JOHNNY WINTER in August 1969

-

August '69 was a pivotal month for Johnny Winter. Amidst mixed reviews, he opened for Blood, Sweat & Tears at the Hollywood Bowl, showcasing his unique blend of blues. He also graced Woodstock's stage, though overshadowed by more prominent acts. August concluded with a memorable Texas festival, solidifying his presence in the blues revival scene. Winter's talent and the blues' enduring appeal resonated with the youth,

Album Front cover Photo of JOHNNY WINTER in August 1969 https://vinyl-records.nl/

Johnny Winter in August 1969

Winter May Warm Bowl ... or half of it
1 August The News: Brad Ritter previews the show at Hollywood Bowl

Sweat and Tears no doubt will put on a good show tonight at the Bowl. Keep In mind that those sitting beyond the halfway mark in the huge arena probably won't be able to tell if its good or bad. But it will he interesting in watch for the reaction bo Johnny Winter, the albino blues singer who has received varying critical reviews.

Winter has been around, but never got far. Then came the blues revival and someone found Winter, put together a substantial promotion campaign and shoved him into the big time. Some critics say he was a poor choice: he shows a lack of individual style; that he borrows from various blues singers and winds up with a combination that adds up to little.

But Critics sometimes get pretty hung up and it's the people who listen to music, and buy recordS, who determine who makes if. and who won't. Brad Ritter

Source: 69-08-01 Van Nuys CA

Concert series of "Summer, Show and Stars" at the Hollywood Bowl
1 August 1969 Hollywood Bowl

In the concert series of "Summer, Show and Stars" at the Hollywood Bowl, Blood Sweat and Tears, Kaleidoscope with Guest Star: Johnny Winter. This concert of Johnny Winter has been released on the bootleg "Johnny Winter HOT" Setlist:

  • Help me
  • Leland Mississipi Blues
  • Mean Town Blues
  • It's my own Fault
  • I hate Everybody
  • Tell the truth
  • What I Say
1-3 August 1969 - Atlantic City Pop Festival

Atlantic City Race Track, Atlantic City, N.J. August 1-2-3 Fri, Sat and Sun. Johnny was supposed to play on Fri. Aug 1, due to equipment problems he never appeared on stage, other rumors tell that because Johnny Winter is an albino, that he could not play because of the sun.

The schedule of the Atlantic City Pop Festival was: Friday 1 August 1969: Iron Butterfly , Johnny Winter , Crosby, Stills & Nash , Chicago , Procol Harum , Joni Mitchell , Mother Earth , Santana Blues Band , Booker T & The M.G.s.

Saturday 2 August 1969: Jefferson Airplane , Creedence Clearwater Revival , Crazy World of Arthur Brown , Grateful Dead , B. B. King , Butterfield Blues Band , Byrds , Hugh Masekela , Lighthouse , American Dream

Sunday 3 August 1969: Janis Joplin , Canned Heat , Mothers of Invention , Moody Blues , 3 Dog Night , Sir Douglass Quintet , Joe Cocker , Little Richard , Buddy Rich Big Band , Dr. John the Nighttripper

1-3 August 1969 - Atlantic City Pop Festival
A Newspaper Ad announcing The Festival:

Photo of A Newspaper AD announcing the 1969 Atlantic City Pop Festival
A Newspaper AD announcing the 1969 Atlantic City Pop Festival

Beale Street Blues: Fading Glory and the Enduring Power of Music
9 August 1969 Cumberland MB, Times News

Synopsis: Synopsis: Beale Street, a historic center of blues music, is facing a decline and a looming urban renewal project. Hulbert Sr., the "Mayor of Beale Street", cherishes the street's history and W.C. Handy's legacy, while his son sees a bleak future. The street's decline is evident in its dilapidated buildings and the absence of a vibrant music scene. Despite this, young music enthusiasts are drawn to Beale Street, seeking its roots in blues music. The blues, personified by W.C. Handy's music, transcend time and place, resonating with generations of music lovers and ensuring its survival beyond Beale Street's physical state.

Read The Full Article: Beale Street Blues: Fading Glory and the Enduring Power of Music

August 1969 The Commercial Appeal Mid-South Magazine
-

Synopsis: In the August 1969 edition of The Commercial Appeal Mid-South Magazine, William Thomas dives into the rise of blues sensation Johnny Winter. Titled "Suddenly, It's Winter," the article highlights the Mississippi-born albino musician who, after a decade of struggle, signed a major record deal and emerged as a national phenomenon. Known for his electrifying guitar skills and gritty blues sound, Winter's unique image and emotional connection to the blues have made him a standout in the music world. The piece explores Winter’s Southern roots, his fight for recognition, and his determination to carve his own path in the music industry.

