How It Gave The Godfather His Much Needed Boost In 1986 TOP PHOTO ABOVE: Edgar Winter discovery, the multi-talented Dan Hartman, is shown on the far right, wearing a silver jacket, in this band photo MIDDLE PHOTO ABOVE: Edgar Winter--wearing one of his signature neck-worn keyboards BOTTOM PHOTO ABOVE: Another photo of Dan Hartman, shown wearing the red jacket, in the upper left of this Edgar Winter Group album photo
Far too little has been written about the Edgar Winter/Dan Hartman/James Brown connection and, since nobody else seems to be interested in doing it, allow me to put it back on the table for all of you funksters out there to take note of. I know the story. I want you to know it too. In fact, it is long overdue that someone finally takes the time and effort to re-tell it. I was there, working full-time in the music business when it all went down, and I know the story. Let me tell it to you exactly as I saw it unfold back in the 1970's through the late 1980's. If you're a James Brown fan, you should know this story. Why? Because, in the late 1980's, it is this very connection that was responsible for delivering, to James, a very much needed “shot in the arm” comeback hit, that completely rejuvenated his (at that time) sagging and lackluster career. It is an amazing story, and it involves primarily three people: Edgar Winter, Dan Hartman, and, finally, The Godfather Of Soul.
Edgar Winter and his brother Johnny are both stars. They are both great musicians. While Johnny has taken the low road as primarily a nondescript blues player and singer, it is his three years younger brother, Edgar, who always operates with enough pomp, flash, and amazing showmanship to hold captive even the hungriest of music-starved rock audiences anywhere. He is one of the most decent and nicest guys in the business I have ever met.. The same can be said for his long time manager, Teddy Slatus, who was always professional each and every time I had occasion to deal with him. During my stint as a locally syndicated newspaper columnist, I published feature articles on two of Edgar's bands and that was the first time I met him. During his outdoor concert at The University Of Cincinnati's Nippert Stadium, I was asked to help with controlling part of the elaborate on stage lighting system which, indeed, was a great thrill for me. Edgar is not only a great musician and songwriter, but he is also one hell of a terrific showman. While he plays a fantastic, and very soulful saxophone, most people know Edgar as being the guy, in flowing capes (sound familiar?) who plays his signature, worn around the neck, keyboard. His massive instrumental hit “Frankenstein” has become a rock classic. I once saw him perform when the entire arena went dark, except for Edgar's “Day Glow” painted hands which totally captivated everybody as we watched them effortlessly dance across the neck-worn keys. During the time period when Clive Davis was the head of Columbia Records, The Edgar Winter Group was headlining massive arena concerts with his new, stripped down, four-piece band.. His former, and much larger, musical organization was a Texas horn band called “Edgar Winter's White Trash” which will live on, in infamy, as being, (along with Boston's J. Geils Band, Oakland, California's Tower Of Power, and Scotland's Average White Band) one of the world's finest, but extremely rare, white boy R&B acts. If you don't believe me, get yourself a copy of their fantastic “Roadwork” album and you will become an instant believer. Although Edgar continues, even today, working hard in both studio and live venues (he recently finished touring as a member of Ringo Starr's “All Starr Band”), it was during the height of popularity, for the The Edgar Winter Group, that the world began to take note of the tremendous talent and ability of Edgar Winter Group bassist Dan Hartman.
It was backstage, in Edgar Winter's dressing room at The University of Cincinnati's Nippert Stadium, that I met the late Dan Hartman. Dan took to music well, as a child prodigy, and was a member of his brother's rock band at the ripe old age of thirteen. He sent in a demo tape to Edgar's Blue Sky management company (later to become Blue Horizons) and, as a result, his talents were first displayed before a national audience only due to Edgar having the good sense and forethought to hire him. He was, like Paul McCartney, Prince, Bootsy Collins, and a dear friend of mine, the late Roger Troutman (of the group Zapp), one of those rare breed of musicians that could do everything. He played every instrument, knew his studio production techniques inside out, was a good singer, and wrote great songs too. In fact, the Edgar Winter Group's second largest hit “Free Ride” was penned by him before he ever even joined the group.
