent and concise piece of art that the band has ever crafted.

Avantasia is not showing any signs of slowing down – soon after the release of Here Be Dragons, the band will head out on an extensive arena tour across Europe, promising to deliver fans an immersive experience with their biggest and most epic production ever.

In grand Avantasia tradition, the new full-length is rich in vivid storytelling and cinematic atmospheres, not to mention the highest level of musicianship. Opening track “Creepshow” is without a doubt one of the catchiest songs in their career. The energizing future hit truly welcomes the listener into the new era of Avantasia and will be an integral part of the band’s spectacular live shows. In contrast, the incredible title track “Here Be Dragons” is a classic Avantasia song, and at almost nine minutes, is by far the longest on the album. The cinematic dark soundscapes of “The Witch” captivate and support the song’s storyline perfectly. Emotional, multifaceted vocal performances mesmerize on “Avalon”, while the heavy metal number “Against The Wind” serves as further proof of the versatility of Avantasia’s sound. Remaining well-balanced and cohesive, Here Be Dragons is undeniably Avantasia’s most powerful album so far.

The 10-track offering was written and composed in its entirety by Tobias Sammet himself, produced and recorded by Tobias Sammet together with Sascha Paeth, mixed by Sascha Paeth and mastered by Michael Rodenberg. The stunning cover art was once again created by acclaimed British fantasy artist Rodney Matthews. Here Be Dragons marks another masterpiece in the Avantasia catalog, leaving both fans and critics speechless and proving the band’s standing as a main force in the world of rock and metal!

Here Be Dragons is now available for pre-order in several exciting physical editions, with bonus albums included in select limited formats, like a 3CD hardcover artbook with 96 pages, over 160 pictures, drawings of Rodney Matthews and extensive stories to accompany the music and pictures.

Here Be Dragons will be available in the following formats:

– 3CD-Artbook – large format, hardcover book incl. 96 pages, over 160 pictures and extensive stories and liner notes
– 3LP Vinyl Box incl 72 Pages 12″ Booklet – strictly limited to 500 copies
– 1LP Glow in the Dark Vinyl incl 12” Booklet – strictly limited to 300 copies – Napalm Records Mailorder exclusive
– 1LP Yellow/Orange Marbled Vinyl incl 12” Booklet – strictly limited to 300 copies – Napalm Records Mailorder exclusive
– 1LP Blue/White Splattered Vinyl incl 12″ Booklet + Poster + Slipmat – strictly limited to 500 copies – Napalm Records Mailorder exclusive ROW
– 1LP Orange incl 12” Booklet     
– 1LP Black incl 12” Booklet         
– Tape – strictly limited to 100 copies – Napalm Records Mailorder exclusive           
– 2CD Mediabook              
– 1CD Digipak                     
– Digital Album

Pre-order here.

Here Be Dragons tracklisting:

“Creepshow”
“Here Be Dragons”
“The Moorland At Twilight”
“The Witch”
“Phantasmagoria”
“Bring On The Night”
“Unleash The Kraken”
“Avalon”
“Against The Wind”
“Everybody’s Here Until The End”

“Creepshow” video:

2025 tour dates:

March
14 – Hamburg, Germany – Sporthalle
15 – Brussels, Belgium – AB Box
16 – Paris, France – Olympia
18 – Esch-sur-Alzette, Luxembourg – Rockhal
20 – Berlin, Germany – Columbiahalle
21 – Bamberg, Germany – Brose Arena
22 – Bochum, Germany – RuhrCongress
24 – London, England – The Roundhouse
26 – Tilburg, Netherlands – O13
28 – Stuttgart, Germany – Schleyerhalle
29 – Prague, Czech Republic – Forum Karlin

April
1 – Budapest, Hungary – Barba Negra
2 – Vienna, Austria – Gasometer
4 – Munich, Germany – Zenith
5 – Frankfurt am Main, Germany – Jahrhunderthalle
6 – Cologne, Germany – Palladium
8 – Milan, Italy – Alcatraz
9 – Zurich, Switzerland – The Hall
11 – Barcelona, Spain – Razzmatazz
12 – Madrid, Spain – Vistalegre
23 – Helsinki, Finland – Black Box
25 – Oslo, Norway – Sentrum Scene
26 – Stockholm, Sweden – Arenan Fryshuset


PÂNTANO Feat. MOONSPELL, WAKO, LOW TORQUE Members Release New Single And Music Video “Inferno”

PÂNTANO Feat. MOONSPELL, WAKO, LOW TORQUE Members Release New Single And Music Video

After three years of silence, Pântano return in full force with their new single, “Inferno”. The band Pântano, whose name   translates to “swamp,” serves up a raw, sludgy southern rock sound with a touch of classic Alice In Chains seamlessly woven into the mix.

Staying true to their dark and melancholic essence, the band unveils a new lineup and an even more refined, mature sound on this latest track. With Nuno Rodrigues (Wako) on vocals and Arlindo Cardoso (Low Torque) on drums, Pântano now features Aires Pereira (Moonspell) on bass and Paulo Basílio (ex-Votos) on guitar.

“Inferno”, mixed and mastered by the renowned Daniel Cardoso (Anathema, Anneke), marks the natural evolution of the band, blending a melancholic and dark atmosphere with heavy, slow riffs imbued with a strong emotional weight.

The single is accompanied by an impressive music video, directed by Beatriz Mariano, which masterfully captures the intensity and introspection of this new chapter for Pântano. Watch below:


MARTY FRIEDMAN Reflects On Spending Time With GENE SIMMONS In Japan – “It Was A Dream Come True For A KISS Fan Like Myself”; Video

MARTY FRIEDMAN Reflects On Spending Time With GENE SIMMONS In Japan -

The Metal Voice recently spoke to guitarist and solo artist, Marty Friedman, about his latest studio album, Drama, and his upcoming US tour. Friedman also talked about living in Japan, learning a second language and working with KISS’ Gene Simmons on a movie in Japan a few years back. Watch the interview below.

