Edgar Winter – Entrance (1970)

FrontCover1Edgar Holland Winter (born December 28, 1946) is an American musician. He is a multi-instrumentalist, playing keyboards, guitar, saxophone, and percussion, as well as singing. His success peaked in the 1970s with his band the Edgar Winter Group and their popular songs “Frankenstein” and “Free Ride”. He is the brother of late blues singer and guitarist Johnny Winter. (wikipedia)

The brother of Texas guitar legend Johnny Winter, Edgar Winter shared his sibling’s love of the blues, but he never let that limit his musical world view. Edgar scored a massive hit single in 1972 with “Frankenstein,” a hard rock instrumental from the Edgar Winter Group’s album They Only Come Out at Night that became his signature, and as a bandleader and keyboard and sax player, he showed he was just as adept at jazz, funk, R&B, and progressive rock accents on LPs like Entrance (1970) and Edgar Winter’s White Trash (1971).

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Edgar’s strongest blues recordings were his collaborations with brother Johnny on Together – Live (1976) and Winter Blues (1999, with Johnny guesting along with Dr. John and Leon Russell), while he indulged his taste for smooth jazz with the science fiction-themed Mission Earth (1986) and the more conventional Jazzin’ the Blues (2004). Edgar’s time as a major rock star was relatively short, but his estimable instrumental skills made him a valued sideman (he spent several years as part of Ringo Starr’s All-Starr Band) and he always had a loyal fan following, with projects like the R&B-influenced rock of Rebel Road (2008), his collaboration with Toto guitarist Steve Lukather, The Odd Couple Live (2011), and his tribute to his late sibling, Brother Johnny (2022). (by Mark Deming)

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Entrance is the first studio album by Edgar Winter, brother of guitarist Johnny Winter who featured on one track, “Tobacco Road”.

Edgar Winter came out of the chute kicking with this remarkable record filled with jazz, blues, and a little old-fashioned rock & roll. The record follows an established theme throughout its first side, stringing the songs together without breaks, highlighted by dreamy keyboard and sax work, plus Winter’s smooth vocalizations. But jazz isn’t the only thing Winter brings to the party. His first recorded version of the old J.D. Loudermilk tune “Tobacco Road” throws a few nice punches (although the live version with White Trash a few years later would prove the definitive one). “Jimmy’s Gospel” plays on his early church influences, while “Jump Right Out” is the predecessor of half-a-dozen “jump up and dance” numbers Winter would pepper his records with in the years to come. (by Michael B. Smith)


Edgar Winter’s triumphant 1970 debut as a solo artist is an amazing mix of jazz, progressive rock and blues.

At times reminiscent of some of Todd Rundgren’s 1970s work, the initial seven tracks make up a medley of songs collectively known as “Edgar’s Dream”. It includes six tracks co-written with his older brother, the late blues guitarist Johnny Winter, and one solo composition. It is at once fusion, traditional jazz, blues and rock; with Edgar’s high tenor blistering throughout. It is buoyed by Edgar’s wonderful keyboard work, with one piece featuring a fine alto sax solo, brother Johnny on harmonica and great horn accompaniment.

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As an entrance, it is at once majestic, advanced and stunning.

What was original side two of the album starts with a great rendition of the blues classic, “Tobacco Road”, but played with a sensibility of both blues (Johnny plays lead guitar) and jazz, complete with wild vocalizations and one hell of an extended scream.


This progresses onto some wicked jazz/rock/blues/soul renditions of more original (most with his brother) compositions, played about as tightly as one could hope with that incredible groove that only the jazz-funk of the time seemed to be able to deliver. Pay special attention to the excellent sax work on “Jump Right Out” and “A Different Game“. (by Michael Mahan)


Randal Dollahon (guitar)
Jimmy Gillen (drums)
Gene Kurtz (bass)
Edgar Winter (vocals, keyboads, saxophone, celeste)
horn section:
Ray Alonge – Earl Chapin – Brooks Tillotson

string section:
Paul Gershman – Emanuel Green – Gene Cahn – Ralph Oxman – Russ Savakus
on 08.
Tommy Shannon (bass)
“Uncle” John Turner (drums)
Johnny Winter (guitar, harmonica, vocals)

