Blood, Sweat And Tears – Blood, Sweat And Tears
Label: |
Columbia – CS 9720 |
|---|---|
Format: |
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Country: |
US |
Released: |
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Genre: |
Funk / Soul |
Style: |
Jazz-Rock |
Tracklist
| A1 | Variations On A Theme By Erik Satie (1st And 2nd Movements) | |
| A2 | Smiling Phases | |
| A3 | Sometimes In Winter | |
| A4 | More And More | |
| A5 | And When I Die | |
| A6 | God Bless The Child | |
| B1 | Spinning Wheel | |
| B2 | You've Made Me So Very Happy | |
| B3 | Blues - Part II | |
| B4 | Variation On A Theme By Erik Satie (1st Movement) |
Companies, etc.
- Manufactured By – Columbia Records
- Manufactured By – CBS Inc.
- Mastered At – Customatrix
- Pressed By – Columbia Records Pressing Plant, Santa Maria
Credits
- Alto Saxophone, Piano – Fred Lipsius
- Arranged By – Fred Lipsius (tracks: A2, A4, B1, B2)
- Artwork [Inside Art] – Bob Cato
- Bass – Jim Fielder
- Chorus [BS&T Chorus] – Dick Halligan
- Cover [Cover Art] – Timothy Quay
- Design – John Berg
- Drums, Percussion, Vocals – Bobby Colomby
- Engineer [BS&T Engineering Department] – Roy Halee
- Guitar, Harmonica, Vocals – Steve Katz
- Lead Vocals – David Clayton-Thomas (tracks: A1, A2, A4 to B4)
- Management [Personal Management] – Dennis Katz
- Organ, Piano, Flute, Trombone, Vocals – Dick Halligan
- Photography By [Back Cover Photo] – Harrie George
- Photography By [Photo Collage] – Cato*
- Producer – James William Guercio
- Trombone, Recorder – Jerry Hyman
- Trumpet, Flugelhorn [Flügelhorn] – Lew Soloff
Notes
Issued on 1967-70 red Columbia 2-eye labels with "⇦”360 SOUND” STEREO “360 SOUND”⇨" in bottom rim text with all tracks listed below center hole.
"S" or "Ƨ" etched in runouts denotes Columbia Records Pressing Plant, Santa Maria, pressing. Remainder of runouts mostly stamped.
Track A1 and B4 titles on back cover: "Variations On A Theme By Eric Satie"
A1, B4: Adapted from "Trois Gymnopédies"
B1: Special thanks for filling in for Chuck Winfield, for bringing a pocket full of miracles and for being so attractive.
B4: BS&T also thanks Miss Lucy Angle (in her Poll Parrot shoes) whose footsteps can be heard at the close of this selection. She is also very attractive. She appears through the courtesy of James William Guercio.
BS&T would like to take this opportunity to thank Jim Guercio and Roy Halee for their patience, endurance and dogmatism throughout the making of this record.
All selections are BMI except "Smiling Phases" (ASCAP).
Manufactured by Columbia Records/CBS, Inc., New York, N.Y.
®"Columbia," [CBS logo] Marcas Reg. Printed in U.S.A.
"S" or "Ƨ" etched in runouts denotes Columbia Records Pressing Plant, Santa Maria, pressing. Remainder of runouts mostly stamped.
Track A1 and B4 titles on back cover: "Variations On A Theme By Eric Satie"
A1, B4: Adapted from "Trois Gymnopédies"
B1: Special thanks for filling in for Chuck Winfield, for bringing a pocket full of miracles and for being so attractive.
B4: BS&T also thanks Miss Lucy Angle (in her Poll Parrot shoes) whose footsteps can be heard at the close of this selection. She is also very attractive. She appears through the courtesy of James William Guercio.
BS&T would like to take this opportunity to thank Jim Guercio and Roy Halee for their patience, endurance and dogmatism throughout the making of this record.
All selections are BMI except "Smiling Phases" (ASCAP).
