BLOOD, SWEAT  &  TEARS


Child Is Father To The Man

(1968)



1. Overture 1'32
(Al Kooper)
Recorded December 11, 1967
2. I Love You More Than You'll Ever Know 5'57
(Al Kooper)
Recorded December 12, 1967
3. Morning Glory 4'16
(Tim Buckley / Larry Beckett)
Recorded December 13, 1967
4. My Days Are Numbered 3'20
(Al Kooper)
Recorded December 13, 1967
5. Without Her 2'41
(Harry Nilsson)
Recorded December 12, 1967
6. Just One Smile 4'38
(Randy Newman)
Recorded December 15, 1967
7. I Can't Quit Her 3'39
(Al Kooper / Irwin Levine)
Recorded December 16, 1967
Released on COLUMBIA Single 4-44559
8. Meagan's Gypsy Eyes 3'24
(Steve Katz)
Recorded December 15, 1967
9. Somethin' Goin' On 8'01
(Al Kooper)
Recorded December 20, 1967
10. House In The Country 3'04
(Al Kooper)
Recorded December 16, 1967
Released on Columbia single 4-44559
11. Modern Adventures Of Plato, Diogenes And Freud 4'13
(Al Kooper)
Recorded December 20, 1967
12. So Much Love / Underture 4'47
(Gerry Goffin / Carole King)
Recorded December 20, 1967

Bonus Tracks

13. Refugee From Yuhupitz (instrumental) 3'46
(Al Kooper)
(Mono) Recorded November 11, 1967
14. I Love You More Than You'll Ever Know 5'54
(Al Kooper)
(Mono) Recorded November 11, 1967
Released in 1994 on the MASTERSOUND edition of Child Is Father To The Man
From The Blood, Sweet & Tears COLUMBIA RECORDS audition for John Simon
15. Modern Adventures Of Plato, Diogenes And Freud 4'48
(Al Kooper)
(Mono) Recorded November 11, 1967
Released in 1994 on the MASTERSOUND edition of Child Is Father To The Man
From The Blood, Sweet & Tears COLUMBIA RECORDS audition for John Simon

Total Time: 45:46


  • Al Kooper - Organ, Piano, Keyboards, Vocals, Ondioline
  • Steve Katz - Guitar, Acoustic Guitar, Lute and Vocals
  • Fred Lipsius - Saxophone, Alto Sax, Piano and good Judgement
  • Randy Brecker - Trumpet and Flugelhorn
  • Jerry Weiss - Trumpet and Flugelhorn
  • Dick Halligan - Trombone
  • Jim Fielder - Fender Bass
  • Bobby Colomby - Drums, Percussion and Vocals

    BS&T STRING ENSEMBLE:

  • Harold Coletta - Viola
  • Paul Gershman - Violin
  • Manny Green - Violin
  • Harry Lookofsky - Violin
  • Harry Katzman - Violin
  • Gene Orloff - Violin
  • Amahid Ajemian - Violin
  • Julie Held - Violin
  • Charles McCracken - Cello
  • Alan Schulman - Cello

    Original Recordings Produced by John Simon for PAST, PRESENT AND FUTURE PRODUCTIONS, Inc.,
    Produced for Compact Disc by Bob Irwin
    Mastered by Vie Anestni at SONY MUSIC STUDIOS, New York
    String Arranged by John Simon
    Legacy A&R: Steve Berkowitz
    Project Director: Stephan Moore
    A&R Coordination: Patti Matheny & Darren Salmieri
    Art Direction: Howard Fritzson
    Design: Watts Design?
    Photography: Michael Ochs Archives / VENICE, CA
    © Don Paulser / Michael Ochs Archives /
    VENICE, CA
    All other Photography:
    SONY MUSIC Photo Archives
    Packaging Manager: Michael Cimicata

    This 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. This is the sound of a group of virtuosos enjoying themselves in the newly open possibilities of pop music. This album was regarded as a milestone in rockmusic when it was released.