While he had become a member of The Edgar Winter Group in the early 1970's, he departed the band in the mid 70's, just when Disco was taking its hold. His very first recording after leaving the band, “Instant Replay,” reached Number One on the U.S. dance music charts and featured the exceptional saxophone work of Edgar himself. To put it mildly, the record was a smashing success. Few records in the entire history of what became known as “Disco” could top it. It was played, and played, and then played some more, by every dance music DJ everywhere. I cannot stress enough how much of a classic disco tune that song was and still is.
Subsequent Dan Hartman hits ensued, such as “Vertigo/Relight My Fire” (which featured the vocals of Loleatta Holloway), “Hands Down” (featuring harmonica by Stevie Wonder), “We Are The Young”, as well as the tremendously popular “I Can Dream About You” which was featured in the movie “Streets Of Fire.” In the Southwest Ohio dance market, with which I was very familiar, he scored yet again, and big, with a hugely popular dance floor favorite, I helped to promote for him here, called “Countdown.”
After achieving his immense success with “I Can Dream About You”, Hartman shifted the main focus of his career and dedicated most of his time to producing other artists--such as Tina Turner (“Simply The Best”), Joe Cocker ("Unchain My Heart"), Nona Hendryx, Loleatta Holloway, as well as writing and producing songs that were used in movies such as "Ruthless People" and "Bull Durham". He also wrote and produced an extremely popular song for the motion picture “Rocky IV”. What was it...you ask? Well.....it was a song which became the biggest-selling hit record for James Brown, in fifteen years, called “Living In America” and it also earned him a Grammy Award, for Best Male Vocalist of 1987, and, hence, we now come full circle in the Edgar Winter/Dan Hartman/James Brown connection.
Dan Hartman, like The Godfather Of Soul, himself, is no longer with us. His career, as well as his life, was tragically ended at the very young age of only 43. Don't ask me how he died. I don't like talking about it--except to say that no one...and I truly do mean no one...should be subjected to, and forced to die, that kind of death. I take off my hat to such greats as Elizabeth Taylor, Elton John, Madonna, and others, who have donated and helped raise the multi-millions of dollars necessary to fund research in an attempt to finally stop it. I miss Dan Hartman. We all will miss James Brown. But thank-you, Edgar Winter, for having the ability to see what nobody before you could see—and for bringing to the nation, and to the world, the immense talents of an extraordinary musician and producer who is sorely missed... Dan Hartman!
Far too little has been written about the Edgar Winter/Dan Hartman/James Brown connection and, since nobody else seems to be interested in doing it, allow me to put it back on the table for all of you funksters out there to take note of. I know the story. I want you to know it too. In fact, it is long overdue that someone finally takes the time and effort to re-tell it. I was there, working full-time in the music business when it all went down, and I know the story. Let me tell it to you exactly as I saw it unfold back in the 1970's through the late 1980's. If you're a James Brown fan, you should know this story. Why? Because, in the late 1980's, it is this very connection that was responsible for delivering, to James, a very much needed “shot in the arm” comeback hit, that completely rejuvenated his (at that time) sagging and lackluster career. It is an amazing story, and it involves primarily three people: Edgar Winter, Dan Hartman, and, finally, The Godfather Of Soul.
Edgar Winter and his brother Johnny are both stars. They are both great musicians. While Johnny has taken the low road as primarily a nondescript blues player and singer, it is his three years younger brother, Edgar, who always operates with enough pomp, flash, and amazing showmanship to hold captive even the hungriest of music-starved rock audiences anywhere. He is one of the most decent and nicest guys in the business I have ever met.. The same can be said for his long time manager, Teddy Slatus, who was always professional each and every time I had occasion to deal with him. During my stint as a locally syndicated newspaper columnist, I published feature articles on two of Edgar's bands and that was the first time I met him. During his outdoor concert at The University Of Cincinnati's Nippert Stadium, I was asked to help with controlling part of the elaborate on stage lighting system which, indeed, was a great thrill for me. Edgar is not only a great musician and songwriter, but he is also one hell of a terrific showman. While he plays a fantastic, and very soulful saxophone, most people know Edgar as being the guy, in flowing capes (sound familiar?) who plays his signature, worn around the neck, keyboard. His massive instrumental hit “Frankenstein” has become a rock classic. I once saw him perform when the entire arena went dark, except for Edgar's “Day Glow” painted hands which totally captivated everybody as we watched them effortlessly dance across the neck-worn keys. During the time period when Clive Davis was the head of Columbia Records, The Edgar Winter Group was headlining massive arena concerts with his new, stripped down, four-piece band.. His former, and much larger, musical organization was a Texas horn band called “Edgar Winter's White Trash” which will live on, in infamy, as being, (along with Boston's J. Geils Band, Oakland, California's Tower Of Power, and Scotland's Average White Band) one of the world's finest, but extremely rare, white boy R&B acts. If you don't believe me, get yourself a copy of their fantastic “Roadwork” album and you will become an instant believer. Although Edgar continues, even today, working hard in both studio and live venues (he recently finished touring as a member of Ringo Starr's “All Starr Band”), it was during the height of popularity, for the The Edgar Winter Group, that the world began to take note of the tremendous talent and ability of Edgar Winter Group bassist Dan Hartman.
