1967年成立于纽约的Blood Sweat & Tears被认为是“爵士摇滚”的创始人,他们最早开始了把爵士、摇滚、迷幻甚至古典音乐进行融合的尝试,曲风华丽无比。这是他们的第一张专辑,首发于 1968年,乐队成员最好的创意都集中体现在其中,因而成为乐队最有代表性且无法再超越的作品。
然而,由于曲风过于前卫(在当时而言),专辑的销量并不理想,在Billboard的最好成绩是47名,而且没有一首进入Top 40的单曲,只有"I Love You More Than You'll Ever Know" 和 "I Can't Quit Her" 偶尔能在另类摇滚电台播放。但和许多伟大作品一样,这张专辑的价值随着时间的推移逐渐被更多的人认识,即使以今天的眼光来看,这也是一张非常优秀的专辑。
这张专辑在滚石杂志选出的500张历代最强专辑中排名第264位。
by William Ruhlmann
Child Is Father to the Man 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; listen to the way the bass guitar interacts with the horns on "My Days Are Numbered" or the charming arrangement and Steve Katz's vocal on Tim Buckley's "Morning Glory." Then Kooper sings Harry Nilsson's "Without Her" over a delicate, jazzy backing with flügelhorn/alto saxophone interplay by Randy Brecker and Fred Lipsius. This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music. Maybe it couldn't have lasted; anyway, it didn't.