    In 1960, when I was sixteen years old, I went to see Maynard Ferguson's big band for the first time, I was instantly hooked by Maynard's playing, his charisma, and the power of his horn section. They could put dents in your shirt at thirty feet! I dreamed of the day I could put a band onstage with power.
    In 1967, I wrote a bunch of songs ( I Can't Quit Her", "I Love You More Than You'll Ever Know", "My Days Are Numbered", "House In The Country" and "Somethin1 Goin' On") that screamed lit for brass backup. I was in a band called The BLUES PROJECT; a quintet with two guitars, bass, drums and yours truly on keyboards. I begged lead guitarist Danny Kalb, the band's leader, to add horns to the existing lineup. He turned me down cold, claiming that we hadn't explored the full potential of our quintet yet and that we also couldn't afford hiring horn players, I believed in e new songs so fervently that I left The BLUES PROJECT in pursuit of the brass band in my head that could best interpret the new material. A brief jaunt to the west coast found Jim Fielder ó a bass player of immense talent who believed in the material. When I returned to New York, I had formulated a plan to conceive this band in England. Unfortunately, I didnt have the funds to get over there, so I threw a benefit for myself at Cafe Au Go Go in Greenwich Village, The BLUES PROJECT's home base. I cashed in every favor I had at the time, and over a period of two shows a night for three nights, people like Judy Collins, Simon & Garfunke!, David Blue, Eric Andersen, and Richie Havens came down and performed to six sold-out audiences, helping me immensely (or so I thought). At the conclusion of the engagement, the owner of the Au Go Go took so many expenses off the gross receipts, that the net was not even enough to get a plane ticket ó or even a taxi to the airport! I called Jim Fielder and convinced him to come to New York, I asked Bobby Colomby, a local drummer / sideman (and brother of Thelonious Monk's co-managers) who'd played with Odetta and Eric Andersen, and also Steve Katz, my bandmate from The BLUES PROJECT, to rehearse with me. Bobby called Fred Lipsius, an alto sax legend in Bobby's neighborhood, and we placed an ad in The Village Voice for more horn players. In a month's time, we had assembled an eight-piece, working lineup: Katz on guitar and vocals, Colomby on drums, Fielder on bass, yours truly again on keyboards and lead vocals, Lipsius on alto, Randy Brecker and Jerry Weiss on trumpets and flugethorns, and Dick Halligan on trombone. Fred Lipsius and I wrote the arrangements to my new songs and a handful of cover tunes ("Just One Smile", "Without Her", "So Much Love", "Morning Glory") and they sounded amazing in rehearsal. I asked John Simon (who had just produced Simon & Garfunkel's Bookends album) if he was interested in producing us. He was. Soon, Bill Gallagher and Clive Davis signed us to COLUMBIA RECORDS.
    We recorded this album in two weeks during December of 1967. The first nights we were in the studio, John Simon asked us record all our material, one take each, on a scratch tape, so he couid study the songs and arrangements and make useful suggestions. Some of these one-take "demos" are included herein. The listener should notice the difference between them and the final product and realize what a major contribution producer John Simon made to the music. After a brief promotional tour and a Colomby-Katz mutiny within the ranks, I was asked to leave the band. This was the only BS&T album I ever appeared on. It was kmda like the Frankenstein monster strangling the doctor who gave him life, but in retrospect, it has all worked out well. The band scored a #1 album and an armful of Grammysģ playing music t didnt particularly agree with, This curious CD still exists to point out another direction the road might have taken and has given those latterly-mentioned songs a home of their own. I hope you enjoy it, and thanks for listening to a wonderfully creative part of my life from all those years ago.
    - Al Kooper, February, 2000
    A mere 33 years later

    ©2000 SONY MUSIC ENTERTAINMENT Inc.
    Originally Released 1968 (M2), ©1994 Manufactured by COLUMBIA RECORDS



    1. Overture

      (instrumental)

    2. I'll Love You More Than You'll Ever Know

      If I ever leave you
      You can say I told you so
      And if I ever hurt you babe
      You know I hurt myself as well
    Chorus:

    Is that any way for a man to carry on
    d'you think he wants his little loved one gone ?
    I love you Baby, more than you'll ever know
    More than you'll ever know

      When I wasn't makin' too much money
      you know where my paycheck went
      you know I brought it home to baby
      and I never spent one red cent

    Chorus

      I'm not tryin' to be
      any kind of man
      I'm tryin' to be somebody
      you can love, trust, and understand
      I know that I can be, yeah yeah
      a part of you that no one else could see
      I just gotta hear, tohear you say
      It's all right
      yeah, yeah, yeah!

