JOHNNY WINTER in 1971

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January - February: European Conquest

Johnny Winter's 1971 started with a bang, as he embarked on a triumphant European tour. His electrifying performances left audiences spellbound, from the opening night at Watford Town Hall to the rock and roll onslaught in Stockholm. Even a brief detour into the blues with "Be Careful With a Fool" showcased Winter's versatility and deep connection to his musical roots. Interviews and magazine covers further cemented his rising stardom.

March - April: American Odyssey

Back in the US, Winter continued his relentless tour, electrifying crowds at iconic venues like the Fillmore East and Cleveland Public Hall. He shared the stage with legends like the Allman Brothers Band and Mountain, showcasing his blues-rock prowess alongside diverse musical forces. The month culminated in a series of successful shows in California, including an Easter concert spectacular and a headlining gig at the Fillmore West.

May: Unstoppable Momentum

May saw no signs of slowing down for Winter. He headlined shows across the country, from Texas to Pennsylvania, even collaborating with blues legend Willie Dixon in Houston. A star-studded festival appearance in Detroit alongside the Allman Brothers Band and Bob Seger capped off a month of non-stop music and electrifying performances.

June - August: International Recognition & Reflection

Winter's influence extended beyond the US, with a feature in France's Best Magazine solidifying his international recognition. Amidst the whirlwind of touring, Winter also took time to reflect on the nature of blues music, acknowledging its deep roots in the lived experiences of Black Americans.

December: A Turning Point

The year ended on a somber note as Winter's struggles with substance abuse and exhaustion caught up with him. A collapse and subsequent hospitalization forced him to confront his demons and re-evaluate his lifestyle. It was a turning point, marking the beginning of his journey towards recovery and a more sustainable approach to his music career.

1971: A Defining Year

Johnny Winter's 1971 was a year of both triumph and turmoil. It showcased his undeniable talent, relentless energy, and unwavering dedication to the blues. But it also highlighted the toll that his lifestyle was taking on him. Winter's breakdown served as a wake-up call, leading him towards a path of recovery and a renewed focus on his music.

In late January of 1971, Johnny Winter embarked on a European tour, kicking off with a performance on Tuesday 26 January at the Watford College Union, Watford Town Hall. Watford

This is the setlist performed by Johnny Winter AND band during the 1971 European Tour

• Guess I'll Go Away
• Good Morning Little School Girl
• Rock 'n' Roll Hoochie Koo
• Be Careful With A Fool
• Jumpin' Jack Flash
• Rock and Roll Medley: Great Balls Of Fire/ Long Tall Sally / Whole Lotta Shakin 'Goin' On
• Johnny B. Goode
• Highway 61 Revisited

The Falkoner Centret (also spelled Falkoner Center) is located in the Frederiksberg district of Copenhagen, Denmark.

Tonight was different. Tonight, Winter and his band leaned heavily into rock and roll territory. The setlist was packed with high-energy tracks, driven by a relentless rhythm section and Winter's fiery guitar solos. The crowd ate it up, their cheers reaching a fever pitch with each new song.

In the midst of this rock and roll onslaught, however, there was a momentary detour. The band eased into the slow, bluesy groove of "Be Careful With a Fool." Winter's guitar sang with a mournful intensity, each note resonating with the deep emotionality of the blues. It was a powerful reminder of the roots that fueled his music, even as he ventured into the wilder realms of rock and roll.

Johnny played the "Stadthalle" (city hall) in Offenbach/Main, a town near Frankfurt/Main, support act was Matthews Southern Comfort with Iain Matthews. Iain had just left Fairport Convention and got a major hit in Germany, "Woodstock" (a Joni Mitchell song).

In New Musical Express (NME a UK music magazine), the 6 Feb. 1971 issue there is an interview with Johnny Winter! pp On the front cover of New Musical Express a composite photo of Johnny Winter jamming with Jimi Hendrix

Johnny Winter is quoted saying:

"We played together at the Scene Club in New York... the Experience in L.A., and we even did a benefit for Tim Leary at the Village Gate in New York."

Johnny then talks about how they went into the Record Plant Studios in New York:

"We didn't play any particular tunes. It was just an extended guitar workshop. I mean, you just couldn't show that man anything new. It was just a case of Jimi watching how I used a bottleneck when playing. All I was doing was more or less demonstrating the basic technique to him."

