Artist: Blood Sweat & Tears

Hi-De-Ho ~ Blood, Sweat & Tears

Blood, Sweat & Tears is an American music group, originally formed in 1967 in New York City. Since its beginnings in 1967, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. What the band is most known for, from its start, is the fusing of rock, blues, pop music, horn arrangements and jazz improvisation into a hybrid that came to be known as “jazz-rock“. Unlike “jazz fusion” bands, which tend toward virtuostic displays of instrumental facility and some experimentation with electric instruments, the songs of Blood, Sweat & Tears merged the stylings of rock, pop and R&B/soul music with big band, while also adding elements of small combo jazz traditions.

Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz, and Bobby Colomby formed the original incarnation of the band.

“Blood, Sweat & Tears” was the name chosen by Al Kooper, inspired by both the 1963 album with this title by Johnny Cash and after a late-night gig in which Kooper played with a bloody hand. Kooper was the group’s initial bandleader, having insisted on that position based on his experiences with The Blues Project, his previous band with Steve Katz, which had been organized as an egalitarian collective. Jim Fielder was from Frank Zappa’s Mothers Of Invention and had played briefly with Buffalo Springfield. But undoubtedly, Kooper’s fame as a high-profile contributor to various historic sessions of Bob Dylan, Jimi Hendrix, the Rolling Stones, and so forth, was the catalyst for the prominent debut of Blood, Sweat & Tears in the musical counterculture of the mid-sixties .

The music of Blood, Sweat & Tears slowly achieved commercial success alongside similarly configured ensembles such as Chicago and the Electric Flag. Kooper was forced out of the group and became a record producer for the Columbia label, but not before arranging some songs that would be on the next BS&T album. The group’s trumpeters, Randy Brecker and Jerry Weiss, also left after the album was released, and were replaced by Lew Soloff and Chuck Winfield. Brecker joined Horace Silver’s band with his brother Michael, and together they eventually formed their own horn-dominated musical outfits, Dreams and The Brecker Brothers. Jerry Weiss went on to start the similarly-styled group Ambergris.

Hi-De-Ho

“Hi-De-Ho” was written by Carole King and Gerry Goffin and was one of several songs covered by the band on Blood, Sweat & Tears 3.  The album itself received lukewarm reviews mostly because of the band’s participation in an unpopular U.S. government-sponsored tour of Eastern Europe.

Music critic William Ruhlman wrote a review calling the album “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… although their pretentiousness, on the extended “Symphony/Sympathy for the Devil,” and their tendency to borrow other artists’ better-known material rather than generating more of their own, were warning signs for the future.” Another critic Robert Christgau wrote “Just figured out how David Clayton-Thomas learned vocal projection: by belching. That’s why when he gets really excited he sounds as if he’s about to throw up. But it’s only part of the reason he gets me so excited I feel like I’m about to throw up.”

A bit harsh, I think.

Hi De Ho
Hi De Hi
Gonna Get me
A piece of the sky
Gonna get me
Some of that Old Sweet Roll
I’m singin’ Hi de hi de hi de hi de Hooooo

I’ve been down so low
Bottom looked like up
Once I thought that seconds saves
was enough to fill my cup
Now I offered all I got
And that ain’t no way to live
Being taken by the ones who got
The least amount to give

Hi de ho
Hi de hi
I’m gonna get me a piece of the sky
Gonna get me some of that old sweet roll
I’m singing hi de hi de hi de hi de hooooo.

