Blood, Sweat & Tears – Nuclear Blues (1980)

FrontCover1Nuclear Blues is an album by the band Blood, Sweat & Tears, released in 1980. This was the band’s eleventh studio album and their first release for MCA/LAX Records. Nuclear Blues was produced by Jerry Goldstein, who had previously been known for his work with the band War. Even though it had only been three years since they released their last album Brand New Day, the band contained a new line-up with David Clayton-Thomas being the only remaining member from that period.

This album failed to make it on the Billboard Album Charts. This incarnation of Blood, Sweat & Tears disbanded the following year; although various incarnations of the group have existed and toured in the years since, to date this remains their final studio album.

Nuclear Blues was reissued in Germany in 1985 on the Platinum label under the title Latin Fire. (by wikipedia)

This 1980 edition of rock’s longest-running horn band is definitely not your father’s Blood, Sweat & Tears. Frontman David Clayton-Thomas is still on board, but everybody else is new.


The musical emphasis has mostly shifted, from pop/soul with a jazz flavor to out-and-out fusion jazz, such as “Agitato,” and the lengthy and often quite lovely “Spanish Wine” suite, with only an occasional lead vocal (a radically re-arranged cover of Jimi Hendrix’s “Manic Depression”). Big exceptions include the title tune, in which Clayton-Thomas vents his paranoia about Three Mile Island, and an impassioned, if relatively straightforward, cover of the old blues standard “I’ll Drown In My Own Tears.” (

A highly artistic suite on Side B, relatively accessible songs on Side A – this looks like Mirror Image (1974), which may well be my all time favourite Blood, Sweat & Tears album. But it doesn’t sound like that. Nope – Nuclear Blues was released in 1980, so it was technically the Eighties, but there is nothing ’80s-like on this album. I guess in the B, S & T universe the combined 1960s/1970s were meant to last forever.


Whereas the aforementioned Mirror Image really flirted with contemporary pop features (like “Love Looks Good on You”), Nuclear Blues does something more timeless… or more 1960s. The title track is funky, but here that adjective has nothing to do with funk as in disco funk; actually it has more to do with classic R&B. “Manic Depression”, then, is a Jimi Hendrix cover of course. I really like the idea of a parallel universe in which covering Hendrix was a relevant (or even hip?) thing back in 1980. Loyally to the good ol’ B, S & T, the version doesn’t sound like Hendrix at all. “I’ll Drown in My Own Tears” is a cover of a blues standard. It is basically nice, though overlengthy. David Clayton-Thomas sings the lead on the vocal tracks, but as you see, those aren’t very numerous.


The rest is jazz fusion, often with a Spanish twist. I appreciate it, but I am not so heavily into it. In fact, my rating is primarily for “Nuclear Blues”; otherwise the album is just decent, though it contains no bad tracks. I kind of like the feel that doesn’t feel forced at all. It is like the guys had just got together and made another album, which has actually ended up being quite highly artistic and so on. (by fairyeee)


David Clayton-Thomas (vocals)
Bruce Cassidy (trumpet, flugelhorn)
Vern Dorge (saxophone, flute)
Bobby Economou (drums)
David Piltch(bass)
Robert Piltch (guitar)
Earl Seymour (saxophone, flute)

01. Agitato (Cassidy) 5.54
02. Nuclear Blues (Clayton-Thomas) 4.24
03. Manic Depression (Hendrix) 4.17
04. I’ll Drown In My Own Tears (Glover) 7.22
05. Fantasy Stage (Clayton.Thomas/Piltch) 5.41
06. Suite: Spanish Wine 15.09
06.1. Introduction: La Cantina (Piltch) 2.15
06.2. Theme: Spanish Wine (Cassidy) 1.02
06.3. Latin Fire (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 2.22
06.4. The Challenge (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 2.15
06.5. The Duel (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 2.20
06.6. Amor (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 3.16
06.7. Reprise: Spanish Wine (Cassidy) 1.42


** (coming soon)


Various Artists – That´s Underground – The Rock Machine Turns You On (1968)

FrontCover1.jpgDuring the Sixties, “underground music” became very popuilar all over the world.

So many record companies decided to release sampler to push this exciting sound.

That’s Underground, The Rock Machine Turns You On (original 1968 CBS pressing), is one of the most treasured records not only for featuring some big names of the era but because of its spectacular psychedelic splatter multicoloured vinyl. Made before they became fashionable and they hardly get more coloured than this.