Winter continues:

"I guess Jimi Hendrix and I must have played together for at least two or three hours that day. Now... if someone was to do a professional job of editing those tapes, I'm sure we could get a good album out of them. If they're good, then I'd really like to see them come out for everyone to hear. I know I shouldn't say it, 'cause I'm under contract to another company and all that stuff, but really, I'm not bothered if I don't make a penny from them. It's just that I liked him so much."

Johnny then shares an anecdote about Little Richard when they were together on stage in Detroit with Mitch Ryder:

"He wandered on stage, gave me a big kiss, and started singing. Man... he's so flashy, but then he's so beautiful."

Another anecdote follows, this time about Jerry Lee Lewis when they met again at The Scene Club:

"I first played with Jerry Lee way back in '64 when he was touring Texas. I didn't see Jerry Lee again until I came to New York in January of '69 to do a gig at the Scene. Anyway, he remembered me after all that time, but he got real annoyed—just like a father who's pissed off with his wayward son—'cause he started bawling me out, saying: 'Goddamn it... where did ya get all that damn hair from? Johnny, ya look just like a girl. For pity's sake, man, whatcha wanna go and do that for? Ya look so pitiful.'"

Johnny adds:

"Hey man, you know he got real angry. Then when I said: 'But Jerry, you were the first cat to have long hair,' he spluttered and got real nasty."

Winter then continues about Jerry Lee, describing how, after a successful show, Jerry starts a bad scene with both Johnny and a young photographer.

Johnny ends the story about Jerry Lee Lewis with this:

"He may be a great rocker, but he's got a truck driver's mentality."

The Munich Blow up was packed, the opening act Southern Comfort kept having problems with their amplifiers, a half-liter of beer cost 2.20 Marks, and when Johnny Winter finally appeared, most people had already been standing for three hours, but they gladly stood for another two, because Johnny Winter proved that he and his new group And are among the best rock musicians you can currently hear from America. The albino from Texas, with white-blond hair well past his shoulders, his light-sensitive eyes almost completely closed, with graceful movements, black clothes, and silver jewelry, looks as grotesque as one imagines a jester at court. He used to be a soloist who played alone or with his brother Edgar and inconspicuous backing musicians, an exponent of hard, white blues, today he has fully integrated into the group, which partly consists of members of the old McCoys.

In Rick Derringer, he has a second lead guitarist with whom he plays excellently, without, as would be the trend in current American pop music, subjecting this interplay to the rigid rules of arrangements planned down to the last detail beforehand. Of course, and all stars believe they owe this to the audience, both had their big solo numbers, Rick Derringer a shredding rock and roll and Johnny Winter an incredibly virtuosic yet not synthetically artificial blues, as one knew it from his earlier records. In keeping with the beat-club atmosphere of the Blow up, Johnny Winter only played the music known from his latest LP for about a third of his two-hour concert, vital blues and rock built on long dialogues between the two guitars. Introduced by Jumping Jack Flash by the Rolling Stones, he played hard rock and roll for the rest of the time and a generous encore, without worrying much about the once-so-rigid rules of this earliest genre of pop music.

At times, the best jam atmosphere arose, and then it was very clearly felt how this group finds their interplay from the music itself and not from pre-planned sheet music. In such happy moments, which had also occurred in the first part of the concert during the improvised dialogues of the two lead guitars, the audience could also feel completely involved in this music.

Das Münchner Blow up war gesteckt voll, der Vorgruppe Southern Comfort fiel andauern die Verstärkeranlage aus, für eine halbe Flasche Bier musste man 2,20 Mark bezahlen, und als Johnny Winter endlich auftrat, hatten die meisten bereits drei Stunden gestanden, aber sie standen gern noch zwei weitere Stunden, denn Johnny Winter bewies, dass er mit seiner neuen Gruppe And zu den besten Rockmusikern zählt, die man zur Zeit aus Amerika hören kann. Der Albino aus Texas, weißblonde Haare bis weit über die Schultern, die lichtempfindlichen Augen fast völlig geschlossen, mit gezierten Bewegungen, schwarzer Kleidung und silbernen Schmuck, sieht so grotesk aus, wie man sich einen Narren bei Hofe vorstellt. Früher war er ein Solist, der allein oder mit seinem Bruder Edgar und unauffälligen Begleitmusikern gespielt hatte, ein Exponent des harten, weißen Blues, heute hat er sich ganz der Gruppe integriert, die sich zum Teil aus Mitgliedern der alten McCoys zusammensetzt.