When asked if knowing a second language makes you more empathetic to people globally who struggle with another language, Marty answers, “Where it fits into my life is, I’m very blessed and lucky to be able to tour the world playing music. And when you do that you run into a lot of people who don’t speak good English, almost all the time. So learning a second language makes you feel very empathetic to people trying to speak another language. For example, if you go to Brazil you know people are going to speak a different kind of English that’s not nearly what we grew up with in America. So you try to kind of figure out what it is they’re trying to say when it’s not coming out right. And when you’ve had the experience of learning a second language you know the exact thing they’re trying to say, even if they’re totally messing it up. Even if they’re totally on the wrong page on completely wrong grammar, wrong words you pick it up. Then you can get them back into it and they don’t feel intimidated. Sometimes  fans will feel intimidated because maybe they’re a fan of mine and they get to meet me. They’re so nervous because they don’t speak English and I hopefully can make them feel kind of calm and less anxious when I can understand them from just a couple little phrases of what they’re saying. And that’s definitely thanks to having the experience of starting from zero and learning a language myself (Japanese). So there’s no shame in trying to speak when you’re not really fluent and actually it’s really manly to do that because that’s the only way you get better at anything. “

On acting/performing with Gene Simmons in the movie Detroit Metal City in Japan a few years back, Friedman reveals, “That’s not very recent though there was a movie called Detroit Metal City based on a very famous comic in Japan and the movie was absolutely fantastic. It was a huge hit. I was in the Gene Simmons band in that movie, so it was a dream come true for a KISS fan like myself. Another great thing was everyone there was Japanese and Gene was the only guy who didn’t speak Japanese and I was the only guy who spoke English. So Gene practically cornered me and we were chatting the entire time. When you’re making a movie it was a three day shoot. It’s all waiting around time really so I was just like my little 15-year-old self. So we’re just talking about everything. Gene is so knowledgeable about my favorite type of music, which is 50s music and early 60s, and he’s so knowledgeable and just a great intelligent guy to talk to. And as a KISS fan I was a very captive audience. I remember chatting to him much more than actually filming us jamming together. It’s just one of the biggest bonuses of this profession that we have. I also met Gene in the early 90s and we did a radio program together. It was just me and him and the DJ. I was so impressed because Gene told me he says, ‘hey I know your solo album Dragon’s Kiss,’ I’m like you don’t know that and  then he says yeah I can tell you the first song called ‘Saturation Point’ the second is ‘Dragon Mistress’ and he listed off the titles of my solo album. I was just so excited. The funniest thing was his voice. You know,  like he’s the God of Thunder but his voice was literally my 90-year-old grandfather from Austria. It was just the  most typical Jewish grandfather voice with those same pronunciations and the same slangs.” (Laughs)

Friedman has announced 2025 US tour dates supporting his most recent studio album, Drama, out now on Frontiers Music. The tour will kick off on January 25 in Las Vegas and wraps up on February 22 in Los Angeles.

Marty comments on the tour: “My three band members from Japan, Chargeeeeee, Wakazaemon, and Naoki have created the ultimate setting to perform music from all stages of my career. If you’ve seen us live before, you know what to expect. If not, you are in for a unique treat. You will remember my band’s performances on this Drama tour for a long time. Our last two USA tours have left an unforgettable impact on them. We are all beyond excited to cross the pond and play for my home country again!”

Tour dates:

January
25 – Las Vegas, NV – Count’s Vamp’d
27 – Denver, CO – HQ Live
29 – St. Louis, MO – Off Broadway
30 – St. Charles, IL – Arcada Theater
31 – Westland, MI – Token Lounge

February
1 – Columbus, OH – The King of Clubs
2 – Cleveland, OH – The Winchester
4 – New York, NY – The Loft at City Winery
5 – Boston, MA – City Winery
6 – Derry, NH – Tupelo Music Hall
7 – Annapolis, MD – Ram’s Head on Stage
8 – Pawling, NY – Daryl’s House
10 – Philadelphia, PA – City Winery
11 – Leesburg, VA – Tally Ho Theater
13 – Greenville, SC – Radio Room
14 – Nashville, TN – The Basement
16 – Houston, TX – Bronze Peacock at House of Blues
17 – Austin, TX – Antone’s
18 – Dallas, TX – Granada Theater
20 – Albuquerque, NM – Launch Pad
21 – Phoenix, AZ – Rhythm Room
22 – Los Angeles, CA – The Whisky


Today In Metal History 🤘 January 20th, 2025 🤘 DEF LEPPARD, KISS, JUDAS PRIEST, OZZY, SEPULTURA, HAMMERFALL

Today In Metal History 🤘 January 20th, 2025 🤘 DEF LEPPARD, KISS, JUDAS PRIEST, OZZY, SEPULTURA, HAMMERFALL

HEAVY HISTORY

43 years today (January 20th, 1982), OZZY OSBOURNE bit the head off a bat at the Veterans Memorial Auditorium in Des Moines, Iowa
when a member of the audience threw it on stage. After the show Ozzy was immediately rushed to the nearest hospital for rabies shots.

TALENT WE LOST

R.I.P. MEAT LOAF (real name Michael Lee Aday): September 27, 1947 – January 20, 2022 (aged 74)

HEAVY BIRTHDAYS 

Happy 73rd  
Paul Stanley (KISS) − January 20th, 1952

Ian Hill (JUDAS PRIEST) − January 20th, 1952 

Happy 72nd  
Robin McAuley (MSG) − January 20th, 1953

Happy 66th
Herman Frank Jr. (ACCEPT, VICTORY) – January 20th, 1959

Happy 59th  
Tracii Guns (L. A. GUNS) −  January 20th, 1966

Happy 59th 
John Perez (SOLITUDE AERTURNUS) – January 20, 1966

Happy 54th 
Derrick Green (SEPULTURA) − January 20th, 1971

Happy 53rd  
Oscar Dronjak (HAMMERFALL) – January 20th, 1972 

Happy 45th  
Mattie Valentine (BULLET FOR MY VALENTINE) – January 20th, 1980
 
Happy 44th  
Martin Skaroupka (CRADLE OF FILTH, MASTERPLAN) – January 20th, 1981 

HEAVY RELEASES

Happy 47th  
JOURNEY’s Infinity – January 20th, 1978 

Happy 42nd  
DEF LEPPARD’s Pyromania – January 20th, 1983

Happy 41st  
METALLICA’s “Jump In The Fire” single – January 20th, 1984

Happy 27th  
ACE FREHLEY’s Loaded Deck – January 20th, 1998
MOONSPELL’s Sin/Pecado – January 20th, 1998

Happy 19th  
EDGUY’s Rocket Ride – January 20th, 2006

Happy 16th  
RUMPELSTILTSKIN GRINDER’s Living For Death, Destroying The Rest – January 20th, 2009
CATTLE DECAPITATION’s The Harvest Floor – January 20th, 2009

Happy 15th  
ROYAL HUNT’s X – January 20th, 2010

Happy 13th  
BIOHAZARD’s Reborn In Defiance – January 20th, 2012
PRIMAL FEAR’s Unbreakable – January 20th, 2012
NOTHNEGAL’s Decadence – January 20th, 2012

Happy 11th
THE HAUNTED’s Eye Of The Storm – January 20th, 2014

Happy 8th  
FIREWIND’s Immortals – January 20th, 2017
HELHEIM – LandawarijaR – January 20th, 2017
PALISADES – Palisades – January 20th, 2017

Happy 5th  
IMPIETY’s Versus All Gods – January 20th, 2020

Happy 2nd
ATROCITY’s Okkult III – January 20th, 2023
DARK PRINCESS’ Phoenix – January 20th, 2023
IMPERIUM DEKADENZ’s Into Sorrow Evermore – January 20th, 2023
KATATONIA’s Sky Void Of Stars – January 20th, 2023
RIVERSIDE’s ID.Entity – January 20th, 2023
SABATON’s Heroes Of The Great War – January 20th, 2023
TWILIGHT FORCE’s At The Heart Of Wintervale – January 20th, 2023


TRICK OR TREAT Reveal Ghosted Album Details; Pre-Order Launched

TRICK OR TREAT Reveal Ghosted Album Details; Pre-Order Launched

Trick Or Treat will release the new album, Ghosted, on April 25 through Scarlet Records. The band have also renewed the contract with the label, strengthening a partnership started in 2020 and projected into a bright future.