<instrumental interlude>

Once I met the devil
He was mighty slick
Tempted me with worldly goods
Said -you can have your pick-
But when he laid that paper on me
And he showed me where to sign
I said thank you very kindly
But I’m in too great a need of mine

Hi de ho
Hi de hi
I’m gonna get me a piece of the sky Lord knows
I’m gonna get me some of that old sweet roll
Singin’ hi de hi de hi de hi de hooooo.
Hi de ho
Hi de hi
Gonna get me a piece of the sky
Gonna get me some of that old sweet roll
Singin’ hi de hi de hi de hi de hoooo

  • Audio from the 1970 album, Blood, Sweat & Tears 3
Click to Purchase

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And When I Die ~ Blood, Sweat & Tears

Blood, Sweat & Tears is an American music group, originally formed in 1967 in New York City. Since its beginnings in 1967, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. What the band is most known for, from its start, is the fusing of rock, blues, pop music, horn arrangements and jazz improvisation into a hybrid that came to be known as “jazz-rock“. Unlike “jazz fusion” bands, which tend toward virtuostic displays of instrumental facility and some experimentation with electric instruments, the songs of Blood, Sweat & Tears merged the stylings of rock, pop and R&B/soul music with big band, while also adding elements of small combo jazz traditions.

Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz, and Bobby Colomby formed the original incarnation of the band.

“Blood, Sweat & Tears” was the name chosen by Al Kooper, inspired by both the 1963 album with this title by Johnny Cash and after a late-night gig in which Kooper played with a bloody hand. Kooper was the group’s initial bandleader, having insisted on that position based on his experiences with The Blues Project, his previous band with Steve Katz, which had been organized as an egalitarian collective. Jim Fielder was from Frank Zappa’s Mothers Of Invention and had played briefly with Buffalo Springfield. But undoubtedly, Kooper’s fame as a high-profile contributor to various historic sessions of Bob Dylan, Jimi Hendrix, the Rolling Stones, and so forth, was the catalyst for the prominent debut of Blood, Sweat & Tears in the musical counterculture of the mid-sixties .

The music of Blood, Sweat & Tears slowly achieved commercial success alongside similarly configured ensembles such as Chicago and the Electric Flag. Kooper was forced out of the group and became a record producer for the Columbia label, but not before arranging some songs that would be on the next BS&T album. The group’s trumpeters, Randy Brecker and Jerry Weiss, also left after the album was released, and were replaced by Lew Soloff and Chuck Winfield. Brecker joined Horace Silver’s band with his brother Michael, and together they eventually formed their own horn-dominated musical outfits, Dreams and The Brecker Brothers. Jerry Weiss went on to start the similarly-styled group Ambergris.

And When I Die

And When I Die” is a song written by American singer Laura Nyro. It was first recorded by American folk group Peter, Paul and Mary in 1966. Nyro then recorded it on her 1967 debut album More Than a New Discovery. However, the song is probably best known for its third version by American rock group Blood, Sweat & Tears, which reached #2 on the U.S. Billboard Hot 100. The song gives a positive outlook about death, stating, in the chorus, “And when I die/and when I’m gone/there’ll be one child born and a world/to carry on/to carry on.”

I’m not scared of dying
And I, don’t really care
If it’ s peace you find in dying
Well then, let the time be near
If it’s peace you find in dying
Well then dying time is near
Just bundle up my coffin
‘Cause it’s cold way down there
I hear that it’s cold way down there, yeah
Crazy cold, way down there
And when I die, and when I’m gone
There’ll be, one child born
In this world
To carry on, to carry on

(Piano Solo)

Now troubles are many
There as deep as a well
I can swear there ain’t no Heaven
But I pray there ain’t no hell
Swear there ain’t no Heaven
And I’ll pray there ain’t no hell
But I’ll never know by livin’
Only my dyin’ will tell
Yes only my dyin’ will tell, oh yeah
Only my dyin’ will tell
And when I die, and when I’m gone
There’ll be, one child born
In this world
To carry on, to carry on
Yeah yeah

(Instrumental Solo)

Give me my freedom
For as long as I be
All I ask of livin’
Is to have no chains on me
All I ask of livin’
Is to have no chains on me
And all I ask of dyin’
Is to go natrually
Only wanna go naturally

Here I go!
Hey hey
Here come the devil
Right behind
Look out children, here he come
Here he come, heyyy
Don’t wanna go by the devil
Don’t wanna go by the demon
Don’t wanna go by satan
Don’t wann die uneasy
Just let me go
Naturally
And when I die
And when I’m dead
Dead and gone
There’ll be one child born
In our world
To carry on, to carry on

