Editing Hard Labor (section)

==Reception==
{{Album ratings
| rev1      = ''[[AllMusic]]''
| rev1Score = {{Rating|2|5}}<ref name=allmusic />
| rev2      = ''[[Circus Raves]]''
| rev2Score = [[File:Ear noun 42647 cc.svg|x14px|alt=Ear]]&nbsp;[[File:Ear noun 42647 cc.svg|x14px|alt=Ear]]<ref name=circusraves />
}}
Tom Von Malder of the [[Daily Herald (Arlington Heights, Illinois)|''Daily Herald'']] called ''Hard Labor'' the band's finest record up to that point, applauding the production and finding the choice of songs representing the band at "its most competent, most mature level". Malder singled out "The Show Must Go On" and "I'd Be So Happy" as its two best, and "almost perfect", songs.<ref name=Malder1974>{{cite journal | last=Malder | first=Tom Von | date=April 5, 1974 | url=https://archive.org/details/arlington-heights-daily-herald-suburban-chicago-1974-04-05/page/n18/ | title=Three Dog Night maturing | journal=Daily Herald | location=Arlington Heights, Illinois | publisher=Paddock Publications | volume=25 | issue=117 | page=S2-3 | via=the Internet Archive}}</ref> ''[[Cashbox (magazine)|Cash Box]]'' called Inner's production "immaculate as always" and wrote that the album was marked by "mood changes both subtle and obvious", making it a "fantastic study in theatrical and musical contrast".<ref>{{cite journal | last=Staff writer | date=April 6, 1974 | url=https://archive.org/details/cashbox35unse_40/page/30/ | title=''Hard Labor''—Three Dog Night—ABC DSD 50168 | journal=Cash Box | publisher=The Cash Box Publishing Company | volume=XXXV | issue=47 | page=30 | via=the Internet Archive}}</ref> ''[[Billboard (magazine)|Billboard]]'' found the track listing a "fine mix of material" and wrote that the instrumental section was "tight and almost perfect".<ref>{{cite magazine | last=Staff writer | date=April 6, 1974 | url=https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1974/Billboard%201974-04-06.pdf | title=Spotlight | magazine=Billboard | publisher=Billboard Publications | volume=86 | issue=14 | page=72 | via=the Internet Archive}}</ref>

''[[Circus Raves]]'' writer Jon Tiven gave the record "two ears"—indicating an album to "listen to ... 'til the grooves grow old" and wrote that the band "are the best when they're transforming half-arsed songs into good ones, but they run into trouble when the original rendition of the tune was fine in the first place (e.g. 'The Show Must Go On')."<ref name=circusraves>{{cite journal | last=Tiven | first=Jon | date=August 1974 | url=https://archive.org/details/sim_circus-raves_1974-08_1_6/page/60/ | title=Shortcuts | journal=Circus Raves | publisher=Canadian APAG House Publications | volume=1 | issue=6 | page=60 | via=the Internet Archive}}</ref> Writing retrospectively, Joseph McCombs of ''[[AllMusic]]'' felt that the album's preference for songs with solo vocals rather than the group's previous use of harmonies led to the band "los[ing] much of their soul and spirit" and saw the album as "show[ing] the growing cracks in the band's armor". Like Malder, McCombs found "I'd Be So Happy" and "The Show Must Go On" the highlights of the album.<ref name=allmusic>{{cite web | last=McCombs | first=Joseph | date=n.d. | url=https://www.allmusic.com/album/hard-labor-mw0000202894 | title=Three Dog Night: ''Hard Labor'' | work=AllMusic | publisher=Netaktion | archiveurl=https://web.archive.org/web/20120604064927/https://www.allmusic.com/album/hard-labor-mw0000202894 | archivedate=June 4, 2012}}</ref>