Alternate edition (re-issue):
Altrnate Edition

01. Entrance (E.Winter/J.Winter) 3.30
02. Where Have You Gone (E.Winter/J.Winter) 2.40
03. “Rise to Fall (E.Winter/J.Winter) 4:04
04. Fire And Ice (E.Winter/J.Winter) 6:52
05. Hung Up (E.Winter/J.Winter) 3.01
06. Back In The Blues (E.Winter) 2.18
07. Re-Entrance (E.Winter/J.Winter) 2.31
08. Tobacco Road (Loudermilk) 4.11
09. Jump Right Out (E.Winter/J.Winter) 4.22
10. Peace Pipe (E.Winter) 4.43
11. A Different Game (E.Winter/J.Winter) 5.05
12. Jimmy’s Gospel (E.Winter) 4.42
13. Now Is The Time (Single B-side) (E.Winter/J.Winter) 3.46



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Various Artists – A Classic Rock Salute To The Doors – Light My Fire (2014)

FrontCover1.jpgSouthern California-based Purple Pyramid Records and producer, instrumentalist Billy Sherwood raised the bar with this tribute to The Doors by convening a star-studded cast, featuring classic rockers performing with progressive rock luminaries. And the jazz contingent is onboard, evidenced by jazz guitar great Larry Coryell appearing with Focus keyboardist Thijs Van Leer on “Love Me Two Times.”

When I first broke the seal on this recording and perused the personnel listing I was delighted yet partly suspicious, fearing this would be an unbalanced project and/or a riffing contest framed on The Doors songbook. Such is not the case. Thus, Todd Rundgren performing alongside Captain Beeheart Magic Band guitarist Zoot Horn Rollo and Yes keyboardist Geoff Downes signify one of many rather unlikely, yet markedly productive and enticing state of affairs. It’s a varied set, where all the vocalists retain their signature chops and modus operandi. Although one unremitting factor is centered on their penchant for extracting the force-field of The Doors’ vocalist Jim Morrison’s commanding delivery.

The production’s stunning sound quality yields additional bonus points and should warm the hearts of audiophiles. Ultimately, each rendition of The Doors’ songbook is imbued with the musicians’ idiosyncratic niceties amid a plethora of shrewdly placed dynamics, layered keys and guitar shadings. They inject distinct characteristics but don’t sacrifice The Doors’ core song-forms. Hence, disparate musical personalities uncannily attain an accord on many fronts by imparting a sense of ownership and camaraderie, whether or not they were recording tracks in the same studio at the same time.


It’s easy to discern that Sherwood and associates maximized the talents and style of each artist’s strengths, juxtaposed by strong soloing spots and the obligatory personal touches that many of us would anticipate. Van Leer helps give “Love Me Two Times ” a modern uplift by instilling some good old Hammond-B3 organ style boogie rock, abetted by Coryell’s Texas blues patterns and hard rock phrasings. Moreover, guitar hero Leslie West (Mountain) does what he does best via his emphatically thick vocals, coupled with sinuous slide guitar leads atop Rod Piazza’s harmonica notes, as they punch it out on this husky finger-snapping spin on “Roadhouse Blues.”

Tony Kaye (Yes) uses a synth emulated electric piano sound during “Riders On The Storm” and Keith Emerson (Emerson, Lake & Palmer) preludes “People Are Strange” with stride piano clusters and synths alongside time-honored session ace, guitarist Jeff “Skunk” Baxter’s deft acoustic guitar work. Yet rockabilly vocalist Robert Gordon croons through “Touch Me” with the resonance and machismo of Morrison, complemented by pumping rhythms and Nik Turner’s (Hawkwind) swirling sax notes and prog rock keyboard great Jordan Rudess’ spiraling notes. Whereas, Rundgren tenders a pop-ish and clement outlook on The Doors’ swaggering and bluesy torch piece “Alabama Song (Whiskey Bar).

