- Blood, Sweat & Tears
Infobox musical artist
Name = Blood, Sweat and Tears
Img_capt = Blood, Sweat & Tears circa 1970
Img_size = 250
Landscape = Yes
Background = group_or_band
New York, New York, USA
Pop rock, Jazz rock, Psychedelic rock
Years_active = 1967-19811984-present
Columbia Records ABC Records Rhino Records Sony Records Mobile Fidelity Wounded Bird
Past member =
Lew Soloff David Clayton Thomas
Associated_acts = Spinning Wheel
Steve Katz Rob Paparozzi Dave Gellis Glenn McClelland Gary Foote Andrea Valentini Teddy Mulet Steve Jankowski Jens Wendelboe
Blood, Sweat & Tears (also known as "BS&T") is an American music group, originally formed in 1967 in
New York City. Since its beginnings in 1967, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. What the band is most known for, from its start, is the fusing of rock, blues, pop music, horn arrangements and jazz improvisation into a hybrid that came to be known as " jazz-rock". Unlike " jazz fusion" bands, which tend toward virtuostic displays of instrumental facility and some experimentation with electric instruments, the songs of Blood, Sweat & Tears merged the stylings of rock, pop and R&B/ soul musicwith big band, while also adding elements of small combo jazz traditions.
The Al Kooper era
Al Kooper, Jim Fielder, Fred Lipsius, Randy Brecker, Jerry Weiss, Dick Halligan, Steve Katz, and Bobby Colombyformed the original incarnation of the band. The creation of the group was fueled by the "brass-rock" ideas of The Buckinghamsand its producer, James William Guercio, as well as the early 1960s Roulette-era Maynard FergusonOrchestra (according to Kooper's autobiography).
"Blood, Sweat & Tears" was the name chosen by Al Kooper, inspired by both the 1963 album with this title by
Johnny Cashand after a late-night gig in which Kooper played with a bloody hand. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26] Kooper was the group's initial bandleader, having insisted on that position based on his experiences with The Blues Project, his previous band with Steve Katz, which had been organized as an egalitarian collective. Jim Fielder was from Frank Zappa's Mothers Of Inventionand had played briefly with Buffalo Springfield. But undoubtedly, Kooper's fame as a high-profile contributor to various historic sessions of Bob Dylan, Jimi Hendrix, the Rolling Stones, and so forth, was the catalyst for the prominent debut of Blood, Sweat & Tears in the musical countercultureof the mid-sixties.
Al, Bobby, Steve & Jim did a few shows as a quartet at the
Cafe Au Go Goin New York City in September 1967 opening for Moby Grape. Fred Lipsius then joined the others two months later. A few more shows were played as a quintet, including one at the Fillmore Eastin New York. Lipsius then recruited the other three, who were New York jazz horn players he knew. The final lineup debuted late November ’67 at "The Scene" in NYC. The band was a hit with the audience, who liked the innovative fusion of jazzwith acid rockand psychedelia. After signing to Columbia Records, the group released perhaps one of the most critically acclaimed albums of the late 1960s, " Child Is Father to the Man" that featured the Harry Nilssonsong, "Without Her", and perhaps Kooper's most memorable blues number, "I Love You More Than You'll Ever Know". The album cover was considered quite innovative showing the band members sitting and standing with child-sized versions of themselves. Characterized by Kooper's penchant for studio gimmickry, the album slowly picked up in sales amidst growing artistic differences between the founding members. Colomby and Katz wanted to move Kooper exclusively to keyboard and composing duties, while hiring a stronger vocalist for the group. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26]
As the music of Blood, Sweat & Tears slowly achieved commercial success alongside similarly configured ensembles such as Chicago and the
Electric Flag, Kooper left the group to become a record producerfor the Columbia label. The group's trumpeters, Randy Brecker and Jerry Weiss, also left after the album was released, and were replaced by Lew Soloffand Chuck Winfield. Brecker joined Horace Silver's band with his brother Michael, and together they eventually formed their own horn-dominated musical outfits, Dreamsand The Brecker Brothers. Jerry Weiss went on to start the similarly-styled group Ambergris.