  • Audio from the 1969 album, Blood, Sweat & Tears:
Click to Purchase

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Spinning Wheel ~ Blood, Sweat & Tears

Blood, Sweat & Tears is an American music group, originally formed in 1967 in New York City. Since its beginnings in 1967, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. What the band is most known for, from its start, is the fusing of rock, blues, pop music, horn arrangements and jazz improvisation into a hybrid that came to be known as “jazz-rock“. Unlike “jazz fusion” bands, which tend toward virtuostic displays of instrumental facility and some experimentation with electric instruments, the songs of Blood, Sweat & Tears merged the stylings of rock, pop and R&B/soul music with big band, while also adding elements of small combo jazz traditions.

Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz, and Bobby Colomby formed the original incarnation of the band.

“Blood, Sweat & Tears” was the name chosen by Al Kooper, inspired by both the 1963 album with this title by Johnny Cash and after a late-night gig in which Kooper played with a bloody hand. Kooper was the group’s initial bandleader, having insisted on that position based on his experiences with The Blues Project, his previous band with Steve Katz, which had been organized as an egalitarian collective. Jim Fielder was from Frank Zappa’s Mothers Of Invention and had played briefly with Buffalo Springfield. But undoubtedly, Kooper’s fame as a high-profile contributor to various historic sessions of Bob Dylan, Jimi Hendrix, the Rolling Stones, and so forth, was the catalyst for the prominent debut of Blood, Sweat & Tears in the musical counterculture of the mid-sixties .

The music of Blood, Sweat & Tears slowly achieved commercial success alongside similarly configured ensembles such as Chicago and the Electric Flag. Kooper was forced out of the group and became a record producer for the Columbia label, but not before arranging some songs that would be on the next BS&T album. The group’s trumpeters, Randy Brecker and Jerry Weiss, also left after the album was released, and were replaced by Lew Soloff and Chuck Winfield. Brecker joined Horace Silver’s band with his brother Michael, and together they eventually formed their own horn-dominated musical outfits, Dreams and The Brecker Brothers. Jerry Weiss went on to start the similarly-styled group Ambergris.

Spinning Wheel

Spinning Wheel” is the title of a popular song from 1969 by the band Blood, Sweat & Tears. The song was written by band member and vocalist David Clayton-Thomas and appears on their self-titled album.  The arranger for the song was band member and saxophonist Fred Lipsius.

Clayton-Thomas was quoted as describing the song as being “written in an age when psychedelic imagery was all over lyrics… it was my way of saying, ‘Don’t get too caught up, because everything comes full circle’.”

The song ends with the 1815 Austrian tune “O Du Lieber Augustin” (“The More We Get Together” or “Did You Ever See A Lassie?”) and drummer Bobby Colomby’s comment: “That wasn’t too good”, followed by laughter from the rest of the group. Most of this section and the trumpet solo were edited out for the single version. The eight-bar piano solo which precedes the trumpet solo on the album version is overlapped with guitar on the single version before the last verse.

What goes up must come down
spinning wheel got to go round
Talking about your troubles it’s a crying sin
Ride a painted pony
Let the spinning wheel spin

You got no money, and you, you got no home
Spinning wheel, spinning all alone
Talking about your troubles and you, you never learn
Ride a painted pony
let the spinning wheel turn

Did you find a directing sign
on the straight and narrow highway?
Would you mind a reflecting sign
Just let it shine within your mind
And show you the colours that are real

Someone is waiting just for you
spinning wheel is spinning true
Drop all your troubles, by the river side
Catch a painted pony
On the spinning wheel ride

Someone is waiting just for you
spinning wheel is spinning true
Drop all your troubles, by the river side
Ride a painted pony
Let the spinning wheel fly

  • Audio from the 1969 album, Blood, Sweat & Tears:
Click to Purchase

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