Ghosted is the album that definitely marks the new Trick Or Treat course, where the classic power happy metal mixes with terrifying and yet funny horror atmospheres.

The Italian band put in music some of the most famous horror movie franchise such as “Evil Dead Never Sleeps” (“Army Of Darkness”), “Bitter Dreams” (“A Nightmare On Elm Street”) or “The 13th” (“Friday The 13th”), and paid heartfelt homage to the world of comics (“Craven Road”, Dylan Dog) and video game (“Return To Monkey Island”) that shaped their imaginary too.

With a little help from a couple of soon-to-be-revealed famous international friends, Trick Or Treat delivered just another irresistible collection of wicked, catchy and energetic metal tunes.

Produced by Simone Mularoni at Domination Studio, and creepily illustrated by the visual & tattoo artist and band’s vocalist Alle Conti (Twilight Force), Ghosted will be released in the following formats:

– digipack CD
– vinyl LP: 350 transparent blue; 150 transparent yellow (mailorder exclusive)
– digital

Pre-order here.

Ghosted tracklisting:

“Lost In The Haunted House” (intro)
“Craven Road”
“Bloodmoon”
“Ghosted”
“Dance With The Dancing Clown”
“Polybius”
“Evil Dead Never Sleeps”
“Return To Monkey Island”
“Make A Difference”
“The 13th”
“Bitter Dreams”

Trick Or Treat are:

Alle Conti – vocals
Guido Benedetti – guitar
Luca Venturelli – guitar
Leone Villani Conti – bass
Dario Capacci – drums

(Photo – Cristian Daolio)


“A small subset of fans had a practice of showing up to gigs in Nazi regalia.” System Of A Down’s Serj Tankian on why supporting one iconic metal band was like “rock ‘n’ roll boot camp”

“A small subset of fans had a practice of showing up to gigs in Nazi regalia.” System Of A Down’s Serj Tankian on why supporting one iconic metal band was like “rock ‘n’ roll boot camp”

Serj Tankian on stage in 2001
(Image credit: Getty Images)

It seems almost unimaginable now that a metal band as massive and universally loved as System Of A Down – a band with numerous Billboard number one albums and a couple of songs in the Spotify billions club, no less – were once greeted with outright hostility as a relatively unknown opening act.

To have it all make more sense, we probably need to bear two key things in mind. Firstly, their sheer size makes it easy to forget just how fundamentally weird System Of A Down are. To metal crowds in the late 90s, fed on a scene dominated by Metallica, Korn, Pantera and Marilyn Manson, a bunch of Armenian-American misfits playing a politically-tinged mix of heavy metal, scrappy punk rock, Armenian folk music and Zappa-esque, avant-garde absurdity was like nothing they’d heard before. Oh, and secondly: fucking Slayer crowds.

In his thoroughly engaging 2024 memoir Down With The System, System Of A Down frontman Serj Tankian recalls one of the defining tours of the band’s early days, when they were invited to open for Slayer in 1998. While the four-piece were creating a buzz around Southern California after breaking out of LA, many national audiences weren’t familiar with System’s game, and Slayer’s infamously stubborn audience weren’t exactly delighted to see them.

“We were opening for Slayer, which was a massive opportunity for a band who hadn’t yet released their first album,”. Serj explains “But that tour was like going to rock ’n’ roll boot camp. Slayer fans famously love Slayer and hate just about everything and everyone else. As their opening act, the crowd saw us as the one thing standing between them and Slayer. This was a group of fans for whom ‘homemade’ knife-carved tattoos were not unusual, so when we’d turn up – me in tribal makeup, Daron [Malakian, System guitarist] sporting pink hair and a glammy little outfit, they were not necessarily predisposed to welcome us with open arms. In fact, when we’d take the stage, we’d often be facing a wall of crossed arms and extended middle fingers.”

Serj goes on to reveal that System were more than up to the challenge, claiming that the band’s sheer “moxie eventually started winning fans over.”

“Sometimes, though, shit just got out of hand,” he admits. “At a show in Utah, when it started to rain, the concert was canceled, much to the dismay of the fans who’d turned up there. Trash started flying, fights broke out all over the place, and I jumped behind our merch table to help our merch person pack up all our stuff. After a few minutes, I realized it was a lost cause.”

Sadly, there were also small but noticeable pockets of Slayer’s fanbase that proved particularly problematic and seemed hell-bent on making themselves seen and heard. Eventually, one incident in particular led to Serj losing his temper and stunning a room full of Slayer fans in to complete silence.

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“A small subset of Slayer fans had a disturbing practice of showing up to gigs in full Nazi regalia,” he writes. “I distinctly recall watching a team of African-American bouncers at a club in Detroit called Harpos brawling with these Slayer fans outside the club after we’d finished our set.

“Later that year, while we were touring with Slayer through Europe, we were onstage in Poland being pelted with coins by fans who were also raising Nazi salutes in our direction. At one point, I was hit in the face with a bagel and lost my shit. I told our lighting guy to point the lights into the audience and target the bagel-thrower. Then I launched into an angry tirade and threatened to start kicking people’s asses. When I finished, the venue went dead silent. You could literally hear a pin drop in that place. Then we walked off.”

Despite System Of A Down’s now classic, self-titled debut album having seen release by the time Slayer’s tour hit Europe, establishing them as one of the hottest new bands in metal, it seemed Slayer’s fans still weren’t any more welcoming. At least not at first; in 2014, Daron Malakian amusingly described one hardline tactic he and his bandmates adopted in Berlin to win them over.

“I said, ‘Look, if these guys don’t applaud for us after we play the first song, Know, we’re gonna play it again, over and over, until they react,’” he explained. “We played Know and the crowd was pretty silent. So John [Dolmayan, System Of A Down drummer] started Know again, and we all played it. Halfway through the song, they were actually cheering for us. My attitude was, ‘You’re gonna love us whether you like it or not, and if you don’t, you’re gonna hear this song over and over again.’”