Manufactured by Columbia Records/CBS, Inc., New York, N.Y.
®"Columbia," [CBS logo] Marcas Reg. Printed in U.S.A.
Barcode and Other Identifiers
- Rights Society (A1, A3 to B4): BMI
- Rights Society (A2): ASCAP
- Matrix / Runout (Side A label): XSM 137878
- Matrix / Runout (Side B label): XSM 137879
- Matrix / Runout (Side A runout, variant 1): o XSM137878-1AA / Ƨ B3
- Matrix / Runout (Side B runout, variant 1): o XSM137879-1C \ Ƨ BII
- Matrix / Runout (Side A runout, variant 2): XSM137878-1C 1S 0 B 1
- Matrix / Runout (Side B runout, variant 2): 0 XSM137879-1C S B 1
- Matrix / Runout (Side A runout, variant 3): o XSM137878-1AA 2 S
- Matrix / Runout (Side B runout, variant 3): o XSM137879-1AJ 2 A
- Matrix / Runout (Side A runout, variant 4): o XSM137879-1C 2 S A 2
- Matrix / Runout (Side B runout, variant 4): XSM137878-1E 1 S B 2
- Matrix / Runout (Side A runout, variant 5): o XSM137878-1AA 2 S
- Matrix / Runout (Side B runout, variant 5): o XSM137879-1C 1 S G 81
- Matrix / Runout (Side A runout, variant 6): o XSM137878-1C 2 S
- Matrix / Runout (Side B runout, variant 6): o XSM137879-1E 1 S A 10
- Matrix / Runout (Side A runout, variant 7): o XSM137878-1C S B5
- Matrix / Runout (Side B runout, variant 7): o XSM137879-1C S A2
- Matrix / Runout (Side A runout, variant 8): o XSM137878-1AA / Ƨ B35
- Matrix / Runout (Side B runout, variant 8): o XSM137879-1AJ F 5
- Matrix / Runout (Side A runout, variant 9): o XSM137878-1C 2 S A 4
- Matrix / Runout (Side B runout, variant 9): o XSM137879-1E 1 A8
Other Versions (5 of 174)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
| Blood, Sweat And Tears (LP, Album, Stereo) | CBS | S 63504, CS 9720 | Netherlands | 1969 | |||
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Recently Edited
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Blood, Sweat And Tears (LP, Album, Stereo) | CBS | S 63504, 63504 | Italy | 1969 | ||
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Recently Edited
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Blood, Sweat And Tears (LP, Album, Stereo) | Zhong | CSJ-831 | Taiwan | 1969 | ||
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Recently Edited
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Blood, Sweat And Tears (LP, Album, Stereo, Gatefold) | CBS | 63504, S 63504 | UK | 1969 | ||
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Recently Edited
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Blood, Sweat And Tears (LP, Album, Stereo) | CBS | SBP 233633 | Australia | 1969 |
Recommendations
Reviews
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Edited one year agoWell opinions...
This isn't a place to post about Chicago, is it? As far as I can tell this is a BS&T album. Having said that, the first 5 Chicago albums are a master class in pure musicianship. Say what you will, but there guitar player was perhaps one of the most understated guitar player in rock history. RIP Terry Kath.
It is quite easy to tear something down, any knuckle dragging gorilla can do so, but it takes a true skilled technician to build and create. -
When I read some comments here I think my first recommendation for any musician would be, don't learn to play your instrument, nobody will appreciate it. This is a solid well played album and yes, some people care about when musicians can play there instrument and are able to write more than just 3 chord songs. It is a mixture of styles, yes, but that's what it is all about. If you like "pure" styles don't buy it. Some music fans are so NOT OPEN to something different, hard to believe. -
Edited 3 years agoWell who doesn't love "Spinning Wheel"? That song is off the hook great and the horn stabs and solos are wild. I've also heard "You've Made Me So Very Happy", and that's a respectable cover. I was not sure what to expect for the rest of the record, and it is a complete mishmash of light rock, jazz, classical, big band, r&b, blues, with even a minute of salsa. This band is all over the place and I struggle to understand whom the intended audience is. As a rock and jazz musician myself, I really appreciate the musicianship and arrangements, which are tight and intelligent. I have to think these are ex-jazz players that formed a rock band to keep getting gigs after jazz lost its popularity in the late '60s. Who knows, I really like the record but it may be an acquired taste. 3.5 stars from me.