The David Clayton-Thomas era
Colomby and Katz then started looking for singers, considering
Stephen Stillsand Laura Nyrobefore deciding upon David Clayton-Thomas, a Canadian singer, born in Surrey, England. Reportedly, folk singer Judy Collinshad seen him perform at a New York City club and was so taken and moved by his performance that she told her friends Bobby Colomby and Steve Katz about him (knowing that they were looking for a new lead singer to front the band). [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26] With her prodding, they came to see him perform and were so impressed with him that Clayton-Thomas was offered to be lead singer of a re-constituted Blood Sweat & Tears. Halligan took up the organ chores and Jerry Hymanjoined on trombone. New trumpeters Lew Soloffand Chuck Winfieldbrought the band up to nine total members.
"Blood, Sweat & Tears", the group's self-titled second album, was produced by
James William Guercioand released in 1969. The album was much more pop-oriented, featuring decidedly fewer compositions from within the band. The record quickly hit the top of the charts, winning Album of the Year at the Grammy Awards. "Blood, Sweat & Tears" spawned three major hit singles: a cover of Berry Gordyand Brenda Holloway's " You've Made Me So Very Happy" (US #2), Clayton-Thomas' "Spinning Wheel" (US #2), and a version of Laura Nyro's " And When I Die" (US #2). The commercial and critical acclaim enjoyed by the band in 1969 culminated in an appearance at the Woodstock Festival, in which the band enjoyed headliner status. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = David Clayton-Thomas interview | publisher = Jeremiah Rickert | date = 1999-08-25| accessdate = 2007-12-26]
Arguably, as a result of Al Kooper's departure, Blood, Sweat & Tears had difficulty maintaining its status as a counterculture icon at a time when record company executives deemed this characteristic important as a tool to lure young consumers. This was compounded by a
United States Department of State-sponsored tour of Eastern Europe in 1970. Any voluntary association with the government was highly unpopular at the time and the band was ridiculed for it. In retrospect, it is now known that the State Department subtly requested the tour in exchange for more amicability on the issuance of a visa to Clayton-Thomas. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26]
After returning to the U.S., the group released "
Blood, Sweat & Tears 3"; which was another popular success, spawning hit singles with a cover of Carole King's "Hi-De-Ho" and another Clayton-Thomas composition, "Lucretia MacEvil". While this was a successful attempt to re-create the amalgam of styles found on the previous album, the band once again depended almost exclusively on cover material. Album reviews sometimes focused solely upon the band's willingness to work with the U.S. State Department, without bothering to discuss the actual music. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26] Compounding the image problems of the band was a decision to play at Caesars Palaceon the Las Vegas Strip, widely seen at the time as a mainstream venue for acts that did not engage in radical politics. In 1970, the band provided music for the soundtrack of the film comedy "The Owl and the Pussycat ", further damaging the group's underground reputation.
Following this period of controversy, the group reconvened with jazz writer
Don Heckmanserving as their producer and, with Dave Bargeronreplacing Jerry Hyman, recorded material that would comprise their fourth album, "BS&T 4". For the first time since the first album, Blood, Sweat & Tears presented a repertoire of songs composed almost entirely from within the group. Included on the album is a cover of former member Al Kooper's "Holy John (John The Baptist)". Loaded with hooks and a wide variety of moods (featuring such songs as "Go Down Gamblin'", "Lisa Listen To Me", "High on a Mountain", "Redemption"), "Blood, Sweat & Tears 4" broke into the album charts, resulting in a gold record for the group. Unfortunately, none of the singles from the album managed to land in the Top 30 on any of the singles charts, and the period after the release of the fourth album began the group's commercial decline. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26]
The Jerry Fisher era
Difficulties arose inside the group between its pop-rock and jazz factions, with Clayton-Thomas refusing to pick sides and eventually choosing to leave to pursue a solo career in early January 1972. He was briefly replaced by
Bobby Doyle, and then Jerry Fisherwho went on to front the next generation of Blood, Sweat & Tears. Fred Lipsiusleft and was replaced by jazz legend Joe Henderson(who did not stay long enough to record), before Lou Marinisettled into the new lineup. Another founding member, Dick Halligan, also departed, replaced by jazz pianist Larry Willis, and Swedish guitarist Georg Wadeniusjoined as lead guitarist around the same time. Amidst the personnel changes, a "Greatest Hits" album was released, which hit the top 20 and eventually went gold. This record would be the band's final gold album. [cite web | url = http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml| title = Blood, Sweat & Tears biography| publisher = VH1| date = 2007| accessdate = 2007-12-26]
During this period of time, a proliferation of bands employing the jazz-rock stylings of the group began to compete in the popular music marketplace. Among these groups were Chase, Ides of March and Lighthouse, offering testimony to the legacy of Blood, Sweat & Tears.