Of course, people would grow to love System Of A Down; come their next album, 2001’s Toxicity, they had officially become one of the biggest metal bands on the planet. Arguably, though, they never got any less weird.

Serj Tankian's book

(Image credit: Headline)

Merlin moved into his role as Executive Editor of Louder in early 2022, following over ten years working at Metal Hammer. While there, he served as Online Editor and Deputy Editor, before being promoted to Editor in 2016. Before joining Metal Hammer, Merlin worked as Associate Editor at Terrorizer Magazine and has previously written for the likes of Classic Rock, Rock Sound, eFestivals and others. Across his career he has interviewed legends including Ozzy Osbourne, Lemmy, Metallica, Iron Maiden (including getting a trip on Ed Force One courtesy of Bruce Dickinson), Guns N’ Roses, KISS, Slipknot, System Of A Down and Meat Loaf. He has also presented and produced the Metal Hammer Podcast, presented the Metal Hammer Radio Show and is probably responsible for 90% of all nu metal-related content making it onto the site. 

“Our producer chopped down the songs to four minutes… the originals were much longer and stretched out”: King Crimson fan and Saxon vocalist Biff Byford narrowly missed out on being a prog musician

In 2019 Saxon vocalist Biff Byford explained that if he’d had his way, the NWOBHM giants could have been a prog band, and how the music of King Crimson blew him away – and still plays a role in his work today.


“I was about 18 when In The Court Of The Crimson King came out. I think me and [Saxon guitarist] Paul Quinn were browsing through the vinyl at our local record shop when we found the cover with the face on. Before that I was more into pop rock, like The Kinks.

It really caught me at a time when everything was more bluesy. It was really inspirational, especially 21st Century Schizoid Man; my friends who were all musicians were like, ‘Whoah, that riff!’ That and Black Sabbath were the forerunners of heavy, dark riffs, and long tracks with lots of different time signatures in them.

I was playing bass at the time and we tried to learn the time signatures but failed miserably. It’s quite hard stuff! I did have Larks’ Tongues In Aspic as well, but Crimson King was the one that blasted into my psyche. We still play it in soundcheck to this day.

King Crimson – 21st Century Schizoid Man (Live at Hyde Park 1969) – YouTube King Crimson - 21st Century Schizoid Man (Live at Hyde Park 1969) - YouTube

Watch On

If me and Paul had got signed as our early band Coast, we could have been a prog band. The first Saxon album had quite a proggy feel to it – but our producer chopped down quite a lot of the songs to three or four minutes, whereas the original ones were much longer and stretched out into different signatures.

We did end up covering In The Court Of The King Crimson on [2001 album] Killing Ground. A lot of people have done 21st Century Schizoid Man – I wanted to do something different, and it came out really good.

Saxon – The Court Of The Crimson King – Live – YouTube Saxon - The Court Of The Crimson King - Live - YouTube

Watch On

Robert Fripp has written some great music. When you think of King Crimson, he comes straight to mind. He’s still out there and still doing it; he’s one of the great survivors, like we are.

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Our other guitarist Doug Scarratt is a big Fripp fan, too, and we know [Fripp’s wife] Toyah from our first era with [drummer] Nigel Glockler. I’m a big fan of Yes and Genesis as well. Right now, I’m doing my solo album with Fredrik Åkesson from Opeth. We’ve written a couple of prog tracks for it too; I’m still into that music.”

“I terrified and annoyed countless people for decades.” Lamb Of God’s Randy Blythe on the karma of being cornered by drunks

Lamb Of God frontman Randy Blythe says dealing with the attention of overzealous drunk people is karma for the decades he spent terrifying and annoying others before he got sober.

The vocalist is celebrating 14 years of sobriety and says he can handle being in the company of others who still drink.

And considering his antics before he gave up the booze, he says he can hardly complain about being the sober one in a room of tipsy or high people.

Blythe tells The Lydian Spin: “Seeing people party and stuff, especially when they ‘party party’ and get stupid, I don’t judge.

“But it makes it more repulsive to me, because I was was pretty bad. Nobody looks cool when they’re wasted, so it just doesn’t appeal to me.

“Seeing people drink does not bother me at all. The only thing that bothers me is when they’re hammered and in my face. But other than that, I don’t expect the rest of the world to behave.

“I can’t expect the rest of the world to behave in the way I do and not drink because not everybody’s an alcoholic like me. Some people are perfectly okay, and that’s no problem. God bless. Have a good time.

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“But if you’re wasted and the ‘I love you, man’ starts, then I just dip out. It’s not a problem.”

On whether seeing others enjoying booze makes him want to indulge, Blythe adds: “It doesn’t make me wanna do it, if that’s what you’re asking. It has the opposite effect.

“I have better things to do. I’m trying to do good things with my life. Write books and do photography and shit like that.

“I can’t do that when I’m drunk. Plus, man, I drank enough. I did it for 22 years. I’m not gonna discover anything new in drugs and alcohol.”

Blythe has been open about his battle to beat his addictions, once telling Metal Hammer: “Unfortunately, I’ve known people who didn’t embrace the choice to try something different and they’re dead now. I don’t know what it is within me – I’m certainly not saying I’m special, or made of stronger moral fibre than anyone else – that I made that conscious decision, but I did and I feel pretty fucking lucky.

“The driving force was, ‘I’m going to quit drinking or I’m going to die.’”

“The last Tool record … sounded like spa music.” Hatebreed’s Jamey Jasta gives brutally honest appraisal of prog metal giants’ Fear Inoculum

Hatebreed frontman Jamey Jasta has given a brutally honest opinion of the most recent Tool album – describing it as “spa music”.

Tool’s fifth album Fear Inoculum was released in 2019 and received almost universal acclaim. Metal Hammer’s review said the record “feels like a justification of why the world never grew tired of the idea of new music from Tool.”

But Jasta, who is also the host of the Jasta Show podcast and former host of MTV’s Headbangers Ball, was underwhelmed by the album.

Explaining what he attributes his own success to, Jasta tells This Day In Metal: “I think it’s gotta be authentic, it’s gotta be from the heart.

“You just know when you know. And sometimes you can bring that idea to someone else and they write your shit off.

“Or you can put your blood, sweat and tears into a record and some reviewer will listen to it once and go, ‘No, this sucks,’ just like I did with the last Tool record that sounded like spa music.

“I never got into Tool, but every other year, maybe, I’ll go, ‘I’m gonna try to get into Tool.’ And then someone will recommend a song and then I’ll go listen to the song. And a lot of times I end up liking the song. I never really go back to it, but I will hear it and I can recognise the genius in it.