This is a near mint unplayed copy and it sounds fantastic. Great pressing. Recommended. -
Edited 3 years agoI always figured this band sucked as they have consistently been a common dollar bin find. I eventually got the debut as I heard it was a good album. I enjoyed it, then figured that the only logically next step was to find a dollar bin copy of the self titled record. I find this album in the bargain bins of EVERY local shop. Anyways, I got the cleanest of the 3 cheap copies I saw. It's a great sounding piece of plastic.
In of the album itself... It's not as good as the first album, but shit.. that's a tough one to follow up. The self titled album isn't bad at all, but they tossed out so much of the charm that was present and welcome on the debut. The result is a somewhat soulless record, but one that is played immaculately. I mean, the band is absolutely fantastic. Overall the record is a bit inconsistent, and lacks great vocals, with the singer doing his best (or worst) late 60s soul impersonation. Anyways, definitely a record to have in the collection and chill out to from time to time.
Edit: I rated 4 stars, though it's more of a 3.5/5 or 6.5-7/10 -
Obviously one of the great albums of the 1960's, but some parts are more dated than others. Still, as a 65 year old now, I can still peg my real interest in jazz being ignited by the way Lou Soloff's trumpet solo takes off during the interlude in God Bless the Child. Although I'd been exposed to jazz earlier than that, this was when, as a 13 year old in 1968, I knew I had to know more. The rest is history. (Do folks realize what a lonely age it was for jazz in '68?)
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Notes above state "2-Eye 360 Sound Label, all title below center hole". Yet photos included show Blood, Sweat and Tears above center hole. Which is it?
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What BS&T and Chicago were doing was making music apart from the acid and drug rock culture of the period. I enjoy this album and always trying to find one in better shape.
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It is really difficult to pinpoint which version of CS 9720 I have. The record itself has the yellow Columbia lettering on the label. But it also has Matrix / Runout (Side A runout stamped(Variant 1)): XSM137878-1AA with a hand etched 2 (but no S) after the 1AA. Also has Matrix / Runout (Side B runout stamped & etched (Variant 2)): XSM137879-1AJ F 5 without the F 5. Maybe I am blind but the only place I can find Pitman or Santa Maria or Terre Haute is on the inner paper sleeve which is a Columbia ad for Color Posters on one side and The Inner Sleeve, sort of a Columbia newspaper/blog thing on the other side. On the color poster side it says Poster/Puzzle offer PO Box 5289 Terre Haute,Ind. 47805 -
Edited 14 years agoI found this collection "artsy-fartsy" and it ushered in, along with the group Chicago, a distinctly unhip fusion of jazz horns mixed with what is supposed to be rock and roll or pop or whatever. There is a datedness to Blood, Sweat and Tears and Chicago. (With Chicago, it's not only datedness but dorkiness.)
Obviously, Clayton-Thomas had stronger vocals than Al Kooper (who established B,S and T, and was their first lead singer), but the man always sounds constipated.
"You've Made Me So Very Happy", "Spinning Wheel" are overplayed as much as "Saturday In the Park" by Chicago. It is cretinous ear candy, for all of its artistic pretentions. I don't need to hear ANY of the Chicago catalog, it's all so much drivel. And the best thing Blood, Sweat and Tears ever did was "I Can't Quit Her" from the band's first lp, replete with the weak vocals of Al Kooper.
What is it with these white boys playing horns? They sound like John Philips Sousa. These clowns need some lessons from the blowers at Stax. Sheeeeeeesh....
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