Johnny Winter in 1984: "Guitar Slinger" Release and International Tours Mark a Landmark Year

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In 1984, Johnny Winter's career was marked by several key milestones. These include the release of his album "Guitar Slinger" , which further cemented his reputation as a leading blues guitarist. He embarked on an extensive European tour, showcasing his dynamic performances across various countries. Winter concluded the year with a successful Canadian tour, continuing his momentum and solidifying his global presence in the blues and rock music scene.

Photo of Johnny Winter playing piano - https://vinyl-records.nl/

A Short but Fiery Night: Johnny Winter's Controversial Concert in Hamburg
16 June 1984, Hamburg, Germany

Johnny Winter as the headliner, with the Dave Kelly Band as the opening act—this was how it was announced, and the expectations of the visitors who gathered around the open-air stage in Hamburg's Stadtpark, despite the mediocre weather, were accordingly high.

It was well known, even by the lady from the concert agency Karsten Jahnke, that Johnny Winter isn't the easiest person. No interviews were granted, which was particularly unfortunate as there were many unresolved questions regarding Winter's future. So, patience was required. Those who expected and hoped that the man with the snow-white hair would be supported by a black combo on his tour, or even by the musicians who so brilliantly accompanied him on Guitar Slinger, would have been disappointed. The bass was, as in previous years, played by Jon Paris, who also contributed some harmonica and had the urge to put himself in the spotlight. On drums was Tom Campton, who had been Alvin Lee's drummer for years and was recently seen with him in local venues. This continued the tradition of hard-hitting but always varied drummers in Winter's bands, from Johnny Turner to Randy Zehringer, Richard Hughes, Bobby Torello, and, in a way, Willie Smith and, most recently, Casey Jones.

There isn't much to say about the concert. Visually, with his guitar, hat, and tattoos covering his chest and arms, Johnny Winter appeared exactly as he does on the cover of Guitar Slinger. The opening number was, as usual, "Hideaway." This was followed by five tracks from the mentioned album, the classics "Johnny B. Goode" and "Jumpin' Jack Flash," and that was it! Powerful, even more energetic than on the record, with a steady, strong beat, a full bass, and the grand, dissolute marathon pieces that spanned several choruses, in which he made it clear, without room for contradiction, that no other blues guitarist could outplay him on stage. The optical interest came not from big show effects or lighting tricks but from his sheer presence. The 40-year-old Texan offered more charisma and personality than most of his musical peers.

Still, many of the (sober) attendees likely left with a bitter aftertaste. After just one hour of playing, the master bid farewell to the roaring crowd. Some "fans" forced their way onto the stage, others were violently prevented from doing so, cans were thrown toward the musicians, Johnny Winter cut short his encore and disappeared! Minor scuffles broke out between security forces and the audience, with the police called in to bring a dramatic end to the evening.

Who should be held responsible for these events? The organizer, who naively allowed beer in cans to be sold? The already partially drunk spectators, who saw no issue in turning their drink containers into projectiles? The stage security, who reacted violently rather than with finesse? Or Johnny Winter, who should have offered more than an embarrassingly short hour of music for 20 Marks—less than his opening act? Surely, everyone shares some blame.

A first step in the right direction would be to serve drinks in plastic cups, which would have better complied with Hamburg's ban on bringing cans onto the premises. It might also be worth considering a general alcohol ban because, frankly, we can probably do without those who would be deterred by such a rule.

Timo Hoyer

Original German text of the Hamburg Concert
16 June 1984, Hamburg, Germany

Johnny Winter als Headliner, die Dave Kelly Band als den OpeningAct bestreitende Gäste. So war es angekündigt und folgerichtig waren die Erwartungen der Besucher, die sich bei mäßigem Wetter um die Freilichtbühne im Hamburger Stadtpark versammelt hatten, dementsprechend.

Dass Johnny Winter nicht einer der einfachsten ist, wusste schon die Dame vom Konzertbüro Karste Jahnke. Interviews wurden keine gewährt. Was besonders schade ist, da etliche Fragen, die Zukunft Winters betreffend, noch ungeklärt sind . Man muß sich also in Geduld üben. Wer erwartet und gehofft hat, dass der Mann mit dem schlohweißen Haar von einer schwarzen Combo auf seiner Tournee unterstützt wird oder gar von den Musikern, die ihn auf Guitar Slinger wo großartig begleiteten, wird enttäuscht gewesen sein. Den Baß zupfte wie in den vergangenen Jahren Jon Paris, der auch etwas Harmonika spielte und den Drang verspürte, sich in Szene zu setzen; und am Schlagzeug saß Tom Campton, seit Jahren Drummer für Alvin Lee und mit diesem erst kürzlich in hiesigen Hallen zu bewundern gewesen, Damit setzte sich die Tradition der harten, aber in ihrem Bereich immer abwechslungsreichen Trommler in den Winter-Bands fort, die von Johnny Turner über Randy Zehringer bis hin zu Richard Hughes und Bobby Torello und in gewisser Weise auch Willie Smith und zuletzt Casey Jones reicht.

