![]() ![]() 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”). Sad to see a band with so much promise go down the tubes the hard way.It’s almost shocking how overlooked Al Kooper’s solo career is. “Go Down Gamblin’” is the hit song here, at #32, the rest of the album a reckless pile of dreck. There are the hits “Hi-De-Ho” and “Lucretia Mac Evil,” but lame covers like the self-indulgent “Sympathy for the Devil” and the unnecessary “Fire and Rain” throw cold water on the proceedings, with bland stuff like “Lonesome Suzie” and “He’s a Runner” making matters worse- if that’s possible. Blood, Sweat and Tears III (1971) ♦♦♦Īfter the inventive and varied nature of their self-titled release, “III” is a mess. After this, it was a slow downward spiral. ![]() “God Bless the Child” was another hit, other standouts including “Smiling Phases” and “Sometimes in Winter.” This is a classic album and the band’s high point, creatively and aesthetically. “You’ve Made Me So Very Happy,” “And When I Die” and “Spinning Wheel” all went to within three months of each other, and hanging out on the charts for over eleven weeks. After some staff changes (with Kooper out), the band created their best album. While Al was more than willing to help pen songs that buttressed the group’s signature sound, his bandmates wanted to move in a different, more mainstream direction. Regardless, this is B, S &Ts most fascinating effort- and most of the credit goes to Al Kooper. But for the band as a whole, Al was a bit too far off the beaten musical track. What gave this album its unique sound was Al Kooper, a musical prodigy who could perform, compose and arrange in any genre, from classical and jazz to pop and country. For while the tracks are all over the place, genre-wise, the performances are top-notch. The debut album has been described as more interesting than good, though “ambitious” would be a better description. Blood, Sweat and Tears was also one of the first pop-jazz fusion groups to enjoy commercial success. ![]() Similar to Chicago, who they preceded by one year, B, S & T was heavy on the horns, David Clayton Thomas’ powerful, soulful voice a common denominator from the second album on. ![]()
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