The 500 - #263 - Tracy Chapman (debut) - Tracy Chapman

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #263
Album Title: Tracy Chapman
Artist: Tracy Chapman
Genre: Contemporary Folk, Roots Rock, 
Recorded: Powertrax Studios, Hollywood, California, U.S.A.
Released: April, 1988
My age at release: 22
How familiar was I with it before this week: Very
Is it on the 2020 list? Yes, at #256, moving up 7 spots since 2012
Song I am putting on my Spotify Playlist: Fast Car

A reflective Chapman on the cover of her debut record.
(Photo taken by Matt Mahurin - guest on The 500 Podcast).

In the summer of 1988, I was living a whirlwind life that, for the 57-year-old man who sits in front of this keyboard today, seems impossible to fathom. My day began at 8 a.m. with a seven-km ride to Wally World, a water park and recreation facility (batting cages, mini-golf, go-karts) sprawling across a dozen, treeless acres on the fringes of London, Ontario's city limits.

An arial view of Wally World's waterpark in 1988

The next six hours were spent in the blistering sun, monitoring hundreds of over-ebullient adolescents as they careened down waterslides and excitedly bobbed and splashed in the churning waters of the newly constructed wave pool. At 3 p.m. sharp, suntanned, with traces of neon zinc sunblock still on my nose, I pedaled home to grab the (now available) family car, a powder blue 1980 Chevy Chevette.

A Chevette similar to our family car.

Five o’clock saw me behind the bar at a local pizza restaurant (the now defunct London chain, Fluffy's). For the next four to six hours, I slinged pizzas, panzerottis, beers and shots. A post-work pint and I was in the Chevette heading to a municipal community centre near my home. This was my first job –  where I had worked as a custodian two hours a night, five days a week, since the spring of 1981. At 15, I was an early entrant into the workforce.

Byron Optimist Centre - renovated since my time there (81-89).

My summer work days were long and exhausting, but my spirits were always ballasted by music. I had my portable music player on bike rides and while cleaning floors and a well used car stereo. My other two places of my employment, Wally World and Fluffy's Pizza, played contemporary music through their speaker systems. It was the summer of big hair and bigger music, with songs from INXS, George Michael, Paula Abdul, Def Leppard, Guns and Roses, Van Halen and Richard Marx dominating the charts and setting the fashion trends.

Then, seemingly from nowhere, came a quiet song from a solo, black folk-singer that began to dominate the airways. The song was Fast Car and it was the first single from the debut record from guitarist, singer and songwriter, Tracy Chapman.

Tracy Chapman (1988).

The heart-wrenching realism of Fast Car levelled me the first time I heard it – a narrative about a woman, living in a homeless shelter, trying to escape the cycle of poverty in which she is trapped despite working minimum wage jobs. The desperation evoked by the tragic lyrics, juxtaposed against the backdrop of a light, pop-folk melody, was powerfully arresting. It stood in stark contrast to the life I was living -- residing comfortably at home, going to university and banking plenty of disposable cash at my three fun and socially rewarding jobs -- all of which paid more than minimum wage.

Final lyrics from Fast Car

Chapman was born in Cleveland, Ohio, in 1964 and was raised in an impoverished neighbourhood by her divorced mother. She was accepted into a social change program called A Better Way, which sponsored students from disadvantaged communities into college preparatory high schools away from their homes. Consequently, the bright and musically gifted Chapman graduated from Wooster School in Connecticut and was accepted to Tufts University in Boston.

The prestigious Wooster Private High School in Connecticut.

While attending Tufts, Chapman earned cash playing her guitar and singing in coffee shops in the hip, college neighbourhood of Harvard Square. It was there that she was discovered by a fellow Tufts student, Brian Koppelman. Who was destined to make his own mark in the entertainment industry. He co-wrote the films Rounders and Ocean's 13, as well as becoming the co-creator, producer and showrunner for the hit television series Billions.

At 20, Koppelman had managed bands in Long Island, New York, for several years before leaving for Tufts. His father, Charles, was a musician, music producer and businessman whose industry connections enabled  Brian to embark on securing  Chapman a music contract with a record company. It wasn’t easy, though.

Koppelman (2019).

Koppelman recounted on several podcasts that his efforts to secure Chapman a deal were fraught with challenges he had never anticipated. In his retelling, he would take record executives to hear Tracy perform. Despite being moved, sometimes to tears, by her raw talent, they always declined to sign her up. Flabbergasted, Koppelman’s refrain was, "Why not?" Their flat response was, "She's too black, too big and too masculine. We can't market that."