In Rick Derringer hat er einen zweiten Lead-Gitarristen, mit dem er vorzügljch zusammen spielt, ohne, wie das dem Trend der augenblicklichen amerikanischen Pop-Musik entsprechend würde, dieses Zusammenspiel den starren Regeln vorher bis ins letzte Detail festgelegter Arrangements zu unterwerfen. Natürlich, und das glauben alle Stars dem Publikum schuldig zu sein, hatten beide ihre große Solonummer, Rick Derringer einen zerfetzenden Rock and Roll und Johnny Winter einen unglaublich virtuosen und doch nicht synthetisch artifiziellen Blues, wie man ihn von seinen früheren Platten kannte. Der Beat-Schuppen-Atmosphäre des Blow up entsprechend spielte Johnny Winter nur während etwa eines Drittels seines zweistündigen Konzerts die Musik, die man von seiner letzten Langspielplatte her kannte, vitalen, auf lange Dialoge zwischen den beiden Gitarren aufgebauten Blues und Rock. Eingeleitet durch Jumping Jack Flash von den Rolling Stones spielte er den Rest der Zeit und eine ausgiebige Zulage lang harten Rock and Roll, ohne sich viel um die ehemals so starren Regeln dieser frühesten Gattung der Pop-Musik zu kümmern.

Zeitweilig kam beste Jam-Stimmung auf, und dann war es ganz deutlich zu spüren, wie diese Gruppe ihr Zusammenspiel aus dem Musizieren selbst findet und nicht vorher auf dem Notenpapier ausklügelt. In solchen glücklichen Momenten, die es im ersten Teil des Konzertes bei den ausimprovisierten Dialogen der beiden Lead- Gitarren auch gegeben hatte, konnte sich auch das Publikum ganz in diese Musik einbezogen fühlen

Johnny Winter. Big Apple. One of those nights that sticks with you. The kind of gig that makes you glad you're alive and listening to rock and roll. If you weren't there, do yourself a favor. Grab a copy of 'Johnny Winter And….Live'. It's the next best thing to being there. They tore through the setlist, hitting all the high notes from that album. 'Johnny B. Goode' had the crowd on their feet. 'Great Balls of Fire' was pure energy. 'Jumping Jack Flash' got everyone moving. And when they launched into 'Rock and Roll Hoochie Coo', the place went wild. It was a night to remember.

This concert at the iconic Royal Albert Hall serves as the grand finale to Johnny Winter's 1971 European Tour.

Fillmore East, Johnny Winter And headlined the shows which included: Elvin Bishop, Allman Brothers Band. There was no light show, Johnny vetoed.

Johnny Winter has been booked for an appearance March 29 at Snoopy's, 103 N. Park St. Winter's blues singing and guitar artistry have received rave reviews from most major music trade magazines as well as popular publications. The co-owners of Snoopy's, Cindy and Jan Klund, reportedly are paying §3,000 for Winter's appearance.

Smashing performances marked the early show at Bill Graham's Fillmore East 12 March 1971 , the third of six performances of the program featuring Johnny Winter AND, The Allman Brothers, and Elvin Bishop Group. Blues Rock and exceptional Guitar playing were the keynote as Johnny Winter, Rick Derringer , Duane Allman and Elvin Bishop all shone.

The Allman Brothers operating with an expanded eight and nine-man unit were recorded live for Capricorn records. The resulting album should be a beauty judging by their fine set. Greg Allman on organ and piano was excellent at lead vocals. THe guitar work of Dicky Betts stood out as did the tricky playing of Duane Allman, one of the best. Drummer Jai Johanny Johanson and Butch Trucks were assisted by Joe Lala, percussion and bass guitarist Berry Oakley for a strong rhythm section, Thom Doucette harmonica and a saxophonist named Juicy contributed splendidly , especially the latter.