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Highlights are thriving components, especially when infamous Yes alumni, guitarist Steve Howe and keyboardist Rick Wakeman delve into an extended call and response motif, spanning rock, jazz and classical nuances in the bridge section of “Light My Fire.” Here, Ian Gillan provides the antithesis of what we’d expect, considering his high-impact vocals with Deep Purple, as he counterbalances the soloists with a care-free and straightforward rendering of the familiar choruses. Indeed, this tribute endeavor covers all the bases and then some. It’s not to be overlooked. Kudos to the production team for bestowing their rather enlightening plan of attack as it’s quite apparent that a lot of thought prefaced the onset of this astonishing alignment of rock’s past and present rock stars. (by Glen Astarita)

First off readers let me say that I do not like cover bands, cover albums, tribute albums and compilation albums. I have always felt they should be considered a separate genre and that they usually do a disservice to the original composers and bands. After listening to “A Classic Rock Salute To The Doors” though I am rethinking those thoughts. It is hard to cover every song here, there are 16 of their greatest hits, so I will try to give an over view of what I think is important. I will leave the final decision up to you as to how good it really is after you listen to it.

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I was fortunate enough to see ‘The Doors’, 3 times, once at Cobo Hall in Detroit. They were a very unassuming band with almost no equipment. They used no special effects, fireworks, light shows or anything other than themselves, a few instruments and only a couple amps and speakers. The stage was pretty empty even by the standards of the 1960’s. What they lacked in equipment they made up by how tight and cohesive they were as a group when they were all in sync with each other and halfway sober. Jim Morrison usually took all eyes off the other 3 members but make no mistake that without them Jim Morrison would probably have become another undiscovered rock star.

Several of the guests on this album most likely knew ‘The Doors’ back in the day and are by all rights are ‘Superstars’ themselves. More than 42 of rock’s greatest classic ‘Superstars’ showed up to play on this album. That’s a lot of “tribute” to any person or group and shows the love and respect they all had for ‘The Doors’ and their music. By my count there are at least 7 tribute albums out there for ‘The Doors’ but from where I sit this is probably the only one that should matter.

The album starts off with one of my favorites, ‘LA Woman’. From their 6th, album released in 1971, ‘LA Woman’. Jami Jamison, Ted Turner and Patrick Moraz do an admirable job of covering this tune. The guitar work, Ted Turner I am assuming, gives an old favorite a different twist.

I could go into much more detail on more songs off this album but since space is limited I will just give some observations here. This is certainly an album to help introduce anyone who has never heard ‘The Doors’ before to their greatness. After listening to it I guarantee they will hunger for the original music just to hear who these 4 guys, who cut out a slice of rock history for themselves, really were.


The guitar work on every song is clean, precise and shredded, something that Robby Kriegers “fingerstyle” guitar playing did not allow him to do. Not that Robby Krieger wasn’t great, he was just not as technical since “fingerstyle“ playing is better suited to Flamenco and Folk Music. It’s probably the most notable difference in all of the tunes here.

Conspicuous by its absence here though is ‘The Unknown Soldier’ which could have easily replaced the version of ‘People Are Strange’ with David Johansen and Billy Sherwood. This is the only song I really felt did not belong among the 16 cuts on this album.

The closing song is my all time favorite and appropriately is, ‘The End’, featuring Pat Travers and Jimmy Greenspoon. Listening to this version gave me goose bumps and almost brought tears to my eyes. The depth is so different but not nearly as dark as the original. I think you’ll find yourself listening to it over and over again! (Mike Langford)

One of the finest tribute albums ever !



