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Child Is Father to the Man

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Editorial Reviews

All Music Guide - William Ruhlmann
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 ...
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09/05/2000 CD Extra tracks, Original recording Very good Books, CDs, DVDs, Videogames, LPs & more! Fast shipping! All items guaranteed!

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Editorial Reviews

All Music Guide - William Ruhlmann
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 fl├╝gelhorn/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.
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Product Details

  • Release Date: 9/5/2000
  • Label: Sony
  • UPC: 074646398722
  • Catalog Number: 63987

Album Credits

Performance Credits
Blood, Sweat & Tears Primary Artist
Al Kooper Organ, Piano, Keyboards, Vocals, Ondioline
Fred Lipsius Piano, Saxophone, Alto Saxophone
John Simon Organ, Piano, Conductor, cowbell
Randy Brecker Trumpet, Flugelhorn
Harold Coletta Viola
Bobby Colomby Percussion, Drums, Tambourine, Vocals, Snare Drums
Jim Fielder Bass, Bass Guitar, Fretless Bass Guitar
Paul Gershman Violin
Al Gorgoni Organ, Guitar, Vocals
Manny Green Violin
Dick Halligan Trombone
Harry Lookofsky Violin
Doug James Shaker
Steve Katz Acoustic Guitar, Guitar, Lute, Vocals
Harry Katzman Violin
Leo Kruczek Violin
Charles McCracken Cello
Gene Orloff Violin
The Manny Vardi Strings Viola
Jerry Weiss Trumpet, Flugelhorn, Vocals
Anahid Ajemian Violin
Julie Held Violin
Melba Moorman Choir, Chorus
Alan Schulman Cello
Technical Credits
Tim Buckley Composer
Al Kooper Composer
Fred Lipsius Arranger
John Simon Arranger, Producer
Fred Catero Arranger, Sound Effects, Engineer
Al Gorgoni Arranger
Larry Beckett Composer
Bob Irwin Producer
Howard Fritzson Art Direction
Vic Anesini Mastering
Alan Schulman Arranger
Mike Cimicata Packaging
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Customer Reviews

Average Rating 5
( 3 )
Rating Distribution

5 Star

(3)

4 Star

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    One of the most underrated albums of the '60s

    I guess the problem is that most people these days don't remember this album unless they were there. But as much as Blood Sweat and Tears gradually turned into crap, this album was quite a minor masterpiece of the late '60s. In my opinion, the ultimate brass rock album, even above Chicago Transit Authority. When Al Kooper left the band, he left the majority of the talent with him. It's all a highlight but I will say that I love the circular feel of the album, as you experience with some other great albums. The way it starts and ends with the House in the Country theme, with the song somewhere in the middle. The last second of the album is a cherry on the cake for me. Hahaha.

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  • Anonymous

    Posted October 1, 2010

    A reviewer

    For anyone who wants to know what the late 60's were like this is the perfect album.

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  • Anonymous

    Posted July 28, 2009

    No text was provided for this review.

Sort by: Showing all of 3 Customer Reviews