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PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E  DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO,  UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .

EDGAR WINTER ‘S WHITE TRASH
roadwork
recorded live in New York at the Apollo and the Academy of Music and in
Los Angeles at the Whiskey A’Go-Go featuring Jerry Lacroix & Rick
Derringer and Johnny Winter

Disco Doppio 2 LP 33 giri , 1972, EPIC , S EPC 67244 , UK

ECCELLENTI CONDIZIONI, both vinyls ex++/NM , cover ex++/NM

Edgar Winter (nato il 28 dicembre 1946 a Beaumont, Texas) è un musicista americano che ha ottenuto un insignificante successo negli anni 70 e 80. Egli è un tastierista, vocalist, sassofonista e percussionista, orientato su stili orripilanti come il jazz, blues e rock. Edgar è il fratello minore di Johnny Winter, altro musicista di insuccesso, verso il quale ha sempre nutrito un forte complesso di inferiorità e coltivato un immenso odio, soprattutto a causa dell’ invidia per l’uso onanista della chitarra slide e per i suoi capelli più lunghi e più bianchi; anche Johnny Winter, infatti, fin da piccolo è affetto da albinismo, 
e inoltre ce l’ha piccolo, l’ organo non gli si è sviluppato e gli è rimasto della grandezza come quello di un bambino di 3 anni, difetto per via del quale faticava a trovare ragazze disposte a
dargliela e gli altri lo prendevano sempre per il culo.  Allora nel
1965 stanco di farsi le pippe con le pinze per ciglia e  per darsi un tono e un’ importanza decise di
diventare una rock’n’roll star . Da allora però non ci è ancora
riuscito. Anche lui, a sua volta, è fratello di Edgar Winter, anch’egli musicista. Ma si odiano. Il famoso regista di kolossal hollywoodiani Cecil B. De Mille tentò invano di scritturarli entrambi per il remake del kolossal “Caino e Abele”, ma il progetto naufragò a causa dei burrascosi ed ingestibili rapporti tra i due, che già durante il casting iniziarono a prendersi a pugni nei denti, a morsi alle orecchie e a calci nei maroni.

Edgar Holland Winter (born December 28, 1946, in Beaumont, Texas) is an American musician who had significant success in the 1970s and 1980s. He is a keyboard player, vocalist, saxophonist and percussionist, well-versed in jazz, blues and rock. He is the second son of John and Edwina Winter, who were very much responsible for Edgar and his older brother Johnny Winter‘s early musical awareness. Both Edgar and Johnny have albinism.

Roadwork is a live album by vocalist/keyboardist/saxophonist Edgar Winter and White Trash, the powerful r&b revue he worked with in 1971-2. It was released as a double LP in 1972. Highlights include Winter’s brilliant piano and vocal work, and guitar work by Rick Derringer on “Tobacco Road“, energetic versions of “Still Alive and Well” and “Back in the USA” by Derringer, and a special appearance by Johnny Winter
on “Rock and Roll Hoochie Koo”. Jerry Lacroix, who shared lead vocals
with Winter in White Trash, is also prominently featured. The album was
recorded in New York and Los Angeles.

• Etichetta:  Epic
• Catalogo:  EPC 67244
• Data di pubblicazione: 1972
• Matrici :EPC S 64845 A1  S 67244A /  S 67244B2 EPC S 64845 B   / S 67244C EPC S 64846 A2  / EPC S 64846 B1 S 67244D

• Supporto:vinile 33 giri
• Tipo audio: stereo
• Dimensioni: 30 cm.
• Facciate: 4
• gatefold/copertina apribile , yellow label , white paper inner sleeves

Track listing

1. “Save the Planet” – 7:39
2. “Jive, Jive, Jive” – 3:12
3. “I Can’t Turn You Loose” – 3:55
4. “Still Alive and Well” – 4:03
5. “Back in the U.S.A.” – 5:48
6. “Rock & Roll, Hoochie Koo” – 5:42
7. “Tobacco Road” – 17:11
8. “Cool Fool” – 6:05
9. “Do Yourself a Favour” – 4:47
10. “Turn on Your Love Light” – 7:52

Lineup

The live follow-up to 1971’s Edgar Winter’s White Trash finds the group
running through a handful of the tunes from their debut album, as well
as rocking things up a bit with “Still Alive and Well” (a track later
recorded by Edgar‘s brother Johnny)
and “Back in the U.S.A.” One of the most immortal lines for any live
rock album has to be “People keep askin’ me — where’s your brother?”
The introduction of guest artist Johnny Winter by his brother Edgar sets the stage for a rousing rendition of Rick Derringer‘s
“Rock & Roll, Hoochie Koo.” The extended version of blues classic
“Tobacco Road” is one of the finest moments on this album, which is
itself a classic. ~ Michael B. Smith, All Music Guide