Read TheFull Article

Chicago Music Scene Buzz: Arbors Return, Blues Concerts, Folk Sing, and More
5-16 August 1969 Electric Theatre / Kinetic Playground, Chicago.

The Billboard Magazine wrote about this:

Chicago The Arbors, Date artists, who just finished a successful engagement at Club Atlantis of the Regency Hyatt House in Atlanta, are making their way back home to Chicago via New York. where they have a number of commercial sessions lined up.. . .

Columbia's Johnny Winter, Elektra's Paul Butterfield and the Flock are on tap at Aaron Russo's Kinetic Playground Friday (15 August) and Saturday (16 August). . . . Doug Lee hosted a Decca Records party for the London House opening of Young-Holt Unlimited. Also on hand from Decca were Frank Scardino, Denny Miller and Shim Weiner. . . . The Judy Roberts Trio has replaced the Eddie Higgins Trio at the London House. Higgins re-signed as headmaster after 12 years.

Mercury's Buddy Miles Express held the spotlight July 31 at the Blues Concert at the Northbrook Sports Complex. Also featured were the Joe Kelly Blues Band and the Stanley Moss Blues Band. WCFL's Barney Pip served as master of ceremonies.... Top Old Town performers entertained at North Park Study Center's fifth annual benefit Folk Sing, which was held recently at Second City.

Big Money Whites singing Black
15 August Pacific Stars and Stripes

Synopsis: This article explores the "blues awakening" among white youth in America, highlighting the racial inequities that persist within the music industry. The newfound popularity of the blues has brought forgotten black performers into the spotlight, but they continue to face second billing and drastically lower pay compared to their white counterparts.

White musicians like Janis Joplin and Johnny Winter have achieved commercial success and lucrative contracts by imitating black blues styles. Meanwhile, black pioneers like Willie Mae Thornton and B.B. King remain underpaid and underappreciated. Record companies capitalize on this trend by promoting white groups engaged in a modern version of blackface, recognizing the difficulty of selling authentic black music to white audiences.

Black jazz musicians have navigated this issue by incorporating diverse influences into their music, making it challenging for white musicians to imitate. However, blues musicians are limited in their ability to do the same due to the genre's simplicity. The article concludes by acknowledging the bleak prospects for change, emphasizing the power of money and the lack of initiative from both record companies and white musicians to address these racial disparities.

Read the Full Article about: Big Money Whites singing Black

Folk Rock Musicians borrow from the Blues too
17 August 1969 - Oakland Tribune

Synopsis: The article "Folk Rock Musicians Borrow From the Blues Too" by Craig Modderno explores the resurgence of blues music within the rock-pop scene. He highlights the influence of blues on iconic rock artists, and how this musical tradition is being revitalized by contemporary blues artists and bands. The article details the blues' journey from its origins to its current popularity, attracting massive crowds. Modderno discusses the success stories of blues musicians like Johnny Winter, and quotes prominent figures to emphasize the universality and emotional depth of blues music. He examines how the blues have been embraced and reinterpreted by various artists, including Janis Joplin and the Creedence Clearwater Revival, touching on the debate about the authenticity of blues music in the context of commercial success. The article concludes by acknowledging the unpredictable nature of musical trends, but asserts that the blues, as a foundational element of American popular music, will continue to exert a significant influence on the evolution of music.

Read the Full Article on: Folk Rock Musicians borrow from the Blues too

Woodstock Music & Art Fair, 3 Days of Peace & Music
Aug 15,16,17 (Bethel. New York)

Synopsis: Texas blues guitarist Johnny Winter's performance at Woodstock was unfortunately overshadowed by contractual disputes and editing choices. Despite playing a memorable set on the festival's third day, Winter's footage was excluded from both the "Woodstock" film and the accompanying albums. It wasn't until the 25th anniversary of Woodstock that his rendition of "Mean Town Blues" saw official release. Winter's main memory of the event was waking up amidst the chaos and spontaneously taking the stage with his band. Though overlooked by many, Winter's presence at Woodstock remains a testament to the festival's spirit of musical discovery and spontaneity.

Read Full Article: Woodstock Music & Art Fair, 3 Days of Peace & Music

Reviews and comments the trend on the Woodstock Pop festival in 1969
23 August 1969 Charleston, WV Gazette

Synopsis: The article by Ray Brack, published in the Charleston, WV Gazette on August 23, 1969, offers a critical review of the trend of pop music festivals in the summer of 1969, leading up to the Woodstock Music and Art Fair. Brack highlights the recurring issues of overcrowding, inadequate facilities, and clashes with the police that plagued many festivals that summer. He points to the Newport Festival and the Denver Pop Festival as prime examples of these problems, where poor planning and crowd control led to violence and injuries.

