Blood

The difference between Blood, Sweat & Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was "merely" a huge critical success…

The difference between Blood, Sweat & Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was "merely" a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album – consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas – was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper…

From their beginnings as an attempt at bold jazz-rock fusion in 1967 through a run as a high-powered R&B/soul-rock singles act with singer David Clayton-Thomas two years later, Blood, Sweat & Tears were always a kind of fascinating experiment, and a commercially successful one at that. The first album from the Clayton-Thomas-fronted band appeared in 1969, spawned four high chart hits, won a Grammy as Album of the Year, and went on to sell some three million units. The next two albums, Blood, Sweat & Tears 3 and 4, generated a few more hits, but the band was gradually running out of creative steam by this point, and when Clayton-Thomas left the group after the fourth album, well, that was the end of the line commercially for Blood, Sweat & Tears. A jazzier, but definitely not as commercial, version of Blood, Sweat & Tears showed up for two of the albums collected in this set, 1972's New Blood and 1973's No Sweat, with the third album here, 1976's More Than Ever, featuring the return of David Clayton-Thomas to the fold.

A 32-track retrospective that'll make fans of this band's unique pop/jazz/rock sound so very happy! Every hit single is here- You've Made Me So Very Happy; And When I Die; Spinning Wheel; Hi-De-Ho; Lucretia MacEvil; Go Down Gamblin'; Lisa, Listen to Me; So Long Dixie; Got to Get You into My Life , etc.-plus key album tracks and two unreleased cuts that trace this band's career from the early Al Kooper days on. Notes, rare photos, complete discography and personnel info rounds out this long-overdue collection.

Ten previously unissued live recordings from 1970 recorded in Yugoslavia, Romania, and Poland.

Child Is Father to the Man is keyboard player/singer/arranger Al Kooper's finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late '60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form. It's Kooper's bluesy songs, such as "I Love You More Than You'll Ever Know" and "I Can't Quit Her," and his singing that are the primary focus, but the album is an aural delight; listen to the way the bass guitar interacts with the horns on "My Days Are Numbered" or the charming arrangement and Steve Katz's vocal on Tim Buckley's "Morning Glory." Then Kooper sings Harry Nilsson's "Without Her" over a delicate, jazzy backing with flügelhorn/alto saxophone interplay by Randy Brecker and Fred Lipsius.