Eventually, she was signed to the American label Elektra Records and recorded her self-titled debut, releasing Fast Car as a single in April, 1988. Unsurprisingly, it did not sell well at a time when radio stations were dominated by Hair-Metal, Synth-Pop, Post-Punk,  Power Ballads and mainstream Hip-Hop. However, her break came on June 11 of that year when she was invited to be among performers at the iconic Wembley Stadium in England to mark the 70th birthday of imprisoned anti-apartheid revolutionary Nelson Mandela. 

Poster for the Nelson Mandela Tribute Concert

Chapman's three-song performance to a stadium audience of 90,000 spectators was broadcast globally to 67 countries and 600 million viewers. Her scheduled set, early in the day, featured songs from her self-titled debut record, Why?, Behind The Wall, and Talkin' 'bout a Revolution.

Screen shot of Chapman performing superimposed over 
a packed Wembley Stadium

By a quirk of fate,  circumstances led to an unscheduled second performance later in the show. Stevie Wonder had been flown in as a surprise guest. But when it came time for him and his band to take the stage, it was discovered that a computer hard-disc had gone missing for his Synclavier -- a then-state-of-the-art digital music sampling system. Unable to perform without it, Wonder stormed off and the promoters leaned on Chapman to fill in with her acoustic guitar.

A view of the crowd and stage at Mandela's 70th birthday concert

With an even larger audience tuning in, Chapman performed, Across The Lines and a riveting performance of Fast Car. Chapman went from being an unknown “too black, too big, too masculine” coffee house performer to global superstar.

The under-performing single rocketed up the charts, eventually selling millions of copies and landing in the Top 10, often #1, in dozens of countries. Chapman took home three Grammy Awards in 1989 for Record of the Year, Song of the Year and Best Female Pop Vocal Performance, as well as the MTV Video Music Award for Best Female Video of 1988..

Album cover for Fast Car by Tracy Chapman

Chapman, now 59, still performs. More than 35 years since her debut record, she has released seven additional albums. In April, 2023, the South African government announced that Chapman would be bestowed with the National Order to recognize her contribution to the fight for freedom and for raising awareness of human rights violations globally.

Chapman (2020).

Like many of my friends, we watched the Mandela Concert when it was rebroadcast on MuchMusic (Canada’s Music Video Station). We also became Chapman fans, purchasing her first CD. It, along with the music of other contemporary artists, informed the direction of my political viewpoint in ways I still recognize today.

Chapman performed in Toronto on September 15, 1988, as part of the Human Rights Now concert tour. The show was one of 19 performances held at venues worldwide to increase awareness of both the Universal Declaration of Human Rights on its 40th anniversary and the work of Amnesty International. Chapman performed a small set along with Bruce Springsteen and the E Street Band, Sting, Peter Gabriel, Youssou N’Dour and k.d. lang. I wasn’t there, despite being flush from three summer jobs. It remains one of my biggest concert regrets.

The 500 - #264 - Workingman's Dead - Grateful Dead

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #264
Album Title: Workingman’s Dead
Artist: Grateful Dead
Genre: Americana, Roots Rock, Folk Rock, Blues Rock
Recorded: Pacific High Recording, San Francisco, U.S.A.
Released: June, 1970
My age at release: 4
How familiar was I with it before this week: One song
Is it on the 2020 list? Yes, at #409, dropping 145 spots since 2012
Song I am putting on my Spotify Playlist: Uncle John’s Band

Workingman's Dead was the fourth studio album (and fifth overall) released by the American rock band Grateful Dead. It was recorded in only nine days, along with all the material that would become their next record, American Beauty (#261 on The 500). It marked a departure from the psychedelic sound heard on their previous records. The group had been influenced by the Bakersfield Sound, a sub-genre of country music developed in the mid-late 1950s.

American Beauty - coming up in three weeks

Times were tough for Grateful Dead in the early '70s. They had accumulated massive debt while recording their previous record, Aoxomoxoa, and their former manager, Lenny Hart (father of drummer Mickey Hart) had disappeared with the band’s revenue (about $155,000) from their recent tour. Additionally, the band was facing potential jail time after a drug bust in New Orleans. "In the midst of all this adverse stuff that was happening ... [recording the album] was definitely an upper," said lead singer and guitarist Jerry Garcia in an interview about the record.