The West German album has on the rear sleeve the familiar words “The Rock Machine Turns You On” (not the same compilation as the UK, Dutch and French albums The Rock Machine Turns You On above). The West German records are on distinctive “psychedelic” multicoloured vinyl, but both records shown have orange CBS labels. The rear sleeve shows pictures of other contemporary CBS releases.

This album was for many people a very important album:

“This must have been the first colored vinyl I saw in my life. Not only the splashing colors blew my mind, but also the music heard on this album must have blown the brains out of the 16 year old boy I was then. Still love each and every track on this album.” (Leonard)

“Blown my mind just looking at it. It sure is one hell of a production, the vinyl and song selection all look great. I couldn’t believe I hadn’t seen or heard of this before but then looked it up and found it was only issued in Germany, Italy and South Africa. Surely, it deserved a much wider release and I can see why it would have been a totally mind-bending experience to a youngster in the 60’s. 50 years on and it’s freaking me out right now.” (Lee Wrecker)

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Alternate front + back cover from South Africa

This LP was  reissued of released in Germany by Repertoire in 2005 under licence from Sony BMG Music Entertainment (Germany) GmbH. It dates the original release as 1970 (!) …


I´m sure, that this compilation was for many, many people a very important part of their life … you can call it … a soundrack of their youth …


01. The Electric Flag: Killing Floor (Burnett) 4.14
02. Spirit: Mechanical World (Andes/Ferguson) 5.19
03. The Chambers Brothers: Time Has Come Today (J. Chambers/W. Chambers) 4.53
04. Leonard Cohen: Suzanne (Cohen) 3.49
05. Moby Grape: Can’t Be So Bad (Miller)
06. Big Brother And The Holding Company: Piece Of My Heart (Ragovoy/Berns) 4.15
07. The United States Of America: Hard Coming Love (Moskowitz/Byrd) 4.44
08. Blood, Sweat And Tears: My Days Are Numbered (Kooper) 3.19
09. Bob Dylan: Highway 61 Revisited (Dylan) 3.28
10. Mike Bloomfield, Al Kooper, Steve Stills: You Don’t Love Me (Cobb) 4.08

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Many fantastic colors … 



I got this sampler from Mr. Sleeve … thank you very much !!!


Blood, Sweat & Tears – Blood, Sweat & Tears 3 (1970)

LPFrontCover1Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.Blood, Sweat & Tears 3 is the third album by the band Blood, Sweat & Tears, released in 1970.

After the huge success of their previous album, Blood, Sweat & Tears 3 was highly anticipated and it rose quickly to the top of the US album chart. It also yielded two hit singles: a cover of Carole King’s “Hi-De-Ho”, and “Lucretia MacEvil.” However, the album relied heavily on cover material and it received lukewarm reviews (this may also have been influenced by the band’s participation in an unpopular U.S. government-sponsored tour of Eastern Europe (by wikioedia)

Blood, Sweat & Tears had a hard act to follow in recording their third album. Nevertheless, BS&T constructed a convincing, if not quite as impressive, companion to their previous hit. David Clayton-Thomas remained an enthusiastic blues shouter, and the band still managed to put together lively arrangements, especially on the Top 40 hits “Hi-De-Ho” and “Lucretia Mac Evil.” Elsewhere, they re-created the previous album’s jazzing up of Laura Nyro (“He’s a Runner”) and Traffic (“40,000 Headmen”), although their pretentiousness, on the extended “Symphony/Sympathy for the Devil,” and their tendency to borrow other artists’ better-known material (James Taylor’s “Fire and Rain”) rather than generating more of their own, were warning signs for the future. In the meantime, BS&T 3 was another chart-topping gold hit. (by William Ruhlmann)


David Clayton-Thomas (vocals)
Bobby Colomby (drums, percussion, background vocals)
Jim Fielder (bass)
Dick Halligan (keyboards,  harpsichord, celeste, trombone, flute, horn, background vocals)
Jerry Hyman (trombone, recorder)
Steve Katz (guitar, vocals on 02., harmonica)
Fred Lipsius (saxophone, piano, backgtound vocals, music box)
Lew Soloff (trumpet, flugelhorn)
Chuck Winfield (trumpet, flugelhorn)


01. Hi-De-Ho (Goffin/King) 5.36
02. The Battle (Halligan/Katz) 2.53
03. Lucretia MacEvil (Clayton-Thomas) 3.04
04. Lucretia’s Reprise” (Blood, Sweat & Tears) – 2:35
05. Fire And Rain (Taylor) 4.03
06. Lonesome Suzie (Manuel) 4.36
07. Symphony For The Devil Halligan)/Sympathy For The Devil (Jagger/Richards) 7.50
08. He’s A Runner (Nyro) 4.15
09. Somethin’ Comin’ On (Cocker/Stainton) 5.33
10. 40,000 Headmen (Winwood/Capaldi) 4.41