      I'm only flesh and blood
      But I can be anything that you demand
      I could president of General Motors baby, heh
      or just a tiny little grain of sand

    Chorus

    Guitar Solo

    Sax Solo

      If I ever leave you
      You can say I told you so
      And if I ever hurt you baby
      You know I hurt myself as well
    Chorus

      I love you, I love you, I love you baby!
      Well all right!
      I told ya, so many times before
      I love you
      I love you!
      If you don't know, then I'll tell ya one more time
      I love you!
      I love you !

    3. Morning Glory

      I lit my purest candle
      close to my window
      hoping it would catch the eye
      of any vagabond who passed it by
      and I waited in my fleeting house

      Before he came
      I felt him drawing near
      Passing near
      I felt the ancient fear
      that he had come to my door and jeered
      and I waited in my fleeting house

      Tell me stories, I called to the hobo
      Stories of Cold, I smiled to the hobo
      Stories of old, I knelt to the hobo
      and he stood before me
      in my fleeting house.

      No, said the hobo
      no more tales of time
      don't ask me now to wash away the grime
      I can't come in 'cause
      it's too high a climb
      and he walked away from my fleeting house

      Then you be damned
      I screamed to the hobo
      Leave me alone, I wept to the hobo
      Turn into stone, I knelt to the hobo
      and he walked away from my fleeting house

      I lit my purest candle
      Close to my window
      hoping it would catch the eye
      of any vagabond who passed it by
      and I waited in my fleeting house

    4. My Days Are Numbered

      I woke up and found
      No one beside me
      No hand to hold onto
      and no lips to guide me
      what a hard world to face
      in the light of an angry sun
      ain't it hard to get on,
      if you ain't got that someone
    Chorus:

    And it seems that my days are numbered
    down to a precious few
    People I know that
    My days are numbered
    'cause I can't get it back together
    without you.

      I see the heaven moonlight
      syrup drippin' down my window
      flowing like a river
      through the tears that I have cried
      I gotta find myself, hey
      a reason to go on liviní
      but you can't breathe life into somethin'
      that's already died
    Chorus

    Guitar Solo

    Chorus

      Hey Hey
      I got ta tell you right now
      Every morning ..... (fades)

    5. Without Her

      I spend the night in a chair
      thinking' she'll be there
      but she never comes
      and I wake up and wipe
      the sleep from my eyes
      and I rise, to spend another day
      without her

      It's just no good anymore
      when you walk through the door
      of an empty room
      you go inside and set a table for one
      it's no fun
      when you have to spend the day without her

      We burst the pretty balloon
      took us to the moon
      such a beautiful thing
      but it's ended now and it sounds like a lie
      If I said I'd rather die,
      than be without her

      Love is a beautiful thing
      when it knows how to swing
      and it grooves like a clock
      but the hands on the clock
      tell the lovers to the part
      and it's breakin' my heart
      to spend another day without her
    Horn Solos

      I'll spend the night in a chair
      thinking she'll be there
      but she'll never come
      and I'll wake up and wipe
      the sleep from my eyes
      and I'll rise and spend the day without her

      Can't go on without her
      There's no song without her
      Can't go on without her.