Zum Konzert lässt sich wenig sagen. Äußerlich mit Gitarre, Hut und den Brust und Arme bedeckenden Tätowierungen, erscheint Johnny Winter genau so, wie er sich auf dem Cover von "Guitar Slinger"darstellt. Die Eröffnungsnummer hieß, wie gehabt, "Hideway". Es folgen fünf Titel aus dem besagten Album, die Klassiker "Johnny B.Goode" und "Jampin'Jack Flash" und das wäre es dann gewesen! Druckvoll, (noch) energischer als auf Platte, mit einem geraden, kräftigen Beat, einem vollen Bass und den grandiosen, dissoluten, über mehrere Chorussen sich erstreckenden Maratonstücken, in denen er, keinen Widerspruch zulassend, deutlich machte, dass er von keinem anderen Bluesgitarristen von der Bühne gespielt werden kann. Optisches Interesse erweckten keine großen Showeinlagen und schon gar keine Lichteffekte, als vielmehr seine bloße Präsenz. Ausstrahlung und Persönlichkeit bot der inzwischen 40jährige Texaner in größerem Maß als die meisten seiner Musikkollegen.

Einen faden Beigeschmack wird wohl jeder der (nüchternen) Besucher dennoch mit auf den Heimweg genommen haben. Nach nur einer einzigen Stunde Spielzeit verabschiedete sich der Meister von der johlenden Menge, ein paar "Fans" verschafften sich unerlaubten Zutritt zur Bühne, andere wurden gewaltsam daran gehindert, Dosen flogen in Richtung Musiker, Johnny Winter brach seine Zugabe ab und verschwand! Kleine Schlägereien zwischen Ordnungskräften und dem Publikum und Polizeieinsatz als krönender Abschluss. Wem soll man die Verantwortung für diese Ereignisse zuschreiben? Dem Veranstalter, der in naiver Fahrlässigkeit Bier in Dosen feilbieten ließ? Den schon teilweise angetrunkenen Zuschauern, die sich nicht entblöden konnten und in ihrer Aggressivität die Trinkbehälter in Wurfgeschosse umfunktionierten? Den Bühnenordnern, die alles andere als geschickt, nämlich gewalttätig reagierten? Oder Johnny Winter, der für 20 Mark einfach mehr zeigen muß als eine peinlich kurze Stunde Musik und somit weniger als seine Vorgruppe? Eine Mitschuld trägt gewiss jeder. Ein erster Schritt in die richtige Richtung wäre der Ausschank von Getränken in Kunststoffbechern, was dem Hamburger Verbot, Dosen mit aufs Gelände zu bringen, ja auch eher entgegengekommen wäre. Überlegen sollte man sich auch ein generelles Alkoholverbot, denn auf diejenigen, die solches von Konzerten fernhielte, können wir, glaube ich, gern verzichten..

Timo Hoyer

Johnny Winter Kerrang Magazine 1984
Kerrang! no 73 July 26-Aug.8, 1984

The lure of the intimate club atmosphere never fades entirely, even for those bands familiar with the biggest venues in the world. The Stones played the 100 Club on Oxford Street in 1982, and more recently, ZZ Top, Genesis, and The Police have all appeared at the Marquee. The Police's gig was such a well-kept secret that their road crew had to round up passers-by from Wardour Street to fill the audience!

This wasn’t a problem for Johnny Winter at Dingwalls, where records were surely set for extremes of audience discomfort. Dingwalls, unlike the Marquee, is particularly ill-suited to staging bands. A long, narrow room with a low ceiling divided into three sections and obstructed by a line of pillars, it’s possible to be at the back and not even realise the band has started playing. The crush at the front to see Johnny Winter would have given a sardine claustrophobia. People were standing on tables, on partners, swinging from pipes around the ceiling, and even a fair-sized contingent was lounging in the toilets, conveniently located next to a PA stack. It wasn’t the night to find yourself desperate for a break!