The new edition of Blood, Sweat & Tears released "New Blood", which found the group moving into a more overtly jazz-fusion repertoire. The album broke through the top-40 charts (the last BS&T LP to do so) and spawned a single ("So Long Dixie", chart peak: 44) that received some airplay. Also included on the record was a cover version of Herbie Hancock's "Maiden Voyage," featuring the voice/guitar soloing of Georg Wadenius.
In mid-1973, Katz, who was growing increasingly uncomfortable with the group's leaning towards jazz fusion, decided to leave. Winfield departed as well and was replaced by
Tom Malone.Blood, Sweat & Tears' next album, "No Sweat" (1973), continued in a jazz-fusion vein and featured intricate horn work. The 1974 release "Mirror Image" saw the addition of vocalist/saxophonist Jerry LaCroix(formerly of Edgar Winter's White Trash), sax player Bill Tillman, bassist Ron McClureand the exodus of Tom Malone and longtime members Lew Soloffand Jim Fielder. This recording features the adoption of a sound pitched between Philly Soul and the mid-1970s albums by Herbie Hancock's Headhunters, along with aspirations to Chick Corea's jazz-fusion group Return to Forever.
Personnel changes continued (see roster below), capped by the return of David Clayton-Thomas at the close of 1974 and the release of the comeback album "New City" in 1975. This album charted higher than any of their previous albums since "New Blood". This was chiefly the result of an entry in the singles charts with a cover of the
Beatles' " Got To Get You Into My Life". But it still did not sell as well as albums from the group's 1969-71 commercial peak period. They released a final album for Columbia Records, " More Than Ever", before the last original band member, Bobby Colomby, left in 1976. The band then signed a new contract with ABC Records, with Colomby serving as the next album's executive producer and retaining sole ownership of the group's name, despite his no longer appearing on stage with them. Their sole album for ABC, "Brand New Day", did not fare well in the charts and the group undertook a European tour in early 1978 to promote the album that ended abruptly after saxophonist Gregory Herbert died of a drug overdose in Amsterdam on January 31st, 1978. Rocked by this shocking turn of events, the group returned home and temporarily ceased activity.
David Clayton-Thomasdecided to continue Blood, Sweat & Tears with an entirely new lineup that consisted of Canadian musicians. The group signed to Avenue Recordssubsidiary label LAX ( MCA Records), and with producer and arranger Jerry Goldstein, recorded the album " Nuclear Blues". The album was yet another attempt to reinvent the group, showcasing the band in a funksound environment that recalled such acts as Tower of Powerand LAX labelmates War(whom BS&T did several shows with in 1980). The album, unfortunately, was regarded by many Blood, Sweat & Tears fans as uncharacteristic of the group's best work. Following more touring, including Australia, this incarnation of the group disbanded in 1981.