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“I don’t have any desire to really like go back and listen to it again, but I can say, ‘wow,’ in the moment, when I do go check it out. It was not too long ago on my Patreon, I was saying, ‘Man, I tried to listen to some song off the last album, and it sounded like I was in a spa in Sedona, waiting to get a massage’ or something. It was atmospheric and mellow and ethereal.”

Jasta also explained how he was offered the chance to interview Tool frontman Maynard James Keenan on his podcast. But he turned the opportunity down because Keenan apparently only wanted to talk about his winemaking.

Jasta says: “A publicist was like, ‘I might be able to get Maynard from Tool on your podcast, but he doesn’t want to talk about Tool, he wants to talk about wine’.

“That sounded like the worst episode ever. But then I thought you know what, just because I don’t like wine and I think wine is dumb and I think wine drinkers are annoying sometimes, maybe I need to change my outlook.

“It never happened, but who knows.”

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Top 10 Three Dog Night Love Songs

Three Dog Night Love Songs

Feature Photo: Jay Bernstein Public Relations-Los Angeles, Public domain, via Wikimedia Commons

# 10 – “Let Me Serenade You” – Cyan

“Let Me Serenade You,” a tender yet invigorating love song from Three Dog Night’s 1973 album Cyan, encapsulates the band’s ability to balance heartfelt lyrics with a dynamic vocal arrangement. Recorded during the sessions for Cyan under the production of Gabriel Mekler, this track features the vocal interplay of Danny Hutton, Chuck Negron, and Cory Wells, accompanied by a polished instrumental backing that exemplifies the group’s signature sound. The recording sessions took place in Los Angeles, capturing the essence of a band at the height of their creative powers.

Lyrically, “Let Me Serenade You” expresses a promise of devotion and affection, with vivid imagery that conveys a sense of intimacy and comfort. Lines such as “I will serenade you all along the way” and “Take you to the country, I’ll take you to the shore” depict a romantic journey where love acts as both a guide and a destination. The bridge, with its uplifting declaration, “Love will conquer all,” ties the song’s narrative to themes of resilience and emotional triumph. This optimism sets it apart from the reflective tone of other tracks on Cyan, like “Shambala,” which explores spiritual enlightenment rather than interpersonal connection.

Musically, the song is anchored by a soulful rhythm section, with Floyd Sneed’s steady drumming and Joe Schermie’s bass lines providing a warm foundation. Michael Allsup’s understated guitar work, paired with Jimmy Greenspoon’s evocative keyboard accents, creates a lush arrangement that supports the harmonized vocals. The production by Mekler emphasizes clarity and balance, ensuring that every element contributes to the song’s cohesive sound.

When compared to other love songs on this list, “Let Me Serenade You” stands out for its celebratory tone and melodic approach. Unlike the introspection of “Pieces of April,” which delves into the fragility of love, this track radiates confidence and joy. The use of harmonized vocals throughout the chorus reinforces the song’s message of unity, making it a memorable and uplifting entry in Three Dog Night’s catalog.

Critically, “Let Me Serenade You” received praise for its engaging arrangement and vocal delivery, with its chart performance reflecting the band’s consistent popularity during the early 1970s. The single peaked at No. 17 on the Billboard Hot 100, further solidifying Three Dog Night’s reputation as hitmakers who could effortlessly navigate diverse themes and musical styles.

In the context of the Cyan album, “Let Me Serenade You” showcases the band’s evolution toward a more polished and expansive sound while staying true to the emotional depth that defined their earlier work. Its enduring appeal lies in its ability to capture the essence of love’s simplicity and power, making it a worthy inclusion in this list of top Three Dog Night love songs. By combining compelling lyrics, a seamless arrangement, and heartfelt vocal performances, “Let Me Serenade You” continues to resonate with listeners as a testament to the timeless nature of love expressed through music.

# 9 – “I’d Be So Happy” – Hard Labor

Three Dog Night’s “I’d Be So Happy,” from their 1974 album Hard Labor, captures the essence of enduring love through its heartfelt lyrics and tender arrangement. Recorded at ABC-Dunhill Studios in Los Angeles under the guidance of producers Gabriel Mekler and Jimmy Ienner, the track features the collaborative talents of Danny Hutton, Chuck Negron, and Cory Wells, whose vocal harmonies elevate the song’s emotional core. The song’s inclusion on Hard Labor, an album marked by its eclectic mix of themes, highlights the band’s ability to balance introspection with their characteristic dynamism.

The lyrics of “I’d Be So Happy” paint a vivid portrait of love’s quiet, sustaining power. Opening with the serene imagery of mutual understanding—”Once in a while I could look at you, see the twinkle in your eyes”—the song delves into the unspoken bonds that deepen over time. The refrain, “Oh, I’d be so happy, happier, happier than I’ve been,” serves as both a declaration and a celebration of the joy found in shared moments and lasting connection. The bridge’s poignant lines, envisioning a future filled with the same love and gratitude, underscore the song’s timeless theme: the enduring beauty of a love built on intimacy and mutual respect.

Musically, “I’d Be So Happy” stands out for its understated arrangement, allowing the song’s sentiment to take center stage. The rhythm section, featuring Floyd Sneed on drums and Jack Ryland on bass, provides a steady foundation, while Michael Allsup’s gentle guitar lines add warmth and texture. Jimmy Greenspoon’s delicate keyboard work enhances the song’s introspective mood, creating a lush yet restrained soundscape that complements the vocal delivery.

Compared to “Let Me Serenade You,” previously discussed in this article, “I’d Be So Happy” takes a more reflective approach to love. While “Let Me Serenade You” exudes a celebratory and outwardly expressive tone, “I’d Be So Happy” focuses on the quiet contentment that comes from emotional connection. The two songs, while differing in energy, share a common thread in their ability to articulate love’s nuances with sincerity and grace.

Critically, Hard Labor marked an important moment for Three Dog Night as they navigated the evolving musical landscape of the 1970s. Though not released as a single, “I’d Be So Happy” resonated with fans, adding depth to an album that showcased the band’s versatility. The song’s gentle, evocative quality continues to make it a memorable addition to their catalog of love songs.

“I’d Be So Happy” reminds listeners of the power of simple, enduring love—one that needs no grand gestures but thrives on moments of quiet connection and understanding. Its heartfelt lyrics and elegant arrangement secure its place as a poignant entry on this list, embodying the timeless appeal of Three Dog Night’s music.

# 8 – “Ain’t That A Lotta Love” – Suitable for Framing

Three Dog Night’s rendition of “Ain’t That a Lotta Love,” featured on their 1969 album Suitable for Framing, is a jubilant expression of boundless affection. Originally written by Willia Dean Parker and Homer Banks, this soulful track showcases the band’s ability to blend rhythm and blues influences with their distinctive vocal harmonies. Recorded in Los Angeles and produced by Gabriel Mekler, the song underscores the group’s knack for reinvigorating existing material with their signature sound.

