Like a persistent earworm, some songs lodge themselves in the cultural consciousness, for better or worse. While musical taste is subjective, critical analysis can reveal why certain tracks resonate, or in some cases, grate. Let’s delve into Blood Sweat & Tears’ “Spinning Wheel,” a song that spun its way to the top charts in 1969, but whose legacy remains a point of contention for some music aficionados.
Blood Sweat & Tears emerged in an era where musical boundaries were blurring. The late 1960s witnessed a fusion frenzy, with rock artists incorporating elements from jazz, blues, and even classical music. Formed by Al Kooper, and boasting a roster of talented musicians, Blood Sweat & Tears aimed to inject rock with jazz sensibilities. However, as their hit “Spinning Wheel” demonstrates, the execution of this ambition is open to debate. To some ears, the result is a ponderous and somewhat overwrought attempt at musical complexity, lacking the organic energy of true innovation. Imagine a bodybuilder, celebrated for raw power, attempting delicate ballet – the effect, while technically proficient, might miss the mark in terms of grace and impact.
Blood Sweat & Tears performing Spinning Wheel, a jazz-rock song from 1969
“Spinning Wheel” achieved significant commercial success, peaking at #2 on the Billboard charts and contributing to the album Blood Sweat & Tears winning Album of the Year in 1970, even overshadowing masterpieces like Abbey Road. The album became a fixture in many households, a testament to its widespread appeal at the time. Yet, revisiting “Spinning Wheel” today reveals a curious paradox: a heavy-handed lightness. The song feels meticulously crafted, almost engineered for mass consumption, resulting in a somewhat ephemeral quality despite the evident effort invested in its creation. Much like their contemporary Sting, Blood Sweat & Tears incorporated classical music influences – perhaps a touch of Prokofiev – into their sound. This musical smorgasbord included tracks hinting at the burgeoning prog-rock genre, alongside blues explorations that felt like forced medleys of Cream, Al Kooper, and Willie Dixon, seemingly designed to showcase instrumental prowess rather than genuine musical synergy. Even tracks like “Sometime in Winter,” with its flute solo and gentle instrumentation, evoke a smooth, Andy Williams-esque vibe, a far cry from the raw energy typically associated with rock.
The song “Spinning Wheel” itself, penned by vocalist David Clayton-Thomas, arguably suffers from a vocal performance that seems to emulate Stephen Stills in an almost exaggerated fashion. While praising drummers like Jeff Porcaro for their nuanced contributions is warranted, in “Spinning Wheel,” drummer Bobby Columby’s extended drum sequence, punctuated by mixing board manipulations of Clayton-Thomas’ voice, veers into psychedelic theatrics. This section, while intended to add a touch of “Age of Aquarius” flair, feels somewhat forced and ultimately undercuts any genuine jazz spirit the band might have aimed for. For a fleeting moment, the improvisation hints at jazz, but the overall effect is fleeting and ultimately overwhelmed by the song’s inherent structure.
The initial novelty of “Spinning Wheel” quickly dissipates, revealing a track primarily designed to showcase its elaborate horn arrangements. The horn charts, while technically proficient, become demanding and fussy, suggesting a potential disconnect between the instrumentalists and the vocal melody. It’s as if the horns are merely filling time, waiting for the vocals to conclude. Comparing “Spinning Wheel” to another big hit of the era with a similar “wheel” motif, Creedence Clearwater Revival’s “Proud Mary,” highlights the former’s shortcomings. “Proud Mary,” while not everyone’s favorite CCR track, masterfully blends Motown’s conciseness with Delta blues grit. “Spinning Wheel,” in contrast, risks becoming a “Golden Oldies” irritant, vying for that dubious distinction alongside Blood Sweat & Tears’ cover of “You’ve Made Me So Very Happy.” Ultimately, while “Spinning Wheel” achieved commercial success, its artistic merit remains a subject of ongoing debate, particularly when viewed through a contemporary lens.