Jerry Garcia (early 70s)

To recoup costs and pay their debts, Grateful Dead embarked on a busy tour schedule in 1970, playing more than 100 nights. The group had already become legendary for their live performances and that year cemented their reputation.

Unfortunately, I turned down the opportunity to see Grateful Dead perform live. However, my friend, Joram Ditor, did not and I was fortunate to recruit him as a guest writer this week. My wife and I met Joram and his wife Somia in the late 90s through mutual friends and we would catch-up regularly to see live music at The Brunswick Hotel in London, Ontario. 

Enjoy his post.

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I was introduced to the Grateful Dead by a true fan and real Deadhead, Greg. I met Greg while at Western University, in my hometown of London, Ontario. In the early nineties, his car was easy to spot, a yellow Toyota MR2 Turbo with SHKDWN plates.

A Toyota MR2 Turbo (not Greg's)

I was surprised to learn how many Grateful Dead-themed plates, in Ontario had already been taken. Greg had tried for several – DEDHED? No. GRTFLDD? No. What about just GRTFL? No. After going through his list of choices, he was finally able to select plates inspired by the 1978 song and album Shakedown Street. He would, understandably, get upset when someone assumed it was from the Bob Seger song, Shakedown which appeared on the soundtrack to the 1987 movie, Beverly Hills Cop II.

Shakedown Street album cover

I spent a lot of time at Greg’s apartment listening to various Grateful Dead shows, absorbing the culture and eventually becoming a fan, or Deadhead, myself. Like many Deadheads, Greg had travelled across Canada and the United States to follow the group on tour many times during the preceding few years. After hearing his stories, he had no trouble convincing me to join him on their upcoming tour in the summer of 1993, along with his friend, fellow Deadhead, Jay.

Grateful Dead ticket stub from the show

Greg and Jay were going to travel with the band and the plan was for me to meet them at the last stop before they came home...Rich Stadium in Orchard Park, New York. The venue, home to the Buffalo Bills Football club, held 65,000 people for concerts – plus there were thousands who would camp out in the surrounding parking lots, having gone there even without tickets for that particular show. That’s the thing about Deadheads, they travel from show to show regardless of whether they have a ticket. If they can’t gain admission, they make the most of the experience in the parking lot then move on to the next venue with the hope of getting a ticket there.

Rich Stadium in Buffalo, New York

At the time, I was working at Jumbo Video and left immediately after my afternoon shift. I got started late and no road trip is complete without a stop at McDonald’s. I can’t remember what the tie-in was with the restaurant, but with my meal I managed to pick up a cheap, bright pink 110-cartridge-style camera which I still have today. The pictures it took are a fantastic, albeit slightly fuzzy, reminder of my crazy weekend.

The camera from the trip

Arriving late in the evening, I struggled to find parking. Eventually. I made my way into an overflow lot. I put the back seats down and slept in the hatchback of my Corolla. My wake-up call Sunday morning was from a pleasant security guard who advised me that I was actually on the property of a community college. I had somehow crossed the property line and, because it was dark when I got in, failed to notice the campus in the distance.

SUNY Erie College (near Rich Stadium)

I had met a group from Boston parked nearby and they managed to help me relocate to a spot close to them. We hung out for a bit and made plans to wander the vendors after I met my friends, Greg and Jay, at the predetermined rendezvous point, a 7-11 convenience store.

The store looked like it was a scene from a disaster movie. It had been picked clean by the time I arrived around noon – there were literally bare shelves where products once stood. Clearly, the proprietors had not anticipated the demands from the throngs of Deadheads who had descended on this area.

I went out to wait for Greg and Jay in front of the store. By this time, the sun was beating down on me and, in the immortal words of Woody Allen, “…I don’t tan, I stroke”. After some time hiding from the June sun, it became evident that I had been stood up. A benevolent woman I will call Earth Mother, who was parked in a nearby Volkswagen van, called me over and said I looked like a lobster, and offered to apply sunscreen. Once again I was saved by the kindness of a stranger. We discussed the state of the store and how difficult it was going to be for me to find my friends if we didn’t see each other here.

Volkswagen vans were popular among Deadheads

Remember, this was before everyone had cell phones. Consequently, if you missed your friends at a meeting spot you were on your own. Eventually, I had to make the difficult decision of abandoning the store and the hope of connecting with Greg and Jay. I went back to the Boston group to see what was offered by the Grateful Dead community.

