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Child Is Father to the Man Cutout

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Vinyl, Cutout, 1968

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Editorial Reviews


Product Details

  • Vinyl
  • Original Release Date: 1968
  • Number of Discs: 1
  • Format: Cutout
  • Label: Columbia
  • ASIN: B001AA3R0O
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (138 customer reviews)
  • Amazon Best Sellers Rank: #689,598 in Music (See Top 100 in Music)
  • Note: Cutouts are bargain-priced CDs that may have a "cut" or hole punched through the packaging. The CDs are new and unplayed, and they are covered by our standard returns policy for other CDs.

Customer Reviews

And that's just one song on the album.
Bruce Cichowlas
It is, in fact, the band driven and led by the great rock and blues musician, Al Kooper.
Megan Marlatt
One of my favorite albums since it was first released.

Most Helpful Customer Reviews

105 of 113 people found the following review helpful By 34-year old wallflower on November 16, 2000
Format: Audio CD
Being a fan of the Beach Boys (among others), I realized that one of the songs from the famously-unreleased SMILE sessions, was called "Child Is Father To The Man". Apparently, the legend of that album was alive and well even in late 1967 when Blood, Sweat & Tears' debut album of the same name was being recorded. Keyboardist Al Kooper (best known as the organist on Bob Dylan's "Like A Rolling Stone") must have been one of the few to have heard those unfinished masters at the time, for he must have used the inspiration to create BS&T. Or at least, his vision of what it should be. Everyone knows the Kooper-less version of the band would find the most success with a slightly different shade of the experimental sound on here. And CHILD IS FATHER TO THE MAN will certainly have listeners wondering if this is the same band that did "Spinning Wheel" or "And When I Die". Clearly, Kooper had more than just jazz in mind when he put together this album, for the end result was one of the most diverse, undefinable musical statements ever released. No band was safe from the psychedelic bug, and BS&T show off their mettle there on songs like their cover of Tim Buckley's "Morning Glory" (which probably floored even fellow experimentalist Buckley), the sound-effects-laden "House In The Country", and the organ-driven jam "Somethin' Goin' On". If the dates in the booklet are accurate for the recording of these songs, it's a wonder that they were done in the space of only one day.Read more ›
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37 of 38 people found the following review helpful By Gavin B. on December 29, 2004
Format: Audio CD
Consider the sum total of Al Kooper's recorded music, and "Child Is the Father to the Man" with Blood Sweat and Tears is his boldest and most enduring project. The songs on this album were written while Kooper was still in the Blues Project and he begged lead guitarist Danny Kalb to add a horn section to the Blues Project to acommodate his new compositions. Kalb balked, preferring the quintet format of the band. It was this creative gridlock with Kalb that led Kooper to leave the Blues Project.

Kooper along with second guitarist Steve Katz jumped ship and in the space of two weeks in December of 1967, recorded the first Blood Sweat and Tears album.

"Child Is the Father to the Man" is a song cycle complete with orchestral overture and tongue in cheek "underture." Kooper was right about adding a brass section. Songs like "I'll Love You More Than You'll Ever Know", "I Can't Quit Her" and "My Days are Numbered" in hindsight are unimaginable without the horn arrangements done by alto sax player Fred Lipsius and Kooper. A lot of the horn arrangements are profoundly influenced by the post-beat era big bands like Maynard Ferguson Big Band and the Mingus Big Band.

The music was a fully realized compendium of a lot of Kooper's ideas with the Blues Project: jazz fusion, contemporary rhythm and blues, urban folk and blues. Katz's tasteful use of a fuzz tone on much of his guitar sounded like some of the psychedelic music coming out of San Francisco in that era.

All of the songs were recorded in one take and Kooper sang the songs with passion he rarely summoned for his vocals with the Blues Project.
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48 of 56 people found the following review helpful By Peppino on March 19, 2002
Format: Audio CD
..but I was there, a musically precocious 11 yr old. Thanks to cousins, I was already "hip" to Coltrane, Jobim, Wes Montgomery,well great musics in general. I remember this recording quite well, it really captured my fascination then.
I've read the various reviews here on Amazon, so I put alittle of my own "spice" to add the conversation.
This recording is the trunk of the tree jazz rock grew from(the "non-fusion" jazzrock). Al Kooper's vision was "right on it", as he had the notion to utilize horns in rockmusics with a "big band" concept in mind, wonderful expansive chords voiced by the section, not just the usual R&B riffing that was the state of things in pop musics until then.
The "tragedy" lies right in this recording, Al Kooper's compositions, the arrangements, the humor in the music itself, and presentation(Laughter, animal noises,et al.)--MAN , this guy was really ahead of the trends, BUT--
1) Mr Kooper's limited vocal range, and generally affected singing(He sounds best on the wonderful bossa nova version of Nillson's "Without Her", where his vocal range is not taxed), and the Anglo Soul Brother frasing is amusingly dated and corny now--.
2) Steve Katz, while a very good vocalist, is not much of a guitar soloist, and is a weak link in this manner(though if it is him, the bossa style comping on the aforementioned Nillson tune is quite capable).
3) The wonderful altered blues instrumental only released on this cd should have been on the original lp release, it is a fine blend of New Orleans-inspired 2nd line groove with a swing release, and includes a fine alto solo by Fred Lipscius(his Bird inspired alto burns on every track he solos on on this cd), and Randy Brecker(Horace Silver bound soon after this recording) and Jerry Weiss play some nice horn too!
Read more ›
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