Blood, Sweat & Tears – Jazzwoche Burghausen, Germany (2018)

FrontCover1.jpgBlood Sweat & Tears has set the high water mark for the worlds greatest musicians which is still true in the latest version of BS&T. It has now been 50 years since founding member (drummer) Bobby Colomby with an amazing Jazz background had a vision of fusing Jazz, Rock and Blues into one band. Over the years more than 175 musicians have flowed through the ranks of the various iterations of the BS&T. The most commercially successful version of the band was in fact, our second line-up. The current line up with Bo Bice at the helm on vocals is the most popular in recent years. As many promoters have said “it’s a show not to me missed.”

Colomby maintains ownership of the “Blood, Sweat & Tears” band name and, although he no longer plays with the band, he still oversees the musical direction of the band.

“I think of this band like baseball’s Yankees. When you’re at a Yankee game you’re not going to see Babe Ruth, Mickey Mantle or Lou Gehrig. What you do come to expect is a team of top-notch players upholding a tradition of winning. That’s the Yankee legacy. It’s what people expect from BS&T as well… brilliant musicians, singers, songs and arrangements.” – Bobby Colomby


If you liked BS&T back in the day, whichever version, listen to these guys. Bo Bice and all the band members sound very legit. Fine job, Bobby Colomby! It doesn’t sound like anything but a true version of the band. (by ScarRad)

Thanks to propylaen for sharing the HDTV webcast at Dime.

And I will present the concert as a TV rip verson very soon !

Recorded live at the 49. Internationale Jazzwoche. Wackerhalle, Burghausen, Germany; March 7, 2018. Very good audio (ripped from HDTV webcast).


Bo Bice (vocals)
Dylan Elise (drums)
Ric Fierabracci (bass, vocals)
Dave Gellis (guitar)
Ken Gioffre (saxophone, flute)
Brad Mason (trumpet, flugelhorn)
Glen McClelland (keyboards)
Mark Miller (trombone)
Jonathan Powell (trumpet)


01. Footprints (unknown) 4:16
02. Lucretia Mac Evil (Clayton-Thomas) 7.16
03. Hi De Ho (Goffin/King) 5.32
04. Go Down Gamblin’ (Clayton-Thomas) 5.12
05. Surreptitious (unknown) 5:57
06. I Love You More Than You’ll Ever Know (Kooper) 7.37
07. Snow Queen (Goffin/King) / Maiden Voyage (Hancock) 17.57
08. I Can’t Quit Her (Kooper/Levine) 3.35
09. Sometimes In Winter (Katz) 3.41
10. More And More (Smith/Juan) 4.10
11. Variations On A Theme By Erik Satie (Satie) 1.44
12. God Bless The Child (Holiday/Herzog) 7.14
13. And When I Die (Nyro) 6.33
14. Spinning Wheel (Clayton-Thomas) 3.22
15. Midnight Rider 5:47
16. You’ve Made Me So Very Happy (Gordy Jr/B.Holloway/P.Holloway/Wilson) 6.55




Burghausen (near Munich/Germany)

Blood, Sweat & Tears – Child Is Father To The Man (1968)

FrontCover1Child Is Father to the Man is the debut album by Blood, Sweat & Tears, released in February 1968. It reached number 47 on Billboard’s Pop Albums chart in the United States.


A teenaged Al Kooper went to a concert for jazz trumpeter Maynard Ferguson in 1960. Ferguson’s performance served as the catalyst to start a rock band with a horn section. Originally in a band called The Blues Project, Kooper left after the band leader rejected his idea of bringing in a horn section. He then left for the West Coast and found bassist Jim Fielder who believed in the songs that Kooper wrote. Though Kooper had big ideas for his next project, he didn’t have the money to bring his ideas to fruition. 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. All of the performances were sold out, which led Kooper to believe that the gigs helped him. Unfortunately, the owner of the Au Go Go added numerous expenses to the gross receipts that the net receipts after the performance wasn’t enough to get a plane ticket or a taxi to the airport.

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. Colomby called Fred Lipsius and the band placed an ad in The Village Voice for more horn players. Within a month, the band assembled an eight piece which also contained Randy Brecker, Jerry Weiss and Dick Halligan. Kooper then asked John Simon to produce them, after being fresh off from producing Simon & Garfunkel’s album Bookends. 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.