Johnny Winter and Rick Derringer, formerly with the McCoys are two pf the most active rock performers today as they led the Columbia Records group through an exciting set , a combination of Blues and Rock. Strength followed strength , whether it was Winter leading in "Highway 61 Revisited" or Derringer leading in "Great Balls of Fire", Bass guitarist Randy Hobbs, also a former McCoy and drummer Bobby Caldwell also were assets for Johnny Winter AND.

The Three Pointer Sisters belted out Rhythm and Soul numbers with Jo Baker in the solid Elvin Bishop Group set. The four girls helped make the move. Bishop and the other instrumentalists also were first rate for the Fillmore Records Set.

Mountain and Black Sabbath are two of the groups appearing at Cleveland Public Auditorium Friday at 7:30 p.m. The concert, sponsored by stereo rock station WNCR-FM and produced by Belkin Productions also includes Johnny Winter and the J. Geils Blues Band. Tickets are available at all Burrows Stores. Convention Center Box Office. Halcyon Days in Kent, and The Men's Shop in Elyria. 19 March

"Mountain" and "Johnny Winter And" are two hard-rock blues groups which have amassed a considerable following with almost no sales of single records. "Mountain" is powered by 290-pound Leslie West, above, and Felix Pappalardi producer of The Cream's records. Johnny Winter is the fantastic Texas blues guitarist who has a backup group consisting of- (believe it or not) The Mc-Coys. Don't Worry; they've come a long way from their "Hang on Sloopy" days. The two groups will each appear twice March 18 at Quinnipiac College in Hamden, at 8 and 11 p.m. Tickets may be obtained at the University of Hartford Gengras Campus Center lounge Tuesdays and Thursdays.

71-02-27 Hartford Courant.pdf

JOHNNY WINTER was Columbia Records guitar find of the decade in 1969 He is considered the finest blues guitarist ever The J Geils Blues Band is a new group with six members

MOUNTAIN will be headlining the first major ruck concert presented by WNCR-FM. the new rock sUreo radio station that has captured Cleveland's underground rock audience. The concert will be presented at Cleveland s Public Auditorium March 19 at 7 30 p m. ALSO APPEARING will be Black Sabbath, Johnny Winter and the J Geils Blues Band Mountain recently released its second album. Nantucket Sleigh Ride The group features 300-pound Leslie West and Felix Papalardi the former producer of The Cream, Black Sabbath is a British quartet formed in January 1969 under the name of Earth All four of its members hail from Ashton England.

Their music is billed as a tough honest reflection of their background. JOHNNY WINTER was Columbia Records guitar find of the decade in 1969. He is considered the finest blues guitarist ever The J Geils Blues Band is a new group with six members. The concert is being produced by Belkin Productions Tickets are available at all Burrows Stores. Convention Center Box Office. Mayflower Travel Agency in Akron. Halcyon Days in Kent, the The Men's Shop in Elyria

Johnny Winter as well as the Allman Brothers band were scheduled to appear at the Syndrome (Chicago) on the 20th March 1971. Due to the damage caused by riots at the Coliseum early March 1971, all concerts were cancelled.

Due to heavy ticket response for Johnny Winter's Monday night concert at the Santa Monica Civic Auditorium, Concert Associates has announced plans for a second Winter concert Sunday night at the same location.

March 29 at Snoopy's, 103 N. Park St.

Winter's blues singing and guitar artistry h a v e received rave reviews from most major music trade magazines as well as popular publications. The co-owners of Snoopy's, Cindy and Jan Klund, reportedly are paying §3,000 for Winter's appearance. Booked for an appearance April 5 at the student night spot are Alex Taylor, whose brother, James, was the first of the Taylor family to gain national attention for his blues renditions, will appear April 5. Booked together for a onenight stand in April are John Lee Hooker and Canned Heat.

Source & Full Article: 71-03-11 Madison, WI.pdf

Early April:

April 4 & 5: Performed at the Santa Monica Civic Auditorium as part of an Easter Concert Spectacular alongside J. Geils Band and Little Feat.

April 8-11: Headlined at the Fillmore West in San Francisco with J. Geils Band and Dreams.

Late April:

April 28: Played at the University of Northern Iowa with the New York Rock Ensemble.

April 29: Performed at Lawrence University Chapel, backed by the band "And" (formerly the McCoys).

April 30: Two shows at Howard Stein's Capitol Theatre in Port Chester, New York.

