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The album David Clayton Thomas and the Shays à Go-Go was recorded for Roman Records in 1965, and was followed by David Clayton Thomas Sings Like It Is! for the same label in 1966. Clayton-Thomas made his mark more forcibly with his next band, The Bossmen, one of the first rock bands anywhere to include jazz musicians.
This is the discography of American jazz-rock group Blood, Sweat & Tears. Albums. Studio albums. Title Album details Peak chart positions Certifications; US [1]
In 1998, to celebrate thirty years after he first joined the group, David Clayton-Thomas began work on a solo CD titled Bloodlines that featured a dozen former members of Blood, Sweat & Tears, (Tony Klatka, Fred Lipsius, Lew Soloff, Dave Bargeron, Randy Brecker and others) performing on the album and providing arrangements to some of the songs ...
Founding members Bobby Colomby and Steve Katz searched for a replacement singer and selected David Clayton-Thomas. Three more musicians joined to bring the band to a total of nine members. Columbia assigned James William Guercio as producer for the album. Guercio was simultaneously working with the band Chicago.
David Clayton-Thomas left as lead vocalist to pursue a solo career after the release of B, S & T; 4, as did founding members Dick Halligan and Fred Lipsius. Clayton-Thomas would return to the lineup for 1975's New City.
David Clayton-Thomas - lead vocals except as noted, guitar on "Go Down Gamblin'" Steve Katz - electric guitar, acoustic guitar, harmonica, mandolin, vocals, lead vocals on "Sometimes In Winter" Jim Fielder - bass guitar; Al Kooper - Piano, Organ, lead vocals on "I Can't Quit Her" and " I Love You More Than You'll Ever Know"
David Clayton-Thomas, multiple Grammy Award-winning Canadian musician, singer/songwriter, best known as the lead vocalist of the American band Blood, Sweat & Tears, says of working with LaBarge: “I’ve known Bernie LaBarge for decades. We’ve recorded and toured the world together, and working with him was always a joy.
Village Voice critic Robert Christgau panned David Clayton-Thomas's singing as "belching", while calling "Symphony for the Devil" a "pretty good rock and roll song revealed as a pseudohistorical middlebrow muddle when suite-ened." [2] AllMusic's William Ruhlman called the album "a convincing, if not quite as impressive, companion to their ...
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