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. The band would later have a number one album and several Grammys, although Kooper felt they were playing music that he didn’t agree with. Despite being asked to leave Blood, Sweat & Tears, Kooper felt everything worked out well for him and the band.

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 2003, the album was ranked number 264 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

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”. (by wikipedia)


Child Is Father to the Man is keyboard player/singer/arranger Al Kooper’s finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late ’60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form. It’s Kooper’s bluesy songs, such as “I Love You More Than You’ll Ever Know” and “I Can’t Quit Her,” and his singing that are the primary focus, but the album is an aural delight; listen to the way the bass guitar interacts with the horns on “My Days Are Numbered” or the charming arrangement and Steve Katz’s vocal on Tim Buckley’s “Morning Glory.” Then Kooper sings Harry Nilsson’s “Without Her” over a delicate, jazzy backing with flügelhorn/alto saxophone interplay by Randy Brecker and Fred Lipsius. This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music. Maybe it couldn’t have lasted; anyway, it didn’t. (by William Ruhlmann)


Randy Brecker (trumpet, flugelhorn)
Bobby Colomby (drums, percussion, vocals)
Jim Fielder (bass)
Dick Halligan (trombone)
Steve Katz (guitar, lute, vocals)
Al Kooper (keyboards, ondioline, vocals)
Fred Lipsius (piano, saxophone)
Jerry Weiss (trumpet, flugelhorn, vocals)
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 Moorman (background vocals)
Gene Orloff (violin)
Valerie Simpson (background vocals)
Alan Schulman (cello)
John Simon (keyboards, cowbell)
The Manny Vardi Strings


01. Overture (Kooper) 1.32
02. I Love You More Than You’ll Ever Know (Kooper) 5.57
03. Morning Glory (Beckett/Buckley) 4.16
04. My Days Are Numbered (Kooper) 3.19
05. Without Her (Nilsson) 2.41
06. Just One Smile (Newman) 4.38
07. I Can’t Quit Her (Kooper/Levine) 3.38
08. Meagan’s Gypsy Eyes (Katz) 3.24
09. Somethin’ Goin’ On (Kooper) 8.00
10. House In The Country (Kooper) 3.04
11. The Modern Adventures Of Plato, Diogenes And Freud (Kooper) 4.12
12. So Much Love/Underture (Goffin/King/Kooper) 4.47





Blood, Sweat and Tears – Same (1969)

FrontCover1The difference between Blood, Sweat & Tears and the group’s preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was “merely” a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album — consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas — was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit “You’ve Made Me So Very Happy.” But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles — “Happy,” “Spinning Wheel,” and “And When I Die” — but the whole album, including an arrangement of “God Bless the Child” and the radical rewrite of Traffic’s “Smiling Phases,” was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album. (by Bruce Eder)


This album opens with an extended flute and chimes cover of Erik Satie. The second track is a Traffic cover rife with jazz solos. Whatever foggy pre-conceptions I had of BST (mostly “Spinning Wheel,” still excellent), this does match. Horns punctuate all sorts of moments. “And When I Die” comes swinging in with an almost country vibe. Lots of organ on the B-side. You would think the sprawling and strong Blues would close the disc, but no, it’s a lovely return to Satie.

An eclectic, completely unexpected album. Not a masterpiece, but certainly delightful. Highly recommended.(by a fan called Justin)


David Clayton-Thomas (vocals)
Bobby Colomby (drums)
Jim Fielder (bass)
Dick Halligan (keyboards, flute, trombone)
Jerry Hyman (trombone)
Steve Katz (guitar, vocals)
Fred Lipsius (saxophone, piano)
Lew Soloff (trumpet, flugelhorn)
Chuck Winfield (trumpet, flugelhorn)


01. Variations On A Theme By Erik Satie (1st and 2nd Movements) (Satie) 2.36
02. Smiling Phases (Capaldi/Winwood/Wood) 5.11
03. Sometimes In Winter (Katz) 3.09
04. More And More (Vee/Juan) 3.05
05. And When I Die (Nyro) 4.06
06. God Bless the Child (Holiday/Herzog, Jr.) 5.53
07. Spinning Wheel (Clayton-Thomas) 4.08
08. You’ve Made Me So Very Happy (B.Holloway/P.Holloway/Gordy, Jr./Wilson) 4.20
09. Blues, Pt. II (Clayton-Thomas/Colomby /Fielder/Halligan/Hyman/Katz/Lipsius/Soloff/Winfield) 11.45
10. Variations On A Theme By Erik Satie (1st Movement) (Satie) 1.43