input: Clayton-Thomas left in early January 1972 to pursue a solo career. He was briefly replaced by Bobby Doyle and then Jerry Fisher, who went on to front the next incarnation of Blood, Sweat & Tears. Fred Lipsius left as well and was briefly replaced by Joe Henderson, before Lou Marini settled into the new lineup. Another founding member, Dick Halligan, also departed, replaced by jazz pianist Larry Willis (from the Cannonball Adderley Quintet), and Swedish guitarist Georg Wadenius, from the popular Swedish outfit Made in Sweden, joined as lead guitarist around the same time.  The new edition of Blood, Sweat & Tears released New Blood in September 1972, which found the group moving into a more overtly jazz-fusion repertoire. The album broke through the Top 40 chart (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 left to pursue a career as a producer (for Lou Reed and others). Winfield departed as well and was replaced by Tom Malone.  Blood, Sweat & Tears' next album, No Sweat (June 1973), continued in a jazz-fusion vein and featured intricate horn work. Tom Malone's stay in the band was brief and he left to make way for jazz trumpeter John Madrid. But Madrid's tenure was likewise short-lived and he never recorded with the band. Both Madrid and Soloff left in early 1974, making way for new horn player/arranger Tony Klatka on their next release, Mirror Image (July 1974), which also saw the addition of vocalist/saxophonist Jerry LaCroix (formerly of Edgar Winter's White Trash), sax player Bill Tillman, bassist Ron McClure and the exodus of original bass player 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.  Jerry LaCroix left BS&T to join Rare Earth after playing his final show with them at Wollman Rink in New York's Central Park on July 27, 1974. Luther Kent, a blues singer from New Orleans, was recruited to replace LaCroix.

Answer this question "What is the Jerry Fisher era?"
output: He was briefly replaced by Bobby Doyle and then Jerry Fisher, who went on to front the next incarnation of Blood, Sweat & Tears.

input: "Cascade", released as a single in 1993, introduced the commercial music world to the new FSOL sound. Despite its length, clocking in at nearly forty minutes and stretched over six parts, the track made the UK top 30, and previewed what was to come. In 1994, they released Lifeforms to critical acclaim. The album featured unconventional use of percussion interspersed with ambient segments. The eponymous single from the album featured Elizabeth Fraser of the Cocteau Twins on vocals. The album itself featured epic, ambient soundscapes, with tracks flowing from one to the next with no pauses in between. Throughout the record, familiar motifs and samples repeated themselves, sitting alongside tropical birdsong, rainfall, wind and an array of other exotic sounds, lending the album a natural, organic feel, backed up by the environmental landscapes that filled the artwork booklet. Brian Dougan's father was involved with the BBC Radiophonic Workshop which was a heavy influence in the almost musique concrete feel to Lifeforms. The album was also a top 10 hit on the UK album chart. Cobain has said that around this time that journalists would come to talk to them and one of the first things they would ask would be if they liked Brian Eno (whom they cite as an influence), to which they would laugh and say that they were about looking forward, not to the past. It was, to them, very much a new work rather than just another Eno-type ambient album.  We wanted to release a very immersive, mind-blowing piece of music that was long and would deeply drench you in it...Lifeforms was redefining 'classical ambient electronic experimental' - that was the phrase we used.  That year, they released the limited edition album ISDN, which featured live broadcasts they had made over ISDN lines to various radio stations worldwide to promote Lifeforms, including The Kitchen, an avant-garde performance space in New York and several appearances on the late John Peel's celebrated BBC radio Sessions shows. These shows marked the evolution of the Kiss FM shows of 1992 and 1993, moving away from DJ sets and into ambient soundscapes, with previously released material performed alongside unheard tracks. One live performance to BBC Radio 1 featured Robert Fripp performing alongside the band. The released album's tone was darker and more rhythmic than Lifeforms. Cobain stated that with ISDN they had wanted to achieve something epic and grand but no matter how much technological or personal support they had (and they had everything they could have possibly wanted) they never got to truly do what they envisioned; he admits to wanting too much at this time, even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to, because the technology at the time didn't fit the band's ideas. The following year, the album was re-released with expanded artwork and a slightly altered track list as an unlimited pressing.

Answer this question "How many records did it sell?"
output:
even though the album was successful; the 90s, for Cobain in particular, were a time of frustration and feelings of not being able to do what they wanted to,