In contrast, Brack praises the Atlanta International Pop Festival for its successful execution. He attributes this success to the cooperation between the organizers, the police, and the attendees. The festival's peaceful atmosphere and adequate facilities set a positive example for future events.

The article concludes with a sense of anticipation for the upcoming Woodstock festival. Despite the challenges faced by other festivals, the organizers of Woodstock seem determined to create a peaceful and enjoyable experience. Brack acknowledges the potential for problems due to the sheer scale of the event, but he also expresses hope that the lessons learned from previous festivals will lead to a positive outcome. Overall, the article provides a snapshot of the pop music festival scene in 1969, highlighting both its challenges and its potential for positive change.

Read The Full Article

Preview of the Texas International Pop festival

24 August 1969 San Antiono Light

Synopsis: San Antonio Light, 24 August 1969 – Final preparations are underway for the inaugural Texas International Pop Festival, set to take place from 30 August to 1 September 1969 at the Dallas International Motor Speedway, located 12 miles north of Dallas. The festival promises an exciting lineup featuring renowned acts like Canned Heat, Led Zeppelin, Janis Joplin, B.B. King, Chicago Transit Authority, and more. Over three days, the festival is expected to draw 45,000 to 50,000 attendees per day.

The event will feature state-of-the-art sound provided by Bill and Terry Hanley, known for their work at the Newport Jazz Festival. Additional attractions include a light show by Electric College of Atlanta. Attendees will have access to ample parking, with space for 40,000 cars. A separate press area with interviews and media amenities is also planned.

Tickets are priced at $6 per day in advance or $18 for all three days, with prices increasing to $7 at the gate. The festival follows the success of the Atlanta International Pop Festival in July, and tickets are still available at select locations in San Antonio.

Read The Full Article on: Preview of the Texas International Pop festival

Texas International Pop Festival
30 Aug 1969 until Mon 1 Sep 1969

Synopsis: The Texas International Pop Festival, held from August 30th to September 1st, 1969, at the Dallas International Motor Speedway in Louisville, TX, was a monumental event that showcased a diverse lineup of legendary musicians. The festival featured iconic acts like Canned Heat, Janis Joplin, Santana, Led Zeppelin, and Sly and the Family Stone. Among these giants, Johnny Winter delivered an electrifying performance on September 1st, solidifying his place in music history.

Winter's setlist included blues classics like "Mean Town Blues" and "Black Cat Bone," alongside his signature rock-infused tunes. His performance was so captivating that it led to the unofficial recording "White Lighting" and a video titled "Got No Shoes Got No Blues." One fan vividly recalls Winter's stage presence: dressed entirely in white, reflecting the spotlight's brilliance, he was a sight to behold.

Winter's Texas International Pop Festival appearance left a lasting impression on fans and fellow musicians. His dynamic blend of blues and rock, coupled with his undeniable talent and charisma, solidified his status as a guitar legend. The festival itself served as a testament to the power of music, bringing together a diverse crowd of over 300,000 people to celebrate the sounds of a generation.

Read Full Article: Texas International Pop Festival

DANGER: MUSIC FOR PEACE
Review: Summer Festival for Peace held at Shea Stadium

If anybody out there is looking for a convenient, already-built set for a film of Kafka’s "The Castle," I've got just the thing—Shea Stadium. Endless ramps that lead nowhere in particular, mysterious passageways, sudden twists and turns that lead from grubby kitchen areas into stark daylight. It’s even equipped with guards who have an innate feeling for Kafkaesque logic: "Press room? Well, now I’ll tell you something about a room like that once; when you’re done going up that ramp over there and then back on the other side to level C and then take the elevator up to the fourth level. But then you better ask somebody when you get there."

For Kafka—terrific. For the "Summer Festival for Peace"? But what were the alternatives? Yankee Stadium? The problem compounded. The old World’s Fair Pavilion? Supposedly it has leaky roof panels. Randalls Island? Guess again. And so on. What it comes down to is the fact that there really aren’t that many places one can get a permit for (in this summer of no-go music festivals) that are large enough, or secure enough, to hold 50,000-60,000 people. So, Shea Stadium it was.

Not that as it turned out— the size of the space was really needed. To say that 20,000 or so showed is to make a generous evaluation. Meaning, I suppose, that the problem was less one of finding an appropriate stadium than of finding one soon enough so that the program could be publicized sufficiently to draw a good-sized audience. As Al Aronowitz has rightly pointed out in his Friday piece in the Post, the Summer Festival for Peace show was just about as fine a collection of talent as anyone has ever seen in the New York area. The price was right and it was a beautifully clear sunny day in August. Yet the upper levels of Shea were as empty as Spiro Agnew’s head.

