Blood, Sweat And Tears ‎– Child Is Father To The Man

Columbia ‎– CS 9619
Vinyl, LP, Album, Stereo

Tracklist Hide Credits

A1 Overture
Written-By – A. Kooper*
A2 I Love You More Than You'll Ever Know
Written-By – A. Kooper*
A3 Morning Glory
Written-By – L. Beckett*, T. Buckley*
A4 My Days Are Numbered
Written-By – A. Kooper*
A5 Without Her
Written-By – H. Nilsson*
A6 Just One Smile
Written-By – R. Newman*
B1 I Can't Quit Her
Written-By – I. Levine*
B2 Meagan's Gypsy Eyes
Written-By – S. Katz*
B3 Somethin' Goin' On
Written-By – A. Kooper*
B4 House In The Country
Written-By – A. Kooper*
B5 The Modern Adventures Of Plato, Diogenes And Freud
Written-By – A. Kooper*
B6 So Much Love / Underture
Written-By – G. Goffin - C. King*

Companies, etc.



1st U.S. pressing, Pitman

Tracklist on labels starts below the spindle hole. (Compare to r7717011)
The following is printed on the inner label of the LP record:
<-"360 SOUND" STEREO "360 SOUND"->
(in white lettering, located at the bottom of the inner label on the record)
"Produced by John Simon* for Past, Present and Future Productions, Inc."

Artist name appears as "Blood, Sweat & Tears" on sleeve, and as "Blood, Sweat And Tears" on the center labels.

Printed in USA on bottom of spine.

Barcode and Other Identifiers

  • Matrix / Runout (A Side Label): XSM135785
  • Matrix / Runout (B Side Label): XSM135786
  • Matrix / Runout (A Side Stamped): XSM135785-1C
  • Matrix / Runout (B Side Stamped): XSM135786-1C
  • Matrix / Runout (Variant 1: A Side Stamped): XSM135785-1A P D 12 o
  • Matrix / Runout (Variant 1: B Side Stamped): XSM135786-1G A 3 o
  • Matrix / Runout (Variant 2: A Side Stamped): XSM135786-1F
  • Matrix / Runout (Varient 2: B Side Stamped): XSM135186-1AB
  • Matrix / Runout (Variant 3: A Side Stamped): o XSM135785-1F I P 3 D
  • Matrix / Runout (Variant 3: B Side Stamped): o XSM135786-1I P 3 D
  • Matrix / Runout (Variant 4: A Side, Stamped except etched I and solo 3; the D is a partial stamping): o XSM135785-1B I T 3 D
  • Matrix / Runout (Variant 4: B Side stamped except etched I and 17): XSM135786-1B I T o D 17

Other Versions (5 of 77) View All

Cat# Artist Title (Format) Label Cat# Country Year
BSTCS-02010202 Blood, Sweat And Tears Child Is Father To The Man(CD, Album, Unofficial) Not On Label (Blood, Sweat & Tears) BSTCS-02010202 Russia 2001 Sell This Version
HC 49619 Blood, Sweat And Tears Child Is Father To The Man(LP, Album, RM, Hal) Columbia HC 49619 US 1981 Sell This Version
MOT-60.016 Blood, Sweat And Tears Child Is Father To The Man(LP, Album) CBS MOT-60.016 Venezuela 1973 Sell This Version
SICP 20411 Blood Sweat & Tears* Child Is Father To The Man(CD, Album, Mono, RE, Unofficial) Sony Records Int'l (2) SICP 20411 Russia Unknown Sell This Version
PC 9619 Blood, Sweat And Tears Child Is Father To The Man(LP, Album, RE, Pit) Columbia PC 9619 US 1980 Sell This Version


Reviews Show All 2 Reviews

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June 4, 2016
The Blood Sweat & Tears in its beginnings was essentially a Jazz and Blues Band, who performed in small clubs in New York, whose work is primarily developed in long instrumental themes. Al Kooper, somehow, exerted a strong musical leadership in the studio at this time, adding to the instrumental force of the band, their arrangements knowledge; in fact Al it's a great musician, and his musical conception is what defines the ways of "Child Is Father To the Man", released in 1968, the first Blood Sweat & Tears album. On the other hand, was the guitarist and vocalist Steve Katz who took the front line in the band concerts, shared with Al Kooper the lead vocal parts. Still, some say that the soul of the band was their rhythm section, Bobby Colomby and Jim Fielder. Certainly, Blood Sweat & Tears was an admirable assembly of musicians.

Unlike what was presented live by B S & T at this point, Child Is Father To The Man is a concept album, with very eclectic material, heavily tinged with Jazz, Blues, Bossa Nova and Psychedelic Rock. The work give us to understand how vast and rich was the band's repertoire, perhaps too large to fit on a single album; technically, a very difficult album to be recorded. It is possible to note the limitations of the sound board at the time and the effort of the musicians and the sound engineer to record all that immense amount of musical information. "I Love You More Than You'll Never Know" and "My Days Are Numbered" are consistent examples of this ability.

The album that introduced the Blood Sweat & Tears to the large audiences was the next, simply titled "Blood Sweat & Tears", which was also presented at the Woodstock Festival, with vocalist David Clayton-Thomas, but it's impossible to totally understand the music of Blood Sweat & Tears without hear this first work.
The appreciation of this album make us to think that we're not just listening to one single disc, but, several. There is no monotony in the musical lines of Child Is Father To The Man.


October 28, 2011

Blood, Sweat and Tears was an idea visualized by its first lead singer, Al Kooper (easily most famous for his keyboard work with Bob Dylan). Kooper's vocals were considered 'weak', and he was replaced on their second release by David Clayton Thomas. B, S and T quickly found commercial success with their new lead singer, and this first album came and went without much fanfare.
It's a shame, because Kooper's take with the group is much more enjoyable than subsequent B, S and T outings. It still annoys me how the radio overplays "You've Made Me So Very Happy" and the forgotten classic from this collection, "I Can't Quit Her" is rarely heard. Kooper brought a sense of humor to the band. Without him, the group sinks into pretension quickly. The band was always made up of great jazz musicians, but the second album finds them tackling Erik Satie. Can you say 'artsy fartsy'?
This first album is a bit more earthy, with humorous takes on the blues ("I Love You More Than You'll Ever Know", "Something Going On"), pleasant pop ("Meagan's Gypsy Eyes", "House in the Country") and even a minor Goffin-King classic ("So Much Love").
Somehow Columbia goofed on "I Can't Quit Her". The song is a soulful strut that could have easily been a huge hit at the time, but somebody blinked. I am not much of a 'rock jazz fusion' fan as the sophistication of jazz seems to always fight the primitiveness of rock and roll, but this first album by B, S and T succeeds because of Al Kooper. Admittedly, he doesn't have the vocal chops of David Clayton Thomas. Then again, I've never been a big fan of David Clayton Thomas.
And anyway, the 'hits' that followed for Blood, Sweat and Tears were all ponderous to my ears. Very slick productions that are perfectly executed, I'd rather hear "This Diamond Ring" by Gary Lewis and the Playboys. Which was written by Al Kooper.