The lyrics of “Ain’t That a Lotta Love” weave vivid metaphors to convey a love so profound it transcends ordinary limits. Lines such as “I know the desert can’t hold all the love that I feel in my heart for you” and “If the bees only knew how sweet you are, they would seal up their honeycomb” emphasize the overwhelming nature of the narrator’s emotions. This playful yet poetic approach to lyricism aligns with the exuberance of the song’s upbeat arrangement, making it a celebration of love’s grandeur and intensity.

Musically, the track is driven by Jimmy Greenspoon’s energetic keyboard performance, which anchors the melody with a sense of urgency and vibrancy. Michael Allsup’s guitar work adds layers of texture, complementing Floyd Sneed’s dynamic drumming and Joe Schermie’s robust bass lines. The vocal interplay among Cory Wells, Chuck Negron, and Danny Hutton injects the song with vitality, as their harmonies rise and fall in sync with the lyrics’ emotional peaks.

When compared to “I’d Be So Happy,” previously discussed in this article, “Ain’t That a Lotta Love” serves as a vibrant counterpoint. While “I’d Be So Happy” reflects a quieter, more introspective love, “Ain’t That a Lotta Love” is bold and celebratory, reveling in the joy and excitement of passion. Both songs, however, demonstrate Three Dog Night’s versatility in conveying different dimensions of love, a testament to their range as performers.

Critics have lauded the band’s interpretation of “Ain’t That a Lotta Love” for its infectious energy and creative reimagining of the original track. Its placement on Suitable for Framing highlights the album’s eclectic nature, which balances covers and original compositions to showcase the group’s adaptability and artistic flair. Though not released as a single, the song remains a memorable part of their repertoire, contributing to the album’s enduring appeal.

“Ain’t That a Lotta Love” exemplifies Three Dog Night’s ability to breathe new life into a song, making it uniquely their own. Its spirited arrangement, coupled with heartfelt lyrics, captures the euphoria of love in its most exuberant form. As part of this list, it provides a lively, soulful moment that contrasts beautifully with the gentler tones of other entries, reinforcing the depth and diversity of the band’s catalog of love songs.

# 7 – You – Harmony 

“You,” from Three Dog Night’s 1971 album Harmony, is a deeply evocative exploration of forbidden love, showcasing the band’s ability to convey emotional complexity through poignant lyrics and a soulful arrangement. Originally written and recorded by Marvin Gaye in 1967, this rendition by Three Dog Night brings a fresh perspective to the song’s themes of longing and secrecy. Produced by Richard Podolor and recorded in Los Angeles, Harmony stands as one of the band’s most accomplished albums, and “You” is a testament to its depth.

The lyrics of “You” narrate a story of a love that must remain hidden, captured in lines such as “In the light of day, though our faces meet, someone there might see so we never speak.” This restraint, paired with the growing desire described as “a growing need for your embrace,” creates a tension that drives the emotional power of the song. The repeated refrain “You, I see you” mirrors the persistent presence of the beloved, even in the quiet moments of solitude. The song’s narrative contrasts with more celebratory tracks like “Ain’t That a Lotta Love,” where passion is openly expressed, highlighting “You” as an introspective counterpart on this list.

Musically, “You” is a masterclass in restraint, with the instrumentation providing a delicate backdrop to the heartfelt vocals. The arrangement features Jimmy Greenspoon’s understated keyboard work and Michael Allsup’s subtle guitar lines, while Floyd Sneed’s precise drumming keeps the song grounded. The vocal harmonies of Danny Hutton, Chuck Negron, and Cory Wells shine here, conveying the song’s emotional weight with a sense of vulnerability. Richard Podolor’s production ensures that each element serves the song’s narrative, emphasizing intimacy over grandiosity.

Critically, “You” was noted for its nuanced portrayal of complicated love. While it was not released as a single, its inclusion on Harmony contributed to the album’s success, which peaked at No. 8 on the Billboard 200 and solidified Three Dog Night’s place as one of the era’s most versatile bands. The track’s quiet strength resonates as a contrast to the broader, more exuberant themes explored in other songs on the album.

When compared to other songs already discussed, such as “I’d Be So Happy,” “You” delves into a different facet of love—one marked by secrecy and the pain of concealment. Where “I’d Be So Happy” celebrates the joy of shared affection, “You” underscores the sacrifices and emotional toll of a love constrained by societal pressures. This duality adds depth to the list, demonstrating Three Dog Night’s capacity to navigate a range of emotions within their love songs.

“You” remains a poignant example of Three Dog Night’s ability to reinterpret existing material while infusing it with their own distinct style. Its emotional depth, lyrical sincerity, and delicate arrangement make it a standout track on Harmony and a meaningful entry in this article’s exploration of the band’s love songs. By capturing the bittersweet essence of forbidden love, “You” continues to resonate with listeners, offering a timeless reminder of the complexities of human relationships.

# 6 – Your Song – It Ain’t Easy

Three Dog Night’s interpretation of “Your Song,” featured on their 1970 album It Ain’t Easy, offers a fresh take on Elton John and Bernie Taupin’s timeless ballad. Recorded during the sessions for It Ain’t Easy at American Recording Company Studios in Los Angeles, and produced by Richard Podolor, the band’s version preserves the heart of the original while showcasing their unique vocal harmonies and instrumental cohesion. This rendition reveals the group’s ability to make even a well-known song distinctly their own, seamlessly weaving it into their repertoire of emotive love songs.

The lyrics of “Your Song” are a heartfelt declaration of love, written with a simplicity that belies their emotional depth. Lines like “I hope you don’t mind that I put down in words how wonderful life is while you’re in the world” express an unfiltered vulnerability, capturing the essence of a deeply personal gift to a loved one. Three Dog Night’s delivery amplifies the sincerity of the lyrics, with their layered harmonies imbuing the song with a warm, enveloping quality. Compared to the introspection of “You,” also featured in this list, “Your Song” radiates a more outward expression of love, emphasizing gratitude and celebration over secrecy.

Musically, the band’s arrangement of “Your Song” diverges slightly from Elton John’s original, adding a richer, more dynamic texture. Jimmy Greenspoon’s delicate keyboard work mirrors the piano-driven foundation of the original, while Michael Allsup’s guitar subtly underscores the melody. The rhythm section, anchored by Joe Schermie on bass and Floyd Sneed on drums, maintains a steady, understated presence that supports the song’s gentle momentum. The vocal interplay among Danny Hutton, Chuck Negron, and Cory Wells brings a new dimension to the song, their harmonies adding layers of emotion to Taupin’s poignant lyrics.