How to explain it? Inadequate publicity? Yes, of course. But that can hardly be the full story. More pertinent is the fact that kids seem more interested in hanging out, smoking dope, tripping, mouthing vague homilies about brotherhood, peace, love, community, etc., than in starting to take some effective actions toward making brotherhood, peace, and the rest into something more than the fantasies of lazy, camping-out summer weekends. (Does that sound like an indictment? Yes, indeed. But it’s only a beginning. Stay tuned for future installments.)

Needless to say, those who made it out to Shea got their money’s worth. John Sebastian, the Rascals, the cast of "Hair," Johnny Winter, Janis Joplin (in a dynamite surprise appearance that started such rhythmic foot-stamping from the crowd that the stands were vibrating a full five or six inches with every beat), Pacific Gas and Electric, Steppenwolf, Creedence Clearwater, Paul Simon. Ten Wheel Drive. I’ve left out many, many others, since some 20 acts were scheduled and a few surprise personalities appeared, as well. But over a 12-hour span it can be difficult to keep one’s critical faculties tuned while stumbling confusedly around Shea Stadium, from the upstairs press facilities to the third base dugout to home plate to the performers' dressing rooms. No matter. Everyone I saw performed at least as well as I’ve ever heard them, and some overreached even their best efforts. Programs like this do that to performers. The proximity of other major talents, the worthiness of the cause, the general feeling of togetherness—all these seem to come across to the performers. They dig it; and they do it.

Peter Yarrow did his usual back-breaking job of holding everything together, calming occasional ruffled feathers, playing a song here and there to make time for the stage crew (unheralded, but god did they work hard), and in general sustaining the energy and momentum of a program that could easily have ground to a halt—despite the presence of such dynamite talent. (Thank you, Peter, and be not disheartened.)

Joe Cappo writes a short biography calling it "Solid White Singer"
30 August Corpus Christi Times

By Joe Cappo

His White cornsilk hair hangs down to his shoulders and frames the creamy white skin and pointed nose is his face. His eyebrows and lashes are also white and they accent his pale, crowed eyes. This is Johnny Winter. As an albino, he is physically pure white.

As a musician, he is the epitome of blackness, Winter is a guitarist and a vocalist, one of the unusual ones who somehow built up a reputation as a bluesman before he ever stepped into a recording studio. Born in Beaumont 25 years ago, he was a small child when his family moved to Mississippi to operate a cotton plantation. It was there , that the blues first took hold on him.

The FAMILY eventually-moved back to Texas, where Winter learned to play ukulele and guitar. With his kid brother Edgar (also white-haired), Winter started a teen-age blues group and made the rounds of the small roadside clubs in the South. After a semester at Lamar Technical College, he left Texas and wandered to Chicago, where he met Barry Goldberg and Mike Bloomfield, two youngsters destined to be-rates the nation's foremost white Bluesmen. At the time, Bloomfield was running the Fickle Pickle, a State Street coffeehouse, and Winter would sit in with the jammers on guitar and mouth harp. That was the start of five years of digging, working with groups called the Plague and It and Them, traveling from Chicago to Pensacola, from New York to San Francisco.

Winter was working, learning and making little headway until Bolling Stone, bible of the rock music world carried a two-page spread on him late In 1968. WITHIN A month, Stan Paul, operator of "The Scene" In New York, contacted Winter and placed him in his club. Paul aLso became Winter's manager, counseling him to sit back while several record companies bid for his talent, The nod finally went to Columbia Records, which paid Winter a cool $650,000 for a five-year pact. But if his first album is any indication, Winter will more than pay back the Columbia investment. The record Is called simply "Johnny Winter," but there's nothing simple in the contents.

The basic fare is rural blues, with Winter displaying extraordinary virtuosity on guitar. He has both the sensitive feelings demanded by the blues and the gift of structuring tight jam riffs, plus the technical skill of putting the two of them together. The regulars in Winter's group include drummer John Turner and bassist Tommy Shannon, but the real kick in the pants on this album comes from appearances by two old pros, Chicago blues composer Willie Dixon on acoustic bass and Walter (Shakey) Horton on mouth harp. The only weak part in this album is Winter's singing, which Is a little too unmotivoted and unconvincing, particularly when it is displayed side-by-side with his master-ful guitaring. Winter is more musician than singer.

He also is more musician than the vast majority of young guitarists who have drifted to the blues. if he becomes successful — and he should — the whole world contemporary music will better off because of it

Source: 69-08-30 Corpus CHristi Caller-Times