Blood, Sweat & Tears

Editorial Reviews

All Music Guide
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. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the ...
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CD (German Import)
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Editorial Reviews

All Music Guide
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. 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. 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. 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. 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. ~ William Ruhlmann & Bruce Eder
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Product Details

  • Release Date: 10/31/2007
  • Label: Repertoire
  • EAN: 4009910232422
  • Catalog Number: 2324
  • Sales rank: 4,459

Album Credits

Performance Credits
Blood, Sweat & Tears Primary Artist
Fred Lipsius Piano, Saxophone, Alto Saxophone, Soloist
Lew Soloff Trumpet, Flugelhorn, Soloist
David Clayton-Thomas Vocals
Bobby Colomby Percussion, Drums, Vocals, Choir, Chorus
Jim Fielder Bass
Dick Halligan Organ, Flute, Piano, Trombone, Vocals, Choir, Chorus, Soloist
Jerry Hyman Trombone, Recorder, Soloist
Steve Katz Guitar, Harmonica, Vocals, Soloist
Alan Rubin Trumpet
Chuck Winfield Trumpet, Flugelhorn
Miss Lucy Angle Footsteps
Technical Credits
Erik Satie Composer
Blood, Sweat & Tears Arranger, Composer
Jim Capaldi Composer
Al Kooper Arranger
Laura Nyro Composer
Steve Winwood Composer
Fred Lipsius Arranger
David Clayton-Thomas Composer
Billie Holiday Composer
Fred Catero Engineer
Berry Gordy Jr. Composer
James William Guercio Producer
Roy Halee Engineer
D. Halligan Arranger
Dick Halligan Arranger
Patrice Holloway Composer
Arthur Herzog Jr. Composer
Brenda Holloway Composer
Don Juan Composer
Steve Katz Composer
Bob Irwin Producer
Frank Wilson Composer
Howard Fritzson Art Direction
Vic Anesini Engineer, Mastering
Pea Vee Composer
Mike Cimicata Packaging Manager
Hank Borowitz Liner Notes
Chris Wood Composer
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