01 Keep Playin' That Rock N' Roll  
02 Still Alive And Well
03 Frankenstein
04 Let's Get It On
05 Tobacco Road
06 Nu'orlins
07 Long Tall Sally
08 Johnny B. Goode

Edgar Winter - vocals, keyboards, sax, timbales, percussion
Ronnie Montrose - guitar
Dan Hartman - bass, vocals
Chuck Ruff - drums

Syria Mosque Theater
Pittsburgh, PA
1972.11.03

For years, guitarist Johnny Winter had one of the most electrifying live albums ever released, when he put out Live Johnny Winter And in 1971. This incredible live recording of the original Edgar Winter Group recorded at The Mosque Theater in Pittsburgh, PA in April, 1973, just may surpass that album as one of the most powerful kick-ass performances ever captured on tape.

After spending several years as part of the back up band for his famous sibling, Johnny Winter, Edgar landed a record deal of his own on Epic Records (sister label to Johnny's label, Columbia Records). His initial solo debut, Entrance, in 1970, was praised by critics and had some great material (including his fiery remake of the 1963 Nashville Teens' classic, "Tobacco Road") but failed to make any substantial impact as a big seller.

Winter returned in 1971 with a stunning R&B/rock opus and an eight piece horn-driven band called Edgar Winter's White Trash (a reference to the fact that both he and Johnny are albinos). The group did a solid year of touring, and made one memorable double live album entitled Roadwork, before Edgar Winter decided it was time to get lean and mean.

The solution for Edgar Winter was to re-vamp his set up with down-to-the-bone four piece rock'n'roll machine. Hence, the Edgar Winter Group, which debuted in 1973 with Winter on keyboards, sax and percussion, Dan Hartman on bass, drummer extraordinaire Chuck Ruff, and a sassy Bay Area guitarist named Ronnie Montrose, who had worked with Van Morrison, among others.

The result was a brilliant pop album called They Only Come Out at Night, which included several hits singles ("Hangin' Around", "Free Ride", and his career single, the instrumental "Frankenstein"). This show was recorded at the onset of the band's 18-month run at the top of the charts. The record had just been released and there is a lot of non-LP material in this show (older hits from White Trash and covers like Little Richard's "Long Tall Sally" and Chuck Berry's "Johnny B. Goode"). All in all, this is a great recording from a band in the prime of their career. ---wolfgangs.com

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01. Some Kinda Animal (Dan Hartman) – 3:06
02. Easy Street (Dan Hartman) – 4:12
03. Sundown (Dan Hartman) – 3:25
04. Miracle Of Love (Edgar Winter, Dan Hartman) – 3:36
05. Do Like Me (Edgar Winter) – 4:47
06. Rock & Roll Woman (Dan Hartman) – 2:49
07. Someone Take My Heart Away (Edgar Winter) – 4:08
08. Queen Of My Dreams (Dan Hartman) – 2:15
09. Maybe Some Day You'll Call My Name (Dan Hartman) – 3:52
10. River's Risin' (Dan Hartman) – 3:19
11. Animal (Edgar Winter) – 4:53

- Edgar Winter - lead vocals (02,04,05,07,11), clavinet, piano, ARP bass, saxophone, mellotron, ARPs, vibraphone, organ, bass
- Rick Derringer - guitars, electric sitar, bass, producer
- Dan Hartman - lead vocals (01,03,06,08-10), rhythm guitar, bass, acoustic guitar, castanets, all guitars, autoharp
- Chuck Ruff - drums

With this release, Edgar Winter was faced with the question that haunts many a superstar following a highly successful album -- how can he outdo himself? While Shock Treatment falls short of outdoing himself, it still manages to rock pretty righteously. Beginning with this album's answer to their previous "Hangin' Around," "Some Kinda Animal," the band moves into the excellent blues torcher "Easy Street," which is painted with highlights from the substantial saxophone talent of Winter, not to mention some of his finest singing. Like They Only Come Out at Night, this recording includes a pair of haunting ballads, "Maybe Someday You'll Call My Name" and "Someone Take My Heart Away." "Queen of My Dreams," along with "River's Risin'," showcase the Edgar Winter Group doing what they do best -- rocking out with passion and lots of drums and guitar. Not as good as their previous album, but still a winner in its own right. ---Michael B. Smith, AllMusic Review

