#cory wells

[forever70s]

Three Dog Night - "Out in the Country" (1970)

[jt1674]

[billboard-hotties-tourney]

Cory Wells (1941-2015) Three Dog Night - vocals Songs: "Mama Told Me Not to Come," "Shambala" Propaganda: none

Carl Palmer (1950-) ELP - drums; Atomic Rooster - drums Songs: "Devil's Answer," "Karn Evil 9" Propaganda: none

[myvinylplaylist]

Three Dog Night: Hard Labor (1974)

Gatefold die-cut sleeve with "band-aid" embossed over the original photo, also includes a "file photo" with photos and information.

ABC Dunhill Records

[life-b4-death]

Maybe this just can't last forever

but tell me baby, you'll stay with me tonight

[tortentek]

én jól vagyok meg minden oké, de ez szép

[anoceanofblackglass]

I wrote a letter that I could never send.

We always thumb through the same story’s end.

I know we're broken.

There's so much to mend.

[sadboimusic69]

Walk Away - Cory Wells

Song 60

[forever70s]

Three Dog Night in a 1971 photo

[thisaintascenereviews]

Cory Wells - Harboring The Hurt I’ve Caused

I don’t know if I’m the only one who remembers this, but back in the early 2010s, there was a period of acoustic emo / spoken-word artists that would sing and then randomly scream towards the bridge to make it a little more emotional. It was such a niche sound, but it got popular for a bit. The main ones I can think of are the long since “canceled” Front Porch Step, and This Wild Life (I think they’re still around, and I may have listened to their last album, actually), but bands like Hotel Books and Being As An Ocean also come to mind, especially for being on the “heavier” spectrum from time to time, as well as using screaming in their music to emphasize emotion. Being As An Ocean dropped a new album earlier this year, and it was okay, but it took me back to a decade ago when I really liked that kind of music.

I’m reminded of that stuff again, thanks to this new Cory Wells record, Harboring The Hate I’ve Caused. I don’t know much about this guy, but Wells dropped an album in 2019, then kind of disappeared. I just noticed he dropped a new record this past weekend, so I thought I’d check it out. I never listened to his debut, despite remembering it come out, so I didn’t quite know what I’d be in for with this record. I was surprised when I heard acoustic / folksy emo, but it took me to 2014 when I heard Wells start to scream in the bridge, so that’s why I opened up this review the way I did.

I’ve made it known that I’m very picky when it comes to acoustic and folk music, and I even mentioned that apprehension on my review of the new Kacey Musgraves album, Deeper Well. A lot of this type of music is reliant on the vocals and lyrics, so if they’re not up to par, the album can suffer for it. The instrumentation matters, too, but not quite as much. As for Wells’ new album, I’m not sure how I feel about it, because there are things I really like, but also things that make me cringe. Not in the sense that it’s bad, but this album feels weirdly dated and it just takes me back to 2014 in a way I don’t like.

The sound itself feels a bit dated, because the emo singer-songwriter thing was huge back a decade ago, and you don’t see it much now, but it’s when Wells does that sing-scream thing towards the bridge that takes me back to that time. That’s not inherently bad in itself that he does that, it just feels melodramatic for the sake of it, and I remember when bands did that back then and I just don’t care for it now. That’s my own personal bias showing up there, so you may not listen to that and cringe a little, but I don’t want to say it’s bad.

I’m getting ahead of myself, because Harboring The Hurt I’ve Caused is a good album. Wells has a really good voice, and alongside having an impressive range, he has that “emo” sound to his voice, too. He sounds like a good pop-punk singer, but with a lot of range. His lyrics are also rather interesting, but like how he sing-screams to emphasize the emotion in his voice, his lyrics are kind of melodramatic. Sometimes it works, sometimes it doesn’t, so I don’t know how I feel about it. They’re not bad, and there’s a lot of vulnerability in them, so I really applaud that, but they can get a little too melodramatic.

I think the biggest thing is that the songs all kind of sound the same, and you even hear that sing-scream part that I’ve alluded to a few times throughout the album. It isn’t on every song, thankfully, but it does show up enough where it gets old. The third time it happened, I was like, “Okay, the first couple times are okay, but we don’t need to keep doing this.” Thankfully, Wells lets some of the songs speak for themselves. The instrumentation of this record is its weakest point, as this is very forgettable and by-the-numbers acoustic / singer-songwriter fare, but it’s not bad. Some of the hooks are fine, but this album is kind of forgettable.

If you listened to any acoustic or folksy emo that has lyricism that vocal work that has some things in common with pop-punk and post-hardcore, especially a bit of light screaming, you’ve already listened to this album. That isn’t really a slight against it, because I’ve listened to tons of generic albums that are really good, but the key is that those albums offer something more interesting, whether it’s in its lyricism or vocals. Wells is a solid lyricist, even if his lyrics aren’t anything I haven’t heard before, and his voice is actually quite good, so there’s a reason to check it out. I just don’t know if it makes a huge lasting impression aside from being pleasant, and having an emotional weight behind it.

[filosofablogger]

♫ Eli's Comin' ♫

Rolling right along with Three Dog Night Week, even though my UK friends are gritting their teeth, tonight’s selection is one I’ve always thought had a certain ‘je ne sais quoi’ that gets the feet tapping.  Until tonight, I never knew the lyrics and always thought he was saying “hide your horses”. The song was written and initially recorded in 1967 by American singer-songwriter and pianist Laura…

[myvinylplaylist]

Three Dog Night: Seven Separate Fools (1972)

Short-lived "Blocks" label repressing from 1973.

Shipped with set of seven 7" x 11" color cards with band member photos on one side, various playing card artwork on back.

Dunhill Records

[krispyweiss]

Three Dog Night Drummer and Co-founder Floyd Sneed Dies at 80

- “A complete original and a sweetheart of a man,” band says

Floyd Sneed, founding drummer of Three Dog Night, died Jan. 27 at 80, his former brother-in-law, Tommy Chong said.

Sneed died “after a battle with poor health,” Chong said.

A “saddened” Three Dog Night eulogized their former drummer as “an absolutely wonderful human being, a complete original and a sweetheart of a man.

“He was also an extraordinarily unique drummer who brought so much to Three Dog Night’s sound.”

Sneed played with the group during its initial 1968-1974 run and again from 1981-’84. He was a member of the Classic Drummer Hall of Fame.

Former Three Dog Night singer Chuck Negron remembered his “friend and musical peer” as “a unique and powerful drummer and more importantly a kind and special human being,” in a post on social media.

“I love you, Floyd, and I will keep you in my heart always,” Negron said.

1/29/23

[felsicveins]

Just a sleepover

[tampire]

Their situationship summed up

[thepettymachine]

Robert "Rob" Graves

An intelligent solemn man who enjoys reading, playing chess, and will rob you of everything you own as he advances up the criminal hierarchy

Don't take it seriously as he's a founder.