Winter, of course, knows all about the clubs. Before gigs were staged at Hammersmith Odeon, the Fillmores, and Madison Square Garden—before rock’n’roll became mass-media entertainment—there were the clubs, and there was the blues. Winter spent much of the '50s and '60s hacking his way around Texas bars and beer joints, and it’s surely a testament to both the man and the music that he’s still around in 1984, playing the blues to the obvious delight of this packed house.

With long-standing cohort Jon Paris on bass and newcomer Mark Potowsky on drums, the skeletal albino, stripped to the waist to reveal the enormous demon tattoo on his chest, started with a leisurely instrumental—the kind of jam that crams every blues lick in the book into one tidy package and delivers it gift-wrapped as new. Much of the set was drawn from the recent *Guitar Slinger* album, with Winter’s raucous vocals and endlessly fluid guitar working their distinctive magic on numbers like “It's My Life Baby,” “Don’t Take Advantage of Me,” and “Mad Dog.”

During one slow number about New York, Winter’s unique combination of technique, emotion, and crude power produced a near-perfect reading of the blues guitar, that magical moment when wood, metal, and electrics can make time stand still. The big crowd-pleasers, though, were the old favourites—an uptempo “Jumpin' Jack Flash” and the perennial “Johnny B. Goode,” both from his excellent *Johnny Winter And Live* album from 1971. For the encore, he chose the slow, countryish “Kiss Tomorrow Goodbye,” revealing the sad, gentle side of his otherwise aggressive guitar-slinger image.

I didn’t catch Winter the following night at Hammersmith Odeon—a more typical gig for him—but seeing him at Dingwalls was strangely reassuring. No matter the ebb and flow of his commercial status, Winter will always be able to pick up his guitar and perform. But not in the manner of a faded star, scraping around the clubs; rather, as a wanderer returning from fantastic voyages to the heart of rock’n’roll.

Johnny Winter's 1984 Setlist: A Powerful Mix of Blues and Rock Mastery

Based on Johnny Winter's 1984 concert performances, a typical setlist during this year would include a combination of blues and rock covers, along with original material from his "Guitar Slinger" album. The consistent tracks across his shows throughout 1984 include the following:

1. Hideaway – A frequent opener, showcasing his blues guitar skills.

2. Don't Take Advantage of Me – A regular feature, especially after the release of "Guitar Slinger."

3. Mad Dog – Another staple from his 1984 performances.

4. I Smell Trouble – Appearing consistently, often with extended solos.

5. Johnny B. Goode – The Chuck Berry classic, a mainstay of his setlists.

6. Highway 61 Revisited – A regular feature towards the end of the set.

7. Boot Hill – Often performed as part of the encore.

8. Jumpin' Jack Flash – Another rock classic featured in encores.

9. It's All Over Now – A common closing song or encore.

Additional songs that varied from show to show included:

- Kiss Tomorrow Goodbye

- Bony Moronie (often with a drum solo)

- Lights Out

- Help Me

- She Moves Me

- Honky Tonk or Succotash as introductory jams at select shows.

This combination of blues standards, rock covers, and his own material from "Guitar Slinger" made up the core of his performances in 1984.

