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It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album. Not only did the album contain three songs that neared the top of the charts as singles - "Happy," "Spinning Wheel," and "And When I Die" - but the whole album, including an arrangement of "God Bless the Child" and the radical rewrite of Traffic's "Smiling Phases," was wonderfully accessible. Kooper was even still present as an arranger on two tracks, notably the initial hit "You've Made Me So Very Happy." But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people.

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. Blood, Sweat & Tears And Their Songs - Blood, Sweat & Tears. 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. Blood, Sweat & Tears And Their Songs mp3 Musify. He covers bluegrass great Bill Monroe’s “Blue Moon of Kentucky,” Harry Nilsson’s “One” (this version bests all others), Isaac Hayes’ R&B workout “Toe Hold,” and Jerry Butler’s Philly soul stomp “Hey, Western Union Man.Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen. That’s what makes this a genius rock ’n’ roll album. By the album’s finale-“Song and Dance for the Unborn, Frightened Child”-you’ll feel as though you’ve taken a literate, highly entertaining tour of 20th-century musical styles. (It blends soul and rock and jazz and pop.) “Camille” is a similar mashup but with a soaring, showtune-like overture. For example, the title tune to this 1968 debut is a study in how to mix multiple genres into a cohesive whole. But Kooper’s musical smartness put him at odds with the basic rules of public consumption his own music wasn’t easily classified. This is the musician/songwriter who formed Blood, Sweat & Tears and played on or produced countless culture-shifting albums and songs (that’s his organ on Dylan’s “Like a Rolling Stone”). It’s almost shocking how overlooked Al Kooper’s solo career is.