- #Johnny winter all star band movie#
- #Johnny winter all star band mod#
- #Johnny winter all star band plus#
Back then, cutting tape was like cutting a diamond if you messed it up it was gone. I love crazy ideas, and it became an excuse to come into the studio and get even more lasted than usual, and it became a great end-of-the-project session. It was Rick Derringer’s idea to try and put some of the edited parts together. It got its title Frankenstein because it was made up of so many edited parts?Ĭorrect. We only did it then because we were short one track on the album. It was almost up to twenty minutes in our set when we decided to record it. So the song kept getting longer and longer. So as I experimented with it I would create another section of the song. For me the synthesiser was a new instrument, and I wanted to see what it could do.
#Johnny winter all star band movie#
But I loved all the old sci-fi movie music, like the Theremin in Forbidden Planet.
Also, there was this thing that the synthesiser wasn’t a legitimate instrument. We never thought about recording it though, it was too long. You realty couldn’t follow it with anything. It was such a dynamic, powerful song it was the showstopper. And I thought, oh, how about that old Double-Drum Song? So we worked up a version of it which was killer. I’ll never forget the first night walking out on stage with it, the crowd went crazy!Īfter that I thought, well now I need a song to feature the synthesiser. It was such a simple, obvious idea you’d have thought someone would have done it. I thought, wow, this looks like you could just put a strap on this and play it like guitar. Then promptly forgot all about it till, like, seventy-three, when the synthesiser came along: the Moog, a big, clunky all-in-one, and the ARP, which was in two pieces, this cool, mad-scientist-looking contraption with the keyboards separate with this big umbilical cord. We played it all over the world, from the late-sixties on. So we used to call it The Double-Drum Song. Then we made a sort of instrumental out of it – I played Hammond B3 organ on it and alto sax – then played a duo drum solo with Johnny’s drummer, John Turner. He’d bring me on halfway through his show and people would go: “Wow! There’s two of them!” So I came up with this riff which I thought was kind of a cool walk-on. I wrote the riff years before, when I was playing with Johnny, before anyone even knew Johnny had a little brother. It was very experimental, an interesting example of a lot of random things falling into place. In fact it’s a marvellous amalgam of several different influences. Seeing Frankenstein as a rock track with a monster theme is about as wrongheaded as you can be. Like when Frankenstein was a hit, they went: “Great! Now you can do Dracula! And the Wolfman! Then they can all meet and you can have this big monster rock party!” I’m like, no, no! That’s not going to happen. I blame the record companies they prefer to put people into boxes: here are the pop people and the folk people and the country. To me they’re all equally valid forms of music. A little more sophisticated and jazz-oriented. I gravitated more towards the urban styles of blues, people like Ray Charles, Bobby Bland, BB King.
He was into the original acoustic Delta blues: Muddy Waters, Howlin’ Wolf, all those guys. Johnny had such a deep love, he was more of a blues purist. Even though Johnny has always been regarded as the bluesman in the family. If there’s any common thread that runs through my music, it’s blues.
#Johnny winter all star band mod#
Rolling Stone_ said they couldn’t make up their mind if you were “a gospel singer gone mod or a fire eater”.
#Johnny winter all star band plus#
Your 1971 album Edgar Winter’s White Trash featured Johnny on guitar, Rick Derringer, who produced the album, also on guitar, plus a string orches_tra, trumpets, saxophones, congas, and Patti Smith on ‘poetry’. There was almost a telepathic communication between us. Although I did sing together with Johnny. I had no desire to be a singer or frontman. I was just into learning all these different instruments and breaking the music down into parts I could teach the rest of the band. There was not the sibling rivalry that you might think, because I was completely content to be in the background. John Coltrane, Miles Davis, Cannonball Aderley, Dizzy Gillespie… For Johnny it was always the blues and rock’n’roll.
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