Customer Reviews

Child Is Father to the Man (Exp)

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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. Other genre experiments include classical ("Overture", "The Modern Adventures Of Plato, Diogenes & Freud"), straight pop (a cover of Nilsson's "Without Her" along with Randy Newman's "Just One Smile") and gut-wrenching R&B ("I Love You More Than You'll Ever Know", "I Can't Quit Her", "My Days Are Numbered"). As enticing as this recipe for a great rock album was, it didn't really make too many waves on the charts. While Kooper may not have had that in mind, the other members apparently did, for by the end of 1968, Kooper had been sacked, and his own band was moving in a totally different direction for their next album. For them, it may have been a blessing in disguise, for that next album would win tons of Grammys and spawn several hits. Even Kooper himself in the liner notes says it may have all worked out for the best. Still, it would have been great to see how Blood, Sweat & Tears would have wound up had they retained Al Kooper's intriguing musical vision. CHILD IS FATHER TO THE MAN, though, remains one of the best, if criminally underrated, albums from a rather experimentation-heavy period in music history.

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. Critics of Kooper frequently comment on his tendency to overreach both on his vocals and the scope of his musical ambitions, but on his Blood Sweat and Tears sessions Kooper succeeds by restraining himself from overindulgence.

It was uber-producer John Simon's brilliant work on the post session work that made "Child Is the Father to the Man" a rare jewel. Simon added orchestral string arrangements to the scratch tapes from the session and gave the album a unique baroque feel. The result unlike any other popular music recorded in that era.

Unfortunately, shortly after the 1968 release of "Child Is the Father to the Man" guitarist Katz and drummer Bobby Colomby engineered a coup resulting in Al Kooper's departure from Blood Sweat and Tears. Colomby and Katz added vocalist David Clayton Thomas and achieved a phenomenal mainstream breakthrough on their second album. Beneath the sheen of the brassy arrangements the "new" BS&T began to sound like a "by-the-numbers" collection of studio players working from a template.

BS&T floundered for lack of direction, without the passionately opinionated Kooper at the helm. By the early 1970s, BS&T had evolved into just another Middle-Of- Road formula band with Thomas as a front-man. "Child Is the Father to the Man" stands as a stark counterpoint to the post-Kooper, direction of BS&T. One wonders what BS&T could have accomplished, had the band remained under the leadership of Al Kooper's bold, experimental and often eccentric vision.

..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!

So what I mean is, in an alternate universe, if Kooper could "sing", Katz could "blow", I think that this band would have been "untouchable", they would have been "it", the high water mark of jazzrock musics. Instead, the band mutinies and dumps Kooper, gets DC Thomas, and has a string of CORNY LAs Vegas style "hits".
(even drafting more jazz pedigreed players later -Larry Willis, for example- couldnt get this aggregate "de-Wayne Newtonized".)
*Funny , as I write this , I realize how many rock acts are in Las Vegas nowadays, Uffa! Is pop music in a pathetic state or what?? It SURE is, but this is another story..

Anyway,

"AK" is not a jazzman, not a blues man, nor pop Bob Dylan folkboy. He is one of the few American proponents of what in Brasil is called "antropofagia"-- Kooper is canniblizing ALL different styles of musics and mixing it all up into the KOOPERSOUND.
He gives jazz legitimacy to rock, a rocking edge to jazz, etc etc..Bad vocalizing aside, the group seems inspired totally with Kooper's concept.

BIG credit goes to John Simon's production, and Fred Lipscius/Kooper's horn and strings arrangements.
The delicious grooves are a treat too, from bossa to gutbucket blues, 2nd line to pure pop!
Bassplayers check the understated but incredibly tastey basswork alla way through this recording, Jim Fielder is an unsung hero in this regard.

All in all, Al Kooper shoudnt be a footnote, but a major innovator in the history of pop musics,and this recording is only ONE example--KOOPER also wrote many tin pan alley pop hits, most memorably "This Diamond Ring".
His ability to find rock "talent" is legendary(Michael Bloomfield, Steve Stills, even this Lynyrd Skynyrd, Kooper was there!)

Finally,dont disregard the humor in this recording, music without humor , I cant imagine this at all! There's alotta joy in these songs.

Hats off, Al Kooper!

The first B,S&T album is arguably their best.Unlike the David Clayton Thomas era,the Al Kooper version is dominated by the horn section.I CANT QUIT HER is a wonderful should've-been hit.I LOVE YOU MORE THAN YOU'LL EVER KNOW is a great bluesy rocker.The highlights of the album are MY DAYS ARE NUMBERED and JUST ONE SMILE.Horns have never sounded better in pop music as they sound on those two songs.MORNING GLORY and SO MUCH LOVE are great songs as well.The Clayton Thomas led band is great too, but I would have loved to have heard another album from this lineup.

