Blood, Sweat & Tears – 3

More Blood, Sweat and Tears

  • A STUNNING sounding copy and the first to hit the site in over 7 years! Shootout Winning Triple Plus (A+++) sound or very close to it throughout
  • Both sides here have the BIG JAZZ-ROCK sound — stretching from wall to wall and floor to ceiling, with energy and power that only a handful of albums can begin to compete with
  • This copy shows you just how good Roy Halee’s engineering used to be, comparable to his brilliant work on BS&T’s previous album, the one we extol to this day as (probably) the best sounding rock record ever made
  • David Clayton-Thomas remained an enthusiastic blues shouter, and the band still managed to put together lively arrangements, especially on the Top 40 hits “Hi-De-Ho” and “Lucretia Mac Evil”… BS&T 3 was another chart-topping gold hit.” – All Music

An amazing sounding copy! The brass is rich, solid, and present, with correct timbre for every instrument from the bass trombone all the way up the scale to piccolo trumpet. This is exactly the sound we were looking for and couldn’t find — until we played this copy. No other side one could touch it. It’s BIG down low, bigger than any other copy by far. The vocals are clear and present. The huge 30+ member chorus on the first track works on this copy; it doesn’t most of the time. It obviously presents a real challenge to any engineer, but Halee is up to it, judging solely by the sound on this very copy. Mastering and pressing issues end up making that chorus sound small, thin and opaque most of the time.

Lucretia MacEvil, a minor hit, has more compression than the rest of the side, to make it more radio-friendly of course, but here it holds up much better than on most copies.

What amazing sides such as these have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1970
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

What We’re Listening For on Blood, Sweat and Tears 3

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Hi-De-Ho 
The Battle 
Lucretia Mac Evil
Lucretia’s Reprise 
Fire and Rain 
Lonesome Suzie

Side Two

Symphony for the Devil / Sympathy for the Devil 
i. Emergence (a. Fanfare) 
ii. Devil’s Game (a. Labyrinth / b. Satan’s Dance / c. The Demand) 
iii. Submergence (a. Contemplation / b. Return) 
He’s a Runner 
Somethin’ Comin’ On 
40,000 Headman

AMG Review

Blood, Sweat & Tears had a hard act to follow in recording their third album. Nevertheless, BS&T constructed 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, especially on the Top 40 hits “Hi-De-Ho” and “Lucretia Mac Evil.” Elsewhere, they re-created the previous album’s jazzing up of Laura Nyro (“He’s a Runner”) and Traffic (“40,000 Headmen”), although their pretentiousness, on the extended “Symphony/Sympathy for the Devil,” and their tendency to borrow other artists’ better-known material (James Taylor’s “Fire and Rain”) rather than generating more of their own, were warning signs for the future. In the meantime, BS&T 3 was another chart-topping gold hit.