Since he did not own the rights to the Blood Sweat & Tears name, Clayton-Thomas attempted to restart his solo career in 1983 after taking some time off. This caused complications during his initial months on the road when promoters would book his group and instead use the Blood, Sweat & Tears name on the marquee. Consequently, his manager at the time, Larry Dorr, negotiated a licensing deal with
Bobby Colombyin 1984 for rights to tour using the band's name. [cite web | url = http://www.replay-records.net/biography/blood-sweat-tears.htm| title = Blood, Sweat & Tears Discography & Biography| publisher = Replay Records| date = 2007| accessdate = 2007-12-26] For 20 years afterwards, Clayton-Thomas toured the concert circuit with a constantly changing roster of players as "Blood, Sweat & Tears" until his final departure in 2004. Clayton-Thomas now does occasional shows using only his name in promotional efforts. At last count, the overall number of BS&T members since the beginning is up around 130 total people -- roster below.
Blood, Sweat & Tears continues its heavy touring schedule throughout the world with its current line-up of members, some of whom have been with the band previously during the past two decades. Under the direction of Larry Dorr and founding member Bobby Colomby, the band has enjoyed something of a resurgence. Blood, Sweat & Tears donates money through its "Elsie Monica Colomby" music scholarship fund to deserving schools and students who need help in prolonging their musical education, such as the victims of
Hurricane Katrina. [cite web | url = http://www.bloodsweatandtears.com/bio.html| title = Blood, Sweat & Tears official homepage| publisher = Blood, Sweat & Tears | date = 2007| accessdate = 2007-12-26] The year 2007 witnessed the band's first world tour in a decade. Since late 2005, the band often does shows backing up former Three Dog Night singer Chuck Negron, where the group will play its own set and then another set that includes Chuck's Three Dog Nighthits. [cite web | url = http://www.bloodsweatandtears.com/bio.html| title = Blood, Sweat & Tears official homepage| publisher = Blood, Sweat & Tears | date = 2007| accessdate = 2007-12-26] 2008 brings with it the anticipated return of founding member Steve Katz. The year is also the 40th touring anniversary, and surprise alumni are expected to be joining the band throughout the year. [cite web | url = http://www.bloodsweatandtears.com/bio.html| title = Blood, Sweat & Tears official homepage| publisher = Blood, Sweat & Tears | date = 2007| accessdate = 2007-12-26]
All of the band's albums, with the exception of "Brand New Day", are currently available on
compact disc. BS&T's first four albums were reissued by Sony Recordsin remasterededitions (typically with bonus material), except for its third album, which has been reissued by Mobile Fidelity. The later Columbia albums have been reissued by Wounded Bird Records, and Rhino Recordshas reissued " Nuclear Blues." "Brand New Day" was issued on CD in Russiain 2002, although the disc may not have received authorization from copyright holders.
Roster of member musicians
