BLOOD, SWEAT  &  TEARS

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 — 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 — 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 Grammys® 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 livin’
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 there’s somethin' goin' on
Somethin' goin' on,
but I don’t 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
It’s 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
I’m a natural man
I want you to understand
I love ya I love ya.
Wooo.

Chours fades into instrumental Underture

---