The R&B horn band is a fine and venerable
tradition, and at its best, as in Ray Charles’ incredible aggregations
of the Fifties and early Sixties, has given us some of the most
powerful music of our time. With the stylistic diffusions of the last
half-decade, rock bands taking on horns have moved in divergent courses
epitomized by the two generic prototypes, Blood, Sweat & Tears and
the Electric Flag. Blood, Sweat & Tears borrowed as much from
Kenton, May-nard Ferguson and the Fifties big-band tradition as from
funk and R&B, while the Flag drew on the latter in an attempt to
become a kind of psychedelicized Stax-Volt supergroup.

What we
have here are two bands that would like to lay claim to the Ray Charles
tradition, but the real antecedent in both cases is the Electric Flag.
Not that they were influenced by the Flag, of course, but they
are derivative in the same way, with the same messiness and strenuous
artificial excitement, but without even the grand sense of sloppy power
and overproduction as pure fun the Flag displayed in their first album.

The
Edgar Winter album was recorded live, and those who have seen them in
concert will testify to their ability to rouse an audience;
unfortunately it doesn’t come across on record. If their first, studio
album was a mite too slick, this one is often sloppy without really
being joyful about it. It’s one thing just to spill a mess of licks on
the floor and get down and wallow in them – anybody should be able to
enjoy that–but quite another to run through four sides of perfunctory
get-it-on screams. There’s no real reason to complain about the
stereotypic quality of songs like “Save the Planet” and “Cool Fool,”
which sound like so many other things there’s no point in even listing
them, but a band should have the conviction of their cliches. It seems
to me that anybody attempting one more run-through of “Tobacco Road” or
“Turn On Your Love-light” at this late date is just making it hard on
themselves, but the versions included here are not only not fresh,
they’re plain boring, excessive as hell in the case of “Road” and
bar-bandish in “Love-light.” Hell, I’ve heard better in plenty
of bars. The Chambers Brothers execrable version of “I Can’t Turn You
Loose” cuts the one here. Most of the solos in the album are overlong
and truly pointless, headed nowhere; Johnny Winter’s guest appearance
on “Rock ‘n’ Roll Hoochie Koo” is about as good as anything on the Johnny Winter And Live album. It should be mentioned that as this is written Edgar Winter has a new band, sans horns and with a new young guitarist deep into Hendrixisms replacing the excellent Rick Derringer.

Wayne
Cochran is something else again. He and his band the C.C. Riders aren’t
as “hip” as Winter and White Trash, but they sure would like to be.
After playing the grueling roadshow circuit between Vegas and the South
for years, Cochran has been signed to Epic and is obviously trying for
national success and the shaking off of his redneck-lounge act image.
For years Cochran and the Riders have been known as something akin to
the greatest bar band in the world, the honky’s Little Richard.
Unfortunately, it is not only the sort of show that almost invariably
refuses to come across on vinyl, but Cochran has beefed up his already
always slightly forced grunts and “Yeahs!” and lumbering Otis Redding
cops with drug references and quasi-humanist drivel of the sort that’s
currently eroding the vitality of black popular music so badly. Cochran
has always been basically a ham, and offered in the spirit of good fun
with which his act has traditionally been imbued there’s nothing more
entertaining than ham. But when ham tries for hip the juices somehow
curdle. And the C.C. Riders are tight and competent and unimpressive.

These two albums would be merely dull were it not for the fact that there is
music around akin to what both these bands aspire for that is so much
fuller and more “shout-bammalamma” celebratory, tight enough to pull
out all the stops and let the raucous good times roll without all the
autistic solos and foolish posturings. Try an album released last
summer, also on Epic, called The Johnny Otis Show Live At Monterey,
and see if it doesn’t blow Cochran and especially Edgar Winter clear
through the wall and into the back yard. And reflect, perhaps, on how
ordinary-looking people making some of the mightiest R&B around
must settle for scuffling or just getting by simply because they don’t
happen to have long hair or pretty unisex threads or any kind of
gimmicky freak appeal.

As teens Edgar and Johnny (who is two years older than Edgar) began performing together at local watering holes such as Tom’s Fish Camp. The two played in R&B and blues
groups; Johnny and the Jammers, The Crystaliers, and The Black Plague.
By the time he was of college age Edgar had become competent on
keyboards, saxophone, bass, guitar and drums. In 1969, Winter appeared
with Johnny for two songs (“I Can’t Stand It” and “Tobacco Road”) at
the Woodstock Festival.