Critical reception of Three Dog Night’s It Ain’t Easy highlighted their ability to reimagine songs by other artists, and “Your Song” is a prime example of this skill. While it did not achieve the same chart success as Elton John’s version, the band’s rendition resonated with fans, contributing to the album’s success, which reached No. 8 on the Billboard 200. The inclusion of this track on It Ain’t Easy demonstrates the group’s knack for curating and interpreting material that aligns with their artistic vision.

When placed alongside “Ain’t That a Lotta Love” on this list, “Your Song” serves as a more intimate counterbalance. Where “Ain’t That a Lotta Love” exudes exuberance and energy, “Your Song” is a quiet, introspective ode to love’s simplicity and profound impact. Together, these songs illustrate the versatility of Three Dog Night in portraying the multifaceted nature of love through their music.

“You’re Song” remains a cherished part of Three Dog Night’s discography, standing out for its heartfelt delivery and thoughtful arrangement. By embracing the song’s sentiment while infusing it with their distinctive style, the band ensured that this classic love ballad continues to resonate with listeners as a sincere and enduring expression of affection.

# 5 – Easy To Be Hard – Suitable for Framing

“Easy to Be Hard,” from Three Dog Night’s 1969 album Suitable for Framing, is a poignant reflection on empathy, love, and the disconnect between personal and societal care. Originally written by Galt MacDermot, James Rado, and Gerome Ragni for the musical Hair, the song finds new emotional depths in the hands of Three Dog Night. Recorded in Los Angeles under the production of Gabriel Mekler, this version captures the universal themes of the original while amplifying its emotional resonance through the band’s harmonies and instrumental arrangements.

The lyrics of “Easy to Be Hard” deliver a striking critique of those who profess care for broader societal issues but fail to show compassion for those closest to them. Lines such as “Do you only care about the bleeding crowd? How about a needy friend?” juxtapose public altruism with private neglect, creating a tension that reflects the song’s central plea for personal accountability. Chuck Negron’s impassioned vocal performance conveys the raw vulnerability of these questions, making the song as much a personal lament as a broader critique. Compared to the romantic idealism of “Your Song,” previously discussed in this article, “Easy to Be Hard” leans into a more complex emotional territory, blending disillusionment with a yearning for love and understanding.

Musically, the track is driven by a lush arrangement that underscores the song’s introspective tone. Floyd Sneed’s subtle drumming provides a steady rhythm, while Jimmy Greenspoon’s keyboards weave through the melody, adding depth and texture. Michael Allsup’s guitar lines punctuate the arrangement, complementing Joe Schermie’s bass work to create a foundation that allows Negron’s vocals to soar. Gabriel Mekler’s production emphasizes clarity and balance, ensuring that each element contributes to the song’s emotional impact.

Critically, “Easy to Be Hard” was one of the standout tracks on Suitable for Framing, earning praise for its nuanced delivery and thematic relevance. Released as a single, it became one of Three Dog Night’s most successful hits, peaking at No. 4 on the Billboard Hot 100. Its chart performance highlighted the band’s ability to bring Broadway material to mainstream audiences, transforming it into a relatable pop anthem. The song’s inclusion on Suitable for Framing further solidified the album as a landmark in the band’s discography, blending covers with original material to showcase their range.

When compared to other songs on this list, such as “You,” “Easy to Be Hard” demonstrates a broader emotional scope. Where “You” focuses on the intimacy of a hidden love, “Easy to Be Hard” challenges listeners to reconcile personal relationships with their moral ideals, adding a layer of introspection that complements the romantic themes of the list. Together, these songs illustrate Three Dog Night’s ability to navigate the intricacies of love and human connection.

“Easy to Be Hard” remains one of Three Dog Night’s most enduring tracks, a testament to their ability to elevate a theatrical composition into a deeply personal statement. Its blend of social commentary and emotional vulnerability ensures its relevance, making it a powerful entry in this exploration of their greatest love songs. By connecting the personal to the universal, “Easy to Be Hard” continues to resonate with audiences, offering a timeless reminder of the importance of compassion and connection.

# 4 – Till The World Ends – Coming Down Your Way

“Til the World Ends,” featured on Three Dog Night’s 1975 album Coming Down Your Way, is an evocative ballad that captures the enduring nature of love through poetic imagery and heartfelt delivery. Written by Dave Loggins, the song fits seamlessly into the band’s repertoire, showcasing their ability to infuse emotional depth into a melodic framework. Recorded at American Recording Company Studios in Los Angeles and produced by Jimmy Ienner, the track represents a polished moment of reflection within an album known for its versatility.

Lyrically, “Til the World Ends” paints a picture of unwavering devotion, promising eternal love against the backdrop of an ever-changing world. Lines such as “If we could only feel the way we did today, tomorrow will be a dream away” illustrate the fleeting beauty of time while emphasizing the permanence of true connection. The song’s chorus, with its soaring declaration of commitment, mirrors the sentimentality of tracks like “You,” previously discussed in this article, but takes a broader perspective, imagining a love that endures until the very end of time.

Musically, the track is driven by a lush arrangement that complements its introspective tone. Jimmy Greenspoon’s elegant keyboard work sets a serene foundation, while Floyd Sneed’s restrained drumming and Joe Schermie’s bass lines provide a steady, supportive rhythm. Michael Allsup’s understated guitar accents add depth, allowing the vocal harmonies of Chuck Negron, Danny Hutton, and Cory Wells to take center stage. The group’s collective delivery imbues the lyrics with sincerity, making the emotional core of the song resonate powerfully.

“Til the World Ends” stands apart from more upbeat entries on this list, such as “Ain’t That a Lotta Love,” by embracing a contemplative mood. While the latter celebrates love’s vitality and exuberance, “Til the World Ends” reflects on its enduring and transcendent qualities. This balance of perspectives demonstrates the band’s ability to explore love in all its dimensions, adding richness to their discography.

Critically, the song was well-received as part of Coming Down Your Way, an album that highlighted Three Dog Night’s evolution during the mid-1970s. Although it did not achieve significant chart success as a single, its inclusion in the album provided a poignant moment that resonated with fans. The track’s emotional depth and polished arrangement solidified its place as a meaningful addition to their catalog.

# 3 – Try A Little Tenderness – Three Dog Night

“Try a Little Tenderness,” recorded by Three Dog Night for their self-titled debut album in 1968, exemplifies the group’s ability to reinterpret a classic with their signature energy and emotion. Originally written in 1932 by Jimmy Campbell, Reg Connelly, and Harry M. Woods, the song had been famously performed by artists like Otis Redding. Three Dog Night’s version revitalizes the track with a rock-infused arrangement, bringing a fresh dimension to its timeless message. Produced by Gabriel Mekler and recorded in Los Angeles, this track highlights the group’s unique vocal harmonies and dynamic instrumentation.