At every one of their concerts, you can find a makeshift market of Deadheads who follow Jerry Garcia and his merry band of pranksters on their tours.

Deadheads in the parking lot

The police seemed to take a harm-reduction approach and just made sure to contain any shenanigans to the lots surrounding the stadium. For the most part, innocuous recreational drugs such as marijuana, hashish and magic mushrooms, were available. However, within the next couple years, harder substances were being openly solicited, resulting in more police presence and arrests.

Everywhere you looked there were concert shirts available. None was subtle – Deadhead fashion has always been bold and colourful. The shirt I picked looked like a zoetrope of all the Grateful Dead iconography on the front, with the obligatory concert dates printed on the reverse.

Joram at the Dead show

I also picked up a teal, hand-painted bucket-hat with the top completely covered with the classic “steal your face” design. Flipping up its brim showed off a rose and lightning bolts. At another vendor a pair of purple, blue and grey Guatemalan overalls were purchased to complete my Deadhead ensemble.

Joram alongside his new friend from Boston

I already had a frisbee and hacky-sack so, of course, I had to purchase devil sticks. Devil sticks consisted of three sticks. The first, a long, heavier and colourful rod (about 28 inches, or 70 cm, long) is gyroscopically juggled/spun in the air with the other two batons, which are much shorter.

Trying out my new Devil Sticks

At home, I had learned a few tricks on Greg's sticks but it was nice to have a set of my own. I was fairly safe playing with those, but the fire sticks were a different story. Greg would soak the ends in lighter fluid and set them ablaze. It was quite an impressive sight when they were artfully twirled and spun through the air. Thankfully no one was ever set on fire, but there were a couple occasions where shirts were left with scorch marks.

Jewelers and other artisans had booths lined up throughout the parking lot. Some simply set up their wares on a blanket by their vehicles. A dollar for a grilled cheese sandwich was the best deal I could find anywhere and, after purchasing one, we hung out talking with the Deadhead cook. The hope, for each vendor, is to make enough money to feed their Grateful Dead habit and get them to the next show.

The Grilled Cheese Vendor

Speaking of the show, it was time to get into the stadium. I had a general admission ticket but found an unused seat just off the floor which gave me a fantastic vantage point to see the crowd and the stage.

Sting, formerly the front-man and bassist for The Police (with 4 albums on The 500), opened. It seemed a weird choice because his music style, at the time, was in a pop-jazz vein. But The Dead were known for choosing from a wide assortment of genres and artists to open their shows. Case in point…the Violent Femmes, an American folk-punk band, were the openers in 1991 at the show in Buckeye Lake, Ohio!

Sting on stage with Jerry Garcia at one of the shows during this tour

I remember the Dead’s performance starting with Touch of Grey, the group’s biggest hit and one of the few songs that had crossed-over to mainstream audiences. However, the rest of the concert is a bit of a blur. The experience was like nothing I had ever felt. I had heard all of these tunes before, but the arrangements were different – in a good way. One song rolled into another like a conversation among the musicians. You could hear them talking with their instruments as one would convince the others which song to play next. It is for this reason that my collection of Grateful Dead albums consists mainly of live concerts and bootlegs. When performing live, the band adopts a jazz player’s mentality and eschews the standard song structure of “verse-chorus-verse-chorus-bridge-verse-chorus.” Instead, they will offer the audience an improvisational, 20-minute version of Me and My Uncle (a song originally written by John Phillips of The Mamas & The Papas). However, instead of the three-minute interpretations made famous by singers who include Judy Collins or Joni Mitchell, the Dead would re-imagine the song and include spontaneous, but highly melodic and hypnotic, “guitar noodling” as part of a collaborative and extended jam session.

Joram's Grateful Dead collection

After a solid three hours, the stadium lights came on and, with the final notes of the encore still echoing in the air, walking towards me was Greg! Among a crowd larger than the size of a small city, we happened to bump into each other at the last possible moment. The following year I made sure I was travelling with them from the start.

Epilogue

This blog post was written to celebrate the release of Workingman's Dead but my first concert experience didn't contain any of the songs from that album. Its first cut, Uncle John's Band, is one of my favourites, which I eventually did get to hear live.

That was the allure of the Grateful Dead and the reason fans would travel with them for an entire summer. They had a massive repertoire with no predetermined set list. This allowed one show to be completely different from another. They also allowed fans to bring in sound equipment to record the shows because every show was a unique performance, never to be repeated. 