Johnny Winter 1984 Tour Dates

  • Monday, 7 January 1984: Wolfgang's, San Francisco, CA
  • Wednesday, 11 January 1984: Grand Central Station, Phoenix, AZ
  • Saturday, 14 January 1984: Opera House, Austin, TX
  • Monday, 19 March 1984: The Wax Museum, Wash DC
  • Tuesday, 27 March 1984: Cougar's, Buffalo, New York
  • Thursday, 29 March 1984: Barrymore's, Ottawa, Ontario
  • Friday, 30 March 1984: Spectrum Club, Montreal, Quebec
  • Saturday, 31 March 1984: Spectrum Club, Montreal, Quebec
  • Monday, 2 April 1984: Quebec City
  • Tuesday, 3 April 1984: El Mocambo, Ontario \1
  • Friday, 6 April 1984: Embassy Ballroom, Chicago, IL
  • Saturday, 28 April 1984: The Nook Hackettstown NJ. (Notes: Jon Paris opened the show with his own band - Rockola. He played guitar and sang with Amy Madden on bass and Bobby Torello on drums (Bobby T didn't play with Johnny though)
  • Friday, 6 April 1984: Embassy Ballroom, Chicago, Illinois . Notes: Special guest of Kim Wilson. Jon Paris on bass, Moe Potts on drums and Ken Saydak on piano - seems Ken is a regular band member by this date.
  • Friday, 4 May 1984: New York, Beacon Theatre . Notes: featuring Ken Saydak on Piano, incl. "Tobacco Road" with Edgar Winter on Sax
  • Saturday, 12 May 1984: Country Squire Inn, Ellington, CT
  • Wednesday, 30 May 1984: Spectrum Club, Montreal, Quebec, Canada
  • Saturday, 2 June 1984: Satelite Lounge Cookstown NJ
  • Wednesday, 6 June 1984: The Metron Harrsiburg PA
  • Saturday, 16 June 1984: Stadpark, Hamburg
  • Hamburg, 16 June 1984
  • Sunday, 17 June 1984: Stadium, Berlin, Germany
  • Monday, 18 June 1984: Joe's Biersalon Berlin
  • Wednesday, 20 June 1984: Liederhalle, Stuttgart, album: Live in Germany 1984.
    Photo of Johnny Winter Liederhalle Stuttgart Germany
    Johnny Winter Liederhalle Stuttgart Germany
  • Thursday, 21 June 1984: Cirkus Krone, Munchen, Germany
  • Tuesday, 26 June 1984 : Gronalund, Stockholm, Sweden
  • Friday, 29 June 1984: Roskilde, Denmark. Notes: Johnny stops the concert because a bottle thrown by the audience hits him during the "Johnny B. Goode" - solo. He says: "We give you music and you throw things at us. Great! We try give you music, you throw things. Great! Good night." . This show was also broadcasted on the Danish TV (DR)
  • Saturday, 30 June 1984: Liseberghallen, Goeteborg, Sweden.
  • Tuesday, 3 July 1984: London, Dingwalls
  • Thursday, 5 July 1984: Montreux Jazz Festival , Montreux Switzerland
  • Friday, 6 July 1984: Camden Dingwalls, London, UK
  • Thursday, 27 September 1984: The Wax Museum, Wash DC
  • Wednesday, 3 October 1984: London, Victory Club. Tampa Florida
  • Tuesday, 9 October 1984: Night Moves, Houston, Texas
  • Wednesday, 17 October 1984 - Bacchanal, San Diego
  • Thursday 25 Oct 1984. Club Of Monterey, Monterey, CA
  • Saturday, 27 October 1984 - Keystone, Palo Alto, California
  • Sunday, 28 October 1984: Wolfgang's, San Francisco, CA
  • Johnny Winter - Live 1984 Concert DVD
  • Saturday, 1 December 1984: Coronet Motor Hotel, Kitchener, Ontario, Canada
  • Sunday, 2 December 1984: National Arts Centre, Ottawa, Canada
  • Tuesday, 4 December 1984: Copa Club, Toronto, Ontario, Canada
  • Friday, 7 December 1984: Spectrum Club, Montreal, Quebec, Canada
  • Saturday, 8 December 1984: Spectrum Club, Montreal, Quebec, Canada
JOHNNY WINTER - Guitar Slinger
JOHNNY WINTER - Guitar Slinger album front cover
JOHNNY WINTER - Guitar Slinger album front cover

ATLAS Records LA25-5012 , 1984 , Japan

Johnny Winter's "Guitar Slinger" on 12" vinyl LP is not just an album; it is a masterpiece that encapsulates the brilliance of one of the greatest guitarists in the history of blues rock. The Japanese release of this iconic album further solidified its status as a musical treasure, appreciated by fans across the world.

Guitar Slinger 12" Vinyl LP

Johnny Winter Index 1980-1989

Johnny Winter in 1980
Johnny Winter in 1980 album front cover vinyl lp album https://vinyl-records.nl/johnny-winter/biography/index.html

In 1980, Johnny Winter was in the prime of his career, performing across various venues and festivals. Notably, he played at the Loreley Festival in Germany, showcasing his signature blend of blues and rock. His typical setlist during this period included covers of blues standards like Freddie King's "Hideaway" and rock classics such as Bob Dylan’s "Highway 61 Revisited." Winter's live performances captivated audiences with his powerful guitar skills and energetic presence. His 1980 tour spanned multiple cities in the U.S. and Europe, leaving a lasting impression on fans.

Read About Johnny Winter in 1980
Johnny Winter in 1981
Johnny Winter in 1981 album front cover vinyl lp album https://vinyl-records.nl

In 1981, Johnny Winter demonstrated his resilience and independence within the music industry. He formed his own record label, Mad Albino, to release the album *Whoopin'* after facing a lack of interest from other labels. He also reunited with Uncle John Turner for a mini-tour and performed at notable events such as the Chicago Blues Festival. This year highlights his ability to navigate the blues scene on his own terms while continuing to collaborate with influential figures like Muddy Waters.