It was backstage, in Edgar Winter's dressing room at The University of Cincinnati's Nippert Stadium, that I met the late Dan Hartman. Dan took to music well, as a child prodigy, and was a member of his brother's rock band at the ripe old age of thirteen. He sent in a demo tape to Edgar's Blue Sky management company (later to become Blue Horizons) and, as a result, his talents were first displayed before a national audience only due to Edgar having the good sense and forethought to hire him. He was, like Paul McCartney, Prince, Bootsy Collins, and a dear friend of mine, the late Roger Troutman (of the group Zapp), one of those rare breed of musicians that could do everything. He played every instrument, knew his studio production techniques inside out, was a good singer, and wrote great songs too. In fact, the Edgar Winter Group's second largest hit “Free Ride” was penned by him before he ever even joined the group.
While he had become a member of The Edgar Winter Group in the early 1970's, he departed the band in the mid 70's, just when Disco was taking its hold. His very first recording after leaving the band, “Instant Replay,” reached Number One on the U.S. dance music charts and featured the exceptional saxophone work of Edgar himself. To put it mildly, the record was a smashing success. Few records in the entire history of what became known as “Disco” could top it. It was played, and played, and then played some more, by every dance music DJ everywhere. I cannot stress enough how much of a classic disco tune that song was and still is.
Subsequent Dan Hartman hits ensued, such as “Vertigo/Relight My Fire” (which featured the vocals of Loleatta Holloway), “Hands Down” (featuring harmonica by Stevie Wonder), “We Are The Young”, as well as the tremendously popular “I Can Dream About You” which was featured in the movie “Streets Of Fire.” In the Southwest Ohio dance market, with which I was very familiar, he scored yet again, and big, with a hugely popular dance floor favorite, I helped to promote for him here, called “Countdown.”
After achieving his immense success with “I Can Dream About You”, Hartman shifted the main focus of his career and dedicated most of his time to producing other artists--such as Tina Turner (“Simply The Best”), Joe Cocker ("Unchain My Heart"), Nona Hendryx, Loleatta Holloway, as well as writing and producing songs that were used in movies such as "Ruthless People" and "Bull Durham". He also wrote and produced an extremely popular song for the motion picture “Rocky IV”. What was it...you ask? Well.....it was a song which became the biggest-selling hit record for James Brown, in fifteen years, called “Living In America” and it also earned him a Grammy Award, for Best Male Vocalist of 1987, and, hence, we now come full circle in the Edgar Winter/Dan Hartman/James Brown connection.
Dan Hartman, like The Godfather Of Soul, himself, is no longer with us. His career, as well as his life, was tragically ended at the very young age of only 43. Don't ask me how he died. I don't like talking about it--except to say that no one...and I truly do mean no one...should be subjected to, and forced to die, that kind of death. I take off my hat to such greats as Elizabeth Taylor, Elton John, Madonna, and others, who have donated and helped raise the multi-millions of dollars necessary to fund research in an attempt to finally stop it. I miss Dan Hartman. We all will miss James Brown. But thank-you, Edgar Winter, for having the ability to see what nobody before you could see—and for bringing to the nation, and to the world, the immense talents of an extraordinary musician and producer who is sorely missed... Dan Hartman!