Deadheads regularly exchange cassettes or digital versions of shows and many can talk for hours about their “Top 5 Live performances”. My favourite three are Phil’s Birthday in 1990; New Year’s Eve 1978 at Winterland in San Francisco; with the first of Dick’s Picks from December of 1973 at the top.

I eventually saw them in an amphitheatre and an arena as well. I had an amazingly different experience at each.

The 500 - #265 - The Genius Of Ray Charles - Ray Charles

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #265

Album Title: The Genius Of Ray Charles

Artist: Ray Charles

Genre: Swingin' Pop, Rhythm & Blues, Traditional Pop

Recorded: 6 West Recording Studios, New York, New York

Released: October, 1959

My age at release: Not Born

How familiar was I with it before this week: Some songs

Is it on the 2020 list? No (Two other Ray Charles records remain)

Song I am putting on my Spotify Playlist: Alexander’s Ragtime Band

The Genius Of Ray Charles is a 1959 record released by singer, songwriter, pianist, saxophonist and arranger Ray Charles (born Ray Charles Robinson). It was Charles' second album of 1959 and his seventh release within a two-year span -- a prolific run. It also marked his departure from traditional rhythm and blues into a wider range of music styles. The album was divided into two parts. The first side contains swinging pop music, backed by a big band, while the second features string-backed ballads. It produced two hits, both Louis Jordan covers, Let The Good Times Roll and Don't Let The Sun Catch You Cryin'.

The record was the first of three with the word "Genius" in the title – a fitting accolade.  Charles was often referred to as "The Genius" by his musical contemporaries, although he preferred to be called "Brother Ray". He is a legend in the world of music and trying to summarize his biography in a short blog post like this would be a disservice to his remarkable career. Instead, I recommend the 2004 biopic, Ray, featuring an Academy Award winning performance by Jamie Foxx in the titular role.

About the same time that his biopic was filming, Ray Charles performed in my hometown of London, Ontario. It was June 20, 2003, and the show took place at the newly built John Labatt Centre (now Budweiser Gardens). Although I debated purchasing tickets, I chose against it for financial reasons. The new arena and concert facility was an entertainment windfall for London. Prior to its construction, big music acts avoided The Forest City because it lacked a large enough venue with adequate technical facilities. Looking back, I regret not having taken in the legend’s performance, having already maxed out my budget on concert and hockey tickets.

However, a few of my friends bought tickets  and others worked backstage. Their assessment: marvelously entertaining even though, at 72, Charles’ health was in decline. The large, talented band that accompanied him performed for 15 minutes before the artist, blind since he was eight due to untreated glaucoma, was led to the stage.  Clearly showing signs of his age, Charles struggled with his mobility, leaving his band to carry large sections of the show.

It is a sad fact that even monumental talents lose their lustre and face the R word – retirement. Some jump at the opportunity excited about new opportunities while others hesitate, uncertain about their future. For my own part, retirement seems to be rapidly approaching and I venture to say I have misgivings leaving a profession that I love. After 26 years in front of hundreds of young students, I feel as if I am at my peak, having kept up  with changes in technology and teaching practices. However, I sometimes worry that a time will come when I am past my prime -- a dinosaur in a profession that has evolved beyond me.

Perhaps I am experiencing the same things Ray Charles was when he touring in his seventies:

• I want to keep doing the thing I love,

• I am still experiencing growth and success,

• I seem to be good at what I do,

• I have a strong support network around me.

• I am not sure I would be happier if I stopped.

It turns out that the 2003 appearance in London would be Ray Charles' final performance in Canada. His tour was suspended 30 days later for health reasons. He underwent successful hip surgery later that year and, according to his management team, he planned to continue touring in 2004. However, his health declined precipitously and he died in his home in Beverly Hills California on June 10, 2004.

It seems he went out on his own terms, doing what he loved until it became impossible. He also left behind an incredible legacy and contributions that are still felt today. 

Wouldn't we all like to say that at the end?

You bet. As another legendary musician crooned: "I did it my way."

Ray Charles sure did. I think I am too.

