A

Veo un bar, lleno de un denso humo por el tabaco, gran cantidad de vasos llenos de whisky, y la gente gozando de este auténtico temazo. Vaya Groove más guapo. Larga vida a música como esta, y larga vida a la memoria de esta genial banda que es Blood Sweat & Tears.

A good strip tease song.

I can feel bourbon street and see the mighty Mississippi in the distance.

JUST SO FUNKY!!!!

I find this album on par with Pet Sounds and Rubber soul

My kind of music . Randy Brecker, Al Kooper how could it go wrong.?

Overture – (Al Kooper) – Registrato l'11 dicembre 1967 00:00
I Love You More Than You'll Ever Know – (Al Kooper) – Registrato il 12 dicembre 1967 01:32
Morning Glory – (Larry Beckett, Tim Buckley) – Registrato il 12 dicembre 1967 07:27
My Days Are Numbered – (Al Kooper) – Registrato il 13 dicembre 1967 11:42
Without Her – (Harry Nilsson) – Registrato il 12 dicembre 1967 15:01
Just One Smile – (Randy Newman) – Registrato il 15 dicembre 1967 17:41
I Can't Quit Her – (Al Kooper, Irwin Levine) – Registrato il 16 dicembre 1967 22:15
Meagan's Gypsy Eyes – (Steve Katz) – Registrato il 15 dicembre 1967 25:53
Somethin' Goin' On –(Al Kooper) – Registrato il 20 dicembre 1967 29:17
House in the Country – (Al Kooper) – Registrato il 16 dicembre 1967 37:15
The Modern Adventures of Plato, Diogenes and Freud – (Al Kooper) – Registrato il 20 dicembre 1967 40:19
So Much Love / Underture – (Gerry Goffin, Carole King) – Registrato il 15 dicembre 1967

Blood, Sweat & Tears

Randy Brecker – trumpet, flugelhorn
Bobby Colomby – drums, percussion; backing vocals (tracks 4, 10)
Jim Fielder – bass guitar, fretless bass guitar
Dick Halligan – trombone
Steve Katz – guitars; lead vocals (tracks 3, 8); backing vocals (tracks 3); lute (track 6)
Al Kooper – organ, piano; lead vocals (tracks 2, 4-7, 9-12); ondioline (track 8)
Fred Lipsius – piano, alto saxophone
Jerry Weiss – trumpet, flugelhorn; backing vocals (track 4)
Additional musicians

Anahid Ajemian – violin
Fred Catero – sound effects
Harold Coletta – viola
Paul Gershman – violin
Al Gorgoni – organ, guitar, vocals
Manny Green – violin
Julie Held – violin
Doug James – shaker
Harry Katzman – violin
Leo Kruczek – violin
Harry Lookofsky – violin
Charles McCracken – cello
Melba Moore – choir, chorus
Gene Orloff – violin
Valerie Simpson – choir, chorus
Alan Schulman – cello
John Simon – organ, piano, conductor, cowbell
The Manny Vardi Strings

Production
Producers: Bob Irwin, John Simon
Engineer: Fred Catero
Mixing: John Simon
Mastering: Vic Anesini
Arrangers: Fred Catero, Al Gorgoni, Fred Lipsius, Alan Schulman, John Simon
Art direction: Howard Fritzson
Photography: Bob Cato, Don Hunstein
Packaging: Michael Cimicata

As a teenager, Al Kooper went to a concert for jazz trumpeter Maynard Ferguson (in 1960) and this experience inspired Kooper to start a rock band with a horn section.[1] Originally in a band called The Blues Project, Kooper left after band leader Danny Kalb rejected his idea of bringing in a horn section.[1] He then left for the West Coast and found bassist Jim Fielder who believed in the songs that Kooper wrote.[1] Though Kooper had big ideas for his next project, he didn't have the money to bring his ideas to fruition.[1] He then threw a benefit for himself and invited several musicians he previously worked with, such as Judy Collins, Simon & Garfunkel, David Blue, Eric Andersen and Richie Havens.[1] Although the performances sold out, the owner of the Cafe Au Go Go added numerous expenses to the gross receipts so that the net receipts after the performance were not enough to get a plane ticket or a taxi to the airport.[1]

He later called Fielder and convinced him to come to New York. He also asked Bobby Colomby, Anderson and Steve Katz, who was his bandmate in his former band The Blues Project.[1] Colomby called Fred Lipsius and the band placed an ad in The Village Voice for more horn players.[1] Within a month, the band assembled an eight piece which also contained Randy Brecker, Jerry Weiss and Dick Halligan.[1] Kooper then asked John Simon to produce them, after being fresh off from producing Simon & Garfunkel's album Bookends.[1] The album was recorded in two weeks in December 1967. Simon asked all of the members to record their material in one take so he could study songs and make useful suggestions to the arrangements.[1] After a brief promotional tour, Colomby and Katz ousted Kooper from the band, which led to Child is Father to the Man being the only BS&T album on which Kooper ever appeared.[1] The band would later have two number one albums and several Grammys, although Kooper felt they were playing music that he didn't agree with.[1] Despite being asked to leave Blood, Sweat & Tears, Kooper felt everything worked out well for him and the band.[1]

Commercial performance
In the United States Child Is Father to the Man peaked at #47 on Billboard's Pop Albums chart. It failed to generate any Top 40 singles, although "I Love You More Than You'll Ever Know" and "I Can't Quit Her" found some play on progressive rock radio.

In 2012, the album was ranked number 266 on Rolling Stone magazine's list of the 500 greatest albums of all time.[2]

The title is a quotation from a similarly titled poem by Gerard Manley Hopkins, slightly misquoting a poem by William Wordsworth called "My Heart Leaps Up".

The album was re-released in the UK in 1973, entitled "The First Album" on Embassy Records, a subsidiary of Columbia Records (catalogue number EMB 31028) with an identical track listing and the same picture on the front of the sleeve. The rear had new sleeve notes written by English DJ, Noel Edmonds.

They played the Fillmore,East, first act was Jethro Tull, second act was Savoy Brown,

I saw this lineup at the Cafe Au Go Go. I'd seen the Blues Project at that club several times. So I was curious t o see Al Kooper and Steve Katz new band. Kooper played organs including his weirdo keyboard he called his "electric bazooka". This was the only BS&T lineup I liked. Once Al Kooper was gone I lost interest.

In the event all the experts have something to add,the Factory gig was a month long promo show for CBS records.Al had his walkin papers but did shows in NYC,Philly,Boston,+ Buffalo. Then came DCThomas on vocals extraordinare Rocky

I bought this album when it first came out, later had a cassette copy , in the 80's replaced that with a cd copy. I truly believe this was the best version of this group including the guests that appeared and created a unique sound that I believe was never equaled in the future incarnations of the group.

Yo Maz, I feel like I dug this out of the bottom of my heart. What a sensational fucking album.Last saw them at the Electric Factory in Philly w/ Kooper in 69.Always followed him and Bloomfield everywhere. Thanks, Rocky

One of my favorite records along the years...Great Al Kooper...!!!