These guys got off to an excellent start with this,their first
release. This one and their self titled 2nd outing, are easily
their best work. The only BS&T album with Al Kooper taking the
lead role,before the days of David Clayton-Thomas, it has a
sound all it's own. Different from anything that followed. More
of a classical taste than on their others,but the classical
flavor does not dominate, the brass makes it's presence known,
and there is a great rock sound through out. The vocals are
great, as is the song writing. This was a ground breaking
album when it first came out, and still sounds fresh today.
Thanks,
Tom

This album was ground breaking for me. I'd gone through the psychelic era with groups like Music Machine, Strawberry Alarm Clock, and the Yardbirds. They released only one album and/or broke up. The Beatles were getting really strange, and I didn't know what to make of the White Album. So, I was ready for anything new. When I heard "I love you more than you'll ever know"; I was hooked. It's still one of my favorite songs. It still stands up after three decades. It's a slow blues base with Cooper's (albeit not so great voice) angst all over the rhythm line. Throw in my prerequisite, the fuzz guitar, with a lot of rock tinged with blues flavor; then I'm ready to accept the horns. Horns in a rock band!?! I'd thought that horns were only for soul bands. BS&T had brought me into blue eyed soul without my even knowing it. I'd been hooked on guitar solos and thought any group with over three people had way too many members, but I was hooked on BS&T! Other songs, like the soft "Without Her", brought me into jazz. Then there's the rocking horn style of "I Can't Quit Her" and the blusy'er horn style of "Something's Comin' On". There seemed to me to be some tongue in cheek songs, like "House In The Country" and "Modern Adventures of Plato, Diogenese, and Frued". Those were either lost on me or completely over my head; I still thought music was sacred and couldn't be toyed with. This album changed the way I thought about music. Al Kooper, freshly out of the group, The Blues Project, amassed the finest group of jazz/rock musicians that I'd heard and opened my eyes in anticipation of their next album AND Chicago Transit Authority. Unfortunately, the CTA would have to requiet me since Kooper was ousted from his own band because his voice wasn't "top 40". BS&T after Kooper was a fine band but was much safer and more commercial than "Child is Father..." This is a must have album for those wishing to walk on the bride that brought blued eyed soul to a brit rock teen.

"Child Is Father To The Man", Blood, Sweat & Tears' first album, delves into the band's flirtation with jazz and rock influences. When B,S&T combines both musical styles into one, it is pure, unaulterated sheer magic. "CIFTTM" does not fail to disappoint, as lead singer Al Kooper's vocals homogenize rather nicely with the avant jazzy rock rhythms. Mr. Kooper's most noteworthy vocal stylings can be heard in the tracks "I Love You More Than You'll Ever Know", "My Days Are Numbered" and "I Can't Quit Her". Al also bares his soul in the tracks "Just One Smile" and "So Much Love". Steve Katz also contributes a few lead vocals on this freshman effort as well, which are featured in the tracks "Morning Glory" and "Meagan's Gypsy Eyes". It is on the former selection where certain chords from this track would eventually be lent to B,S&T's first hit in the David Clayton-Thomas era: "You've Made Me So Very Happy", from the band's second album. The latter track features hints of the psychedelic-rock era. It is obvious B,S&T had to keep up with the times, so they included a psychedelic selection here. The band seems to be enjoying themselves in the free-for-all-like romp provided in "House In The Country", while they seem to be getting down to brass tacks in the intellectually charming "The Modern Adventures Of Plato, Diogenes And Freud". B,S&T invites you to attend "Club Jazz" for a rambling rendition of "Without Her", as provided by the delightfully talented Al Kooper (formerly of The Blues Project, along with Steve Katz). Now, did you think for one moment B,S&T took this entire project seriously? You won't think likewise when you hear the group clown around in "Overture", where there's definitely "Somethin' Goin' On" with all that maniacal laughter! That's something the Clayton-Thomas era B,S&T wouldn't put up with, as that group made entertainingly serious, in your face music. Had it not been for "Child Is Father To The Man" (which is quite comparable to anything in the DCT era), however, B,S&T might not have gotten off the ground. Due to creative differences with the other bandmates, Al Kooper and a few other members left B,S&T immediately after this album (although Kooper would later return as a consultant on "B,S&T 4"). Many fans knew what happened next in the DCT era of B,S&T, so no explanation is necessary, other than a few personnel changes, as mentioned above. Due to the fact that Al Kooper played a large part in developing B,S&T's sound and success, by no means should any hardcore fan of this group exclude "CIFTTM" from their CD library. Buy it now before it becomes a part of history.

