BLOOD SWEAT & TEARS/AL KOOPER 2d ALBUM RARE SEALED ORIG'69 COLUMBIA LP w/STICKER

$

28

SEALED (Gatefold) Copy: BLOOD, SWEAT AND TEARS >  This is on the COLUMBIA record label - CAT # CS-9720 (1969 US Original Pressing). 

BLOOD, SWEAT AND TEARS - THE SAME-TITLED SECOND ALBUM ("BLOOD, SWEAT AND TEARS") – ORIGINAL 1969  COLUMBIA RECORDS  STEREO LP CS-9720

·       ORIGINAL U.S. PRESSING

·       THE BAND'S LAST ALBUM WITH AL KOOPER WHO APPEARS (UNCREDITED) ON THREE TRACKS

·       THE THICKNESS OF THE VINYL, THE APPEARANCE AND THE CONSTRUCTION OF THE COVER, LABEL’S LOGO AND OTHER PERIPHERAL ELEMENTS OF THE COVER, ARE ALL PERFECTLY CONSISTENT WITH THE ORIGINAL, FIRST PRESSING OF THIS TITLE.

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL GATEFOLD COVER, MADE OF THICK CARDBOARD (AMERICAN STYLE) 

·       COVER HAS A NIFTY 'HYPE' (ADVERTISEMENT) STICKER STILL AFFIXED TO THE SHRINK WRAP

·       THICK, HEAVY VINYL PRESSING

The 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.

 (EXCERPT FROM AN ONLINE REVIEW BY WILLIAM RUHLMANN, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

This is the album which - for many people - introduced Rock to Jazz and vice versa (and Blood, Sweat and Tears to the world public as a potent force to be reckoned with). By the time album was recorded, Al Kooper was pretty much gone, although he did make a cameo appearance on a few tracks, such as lovely remake of Little Milton’s "More and More". The most intriguing aspect of the album is its sequencing; namely, the songs, which range from BS&T’s version of Eric Satie’s classical piece (Variations on a theme from "Troies Gymnopedies") to the pseudo-funk of the "Smiling Phases", to R&B, to blues, to home-made feel of "Spinning Wheel" and on to extended jazz jam of "Blues, part II"; the whole body of the album flows seamlessly and effortlessly, and operates like a conceptual album, in which each part plays its own, specific, unique role. Needless to say, the album contains no less than three top-20 hits (the late, great Laura Nyro’s "And When I Die" and "Spinning Wheel" and a nice version of Brenda Holloway’s classic soul ballad "You’ve made me so very happy").

For its extraordinary contribution to the modern music, superb production, craftsmanship, fine musicianship, revolutionary significance and influence it exerted on numerous generations of musicians, writers and general public, or for some other innate quality, this album was voted one of top-200 albums of all time in one of the largest poll of critics, music reviewers, professionals and producers ever organized: the poll, which was conducted by Paul Gambaccini, legendary BBC Radio A&R man, surveyed more than 50 top music professionals (including Roy Carr, Jonathan Cott, Robert Christgau, Cameron Crowe, Chet Flippo, Ben Fong-Torres, Charlie Gillett, Greil Marcus, Murray the K., Lenny Kaye, Bruce Morrow (a/k/a "Cousin Brucie"), Tim Rice (of "Jesus Christ Superstar" and "Evita" fame), Lisa Robinson, Robert Shelton (who wrote liner notes for Bob Dylan's first album), Ed Ward, Joel Whitburn, Pete Wingfield, etc.). For more details, see: "Critics Choice: Top-200 albums" compiled by Paul Gambaccini, Omnibus Press, Library of Congress Catalog No.7855565 (or ?click here  for the complete album listing).

·       CONDITION:

·       THE RECORD

(a)          THE ALBUM IS STILL FACTORY SEALED AND IS BELIEVED TO BE PERFECTLY MINT. 

(b)          The record is believed to come in its original stock inner sleeve.

(c)           The record is apparently pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

COVER IS NEAR MINT, STILL SEALED AND COVERED IN ITS ORIGINAL ?SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Cover has a visible "wrinkle"(crease)  in one of the corners.  (VISIBLE ON FRONT SIDE ONLY)

-         Cover shows JUST A HINT of yellowing on both sides, apparently from aging.

-         Cover has JUST A HINT of ring wear (nothing significant) 

-         Cover has two corners with slight shrink tear / dinged  (nothing significant)

-         Minor shelf wear noted on the bottom seam (nothing significant)

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