The lyrics of “Try a Little Tenderness” convey a heartfelt plea for patience and understanding in love. Lines such as “You know she’s waiting, just anticipating things she may never possess” emphasize the need for compassion and sensitivity in a relationship. The progression from gentle, tender verses to an impassioned crescendo mirrors the emotional arc of the lyrics, reinforcing the song’s themes. In comparison to “Til the World Ends,” previously discussed in this article, “Try a Little Tenderness” explores love from a more urgent and outwardly expressive perspective, focusing on the immediacy of emotional connection.

Musically, the song is an intricate blend of soul and rock, with each element contributing to its compelling buildup. Michael Allsup’s guitar work provides a steady rhythmic foundation, while Jimmy Greenspoon’s keyboard flourishes add a touch of soulfulness. Floyd Sneed’s drumming and Joe Schermie’s bass lines anchor the track, driving the tempo as it builds to its climactic finale. The vocal interplay among Danny Hutton, Chuck Negron, and Cory Wells amplifies the song’s intensity, with each vocalist bringing unique texture and passion to their delivery. Gabriel Mekler’s production emphasizes the dramatic progression of the arrangement, creating a powerful listening experience.

Critically, “Try a Little Tenderness” earned praise for its ambitious reinterpretation of a well-known classic. The track became one of the highlights of Three Dog Night, which charted at No. 11 on the Billboard 200 and introduced the band’s ability to reimagine existing material with originality and flair. Although not released as a single, the song’s enduring appeal has made it a fan favorite and a testament to the band’s versatility.

In the context of this list, “Try a Little Tenderness” stands apart for its dramatic intensity and bold arrangement. While songs like “You” delve into the subtleties of hidden love, “Try a Little Tenderness” makes an emphatic case for attentiveness and devotion, showcasing another facet of Three Dog Night’s exploration of love. The song’s climactic build and emotionally charged delivery leave a lasting impression, making it a vital inclusion in this celebration of their most compelling love songs.

# 2 – Pieces Of April – Seven Separate Fools

“Pieces of April,” a tender and introspective ballad from Three Dog Night’s 1972 album Seven Separate Fools, captures the fleeting beauty of love and its enduring resonance in memory. Written by Dave Loggins, the song offers a poignant reflection on a past relationship, characterized by its vivid imagery and gentle emotional depth. Recorded in Los Angeles and produced by Richard Podolor, “Pieces of April” stands as a defining moment in the band’s exploration of heartfelt storytelling through music.

Lyrically, “Pieces of April” weaves a narrative of cherished memories and the passage of time. Lines like “I’ve got pieces of April, I keep them in a memory bouquet” evoke the bittersweet realization of love’s impermanence while celebrating its lasting impact. The juxtaposition of seasons—April’s promise of renewal and May’s reflective morning—underscores the duality of love as both joyful and melancholic. This lyrical depth sets it apart from other songs on this list, such as “Try a Little Tenderness,” which leans into the immediacy of emotional expression, while “Pieces of April” delves into nostalgia and introspection.

Musically, the track is characterized by a stripped-down arrangement that highlights its emotional core. The gentle piano melody, played by Jimmy Greenspoon, anchors the song with a sense of wistfulness, while Michael Allsup’s delicate guitar work provides a subtle counterpoint. Floyd Sneed’s restrained drumming and Joe Schermie’s bass lines offer a quiet but steady rhythm, creating an intimate atmosphere that complements the lyrical themes. Chuck Negron’s soulful lead vocal performance imbues the song with vulnerability, capturing the wistful longing that permeates every line.

“Pieces of April” achieved commercial success as a single, reaching No. 19 on the Billboard Hot 100, making it one of the standout tracks from Seven Separate Fools. Critics praised the song for its understated elegance and emotional resonance, noting its departure from the band’s more upbeat material.

# 1 – Just And Old Fashioned Love Song – Harmony

“Just an Old Fashioned Love Song,” from Three Dog Night’s 1971 album Harmony, closes this list with a timeless celebration of love’s enduring simplicity. Written by Paul Williams, the track encapsulates the essence of the band’s ability to convey heartfelt emotions through their signature vocal harmonies and polished instrumentation. Recorded in Los Angeles and produced by Richard Podolor, the song reflects the group’s knack for selecting material that resonates universally while showcasing their unique artistry.

Lyrically, the song is a meta-reflection on the love song itself, weaving together the nostalgia of familiar melodies with the promise of everlasting devotion. Lines such as “You swear you’ve heard it before as it slowly rambles on” invite listeners to connect their own memories to the song’s sentiment, while “Just an old fashioned love song coming down in three-part harmony” celebrates the role of music as a unifying force in love and life. This lyrical theme ties beautifully to the recurring motifs of memory and devotion explored in “Pieces of April,” where love is similarly framed as both a personal and universal experience.

Musically, “Just an Old Fashioned Love Song” is a masterful showcase of the group’s vocal dynamics. The three-part harmony sung by Danny Hutton, Chuck Negron, and Cory Wells exemplifies the band’s ability to create a lush, enveloping sound. Jimmy Greenspoon’s keyboard adds warmth and depth to the arrangement, while Floyd Sneed’s steady drumming and Joe Schermie’s bass lines provide a rhythmic foundation. Michael Allsup’s guitar work subtly enhances the song’s gentle flow, ensuring that the focus remains on the vocals. Podolor’s production highlights the interplay of these elements, creating a seamless blend of harmony and instrumentation.

Critically, “Just an Old Fashioned Love Song” was a commercial success, reaching No. 4 on the Billboard Hot 100. The track became one of Three Dog Night’s signature songs, celebrated for its sincerity and simplicity. Its inclusion on Harmony added depth to an album already rich with thematic variety and musical innovation. The song’s ability to evoke nostalgia while feeling fresh and relevant underscores its lasting appeal.

As the closing song on this list, “Just an Old Fashioned Love Song” encapsulates the themes of love explored throughout the article. While tracks like “Easy to Be Hard” examine love’s complexities and “Til the World Ends” celebrates its endurance, “Just an Old Fashioned Love Song” serves as a tribute to the simplicity and universality of romantic connection. Its focus on harmony—both literal and metaphorical—ties together the diverse emotional landscapes presented in the other songs, offering a fitting conclusion to this exploration of Three Dog Night’s love songs.

By blending heartfelt lyrics, impeccable harmonies, and a sense of timelessness, “Just an Old Fashioned Love Song” remains a defining moment in Three Dog Night’s legacy. It reminds listeners that even the simplest expressions of love can carry profound meaning, making it a perfect choice to close this list with warmth, depth, and resonance.

Check out more Three Dog Night articles on ClassicRockHistory.com Just click on any of the links below……

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