Blood Sweat & Tears - Child Is Father To The Man - 180g LP

Product no.: CS9619

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Blood Sweat & Tears - Child Is Father To The Man - 180g LP
£29.99
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Columbia  - CS 9619 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Lacuers cut by Maarten De Boer at Emil Berliner

Limited Edition - Pressed  at Pallas in Germany:

Speakers Corner 30 Years Pure Analogue  This LP is an Entirely Analogue Production

Speakers Corner Records has meticulously reproduced this vinyl masterpiece.The separation of the multi-layered acoustics is striking. Also,the singular tonality of the instruments is clear in the mix. - AudiophileAudition - Sound 5/5

Featured in Michael Fremer's Heavy Rotation in the January 2008 Issue of Stereophile

BS&T began as an Al Kooper project in 1968, as a part of a move toward "bigger" rock sounds. Child, the only album made under Kooper's direction, is important not only because its jazz and art-song aspects expanded the scope of the rock for both audience and musicians, but also because it was one of the most perfectly listenable pop albums of its era.

"Blood, Sweat and Tears are usually remembered as middle-of-the-road oldies-radio faves. But this album shows the original outfit, headed by organist Al Kooper, to be an eclectic blues-rock collective that recorded hard-bitten gems such as "I Can't Quit Her." -

There’ll be disappointment in store for those who expect to hear the voice of David Clayton-Thomas when listening to the present Blood, Sweat And Tears LP, "Child Is Father To The Man". Experts will know however that on the group’s very first album they will get to hear the excellent Al Kooper. The man is far more than a singer, for he not only plays the piano and various other keyboards but has also composed almost all the numbers and made the arrangements for the string ensemble.
 
Bluesy pieces such as "I Love You More ..." and "I Can’t Quit Her", and the vocals from Al Kooper are the real gems here, although the whole album – held in the tradition of the Beatles’ "Sgt. Pepper" – is a real pleasure from beginning to end. The amalgamation of pop, classic and jazz, which was made so popular in the Sixties by such groups as Chicago Transit Authority, Colosseum and Soft Machine, is here combined by Blood, Sweat And Tears with the acid-folk-rock mix emanating from San Francisco. It even had the potential to become a new American form of music. It is interesting to note that the LP achieved gold status after the release of "B, S&T 2", which brought the earlier album to the attention of the record-buying public.
Just put any prejudices aside! Then jazz and pop fans will then find that they have discovered one of the very best and most enjoyable albums from the late Sixties.
 
"Blood, Sweat and Tears are usually remembered as middle-of-the-road oldies-radio faves. But this album shows the original outfit, headed by organist Al Kooper, to be an eclectic blues-rock collective that recorded hard-bitten gems such as "I Can't Quit Her." - rollingstone.
 
Speakers Corner Records has meticulously reproduced this vinyl masterpiece. The separation of the multi-layered acoustics is striking. Also,the singular tonality of the instruments is clear in the mix. - AudiophileAudition Sound 5/5
 
Musicians:
Al Kooper, vocals, organ, piano, ondioline
Fred Lipsius, piano, alto saxophone
Jerry Weiss, vocals, trumpet, flugelhorn
Steve Katz, vocals, guitar, lute
Dick Halligan, trombone
Jim Fielder, bass guitar, freless bass guitar
Bobby Colomby, vocals, drums, percussion
Randy Brecker, trumpet, flugelhorn

1. Overture

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

3. Morning Glory

4. My Days Are Numbered

5. Without Her

6. Just One Smile

7. I Can't Quit Her

8. Megan's Gypsy Eyes

9. Somethin' Goin On

10. House In the Country

11. The Modern Adventures of Plato, Diogenes and Freud

12. So Much Love/Underture

Blood Sweat & Tears - Child Is Father To The Man - 180g LP

 
25 Years pure Analogue
 
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
 
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
 
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.

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