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The 500 - #266 - Child Is Father To The Man - Blood, Sweat & Tears

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #266

Album Title: Child Is Father To The Man

Artist: Blood, Sweat & Tears

Genre: Jazz Rock

Recorded: November - December, 1967

Released: February, 1968

My age at release: 2

How familiar was I with it before this week: Not At All

Is it on the 2020 list? No

Song I am putting on my Spotify Playlist: I'll Love You More Than You Will Ever Know

I'll admit that as a kid flipping through albums in the record department of the Leamington Mall I would get jazz-rock group Blood, Sweat & Tears confused with Earth, Wind & Fire, a progressive soul and funk group. I suppose I was recognizing patterns and two groups with three-part names that included a comma and an ampersand.

I was right about the fact that both groups were large ensembles with a brass section. However, had I flipped over one of the records to look at the pictures on the back, I would have realized that the members of Earth, Wind & Fire were all African-American and that the musicians in Blood, Sweat & Tears were all Caucasian.

Earth, Wind & Fire (left), Blood, Sweat & Tears (right)

When I got a little older and began to build my knowledge of music, the distinction became clear: I was never a big fan of Blood, Sweat & Tears, but I knew their hits -- Spinning Wheel, You Make Me So Very Happy and, my favourite, Hi-De-Ho (That Old Sweet Roll), the cover of a song written by Carole King.

Child Is Father To The Man was the debut record from Blood, Sweat & Tears, which formed in New York City in 1967,  inspired by the brass-rock sound of another American band, The Buckinghams, who had five top-20 hits in the mid-60s including a number one, Kind Of A Drag.

Initially, B, S & T was a four-piece which played regularly at the Village Theatre (later Filmore East) in the Lower East neighbourhood of Manhattan. The members were Al Kooper (vocals, keyboards), Bobby Colomby (drums), Steve Katz (guitars) and Jim Fielder (bass). Originally built in 1926, the venue was located on a section of 2nd Street known as the "Yiddish Theatre District" or "Jewish Rialta". Kooper, Colomby and Katz, born and raised in  Jewish households in Manhattan and Brooklyn, grew up with the theatre as a significant part of their lives. Fielder was born in Texas and raised in California. He enjoyed  success with Tim Buckley, Frank Zappa and Buffalo Springfield before moving to New York City in 1966.

B, S & T expanded to an octet in the summer of 1967, adding saxophonist and pianist Fred Lipsius as well as brass players Dick Halligan, Randy Brecker and Jerry Weiss. There are two stories circulating about the naming of the group. Kooper says he named them after a jam at the Cafe au Go-Go when he cut his hand on his keyboard and it was covered in blood by the end of the show. Colomby disagrees, saying Kooper got the idea either from a 1963 Johnny Cash record of the same name, or a phrase from Winston Churchill's speech to the U.K. Parliament in 1940 when his actual words were "blood, toil, tears and sweat".

Despite helping to create and name the group, Kooper  was only with them for this first record. Due to artistic differences, he left in April, 1968. Canadian David Clayton-Thomas moved in with trombonist Jerry Hyman. The musical chairs allowed the resident trombonist, Halligan, to move to keyboard. The nine-piece configuration proved the most successfu,l their second, self-titled record winning the Grammy Award for Record Of The Year in 1970.

Given the success of their second record, their self-titled album Blood, Sweat & Tears, with its three Top Ten hits and quadruple platinum certification in the United States, it is surprising it didn’t make The 500. However, their first title, Child Is The Father To Man, barely sold 40,000 units by 1970 and yet found its way onto the list despite an average review from Rolling Stone Magazine in 1968.

Bobby Colmby (mid-70s)

Fortunately, the guest on this week's episode of The 500 podcast was founding member and drummer Bobby Colomby. Podcast host Josh Adam Meyers posed the question to him – Why was this record selected for The 500 list when your second record won a Grammy?  Colomby’s answer was simple: "It's Rolling Stone (Magazine), who knows?"

That's the thing about this list that I am dutifully working through weekly. It was compiled based on the weighted votes of 273 rock musicians, critics and industry figures. For some reason, Child Is The Father To Man garnered enough votes to put it near the middle of this list. So, Colomby is right, "who knows" why? Personally, I agreed with the 1968 assessment. I'll Love You More Than You Will Ever Know and Somethin’ Goin' On are really good and the rest of the album is enjoyable. This is a record that will find its way into my listening rotation for many years to come.

B, S & T at The Filmore East

I'll also look forward to the upcoming release of a new documentary about the band. Titled, What The Hell Happened To Blood, Sweat & Tears, it documents an ill advised trip to Yugoslovia, Romania & Poland that was sponsored by the U.S. government.