This is an exceptional album.....not your typical Blood, Sweat and Tears commercialized garbage that was created after this album. This was their first album, raw and orginal, not over-produced or watered down for a top 40 audience. It is, in fact, the band driven and led by the great rock and blues musician, Al Kooper. When B. S. & T. "lost" Al Kooper, they lost everything.....fortunately, we can find what they lost in this album.

One of my All Time Favorite Top Ten. Forget about BS&T's subsequent pop albums, this work remains a masterpiece -- talented musicians seamlessly integrating blues, jazz, rock & roll, real passion and a few good laughs. Lyrics that 30 years later still make me sigh for lost loves. Kooper was uniquely qualified to create this work. Among his other accomplishments, he wrote the 60s hit, "This Diamond Ring"; played Hammond for Dylan on "Like A Rolling Stone"; and sang with the Blues Project ("I Can't Keep From Crying Sometimes"). The songs on this CD represent a variety of musical styles, but all are genuine blues and true to the heart. In my opinion, this is one of my generations greatest recordings. [Released about the same time, "Electric Flag", lead by Kooper's friend, Mike Bloomfield, is a great companion album to this one, although Kooper's effort has a timeless quality Bloomfield's lack.]

1) There's 2 distinct BLOOD SWEAT & TEARS, this album with Al Kooper and all the other ones with David Clayton Thomas. It's more than just a vocalist change. The song writing ability that Al Kooper brought to BS&T was something lost to them and it made all the difference. Oh, what could have been if Al Kooper had made more albums with BS&T. Oh well. We do, at least, have this fabulous work.

2) I loved this album for decades. I didn't listen to it for maybe 10 years and then I purchased this version with the added trax. CD re-issues can be magnificent providing unheard songs, outtakes, live versions and so on. Particularly for these classic older rock albums you learn that the songs that didn't get used on the original release were typically the weaker versions. The other thing is, often bands will make more than one recording of a song doing it differently or as the song developes record the various versions as it comes into its final form. So, yeah, for the big fan of this album (versus of BS&T and its entire catalog), sure, it's a treat to hear these other songs and versions. But not essential. They made a delightful album as it was and the extra trax aren't crucial, they're more interesting than anything. Someone like Jimi Hendrix did a ton of recording of both live shows, live jams after shows and studio work. There's lots of his material that's well worth finding and hearing. Not so much here though the bonus trax here are definitely worth having because there's really just this one album. There's not, apparently, even a stash of live recordings of BS&T with Al Kooper, from what I can see. A shame.

3) 'I Love You More Than You'll Ever Know' is a heart tugging song that's just a stone classic. I feel that way about 'My Days Are Numbered', 'Without Her', 'I Can't Quit Her' and 'Somethin' Goin' On'. Together those songs have soul, have passion, have yearning, and a full band sound that doesn't come along every day. The rest of the songs are nice but a few are almost distracting in how they leave the emotional tempo set by these 5 songs. In fact, if I were to edit this album for my current listening pleasure I'd just make a cdr with those 5 songs. The other songs aren't rotten. In fact, some are a lot of fun. Just for me, they're like from another album, emotionally.

4) Some albums stand the test of time well. The decades are kind to them. What? SANTANA's first 3 albums?, The BEATLES' White album, Rubber Soul and Abbey Road?, DAN HICKS and HIS HOT LICKS Where's the Money, The BOBS first three albums s/t, My I'm Large and Songs for Tomorrow Morning, STEEL PULSE Reggae Fever, LED ZEPPLIN s/t and second album, The ROCHES first album, The JAM first 2 albums In the City and The Modern World, BAD BRAINS Attitude. Well, there's more and, of course, it depends on one's personal musical tastes as well. What I find is that some albums don't stand up well to the passing of time. I find that our ears change. How we hear the same music changes. Partly from hearing the music repeatedly, partly from hearing other music by other musicians and, in some cases, from hearing the later works of the same artist or from hearing the speed of some music change. How does music from the 50's sound today? What's come after it has impacted how we hear it today. I was surprised that what I always considered to be an uberclassic album didn't sound as amazing to me when I heard it again in the 90's. Still, I'd highly recommend it for anyone who's never heard it, if yer into rock with horns and some passionate music. I'd consider those best 5 songs to be somewhat related to the best songs of TOWER OF POWER except with a more definitive voice.

5) I still can't believe I liked some of those BS&T songs on the radio with their other vocalist. I'll chalk it up to being a teenager in the 70's. Yeah, that's gotta be it.

6) One of the losses of going from lp to cd is simply the size of an album's cover. Let's face it, that picture is a trip. I'm still not sure if I like it or if it's creepy a little. Ok, I like it. I think it was a great idea and it still works. My optomitrist said everyone over 40 needs reading glasses. Without them it can be mightly hard to get a gander at that cool cover. chrisbct@hotmail.com