Edgar Winter: the man behind the Monster

Frankenstein's creator brings his unwieldy synth to London on the only UK date of a rare European tour

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He’s still playing that rock’n’roll; still playing it the way he wants. Edgar Winter carved out his own musical niche in the early 70s, away from the blues path his older brother Johnny had chosen, towards a blend of soul and funk with a sprinkling of glam.

His restless creativity led to his pioneering work with the portable synthesiser, an instrument that still looks pretty unwieldy as he straps it on at the beginning of the second number, Free Ride. But the atmospheric noises he gets out of it are still raw and innovative. These days you could probably pack all that technology into something smaller than a mobile phone, but that’s not quite the point. Edgar defiantly plays it the way he always has. And despite his 68 years he looks pretty much the way he always has too, with white shoulder-length hair and a white beard.

The show is similarly un-reconstituted. After three songs he launches into a slow, grinding Tobacco Road at a pace that would make Vanilla Fudge blush. It turns into a 20-minute tour-de-force as he engages each member of the band in a musical duel, singing increasingly complex musical phrases at them before they reply on guitar, bass and drums respectively. He also plays a freeform sax solo proving that he’s lost none of his vocal or multi-instrumental talents, and remains a consummate showman without really showing off.

In between nuggets like Hanging Around, We All Had A Real Good Time, Rock And Roll Hoochie Koo and of course Frankenstein (where he reprises all his multi–instrumental skills) he slips in the country-flavoured The Power Of Positive Drinkin’, an unapologetic look back at his wild youth, and I Got My Eye On You from his just-released album. There’s also a lengthy, meandering Texas jam that takes some inconsequential detours into snippets of Won’t Get Fooled Again, Sunshine Of Your Love and In My Time Of Dyin’ that are frankly more of a distraction than an embellishment.

In contrast the encore cover of Jumping Jack Flash — dedicated to his late, great brother (speaking in the present tense as he declares that Johnny’s spirit will be around at least as long as he is) — takes on a fresh life as he twists the famous riffs to suit his own purposes. They really really don’t make them like Edgar any more.

Hugh Fielder

Hugh Fielder has been writing about music for 47 years. Actually 58 if you include the essay he wrote about the Rolling Stones in exchange for taking time off school to see them at the Ipswich Gaumont in 1964. He was news editor of Sounds magazine from 1975 to 1992 and editor of Tower Records Top magazine from 1992 to 2001. Since then he has been freelance. He has interviewed the great, the good and the not so good and written books about some of them. His favourite possession is a piece of columnar basalt he brought back from Iceland.