Al Kooper: keyboards, vocals (1967-1968) Randy Brecker: trumpet, flugelhorn (1967-1968) Jerry Weiss: trumpet, flugelhorn (1967-1968) Fred Lipsius: alto sax, piano (1967-1972) Dick Halligan: keyboards, trombone, horns, flute (1967-1972) Steve Katz: guitar, harmonica, lute, mandolin, vocals (1967-1973, 2008-) Jim Fielder: bass, guitar (1967-1974) Bobby Colomby: drums (1967-1977) David Clayton-Thomas: vocals, guitar (1968-1972, 1974-1981, 1984-2004) Lew Soloff: trumpet, flugelhorn (1968-1974) Chuck Winfield: trumpet, flugelhorn (1968-1973) Jerry Hyman: trombones, recorder (1968-1970) Dave Bargeron: trombone, tuba, horns, bass (1970-1978) Bobby Doyle: vocals, piano (1972) Joe Henderson: tenor sax (1972)
Lou Marini Jr. : tenor & soprano sax, flute (1972-1974)
Larry Willis: keyboards (1972-1978) Georg Wadenius: guitar, vocals (1972-1975) Jerry Fisher: vocals (1972-1974) Tom Malone: trombone, trumpet, flugelhorn, alto sax, bass (1973-1974) Jerry LaCroix: vocals, alto sax, flute, harmonica (1974) Ron McClure: bass (1974-1975, 1976) Tony Klatka: trumpet, horns (1974-1978) Bill Tillman: alto sax, flute, clarinet (1974-1977) Luther Kent: vocals (1974) Joe Giorgianni: trumpet, flugelhorn (1974-1975) Jaco Pastorius: bass (1975-1976) Steve Khan: guitar (1975) Mike Stern: guitar (1975-1977) Keith Jones: bass (1976) Danny Trifan: bass (1976-1977) Forrest Buchtell: trumpet (1975-1977) Don Alias: percussion (1975-1976) Roy McCurdy: drums (1976-1977) Jeff Richman: guitar (1976 fill in for Stern) Randy Bernsen: guitar (1977) Barry Finnerty: guitar (1977-1978) Neil Stubenhaus: bass (1977-1978) Gregory Herbert: saxophone (1977-1978)
Michael Lawrence ; trumpet (1977)
Chris Albert: trumpet (1977-1978) Bobby Economou: drums (1977-1978, 1979-1981, 1994-1995) Kenny Marco: guitar (1979) David Piltch: bass (1979-1980) Joe Sealy: keyboards (1979) Bruce Cassidy: trumpet, flugelhorn (1979-1980) Earl Seymour: sax, flute (1979-1981) Steve Kennedy: sax, flute (1979) Sally Chappis: drums (1979) Harvey Kogan: sax, flute (1979) Jack Scarangella: drums (1979) Vernon Dorge: sax, flute (1979-1981) Robert Piltch: guitar (1979-1980) Richard Martinez: keyboards (1979-1980) Wayne Pedziwiatr: bass (1980-1981) Peter Harris: guitar (1980-1981) Lou Pomanti: keyboards (1980-1981) Mic Gillette: trumpet (1980-1981) James Kidwell: guitar (1984-1985) Jeff Andrews: bass (1984-1985) Taras Kovayl: keyboards (1984-1985) Tim Ouimette: trumpet, horns (1984-1985) Mario Cruz: sax, flute (1984-1985) Ricky Sebastian: drums (1984-1985) Steve Guttman: trumpet (1985-2004) Dave Gellis: guitar (1985-1990, 1996, 1998 fill in, 2005- ) Ray Peterson: bass (1985-1986) Scott Kreitzer: sax, flute (1985-1986) Teddy Mulet: trombone (1985-1986), trumpet (2005- ) Barry Danielian: trumpet (1985-1986) Richard Sussman: keyboards (1985-1987) Randy Andos: trombone (1986) Tom Timko: sax, flute (1986-1987, 1995, 1998-2001, 2005- ) Tom DeFaria: drums (1985-1986) John Conte: bass (1986-1987) Steve Conte: guitar (1986 fill in) Jeff Gellis: bass (1987-1990) Dave Panichi: trombone (1987-1988, 1997-1998) Glenn McClelland: keyboards (1987-1993, 1998, 2005- ) David Riekenberg: sax, flute (1987- 1990, 1995-1998) Jerry Sokolov: trumpet (1987-1994) Graham Hawthorne: drums (1987-1988, 1989-1991) Van Romaine: drums (1988-1989) Neil Capolongo: drums (1991-1993) Peter Abbott: drums (fill in early 90s) Charley Gordon: trombone (1987-1994, 2001) Wayne Schuster: sax, flute (1990-1991) Larry DeBari: guitar, vocals (1990-1997) Gary Foote: bass (1990-1994, 1996-2004, 2005- ) Chuck Fisher: sax, flute (1991) Jack Bashcow: sax, flute (1992) Tim Ries: sax, flute (1992-1993, 