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BLOOD, SWEAT & TEARS

One of the first rock bands to integrate jazz-influenced horns, they burst onto the pop playlists with three million-sellers in 1969. No American rock group ever started with as much daring or musical promise as Blood, Sweat & Tears, or realized their potential more fully -- and then blew it all as quickly. From their origins as a jazz-rock experiment that wowed critics and listeners, they went on -- in a somewhat more pop vein -- to sell almost six million records in three years, but ended up being dropped by their record label four years after that. Blood, Sweat & Tears started as an idea conceived by Al Kooper in July of 1967. An ex-member of the Blues Project, Kooper had been toying with the notion, growing out of his admiration for jazz bandleader Maynard Ferguson, of forming an electric rock band that would include horns and use jazz as the basis for their work. He planned to pursue this in London, but a series of New York shows involving some big-name friends didn't raise enough money to get him there. He did, however, find three players who wanted to work with him: bassist Jim Fielder, Blues Project guitarist Steve Katz, and drummer Bobby Colomby. Kooper agreed, as long as he was in charge musically. The horn section featured Fred Lipsius (saxophone), with Randy Brecker and Jerry Weiss on trumpets and flügelhorns, and Dick Halligan playing trombone. The new group was signed to Columbia Records, and the name "Blood, Sweat & Tears" came to Kooper after a jam at the Cafe au Go Go, where a cut on his hand left his organ keyboard covered in blood. That first version of Blood, Sweat & Tears played music that roamed freely through realms of jazz, R&B, soul, and even psychedelia in ways that had scarcely been heard before in one band.

"CHILD IS FATHER TO THE MAN"

<published in the U.S.A. in 1968, but released in Italy only in 1969>

Produced by  John Simon for Past, Present and Future Productions, Inc.

1969      LP     CBS RECORDS       S 63296   STEREOMONO

MADE IN ITALY    ORIGINAL PRESSING

Released in a single laminated cover (on front) with flipback on rear. 

With company inner sleeve.

Barcode and Other Identifiers

Barcode: none

LABEL: CBS - ORANGE LABEL -  BLACK TEXT

Catalog on cover: (front) 63296     (spine & rear) S 63296

Catalog on labels: S 63296 (CI S 63296-A2)  /  S 63296 (CI S 63296-B2)

Matrix / Runout (Side A, Stamped): CBS 63296 A2   (Etched): ZZZ

Matrix / Runout (Side B, Stamped): CBS 63296 B2   (Etched): ZZZ

On labels: top rim text reads "Riservati Tutti......Questo Disco"

bottom rim text reads "Made in Italy"

STEREOMONO

℗1969     DR (boxed)

Prod. J. Simon

Rights Society / Publishing: DR

On Front Cover (top left sticker reads): <Questo disco partecipa al referendum "UNO SLOGAN PER UN SOUND"

CGD CBS TWA giovani TV ITT SCHAUB-LORENZ   CON NOI L'AMERICA!>

On Back Sleeve: Tracklist & Credits(in Italian)

CBS is a Trademark of the Columbia Broadcasting System, Inc.

CBS ITALIANA S.p.A. - Milano - Distribuzione Messaggerie Musicali - Milano - Roma.

Foto: Bob Cato      Stampa Reparto Grafico C.G.D.

tracklisting

Side A: OVERTURE - I LOVE YOU MORE THAN YOU'LL EVER KNOW - MORNING GLORY

MY DAYS ARE NUMBERED - WITHOUT HER - JUST ONE SMILE

Side B: I CAN'T QUIT HER - MEAGAN'S GYPSY EYES - SOMETHIN' GOIN' ON - HOUSE IN THE COUNTRY

THE MODERN ADVENTURES OF PLATO, DIOGENES AND FREUD - SO MUCH LOVE / UNDERTURE

  grading

RECORD EX but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

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. This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music. Maybe it couldn't have lasted; anyway, it didn't...(AllMusic)