    6. Just One Smile

      Can I cry a little bit
      there's nobody to notice it
      Can I cry if I want to
      No one cares

      Why can't I pretend
      that you love me again?
      All I had has been taken from me
      now I'm cryin'
      and tears don't become me
    Chorus:

    Just one smile,
    Pain's forgiven
    Just one kiss, girl
    Now the hurt's all gone
    Just one smile to make my,
    make my little life worth living
    a little dream to build my world upon

      How I wish
      I could say
      All the things that I've got to say
      How I wish you
      Could see what's here
      In My heart
      I don't ask for much
      A look, a smile, a touch
      Try to forget
      Well, the Lord knows I'm tryin'
      But it's so hard to forget girl,
      when your whole world is dyin'
    Chorus:

    Yeah. Just one smile,
    Pain's forgiven
    Just one kiss, girl
    Now the hurt's all gone
    Just one smile to make my,
    make my little life worth livin'
    a little dream to build my world upon

    Solos

      Try to forget
      Well, the Lord knows I'm tryin'
      But it's so hard to forget girl,
      when your whole world is dyin'
    Chorus

    7. I Can't Quit Her

      I can't quit her
      She's got a hold on me
      She got her hand on my soul
      I can't quit her
      'cause I see her face everywhere I go
      In the city streets, in the country fields
      In the back of my mind
      I know it can't be real
      For a woman to possess
      all the tenderness she had
      But the hands of time
      keep tickin' on my back
      'cause it's been so long
      since I had her back beside me,
      Yeah, I know

      I can't quit her
      'cause in my darkest night
      she comes on like a light
      I can't quite her
      Try as I may, with all my might
      She had a woman's touch
      And a young girls eyes,
      and in seconds flat I was pros'lytized
      turned around,
      and made to feel sweet love
      But the hands of time
      Keep tickin' on my back
      'cause it's been so long
      since I had her back beside me

      True love is somethin'
      ev'ry young boy knows about
      and he fights his whole soul all the best to find some
      I was a young boy
      'till I held her in my arms
      now I find that I'm strung out behind some

      Hey !

      I can't quit her
      She got her hand on me
      she got a hold on my soul
      'cause I see her face everywhere I go
      I can't quit her, woo ooo yeah
      I know
      You know I see her face
      Everywhere I go!
      I need her...I need the little girl
    Backwards Guitar Solo

    Horns until fade

    8. Meagan's Gypsy Eyes

      Meagan's Gyspy eyes
      The lyres surround me
      purple drops of rain
      the sun shone around me

      Death that clouds her life
      will be forever
      [Thee?] Is loved
      yet cannot love, not never

      Mystic thoughts of love
      And her's completely
      taught her how to run
      though not discreetly

      Meagan's not as old
      As she'd like to think she's young
      sophisitcated dreams
      are as plastic as the songs
      she has sung
      likes to think she's hung up on herself
      and aren't you lucky?

      Meagan's Gypsy eyes
      The lyres surround me
      purple drops of rain
      The sun shone 'round me

    9. Somethin's Goin' On

      You know I woke up this mornin' people
      the first thing I did was to look into your eyes
      and in that space where I used to find so much truthfulness
      there was a stone cold pack of lies

      You know that somethin' goin' on
      Somethin' goin' on but I don't know what it is
      Somethin's goin' on people
      All right

      I went on down to the mailbox
      seems I got the phone bill yesterday
      charging me for some hour conversation
      from someone in L.A.!

      I know thereís somethin' goin' on
      Somethin' goin' on,
      but I donít know what it is.
      Somethin' goin' on, behind my back
      I better get to the bottom of this
    Long Solos
      Now wait a minute!
      I wanna hear you blow now
      (Sax solo with counterpoint by Kooper)
      Go ahead, go ahead
      I want you to blow for all the men whose women who don't keep a true love now
      I want you to blow for all the people who have to face an empty bed now
      Go ahead, blow one for yourself
      Blow one for me too
      Yeah, listen
      You got to love your woman in the morning
      You got to love your woman every night
      You got to love your woman all the time, and make her feel all right
      You got to give her what she wants
      When she wants it, how she wants it, and anytime she might think she wants it
      ahhhhhhhhhhh
      When your lovin' your woman people
      Both you know the score
      You know it makes a long-time man suspicious
      To come home, to an unlocked door
      Your bound to know, somethin' goin' on
      Somethin' goin' on, but you don't know what it is
      Somethin' goin' on people
      I better get to the bottom of this, look out!
    Al Screams for a while until fade