Read About Johnny Winter in 1981
Johnny Winter in 1982
Johnny Winter in 1982 album front cover vinyl lp album https://vinyl-records.nl

In 1982, Johnny Winter continued to cement his reputation as a blues-rock legend, primarily through his live performances, though he did not release a new album that year. His high-energy concerts showcased his fiery slide guitar skills and his dedication to the blues genre. Winter's setlists featured classic rock and blues covers, along with his signature tracks, keeping him a revered figure in the music scene despite the absence of new studio work.

Read About Johnny Winter in 1982
Johnny Winter in 1983
Johnny Winter in 1983 album front cover vinyl lp album https://vinyl-records.nl

In 1983, Johnny Winter marked several key milestones in his career. Early in the year, he embarked on a Canadian tour, captivating audiences across the country. Shortly after, there was a significant lineup change with the departure of drummer Bobby Torello, who was replaced by Moe Potts. Later in the year, Winter further solidified his international presence with an extensive European tour, expanding his reach and reinforcing his reputation as a powerhouse in the blues and rock scene.

Read About Johnny Winter in 1983
Johnny Winter in 1984
Johnny Winter in 1984 album front cover vinyl lp album https://vinyl-records.nl

In 1984, Johnny Winter's career was marked by several key milestones. These include the release of his album "Guitar Slinger" , which further cemented his reputation as a leading blues guitarist. He embarked on an extensive European tour, showcasing his dynamic performances across various countries. Winter concluded the year with a successful Canadian tour, continuing his momentum and solidifying his global presence in the blues and rock music scene.

Read About Johnny Winter in 1984
Johnny Winter in 1985
Johnny Winter in 1985 album front cover vinyl lp album https://vinyl-records.nl

In 1985, Johnny Winter achieved significant milestones in his illustrious career. His album Serious Business earned a Grammy nomination for "Best Traditional Blues Recording," affirming his status as one of the foremost blues artists of his era. Another notable highlight was his participation in the Guitar All Star Jam, where he delivered a standout performance of "When You Got a Good Friend," showcasing his signature guitar prowess.

Read About Johnny Winter in 1985
Johnny Winter in 1986

Unfortunately I lost the 1986 files

Johnny Winter in 1987
Johnny Winter in 1987 album front cover vinyl lp album https://vinyl-records.nl

In 1987, blues guitarist Johnny Winter embarked on his "3rd Degree Tour" across Europe, with Dr. John the Nighttripper as a special guest. The tour featured performances across multiple cities, with setlists showcasing a mix of Winter's classic blues and boogie hits, such as "Third Degree," "Mojo Boogie," and "Johnny B. Goode." The band consisted of Tom Compton on drums and Jon Paris on bass. Winter remained committed to his blues roots despite commercial pressures to modernize. Notable performances included stops in Helsinki, Vienna, and Munich, with the tour receiving widespread acclaim for its raw energy and authentic blues sound.

Read About Johnny Winter in 1987
Johnny Winter in 1988
Johnny Winter in 1988 album front cover vinyl lp album https://vinyl-records.nl

In 1988, Johnny Winter embarked on a prolific year marked by the release of his album Winter of '88, which showcased his enduring guitar prowess. Produced by Terry Manning, the album blended Winter's signature raw blues sound with a modern edge, appealing to both long-time fans and new listeners. His tour supporting the album took him to numerous venues across the United States, with notable international performances, including headlining the Blues Festival at Piazza Duomo in Pistoia, Italy, on 1 July and concerts across Canada in September. Winter's concerts, such as at the Milan Blues Festival and the Diamond Club in Toronto, exemplified his commitment to live performance, further cementing his legendary status in the blues-rock genre. Throughout the year, Winter continued to captivate audiences with his fierce guitar skills and unwavering dedication to the blues, drawing both young and old fans alike.

Read About Johnny Winter in 1988
Johnny Winter in 1989
Johnny Winter in 1989 album front cover vinyl lp album https://vinyl-records.nl

In 1989, Johnny Winter's career was marked by an extensive and dynamic tour schedule that highlighted his enduring prowess as a blues guitarist. The year kicked off with the "Winter of '88/'89" tour, with performances across Europe, including memorable shows in Hamburg, Stuttgart, and Vienna. Winter, accompanied by Jon Paris on bass and Tom Compton on drums, delivered intense performances filled with sharp guitar riffs and a powerful, raw blues sound. Despite mainly playing blues standards, Winter breathed new life into each piece, captivating audiences with his fiery guitar solos.

Read About Johnny Winter in 1989