1993-1995) Charlie Cole: sax, flute (1993) Matt Kingkeyboards (1994-1998) Mike Mancini: keyboards (fill in 80s/90s) Franck Amsallemkeyboards (fill in mid 90s) Henry Hey: keyboards (fill in mid 90s) Ted Kooshiankeyboards (fill in mid 90s) Cliff Kormankeyboards (fill in mid 90s) Mike DuClosbass : (1994-1996) Jonathan Peretz: drums (1995-1997) Craig Johnson: trumpet ((1994-1998) Matt Milmerstadtdrums : (1995 , 1998) Tom Guarna: guitar (1997-1998) Jon Owens: trumpet (1998-2000) Chuck Pillow: sax, flute (fill in 1998) Brian Delaney: drums (1998, 2001) Dave Stahl: trumpet (fill in 1995-1998) Dave Pietro: sax, flute (fill in 1998) Dale Kirkland: trombone (1995-1996, 1998, 1999-2001, 2002-2006) Pat Hallaran: trombone (1998-1999) James Fox: guitar (1998-2000) Dan Zank: keyboards (1998-2000) Zach Danziger: drums (1998-2001) Joe Mosello: trumpet (2000-2002) Phil Magallanes: keyboards (2000-2001)
Andrea Valentini : drums (2001- )
Darcy Hepner: sax, flute (1999 fill in, 2001-2004) John Samorian: keyboards (2001-2003) Nick Marchione: trumpet (2002-2004) Eric Cortright: keyboards (2003-2004) Leo Huppert: bass (2004) Steve Jankowski: trumpet (2005- ) Rob Paparozzi: vocals, harmonica (2005- ) Scottie Wallace: vocals (alternating with Rob P. 2005-2006) Thomas Conner: vocals (fill in 2006) Jens Wendelboe: trombone (2006- ) Chris Tedesco: trumpet (fill in for Mulet 2006-2007) (Roster provided by Jim Mullen)
Steve Katz: Vocals Rob Paparozzi: vocals Dave Gellis: guitar Glenn McClelland: keyboards Gary Foote: bass Andrea Valentini: drums Teddy Mulet: trumpet Steve Jankowski: trumpet Jens Wendelboe: trombone
Child Is Father to the Man" (1968) Producer: John Simon
* "Blood, Sweat & Tears" (1969) Producer:
James William Guercio, 1970 Grammy Award for Album of the Year.
Blood, Sweat & Tears 3" (1970) Producer: Bobby Colomby and Roy Halee
* "The Owl and the Pussy Cat" (Soundtrack) (1970) Producer: Thomas Z. Shepard
Blood, Sweat & Tears 4" (1971) Producers: Don Heckman, Roy Halee and Bobby Colomby
* "New Blood" (1972) Producer: Bobby Colomby
* "No Sweat" (1973) Producer: Steve Tyrell
* "Mirror Image" (1974) Producer: Henry Cosby
* "New City" (1975) Producer: Jimmy Ienner
* "More Than Ever" (1976) Producer: Bob James
* "Brand New Day" (1977) Producers: Bobby Colomby and Roy Halee
* "Nuclear Blues" (1980) Producer: Jerry Goldstein
* "Latin Fire" (1985) [recorded 1980/81]
* "Live And Improvised" (1991) [recorded 1975] Producer: Bobby Colomby. Associate producer: Jimmy Ienner
* "Live" (1994) [recorded live at The Street Scene, Los Angeles, on October 12, 1980.)
* "Greatest Hits" (1972)
* "Super Hits" (1998)
* "What Goes Up! The Best of Blood, Sweat & Tears" (1995) Compilation producer: Bob Irwin
* "I Can't Quit Her" (1968)
* "I Love You More Than You'll Ever Know" (1968)
You've Made Me So Very Happy" (1969)
* "Spinning Wheel" (1969) (Grammy Award-winning)
* "And When I Die" (1969)
* "Hi-De-Ho" (1970)
* "Lucretia MacEvil" (1970)
* "Lisa, Listen to Me" (1971)
* "Go Down Gamblin'" (1971)
* "So Long Dixie" (1972)
* [http://www.bloodsweatandtears.com/index.html Blood Sweat & Tears Official Site]
* [http://www.vh1.com/artists/az/blood_sweat_and_tears/bio.jhtml VH1 Band History]
* [http://www.rdrop.com/users/rickert/bst.html BS&T tribute site]
* [http://www.classicwebs.com/bs&t.htm BS&T lineup] 1967–2000
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