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1. Rebel Road
2. Eye On You
3. The Power of Positive Drinkin'
4. Freedom
5. Rockin' the Blues
6. The Closer I Get
7. I'd Do It Again
8. Texas Tornado
9. Peace and Love
10. On the Horns of a Dilemma
11. Oh No No

Edgar Winter - Organ, Percussion, Piano, Saxophone, Synthesizer, Vocals
Matt Bissonette - Bass
Clint Black - Harmonica, Vocals
Dave Carpenter - Bass (Acoustic)
Curt Coumo - Drums, Organ, Percussion, Synthesizer Banjo, Vocals (Background)
Ross Hogarth - Percussion
Abe Laboriel, Jr. - Drums
Matt Laug - Drums
Pete Maloney - Drums
Mark Meadows - Bass
Gary Novak - Drums
Dean Parks - Guitar (Acoustic)
Jimmy Paxson - Drums
Erik Ron - Vocals (Background)
Cameron Stone - Cello
Johnny Winter – Guitar

Rebel Road is another Edgar Winter back-to-basics album. These 11 tracks are much closer to what the multi-instrumentalist did in the early '70s, bypassing the type of material that alienated listeners in the past, such as the science fiction-influenced Mission Earth and Standing on Rock or the smooth jazz-oriented Jazzin' the Blues. Rebel Road has an overall classic rock feel to it -- Slash plays guitar on the title track -- but also delves into the blues and even country. Brother Johnny Winter joins in on "Rockin' the Blues," while "The Power of Positive Drinkin'" (not the Mickey Gilley tune) and "On the Horns of a Dilemma" feature Clint Black, who blows a mean harp. Of particular note is "Peace and Love," which Winter dedicates to Ringo Starr. In the liner notes, Winter expounds on his time playing keyboards with Ringo & His All-Starr Band and how that affected him in an overwhelmingly positive manner. All in all, Rebel Road is a well-crafted album, finding Edgar Winter in decent form with a little help from his friends. --- Al Campbell, Rovi

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01. Good Ol Shoe
02. Nu Orlins
03. Teras
04. New Millenium
05. On The Tip Of My Tongue
06. White Man’s Blues
07. They Only Come Out At Night
08. It’s Only Money
09. Show Your Love
10. You Are My Song

Edgar Winter (vocals, alto & baritone saxophones, piano, organ, synthesizer)
Johnny Winter, Rick Derringer, Frankie Sullivan, Mitch Perry (guitar)
Leon Russell, Dr. John (piano)
Vail Johnson, Mike McKinney, Charlie Torres (bass)
Rick Latham, Sterling Campbell (drums)
Louis Conte, Chuck Silverman (percussion)
Jon Smith (tenor saxophone)
Ken Tussing (trombone)
Steve Howard (trumpet)
Dean Roubicek (clarinet)
John Paris (harmonica)
Westy Westenhofer (sousaphone)
John Massari (strings)
Eddie Money, Bobbie Kimball (vocals)
Carl Anderson, Billy Trudel, John Mahon, Monte Kelley, Paul Pesco (background vocals)

Through steady work, Edgar Winter kept himself visible throughout the '90s, culminating with a pair of solid efforts for Intersound. Those appeared under the radar of popular consciousness, known only to hard rock and blues-rock fans. For the general public, Winter re-entered consciousness through a series of television commercials -- usually, they just featured his songs, but he was the star in a clever Miller campaign that suggested Winter and George Hamilton were twins -- along with a prominent song in the political satire Wag the Dog. All of this led to a contract with Pyramid Records and Winter Blues, his first large-scale, heavily promoted release in nearly 20 years. As is customary for any comeback release, Winter Blues is flush with cameos, but this time around, they make sense -- brother Johnny, Rick Derringer and Leon Russell have been long-time colleagues of Edgar, while Dr. John and (surprisingly) Eddie Money fit in quite nicely. Their presence is welcome, since Winter has never been the strongest of frontmen and they never take away from his guitar playing, which remains the best reason to hear Winter Blues. Anyone that paid attention to his Intersound releases would have realized that Winter has been cutting good, solid records in the '90s and this is no different, but anyone that hasn't followed him will be surprised how consistent this is. Really, there's nothing new here, since it's in the vein of his electrified blues and hard rock of the '70s, but it's done well and performed with conviction, resulting in an album that may not reach the heights of his classics, but certainly is among his most enjoyable and consistent works. In other words, it will please both the hardcore fans and listeners in the process of (re)discovering Winter. --- Stephen Thomas Erlewine, allmusic.com

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