Johnny Winter, J.Geils Band, Little Feat

Synopsis: The Debaskers, avid live music enthusiasts, share their recent concert experiences. They enjoyed performances by Johnny Young and Luther Allison, but were disappointed by an overcrowded B.B. King show and the excessive loudness at Hooker & Heat and Johnny Winter concerts. The highlight was a formal B.B. King concert at the Performing Arts Center, showcasing the same great music in a more enjoyable setting. The author concludes by promising a future article exploring the negative impact of excessive volume and poor artist attitudes in the concert scene.

Read Full Article: Loudness, crowd prove music hassles

May 1971 was a whirlwind month for blues-rock legend Johnny Winter. With a mix of headlining gigs, festival appearances, and unique collaborations, he showcased his electrifying guitar skills and unwavering dedication to the blues across the United States.

The month kicked off with a solo performance at the Capitol Theatre in Port Chester, New York, on May 1st. Winter then ventured south for a gig in Southlake, Texas, on May 8th, followed by a special show in Houston the next day. Joined by blues luminary Willie Dixon and his Chicago All-Stars, Winter delivered a night of authentic, soulful blues.

The middle of the month saw Winter share the stage with Southern rock icons The Allman Brothers Band and Native American rock group Redbone at the Spectrum in Philadelphia. The concert, initially slated for May 12th and 13th but ultimately held on May 14th, brought together three distinct musical forces for an unforgettable night.

On May 15th, Winter headed to Atlanta for another headlining gig at the Municipal Auditorium, this time with Booger as the opening act.

The final week of May was a flurry of activity for Winter. He first performed in Minneapolis on May 23rd, then headed to Florida for two nights at Pirates World in Dania on May 28th and 29th, with Tin House opening the shows. The month concluded with a high-energy performance at the Detroit Rock Revival on May 29th, a star-studded festival also featuring The Allman Brothers Band, Edgar Winter's White Trash, Tin House, Bob Seger, and the J. Geils Band.

May 1971 solidified Johnny Winter's status as a tireless performer and a blues-rock powerhouse. His relentless tour schedule and diverse collaborations demonstrated his passion for sharing his music with audiences across the nation and his dedication to pushing the boundaries of the blues.

• Saturday 1 May 1971 Howard Stein's Capitol Theatre, Port Chester, New York: Johnny Winter
• Saturday 8 May 1971 Southlake, Tarrant County
• Sunday, 9 May 1971: Liberty Hall, Houston Texas Johnny Winter with Willie Dixon and the Chicago All stars, which included: Willie Dixon - Bass & Vocals , Lee Jackson - Guitar, Lafayette Leake - Piano, Shakey Horton - Harmonica , Clifton James - Drums
• Friday, Saturday 12 & 13 May 1971: Spectrum, Philadelphia, PA. Johnny Winter, The Allman Brothers Band, Redbone. Redbone opens with a great show (The Spectrum website lists this date as 14th May 1971)
• Saturday, 15 May 1971: Municipal Auditorium, Atlanta , GA Johnny Winter, Booger at the Municipal Auditorium, Atlanta , GA
• Sunday 23 May 1971 Minneapolis
• 28 and 29 May 1971: Pirates World, Sheridan Street, Dania Johnny Winter with TIN HOUSE as opening act
• Saturday, 29 May 1971: Michigan State Fairgrounds, Detroit Michigan. Detroit, MI. Detroit Rock Revival - Johnny Winter, Allman Brothers Band, Edgar Winter White Trash, Tin House, Bob Seger, J. Geils Band.

This magazine front cover highlights the legendary blues guitarist, Johnny Winter, during his peak in popularity in 1971. His appearance on Best Magazine, a prominent French publication, further solidifies his influence and recognition on the international music scene.

Synopsis: Thousands of young people gathered at the site of the cancelled "Celebration of Life" rock festival, refusing to believe the event was over. Despite a federal appeals court ruling that could potentially revive the festival, the promoters initially urged the crowd to disperse. The youths remained, creating a logistical challenge for local authorities with limited resources. While the promoters hoped to reschedule the concert, many attendees were determined to stay until a show took place, leading to a potential standoff.

Read Full Article: Last Minute Law, Court End Youths Rock Festival Plans

Bill Graham Presents In New York

B.B. King
The Original
Moby Grape
Grootna
Joe’s Lights
June 18 - 19, 1971

Johnny Winter And
Edgar Winter’s White Trash
June 24, 1971
FILLMORE EAST

Has black blues changed since white blues exists? Who has the right to sing the blues?

