blood sweat and 3 years album zip download Blood sweat and 3 years album zip download. Artist: Cash Cash Album: Blood, Sweat and 3 Years Released: 2016 Style: Powerpop. Format: MP3 320Kbps. Tracklist: 01 – How To Love 02 – Broken Drum 03 – Millionaire 04 – Hero 05 – Devil 06 – Aftershock 07 – The Gun 08 – Turn 09 – Escarole 10 – Lightning 11 – Arrows In The Dark 12 – We Will Live 13 – Bada Boom 14 – Take Me Home 15 – Sweat 16 – Surrender. DOWNLOAD LINKS: RAPIDGATOR: DOWNLOAD HITFILE: DOWNLOAD. Blood, Sweat & Tears 3. 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. BLOOD, SWEAT & TEARS. BLOOD SWEAT & TEARS Blood, Sweat & Tears ratings distribution. BLOOD SWEAT & TEARS Blood, Sweat & Tears reviews. Collaborators/Experts Reviews. History has not been as kind as it might, and arguably should, have been to Blood Sweat and Tears. In their day, they made some of the most exciting progressively influenced jazz rock ever. Their greatest asset was the wonderful voice of David Clayton- Thomas, but there was far more to the band than simply a voice and a brass section. Confusingly, this self titled release was actually the band's second album. By this time, Al Kooper had already left the band (he was invited to leave), his keyboards duties being assumed by the multi-talented Dick Halligan. Clayton-Thomas, who was not present on the first album, makes his debut here. The album opens with a brief interpretation entitled "Variations on a theme by Eric Satie", taken from his "Trois Gymnopedies". This offers a misleadingly classical hint before the brass kicks in to introduce an upbeat cover of Traffic's "Smiling phases". Here, Clayton-Thomas makes an immediate impression, his gruff tones carrying the song to an altogether higher level. Steve Katz gets a rare shot at centre stage providing lead vocal on the lilting "Sometimes in winter". His voice is pleasant but far less distinctive, giving the song a mellow, west coast feel. Clayton-Thomas soon returns though with a couple of magnificently powerful pieces "More and more" and Laura Nyro's "And when I die". The former features some fine guitar work by Katz, while the latter has a noticably more intricate structure. Side one closes with a joyful interpretation of Billie Holiday's "God bless the child". Just when the track appears to have ended, a wonderful impromptu jam bursts forward. "Blood Sweat and Tears" enjoyed significant chart success, due almost entirely to the inclusion of what are arguably the band's best known songs. "Spinning wheel" and "You made me so very happy" may have been huge hit singles, but that in no way diminishes the quality of the product. Indeed, there is a surprising jazz core and degenerated ending to "Spinning wheel" which belies its status as a single at all. If Vanilla Fudge showed how a simple pop song could be transformed into a heavy anthem, BS&T similarly showed how a brass/jazz interpretation could be used equally effectively. "You've made me so very happy" may have started out as a soul standard, but here it becomes one of the late 60's most enduring works. Interestingly, the arrangement here was reportedly by the departed Al Kooper. The 11+ minute "Blues-Part2" may at first appear to be the prog core of the album, but it is in reality a relatively weak piece of indulgence or perhaps padding. The mini-suite opens with some stimulating organ work, which is linked through some phasing and a brief brass burst to an unnecessary bass and drum interlude, which in turn leads into a jazzy sax solo. Bizarrely, the bass then picks out the main theme to Cream's "Sunshine of your love", which the rest of the band then pick up on in fanfare fashion before Clayton-Thomas brings things to a more orthodox conclusion with a bluesy vocal. The album closes with a reprisal of Satie's "Trois Gymnopedies". In retrospect, if "Blues part 2" was indeed intended as filler on the album, it was unnecessary, the album running for a reasonable length even without it. The track does have its merits, which become more apparent after a number of listens. It is however at odds with the instant accessibility of the rest of the album. "Blood sweat and tears" is unjustly forgotten in the history of rock. It laid the foundations for many of the jazz prog bands who followed, and indeed in a wider context in contributed significantly to the general progression in music in the early 1970's. If you are looking for a place to start with Blood Sweat and Tears, this is undoubtedly their finest work. With a drawn front artwork and a cheap psych rear-sleeve artwork, BS&T is book-ended by the group's rendition of Satie's theme of Three Gymnopedias and even if impressive in its overture, it doesn't help making this album as a unit much. Among the covers are Traffic's Smiling Phases, a correct rendition, but I prefer the original, even with the daring mid-section brass work, or Nyro's disastrous but #2 hit And When I Die (she was thought of the lead singer and even rehearsed with the group) and an interesting version of More And More, one of the album's highlights. Amongst the other hits with the public and airwaves were the ambitious but over-cheesy version of Billie Holiday's God Bless The Child, the ambitious but overtly-cheesy Motown classic Made Me So Very Happy (I would've loved Vanilla Fudge deconstructing/destroying this one) and of course their own Spinning Wheel. Among the originals is the correct but unremarkable Katz-penned Sometimes In Winter, the absolutely ugly and overblown, but hugely successful Spinning Wheel (this track always rubbed me the wrong way, despite Colomby's excellent drumming) and Blues - Part II, which is mostly a space for the musicians to blow up steam and despite the drum solo, it's my fave track onto this album. If you thought a good part of BS&T's debut lacked cohesiveness, wait until you get to their second album, despite the book-ending, it's absolutely only a collection of unconnected songs, making the album's listen arduous and nevertheless sometimes challenging. Still a worthy album, despite it being a monstrous seller. I�m not a big fan of jazz rock or brass driven bands like this, but you have to be deaf not to see their talent and skill. Most important,. they play SONGS and play it greatly. Well, with one exception, the group�s 11 minute jam Blues-Part II. Typical of the period, but still interesting anyway. I loved their versatily of tackiling so many different styles and doing that so well. the cover of Traffic Smiling Phases is absolutely awesome! The slow ballad Sometimes In Winter is another good surprise. Amazingly is very well sung, even though is the only track that is nor perfomed by the great David Thomas Clayton. Guitarrist David Kats does a fine job here (granted: the tune is not too demanding, but his voice here is warm and convincing). More And More is also a highlight. The only flaw I saw here was an overlong and not very good version of Billie Holliday�s classic God Bless The Child, but that�s just my personal taste. After just a few spins I was completely taken by this CD. The combination of the band�s instrumental prowness. creative arrangements and Clayton�s terrific, soulful delivering was a rare breed indeed. I don�t know if the following albums were that good (probably not), but this one is a masterpiece in its genre, whatever it is. As a prog site goes I wouldn�t go as far as giving it five stars. Still, an essential addition to any prog rock music collection for its boldness. greatness and groundbreaking status. Whereas Chicago were a rock band with heavy jazz influences interspersed with R&B, classical and psych, and all of those styles meshed together well in highly original tunes, BST has mostly covers and adaptations here that are more jazz-pop with slightly haphazard minglings with classical, blues, rock, and even can show off some Broadway flair. Some of the tunes have quite desirable melodies that good pop has in the form of ''And When I Die'', ''You Make Me So Very Happy'' and ''More and More''. The hitch is that David Clayton-Thomas is singing, and unlike Kath's warm rasp, Clayton-Thomas sings like he's trying too hard to hit high notes he simply cannot hit. The horn section picks up that flaw. The self-titled album is too hit and miss all over the place. Whatever magic befell on the better poppier tracks never happened on ''Spinning Wheel'' and ''Sometimes in Winter''.