Jimi Jamison: vocals (1); Patrick Moraz: keyboards (1); Ted Turner: guitars (1); Scott Connor: drums (1, 2, 3, 4, 5, 6, 8, 10, 11, 13, 16); Billy Sherwood: bass (all tracks), guitar, piano, synths (8), drums, keyboards (12); Lou Gramm: vocals (2); Thijs Van Leer: keyboards (2); Larry Coryell: guitar (2); Leslie West: guitar, vocals (3); Brian Augur: Hammond B-3 organ (3); Rod Piazza: harmonica (3); Mark Stein: vocals, Hammond B-3 organ (4); Mick Box: guitar (4); Joe Lynn Turner: vocals (5); Tony Kaye: Hammond B-3 organ (5); Steve Cropper: guitar (5); Edgar Winter: vocals (6); Chris Spedding: guitar (6); Keith Emerson: acoustic 7 ft. grand piano and original Moog, modular synthesizer (7); Jeff “Skunk” Baxter: acoustic guitar (7); Joel Druckman: acoustic upright bass (7); David Johansen: vocals (8); Robert Gordon: vocals (9); Jordan Rudess: keyboards (9); Steve Morse: guitar (9); Nik Turner: saxophone (9); Adam Hamilton: drums (9); Graham Bonnet: vocals (10); Christopher North: Hammond organ & Leslie (10); Steve Hillage: guitar (10); Ken Hensley: vocals, Hammond B-3 organ (11); Roye Albrighton: guitar (11); Eric Martin: vocals (12); Elliot Easton: lead and Spanish guitars (12); Todd Rundgren: vocals (13); Geoff Downes: keyboards (13); Zoot Horn Rollo: guitars (13); Mark Farner: vocals, guitar (14); Chick Churchill: keyboards (14); Glenn Grossman: drums (14); Ian Gillian: vocal (15); Rick Wakeman: keyboards (15); Steve Howe: guitar (15); Ricky Joyce: drums (15); Pat Travers: vocals, guitar (16); Jimmy Greenspan: keyboards (16).

For details see booklet


01. Jimi Jamison, Ted Turner, Patrick Moraz: L.A. Woman 7.28
02. Lou Gramm, Thijs van Leer, Larry Coryell: Love Me Two Times 3.21
03. Leslie West, Brian Auger, Rod Piazza: Roadhouse Blues 4.06
04. Mark Stein, Mick Box: Love Her Madly 3.26
05. Joe Lynn Turner, Tony Kaye, Steve Cropper: Riders On The Storm 6.19
06. Edgar Winter, Chris Spedding: The Crystal Ship 2.44
07. Keith Emerson, Jeff ‘Skunk’ Baxter, Joel Druckman: Intro (People Are Strange) 3.58
08. David Johansen, Billy Sherwood: People Are Strange 2.21
09. Robert Gordon, Jordan Rudess, Steve Morse, Nik Turner: Touch Me 3.49
10. Graham Bonnet, Christopher North, Steve Hillage: The Soft Parade 8.04
11. Ken Hensley, Roye Albrighton: Hello, I Love You 2.39
12. Eric Martin, Elliot Easton: Spanish Caravan 2.54
13. Todd Rundgren, Geoff Downes, Wake: Alabama Song (Whiskey Bar) 3.26
14. Mark Farner, Chick Churchill: Break On Through (To the Other Side) 2.51
15. Ian Gillan, Rick Wakeman, Steve Howe: Light My Fire 7.00
16. Pat Travers, Jimmy Greenspoon: The End 11.23

All songs written by Jim Morrison – John Densmore – Ray Manzarek – Robby Krieger
06.: written by Jim Morrison &
13.: written by Kurt Weil – Bertolt Brecht



Edgar Winter & Rick Derringer – Live In Japan (1990)

FrontCover1Edgar Winter and Rick Derringer knowing each other since the early sventies and both share an extreme passion for the Blues.

Nevertheless, both men have found their own, individual ways of expressing their passion.

This is a truly memorable record and a great chance to hear two real legends in action. The record has a mix of favourites for both of the guys and in particular there is a really excellent version of Winter’s Frankenstein.

Derringer is on top form and must be one of the most underrated guitarists around. Great fun – a must.

Rick Derringer (guitar, vocals)
Kevin Hupp (drums, vocals)
C,P. Roth (keyboards, vocals)
Charlie Torres (bass, vocals)
Edgar Winter (saxophone, keyboards, percussion, vocals)

01. Introduction 1.50.
02. Keep Playin´ That Rock N Roll (Winter) 3.54
03. Teenager Love Affair (Derringer)
04. Free Ride (Hartman) 3.40
05. Fly Away (Winter/Lacroix) 4.04
06. Blood From A Stone (Derringer) 8.03
07. Under Cover Man (Winter) 4.19
08. Jumo, Jumo, Jumo (Derringer)  7.17
09. Hang On Sloopy (Rujssell/Farrel) 5.46
10. Against The Law (Winter) 4.25
11. I Play Guitar (Derringer/Sloman) 4.29
12. Rock And Roll Hoochie Koo (Derringer) 7.06
13. Frankenstein (Winter) 14.26