Any white bluesman will put down his guitar when - let's say - T-Bone Walker marches in. Janis Joplin laid a wreath on Bessie Smith's grave some time before her overdose. So are the blues pioneers recognized? Are they the "well-paid stars"? No. American Folk Blues is dying, and not for nothing: "Thank you ... I have the Blues a long time ...

I have many Blues .., right now I have the type of Blues to make you feel kinda happy and gay", says Willie Dixon in the Jahrhunderthalle. The blues bass rounds that he boxes against Champion Jack Dupree - especially in "School Day" - are, besides Jack's vocals and piano - his almost romantic piano on "Sittin and Cryin'" - the greatest of the evening. And the white blues? Here it comes: Johnny Winter, the great colorless one of the blues, completely pale and washed out, as one imagines white America. Is that true? If this image of our ally is correct, then so is Johnny Winter's blues.

Let's accept it, if only because it's on CBS-Records! Texas has honestly earned the winter. The music: a lot of it reminds me of Haley and Elvis, I mean "feeling"-wise, only Winter is cooler: how sensitive will the rock 'n' rollers be in 1990? "It's My Own Fault" is the strongest of the musical confessions gathered here. The audience has something to whistle and groan about at both festivals.

ist der schwarze Blues etwas anderes geworden, seit es den weißen Blues gibt? Who's got a right to sing the biues? Jeder weiße Bluesmann wird seine Gitarre hinlegen, wenn - sagen wir - T-Bone Walker anmarschiert, Janis Joplin legte einen Kranz nieder an Bessie Smiths Grab, einige Zeit vor ihrer Uberdosis. Sind die Bluespioniere also anerkannt? Sind sie die "gutbezahlten Stars"? Nein. American Folk Blues stirbt, und nicht umsonst: "Thank you ... I have the Blues a lang time ...

I have many Blues .., right now I have the type of Blues to make you feel kinda happy and gay", sagt Willie Dixon in der Jahrhunderthalle. Die Blues-Baß-Runden, die er gegen Champion Jack Dupree boxt - besonders in "School Day" - sind neben Jacks Gesang und Piano - sein fast romantisches Klavier auf "Sittin and Cryin"' - das Größte des Abends. Und der weiße Blues? Hier kommt er: Johnny Winter, der große Farblose des Blues, ganz und gar blaß und ausgelaugt, wie man sich das weiße Amerika vorstellt. Trifft das zu? Wenn dieses Bild unseres Verbündeten stimmt, dann tut's auch Johnny Winters Blues.

Wollen wir es annehmen, allein schon weil es ihn auf CBS-Records gibt! Texas hat sich den Winter redlich verdient. Die Musik: da erinnert vieles an Haley und Elvis, ich meine "Gefühls"-mäßig, nur ist Winter cooler: wie sensibel werden die Rock 'n'Roller 1990 sein? .lt's My Own Fault" ist das stärkste der hier versammelten musikalischen Selbstbekenntnisse. Das Publikum hat auf beiden Festen etwas zu Pfeifen und Grbhien

Source & Full Article: 71-07-01-johnny-winter-jazz-podium.pdf

BOSTON — From 8:30 — 9 p.m. Channel 7 will present a holiday special, the "Zayre Television Rock Festival," featuring ten top rock recording artists. Disc jockey Johnny Williams hosts the half-hour of popular entertainment, and introduces such well-known singing groups as Chicago, Santana, Ten Years After, and Poco, singing some of their most popular hits. Also featured are singers Taj Mahal, Edgar Winter and Johnny Winter and groups Madura, It's a Beautiful Day and Boz Scaggs. The fast-paced half hour should delight young rock enthusiasts, and perhaps to introduce to their parents what their mucic is all about.

Source & Full Article: 71-12-19 Lowell Sun.pdf

In December 1971, Johnny Winter's relentless touring schedule and struggles with substance abuse caught up with him. He collapsed from exhaustion and was hospitalized. This incident forced him to take a break from performing and re-evaluate his lifestyle. It was a turning point in his life, marking the beginning of his journey towards recovery and a more sustainable approach to his music career.