Artist description Popular chart-topping Columbia Records rock band of the late '70s CBGBs Punk/New Wave scene. Also backup tour band for The Monkees, and studio band for Rupert Holmes. This band has a 3-piece nucleus: drums, bass, and guitar. The bass and guitar player are the songwriter/singers, who also double on other instruments, producing a consistent 4-piece sound reminiscent of good songwriter bands that emerged during the '60s and early '70s.

Music Style Melodic Rock and Pop

Musical Influences Beatles, Bob Dylan, Neil Young, Young Rascals, Steely Dan, Rolling Stones, Chuck Berry, Carol King, Burt Bacharach

Similar Artists The Beatles, Rolling Stones, Neil Young, The Band, Beach Boys, Steely Dan, Todd Rundgren

Artist History In 1977, The Laughing Dogs first appeared at CBGB's in New York City and entertained the crowd with their clowning and excellently written original songs. Here, over the next few years, this Brooklyn band shared the stage with such artists as Television, The Ramones, Willie De Ville, John Cale, The Police, and The Kojacks. Within a year, The Laughing Dogs signed a contract with Columbia Records and producer Bruce Botnick, whose productions of The Rolling Stones, Buffalo Springfield, and The Doors were favorites of the band. The Dogs enjoyed two critically acclaimed albums (The Laughing Dogs and The Laughing Dogs Meet Their Makers) and found themselves playing to concert audiences with Pat Benatar, Peter Frampton, Cheap Trick, Talking Heads, Blondie, and Patti Smith. Their singles, "Get 'im Outa Town", "Reason for Love", and "Johnny Contender" rapidly climbed the Billboard charts. In 1979 the groups that were at the top of the charts were The Knack, Nick Lowe, Supertramp, The B-52s, The Cars, and The Laughing Dogs. During the same time period, The Laughing Dogs toured as the band behind Mickey Dolenz and Davey Jones of The Monkees. The Live At CBGB's: The Home of Underground Rock album (on Atlantic) was recorded over a weekend in June 1976, with bands like Tuff Darts and Mink DeVille, and two songs by The Laughing Dogs. It was later re-released on CD. Another CD, Punky But Chic: The American New Wave Scene, was released (on Risky Business/Sony) with one Laughing Dogs song on it along with songs by other groups. Eventually changes in personnel at Columbia Records left the Dogs without the support they originally found there. The Laughing Dogs moved on and disbanded, playing occasional gigs together in New York City, but individually going in other directions. Guitarist James Leonard and bassist Ronny Carle started and played with a variety of other bands.The Laughing Dogs have enjoyed radio play internationally, especially in Japan, England, Sweden, Spain, Holland, Denmark, Germany, Canada, France, Belgium, Australia, and Israel. In 1991 the Dogs released Great Italian Love Songs of the '50s, one hour of The Laughing Dogs at their most spontaneous: all the songs were recorded as they were being written, with no rehearsal and all first takes. This live, intimate, funny, hard rockin' album came with their own cookbook of Italian recipes. Later the group got together again in NYC's Pink Crayon Studio to record a more polished album, The Long Lost Night, with all new original songs. Their humor, optimism, and songwriting talent shine here as on past albums.

Group Members James Leonard - guitar, vocals, keyboards; Ronny Carle - bass, vocals, keyboards; Skip Reed - drums, percussion

Instruments guitar, bass, drums, keyboards

Albums The Long Lost Night, Great Italian Love Songs of the '50s, Hidden Bones

Press Reviews "The Three standout acts here are Mink DeVille, the Shirts, and the Laughing Dogs (!), all of whom emphasize solid songwriting and intelligent to-the-point arrangements. The Laughing Dogs, my own favorites at the moment, offer a masterful recreation of the early Beatles high-harmony sound on “It Feels Alright Tonight.” But they have a vision of their own, too, and their relentlessly rampaging “I Need A Million”, with its coyly McCartney-esque bass lines and frenzied vocals, has all the earmarks of a punk anthem." — Kurt Loder, Good Times, Jan. 1977 "This was cut live at the legendary club over a weekend in June 1976 (and originally issued shortly thereafter) . . . The music includes Tuff Darts’ anthemic “All For the Love of Rock ‘N Roll” and The Laughing Dogs’ likeable “I Need A Million.” — Jim Farber, New York Daily News, Feb. 1994 "The Laughing Dogs’ 'It Feels Alright Tonight' is the kind of Beatles/Zombies updating, filled with melodic grace and originality, that such revivalists as ..., ..., and ... aimed for but missed.” — Steve Simels, writing of Atlantic Records’ Live at CBGB’s in Stereo Review, Nov. 1976. "The sleeper group of the Live At CBGB's album was The Laughing Dogs. Their two contributions were fine examples of Beatlesque rock, i.e. halfway between pop and hard rock. At a return engagement at CBGB's they showed that they can carry this eclectic quality throughout an evening’s performance." — Musicians Classified, Dec. 1976 "The Dogs (as they're affectionately known) ended the Live at CBGB’s lp with their killer “I Need A Million.” Along with the Tuff Darts, Mink DeVille and the Shirts, the Dogs made that record the most successful of the New York compilations." — The Aquarian, July 1979 LIVE AT CBGB's: THE HOME OF UNDERGROUND ROCK (Atlantic Records double album) "This record album is an anthology of what I believe to be the most exciting 'live performances' captured, from a selection of the important bands who have been playing CBGB's in 1975 and 1976." — Hilly Kristal, founder and owner of CBGB's MONDAY MORNING POWER PLAY — June 25, 1979 "HOT LP! THE LAUGHING DOGS . . . Their sound is made of fresh, exciting tunes and great vocal harmonies with a touch of humor that assures a good time for all." POP TOP "It is a rare occurrence to confront a group that seems to genuinely enjoy playing night after night; New York City's Laughing Dogs are such a group . . . They are tight, fun and sincere." — B.H. ASBURY PARK PRESS — July 23, 1979 "The Laughing Dogs Are In The Thick of New Wave" — Robert Santelli THE BOSTON GLOBE — July 19, 1979 "The Laughing Dogs is one of the best debut records I've heard this year . . . This is one of the few albums I've heard that sounds like the early '60s rock but doesn't get lost in an imitation." — Thomas Sabulis THE HARTFORD COURANT — July 22, 1979 "The Dogs' first record has enough raw energy, good tunes and innovation to please the most jaded listener — and enough infectious humor for half a dozen albums . . . Best of all the Dogs have real talent . . ." — Henry McNulty TROUSER PRESS — August 1979 "The Laughing Dogs have neatly absorbed the right influences of British and American mid-'60s pop, and coupled with their bright, cheery vocals and tight musicianship, have produced a sound that's certainly promising." — Charles P. Lamey NEW YORK DAILY NEWS — August 3, 1979 "The Laughing Dogs. This is a great new rock group. This album is on par with the best material that any pop group can do; the tempo is low-keyed, yet the numbers are packed with superior musicianship." — Ace Adams NEW YORK POST — August 16, 1979 "This is an immensely enjoyable album . . ." — Ira Mayer NIGHT ROCK NEWS — August 1, 1979 "The Laughing Dogs have put out a rather melodious form of street-wise music . . . The Laughing Dogs album is a provocative blend of harmonious Pop and earthy progressive Rock." — S. Harris

Location New York City, NY - USA

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