Blood Sweat & Tears You’ve Made Me So Very Happy

David Clayton-Thomas leads Blood, Sweat & Tears on Solid Gold Musical Salute to the 1960s in Hollywood, CA. David Clayton-Thomas has one of the richest male voices in pop music. Blood, Sweat and Tears performed You’ve Made Me So Very Happy live and lip-synced to the studio recording (album version enhanced with digitally remastered CD-quality audio). You’ve Made Me So Very Happy was the final song performed on Blood, Sweat & Tears’ one-hour set at the Woodstock Festival, Monday, August 18, 1969. The jazz-rock group’s 1969 self-titled second album sold ten million copies worldwide. The record topped the Billboard album chart for seven weeks, and charted for 109 weeks. Blood, Sweat & Tears won five Grammy Awards, including Album of the Year and Best Performance by a Male Vocalist. Instrumentation on Blood, Sweat & Tears album: Fred Lipsius – alto saxophone, piano Lew Soloff – trumpet, flugelhorn Chuck Winfield – trumpet, flugelhorn Jerry Hyman – trombone, recorder Dick Halligan – organ, piano, flute, trombone Steve Katz – guitar, harmonica Jim Fielder – bass Bobby Colomby – drums, percussion Watch Cal Vid Playlist of lead vocalist Bo Bice featured Blood, Sweat & Tears “No Primadonnas No Passengers Tour“ at the Saban Theater, Beverly Hills, CA March 22, 2014 David Clayton-Thomas left BS&T as frontman in 2004, but Bo Bice, who was the runner-up to Carrie Underwood in the fourth season of “American Idol,” carries on the big, brassy jazz-rock band’s singing chores. By some accounts, Bice has proven to be a vocal dynamo, too, a capable replacement for his predecessor’s unmistakable sound. AllMusic album review by William Ruhlmann: The difference between Blood, Sweat & Tears and the group’s preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was “merely“ a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit “You’ve Made Me So Very Happy.“ But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- “Happy,“ “Spinning Wheel,“ and “And When I Die“ -- but the whole album, including an arrangement of “God Bless the Child“ and the radical rewrite of Traffic’s “Smiling Phases,“ was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album.