Spinning Wheel

The song "Spinning Wheel" by Blood, Sweat & Tears carries a fascinating backstory, as shared by lead vocalist David Clayton-Thomas in various interviews. Written two years before joining the band, Clayton-Thomas recorded an early version for Arc Records in Toronto, but the label rejected it, deeming its jazz influences unmarketable. He carried the demo in his guitar case until he joined Blood, Sweat & Tears, where the band’s jazz musicians embraced it, adding iconic horn arrangements. Clayton-Thomas revealed the song’s lyrics were inspired by Joni Mitchell’s "The Circle Game," particularly the line about “painted ponies,” reflecting his admiration for Mitchell, with whom he shared a Toronto neighborhood. The song’s message, warning against getting caught up in fleeting movements, resonated in 1969’s turbulent times and remains relevant, as Clayton-Thomas noted, citing cultural shifts from the anti-war movement to modern political surprises.

Another intriguing tidbit involves the song’s album version, which ends with the Austrian tune "O Du Lieber Augustin" and drummer Bobby Colomby’s quip, “That wasn’t too good,” followed by laughter. Producer James William Guercio explained this was a last-minute addition after an engineer accidentally recorded over the master tape’s end. The single version, however, trimmed this and Lew Soloff’s trumpet solo, overdubbing a guitar part for a tighter pop sound. "Spinning Wheel" soared to number 2 on the Billboard Hot 100 in 1969, topped the Adult Contemporary chart, and earned a Grammy for Best Instrumental Arrangement in 1970, arranged by saxophonist Fred Lipsius. Its cultural impact endures, with covers by artists like Sammy Davis Jr., Shirley Bassey, and Nancy Wilson, and its use in media from "Wheel of Fortune" pilots to German TV shows.

Blood, Sweat & Tears began in 1967 in New York City, founded by Al Kooper, a versatile musician known for his work with the Blues Project and co-writing “This Diamond Ring.” Kooper envisioned a band blending rock, soul, and jazz with a robust horn section, inspired by a jam session with B.B. King and Jimi Hendrix where he cut his hand, bleeding on his keyboard—hence the name Blood, Sweat & Tears. The original lineup included Steve Katz, Bobby Colomby, Jim Fielder, and horn players Fred Lipsius, Randy Brecker, Jerry Weiss, and Dick Halligan. Their debut album, Child Is Father to the Man, gained critical acclaim but modest sales. Artistic differences led to Kooper’s departure, and Colomby and Katz recruited David Clayton-Thomas, a Canadian singer with a powerful voice honed in Toronto’s music scene.

Clayton-Thomas got his start as a teenage musician on Toronto’s Yonge Street strip, playing in bars and sitting in with Rompin’ Ronnie Hawkins’ band, The Hawks (later The Band). Influenced by jazz and blues icons like Ray Charles and B.B. King, he fronted The Bossmen, scoring a Canadian hit with the anti-war song “Brainwashed” in 1966. Moving to New York, he immersed himself in Greenwich Village’s vibrant scene, where Colomby discovered him at The Scene club. With Clayton-Thomas, Blood, Sweat & Tears released their self-titled second album in 1968, which topped charts for seven weeks, went quadruple platinum, and won a Grammy for Album of the Year. The band became a defining act of the late ’60s, performing at Woodstock and embarking on a U.S. State Department tour.

Stay connected with Blood, Sweat & Tears through their Facebook, Instagram, and X accounts for updates on tours and music. Fans can also join the Blood, Sweat & Tears Fan Club on Facebook to share memories and discuss the band’s legacy. Visit their official website for tour dates, merchandise, and more about their enduring jazz-rock sound.