    10. House In The Country

    Spoken:

    House in the country take one

      No need to worry
      Folks in a hurry
      leave them behind you
      no one can find you
      House in the country
      House in the country

      All the relaxin'
      Will soon fill the cracks in
      Good for your head too
      If you are led to
      House in the country
      House in the country
      Green surrounding
      Love abounding
      You won't find a manhole there

      Yes, yes I need you
      Come let me feed you
      I've never tried to
      Come let me hide you
      House in the country
      House in the country

      I have never brought anybody there
      Bring your own chair to sleep in
      When we arrive, after the drive
      Then you can shower, and talk for an hour
      Then sleep in your chair
    Instrumental Interlude
      Sleep on the floor there
      Don't ask for more there
      Sun wakes you up too
      Glad you came up to
      House in the country
      House in the country

      La la la la la...etc
      House in the country (x4)

    11. The Modern Adventures Of Plato, Diogenes And Freud

      Father of my morning,
      Once my child to the night
      I see that you have minds to cop
      And I can only watch the sickened sorrow

      Little do you know
      of the progressions that you teach
      the people that you reach are tired
      of livin' in a world of elastic towers
      dance with them and sing a song of changes
      and talk with them of life and all its dangers
      surround yourself with now familiar strangers
      who kiss and who hug and eventually mug you of your time

      And the clock on the wall is a bore
      as you wander past the door
      and find him lying on the floor
      as he begs you for some more, you frozen smile

      You cannot ever picture me
      you know me by my thoughts
      A file for your travelogue
      oblivious to the night, the fog around you
      The germs they are rediculous
      they bother you at night
      the blood that rushes to your brain
      the ticket on the plane you're never catching
      the price you pay exclusive of your taxes
      to chop you up inside with tiny axes
      the girl looks up to you from floors she waxes
      and speaks to your belt with tears among her eyes

      And the clock on the wall is a bore
      as you wander past the door
      and find him lying on the floor
      as he begs you for some more, you frozen smile

      The metaphysic wrinkles in the face of what you face
      Are hidden by the fake-up man
      who lives inside the sterno can beside you
      Now climb ye to the mountains
      as the sun is almost gone
      escaping from your other selves
      your brothers hide among the shelves inside you
      the games that people play can only bore you
      but only those that know you don't ignore you
      how many times have I come there to restore you
      And caught you lying on the couch with father time

      And the clock on the wall is a bore
      as you wander past the door
      and find him lying on the floor
      as he begs you for some more, you frozen smile

    12. So Much Love / Underture

      More than enough to last a whole life through
      and it's all for you

      In the midst of all my darkness baby
      you know you came along to guide me
      you took pity on a lonely man
      when you said you'd stand beside me
      I'll never forget you
      for what you done little girl
      I'll never turn my back on you for anyone
      'cause I've got

      So much loving
      I'm a natural man
      So much loving
      More than enough to last
      a whole life through
      and it's all for you

      When My world was cold and empty
      and I needed somebody near me
      I called out on the mountainside. Yeah
      Knowing full well that you'd hear me
      Now to you that might seem like a little thing
      but to me, it's like changing winter to spring
      but I've got

      So much loving
      I'm a natural man
      So much loving
      Itís more than enough to last
      my whole life through
      and it's all for you

      Listen to me baby
      There's so few women, nowadays
      who understand the soul of a man
      and who understand
      they're only always taken in
      never are free, of a helpin' hand yeah
      I know that you, yes I know that ya, you know what to do girl
      Any trouble comes, I know you're bound to see me through

      With more than enough
      to last a whole life through
      'cause I've got
      So much loving
      Iím a natural man
      I want you to understand
      I love ya I love ya.
      Wooo.
    Chours fades into instrumental Underture