Johnny Winter 1985: The Grammy-Nominated Blues Comeback That Set Stages on Fire

Johnny Winter's 1985 Highlights: Grammy Nod, Electrifying Performances, and a Return to Blues Roots

1985 wasn’t some polite “career milestone” year for Johnny Winter — it was a reminder that he could still bite. Serious Business , released on Alligator, came out lean, sharp, and unapologetically traditional, and it didn’t just please the faithful; it pulled a Grammy nomination for Best Traditional Blues Recording at the 28th Grammys. No reinvention circus, no trendy detours — just slide guitar that cut like barbed wire and vocals that sounded lived-in, not nostalgic. He didn’t chase relevance. He plugged in, turned up, and let the blues do the talking.

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

Johnny Winter RAG Magazine August 1985

Photos & Story by Dino Fedele

My own premier guitar hero was seen this month in an exhilarating performance at the Button South. Since the release of his current album, Guitar Slinger, Johnny Winter has returned (unsurpassed, I might add) to the blues style which is definitive of this unique axeman. The band returned this time, again, as a powerhouse trio. Tom Compton replaced former band member Bobby T. on drums, and on bass guitar and harmonica was longtime friend and touring band member, Jon Paris.

While most of the set was dominated by songs from Guitar Slinger, we did get a taste of some of the material to be included on the new Serious Business album, which is scheduled for release in August.

The show kicked off with “Don’t Take Advantage of Me” which was a real steady groove and “I Smell Trouble,” a song with a slow backbeat and real dazzling guitar picking on J.W.’s part. “Mad Dog” has a swing style feel to it, while “Lights Out” is reminiscent of 50’s style rock.

A change of guitars is in order as Johnny pulls a slide bar out of his pocket and the open tuning reveals the familiar strains of “Highway 61 Revisited.” This segment of the show also features Jon Paris’ astute harmonica passages, particularly on “Murder My Baby,” a new tune from the upcoming LP, then again on “Iodine in My Coffee,” a song whose passages seem to have been plundered and filtered from Johnny Winter’s “Backdoor Friend.” Not wanting to play second fiddle to a slide guitar, Paris’ harp spawns a conjugation between the two that extends the boundaries of the blues.

Although the crowd was charged up throughout the entire show, their cheering went doublefold when the band closed the set with “Johnny B. Goode” and the Stones’ classic, “It’s All Over Now.”

All of Johnny Winter's records have been alluring in my collection but it’s doubtful that Johnny will ever match the spontaneity, the epic performances on the 1969 album, Johnny Winter. This latest, Guitar Slinger, is probably the closest he’s come to it and, judging the material that will be on Serious Business, well, let’s just say I can't wait. As far

as live performances, there are few I can put on my list of “can’t miss.” Johnny is one of them. In our eight years and more of publishing the Rag, Johnny Winter has been covered more than any other performer, and if you'll pardon my self-indulgence, you'll be seeing him again, I’m sure.

Front cover of RAG Magazine, August 1985 issue. Pale blue background with large bold black letters spelling RAG across the top. On the left side, a vertical list of featured artists including Johnny Winter, Stanley Clarke, Gordon Lightfoot, and Ztoyz. On the right, a black-and-white halftone photo shows Johnny Winter performing live, shirtless, wearing a wide-brimmed hat, singing into a microphone while playing electric guitar. Additional text mentions music industry news and events. The layout is simple, framed with a thin border, and styled like a mid-1980s independent music publication. — This *RAG* cover feels like something you’d fish out of a record shop counter display in 1985: pale blue paper, a thin dark frame, and a headline that doesn’t ask permission. *RAG* sprawls across the top in three chunky black letters, rounded and slightly lopsided like they were meant to be seen from six feet away while you’re half-distracted. In the top-right corner it simply says *August 1985*, and right beside it there’s a narrow vertical box shouting *FREE*—no subtlety, no shame, just “take it.”

Down the left side, the cover runs like a plainspoken checklist. A small header reads *IN THIS ISSUE*, and then the names stack up in clean black type: *Johnny Winter* first, then Stanley Clarke, Gordon Lightfoot, and Ztoyz. It’s the kind of lineup that makes you pause for a second—like someone’s mixtape got printed and stapled. Below that, another block starts with *Plus News About:* and drops a few quick teasers, including Stroh’s Superstar Talent Search National Winner, Billboard Book Of Number One Hits, and the 6th Annual New Music Seminar. No hype language. Just the blunt promise that there’s more inside.

The right half is dominated by a grainy, high-contrast black-and-white photo of Johnny Winter in mid-performance. He’s planted behind a microphone, mouth open as if he’s catching the lyric on the way out, long light hair spilling from under a wide-brim hat. He’s not posed; he’s working. A guitar strap cuts diagonally across his chest and you can see the guitar neck angled up on the right, his fretting hand caught in motion. He appears to be wearing a sleeveless or striped stage top/vest rather than being shirtless, and the whole image has that photocopied, dotty texture that screams *cheap print, real moment*.

The best part is how unapologetically plain it all is: one color, one big photo, and type that looks like it was chosen for clarity, not beauty. I actually like that. Glossy magazines can keep their perfect lighting—this feels like the kind of cover that got read on a bus, folded in a jacket pocket, and survived anyway.

*Note:* This image may not be from the year of the article described on this page; it originates from my personal photo archive.

References & citations

Vinyl Records (high-res album cover photos)

Johnny Winter section on Vinyl Records

Johnny Winter’s 1985 Setlists: A Fiery Blend of Blues and Rock Classics

In 1985, Johnny Winter's setlists during his performances showcased a blend of classic blues, rock, and covers, reflecting his Grammy-nominated album Serious Business. A typical setlist from this year included his signature high-energy guitar work and deep blues vocals, often with surprises and guest appearances, particularly from his brother Edgar Winter.

Core Songs Across Performances:

- "Hideaway" – A blues instrumental that Johnny frequently opened with, setting an energetic tone.

- "Don’t Take Advantage of Me" – A strong, gritty blues track, often included early in the set.

- "Mad Dog" – Another standout blues-rock song, regularly performed.

- "Johnny B. Goode" – Chuck Berry's rock anthem, a fan favorite that Johnny performed with his fiery style.

- "Jumpin' Jack Flash" – The Rolling Stones cover that Johnny transformed with a blues-rock edge.

- "Highway 61 Revisited" – A staple Bob Dylan cover in Johnny's repertoire, often reserved for climactic moments.

- "Boot Hill" – A slower, haunting blues number frequently appearing in his sets.

- "It's All Over Now" – A rock-and-roll classic that Johnny would often deliver towards the end of his concerts.

Occasional Additions:

- "Parchman Farm" – A blues classic about the infamous Mississippi prison, performed at select shows.

- "I Smell Trouble" – A slow-burning blues piece, sometimes enhanced by guest musicians like Jim Lebin on harmonica.

- "Lights Out" – A driving rock song often appearing mid-set.

- "Soul Man" – A special treat for fans, performed with Edgar Winter on saxophone.

Special Performances:

- In Seattle, Johnny played "Red House" , a tribute to Jimi Hendrix with Jimi's father in attendance.

- The shows often included guest appearances, particularly from Edgar Winter, adding depth and spontaneity, such as the saxophone contribution on "Soul Man" .

Winter’s 1985 performances blended classic blues with high-energy rock covers, staying true to his blues roots while paying homage to rock legends. His guitar virtuosity and raw vocals made these shows unforgettable, especially for fans of electric blues.