Turning our attention to an April 1971 album offering, Thirds by James Gang reflects the third studio release for the band. Reaching Gold status in 1972, the album features album rock, hard rock and rock & roll musical stylings.
Performing on the album includes Joe Walsh on guitars, vocals, acoustic and electric piano, pedal steel guitar, sounds effects and train wreck, Dale Peters on bass guitar, vocals and upright bass and Jim Fox on drums, vocals, percussion, piano, organ and vibraphone. Guest musicians performing on the album included Bob Webb on backing vocals, Tom Baker on horns, Mary Sterpka on backing vocals and the band named The Sweet Inspirations on backing vocals.
Walk Away opens Thirds as a rock, funk and soul fusion song about ending a romantic love relationship. The guitar effect at the end of the song reflects the train wreck instrumentation credit referenced above for Joe Walsh. The slightly more than three-and-a-half minutes of music here entertains.
The instrumental Yadig? follows Walk Away with a mellow, experimental sound that gives brings in guitar roughly 1-minute and 45-seconds into the tune that runs for roughly two-and-a-half minutes. The change of pace is interesting, though the composition doesn’t stand out as a favorite for me.
Running for almost four-and-one-third minutes, Things I Could Be begins with a catchy riff. The song speaks of waking the morning after a rough night of partying and/or the road. That the song lyrically cruises to an optimistic landing makes for a nice pay off.
Dreamin’ in the Country accomplishes another musical shift to a sound reminiscent of a country tune from a year maybe a decade or more preceding the album release; this isn’t to say the song feels dated. The reverie of country living is completely fits the sound with a change a pace that resonates well.
It’s All the Same brings an opening mix of piano and acoustic guitar that, much like the lyrical theme, speaks to a fleeting feeling. The bringing in of horns and the larger scale musical progression impressed me for its production value. That the message is one of romantic love, albeit a love that feels transitory and not meant to last.
Midnight Man opens the second side of the album with an impressive reverb effect. This song itself reflects a clandestine affair of the singer Joe Walsh‘s physical intimacy satisfying the Mary Sterpka‘s needs, along with an expression for the safety of the Joe when departing. The sweetness of the affect of this country-rock song really works.
Again acoustically begins with a romantic and upbeat sentiment. The connection found with love swings into horns and guitar interplaying in a way that musically takes control in that fashion from the lyrical meaning of the song. An intriguing impact overall sweetly hits me with Again.
Harmony of the races underpins White Man / Black Man, a solemn and heartfelt ask to listen for understanding. The Sweet Inspirations offer backing harmonies with messages of love and living together to life the soul.
The piano introduction to Live My Life Again, the final song of Thirds, leaves a redemptive smile on my face each time I hear it. The twinge of sadness then optimism for Live My Life Again provides an album parting that invites consolation and uplift. While I wish there were another song or two to this album, the affirmation of the album close warms me with goodbye.
Matt – Saturday, April 13, 2024
Matt Lynn Digital 