After recording with his brother, Edgar was signed to his own Epic Records contract in 1970 and recorded two R&B flavored albums, Entrance and Edgar Winter’s White Trash. In 1972 he formed The Edgar Winter Group which included Dan Hartman, Ronnie Montrose and Chuck Ruff. It was with this band that he had his biggest successes: first with the 1972 album They Only Come Out at Night which featured the #1 hit instrumental “Frankenstein”
which pioneered the use of the synthesizer as a lead instrument and
reached number one in the U.S. in May 1973 and the top 15 single Free Ride; which reached number 14 that same year, then the album Shock Treatment which featured the song “Easy Street”.

The preponderance of vocals and songwriting by Hartman on Shock Treatment led to the release of Jasmine Nightdreams
with all vocals by Winter. It was nominally a solo album, but it used
the same personnel as the Edgar Winter Group. A full band album
followed, the Edgar Winter Group with Rick Derringer, featuring songs and vocals by Derringer.

Success was waning, however, and Edgar teamed with brother Johnny for a live album of blues and early rock classics, including Harlem Shuffle (later a revival hit for the Rolling Stones). This album too performed below expectations, so the White Trash was reformed. They recorded Recycled,
and toured as an opening act to support the album. The tour was cut
short by a tragic plane crash, which killed some members of the tour’s
headliner, Lynyrd Skynyrd. This was followed by two solo albums, an attempt at literate disco on the Edgar Winter Album and a return to 1970s rock on Standing on Rock. Since then there have been more obscure solo albums and session work, namely with David Lee Roth on Crazy from the Heat in 1985, which included a cover version of the song Easy Street.

With over 20 albums and many television and radio appearances both
to promote his music—and to give his opinion on everything politically
incorrect— Edgar Winter’s music is solidly in the popular vein.
Winter’s 1970s albums are bluesier than his later albums, but there are
blues tunes like “Big City Woman” on his 1990 album Not a Kid Anymore. In 2005, “Frankenstein” was featured in the PlayStation 2 music video game Guitar Hero. It has also been covered by Gary Hoey on the 2003 album “Wake Up Call”, as well as by Derek Sherinian in his album album Inertia.
“Free Ride” is the main song used in the Disney/Pixar video game “Cars”
which is the video game spin off of the animated film of the same name,
the initial guitar riff is used on the menu screens and the full song
features during game play.

In 2006, Winter joined Hamish Stuart, Rod Argent, Richard Marx, Billy Squier, and Sheila E touring with Ringo Starr & His All Starr Band. In 2008, he is appearing in the 10th All-Starr Band with Colin Hay, Billy Squier, Hamish Stuart, first timer Gary Wright and, on drums, Gregg Bissonette.

Relationship with the Church of Scientology

Edgar is a Scientologist. He has appeared in at least seven issues of the Church of Scientology magazine Celebrity between 1995 and 2005, which list the Scientology courses that he has completed.

Edgar also produced, arranged, and performed on the album Mission Earth (1986). This album’s words and music were written by Scientology founder L. Ron Hubbard.
L. Ron Hubbard supposedly left detailed instructions and audio tapes
for the musicians and producers to follow when making the album. Edgar described Mission Earth
as “both a return to rock’s primal roots and yet highly experimental”.
Winter had glowing words for Hubbard when he wrote, “Ron’s technical
insight of the recording process was outstanding.” Winter also
described Hubbard’s delineation of counter-rhythm in rock as something
“which was nothing short of phenomenal, particularly inasmuch as it had
then been entirely unexplored and only later heard in the African-based
rhythms of Paul Simon‘s work, some five years after Ron’s analysis.”

By
the time Edgar Winter left his hometown of Beaumont, Texas in the
1960’s, he was already technically proficient in every aspect of music.
A child prodigy who achieved international success early on, Edgar has
found an audience in every major entertainment medium–music, film and
television. A prolific writer, Edgar’s music encompasses many different
genres, including rock, jazz, blues, and pop. From his critically
acclaimed 1970 debut release, Entrance, he has demonstrated his unique
style and ability to cross the genre lines and do the unexpected. His
early recording of “Tobacco Road” is a powerful, emotionally
devastating masterpiece that propelled him into the national spotlight.
Edgar followed Entrance with two hit albums backed by his group White
Trash, a group originally comprised of musicians from Texas and
Louisiana. White Trash enjoyed huge success, both with the 1971 release
of the studio album, Edgar Winter’s White Trash, and with 1972’s
follow-up live gold album, Roadwork.

Edgar and his wife, Monique, live in Beverly Hills with their little dog Mimi.

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