Johnny Winter: A Blues Icon's Journey in 1987

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Synopsis: Winter Still Steeped In the Blues - Synopsis In his New York Times article from 2 January 1987, Robert Palmer delves into the resilient blues career of Johnny Winter, who remains committed to his craft despite the fluctuating pressures of the music industry. Winter, who has been performing since the age of 14, has consistently prioritized the blues, even when commercial success demanded rock-and-roll or more mainstream sounds. Despite industry urging to modernize, Winter has remained true to his blues roots, a choice that has cost him record sales but won him respect.

The article highlights Winter’s early years in Texas, playing soul and Top 40 hits before finding his true calling with the blues. His collaborations with bassist Tommy Shannon and drummer John Turner marked a turning point, though the trio struggled to adapt to larger venues and critical reviews. Winter’s career faced a decline during the late 70s and early 80s, worsened by his refusal to follow industry trends. However, his move to Alligator Records rejuvenated his career, leading to greater success with albums like Guitar Slinger (1984), Serious Business (1985), and Third Degree (1986).

Palmer also reflects on the irony of Stevie Ray Vaughan’s success with CBS, playing the same blues style Winter was once advised to abandon. Yet Winter remains unwavering, content with Alligator’s support and his lasting devotion to the blues.

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Synopsis: This article is a review of a live concert held in Copenhagen at the Saga venue, featuring the legendary blues musicians Johnny Winter and Dr. John. The writer, Peter Nørgaard, offers a candid take on the performance, contrasting the two artists. Dr. John's piano playing and singing are praised for being authentic, raw, and musically satisfying, akin to someone enjoying life with a drink in hand. Johnny Winter, on the other hand, is acknowledged as a skilled guitarist whose energetic performance nearly "hurts" with its intensity, but his singing is criticized for being weak, described as "thin" and "irrelevant."

The concert itself is portrayed as a nostalgic, laid-back event, free from the usual rock star antics, allowing the audience of 1,300 to enjoy three hours of solid blues-rock. The atmosphere was relaxed, with smoke filling the venue, giving it an old-school, club-like vibe. Though Johnny Winter's vocals were found lacking, his instrumental prowess shone through, and Dr. John's honest and primitive musicality left a positive impression.

The review balances admiration for the musical skills on display with a critical eye on the weaker aspects of the performance, highlighting the authenticity of the experience.

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Synopsis: Name of the the venue Melibokushalle, has been mispelled on the ticket. One of the best concerts Johnny Winter performed together with Special Guest: Dr John

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Unusual: the Congress Hall of the Deutsches Museum without seating; where uniformed ushers usually relentlessly herd enthusiastic fans back into their rows, there is now freedom of movement for girls in boogie trance, for imaginary guitarists excelling on invisible guitars; space for the still numerous admirers of Johnny Winter, whose rough Chicago blues, metallic boogie, and heavy-handed rock 'n' roll have been touted in rock lexicons, liner notes, and articles for twenty years as the most authentic form of white blues. Likely, this is mainly because a tattooed albino is the closest thing a white audience can hope for from a white musician, a psychological finesse to mask their notorious inferiority complex toward both the historically exploited Black musicians and themselves.

Johnny Winter’s performance in the first thirty minutes is a masterclass for the amateur and semi-professional guitarists in the audience. With sovereign skill, he demonstrates the eternal guitar solo accompanied by bass and drums – three notes for one, the fastest shooter in the West, an artist. In doing so, the original rough stylist stands out pleasantly from those who have further coarsened and exaggerated his way of playing. Time has turned the forgery into an original that looms monolithically from the 1960s into the present, making it seem almost charming again compared to the guitar machismo of the 1970s.

After the showpiece comes the duty: Johnny Winter plays a typical Johnny Winter concert, featuring Long Tall Sally and Jumpin' Jack Flash. The pounding boogie chases the dull rock 'n' roll, and the audience is treated as if they're being taken for fools and are subsequently dismissed as such. That would have been it if Johnny Winter hadn’t brought along one of the most influential rock musicians of the last three decades to Europe: Dr. John, aka Mac Rebennack, from New Orleans, one of the few musicians from the Crescent City who managed—and wanted—to popularize the rich, though relegated, inner-city music culture of New Orleans in the U.S.

In the late 1960s, he was the Zu Zu Man, the Gris-Gris Man, the Voodoo Man, whose Afro-American religion and familiarity with drugs earned him cult status during the psychedelic frenzy of the hippie era. He was a teacher to Mick Jagger and Eric Clapton when it came to funk, Caribbean music, and the fusion of Black musical styles with rock music. On a local level, he helped push for the broader recognition of Voodoo as a religion. The last few years brought us the solo pianist in the tradition of Professor Longhair, the Thelonious Monk interpreter, the rapper, and now the blues-rock sideman, Dr. John.

In the opening act for Johnny Winter, he presented second line piano, boogie-woogie, rhythm and blues to Winter’s fans and a few dozen Mac Rebennack devotees – acoustic music before the thunder of amplified blues. How risky, how beautiful, how successful! And when Dr. John joined the Johnny Winter Trio, turning it into a quartet after about an hour, it was his two songs, You Lie Too Much and Walk on Gilded Splinters, that made listening worthwhile. Dr. John’s rough, solemn voice put Winter’s croak in its place, and the slightly louder-mixed electric piano effortlessly brought the lightness of New Orleans music into Winter’s simplistic blues style.

— Karl Bruckmaier

Ungewohnt: Der Kongressaal des Deutschen Museums unbestuhlt; wo sonst uniformierte Ordner begeisterte Fans unnachgiebig in die Sitzreihen zurückscheuchen, Bewegungsfreiheit für Mädchen in Boogie-Trance, für Phantasie-Gitarristen, die auf imaginären Gitarren brillieren; Platz für die immer noch zahlreichen Bewunderer Johnny Winters, dessen vergröberter Chicago-Blues, dessen metallener Boogie, dessen schwerfälliger Rock'n'Roll in Rocklexika, Covertexten und Artikeln seit zwanzig Jahren als authentischste Form des weißen Blues gehandelt werden. Hauptsächlich wohl darum, weil ein tätowierter Albino das Negermäßigste ist, was sich ein weißes Publikum von einem weißen Musiker erhoffen kann, eine psychologische Finesse, um notorische Minderwertigkeitskomplexe den notorisch bestohlenen schwarzen Musikern und sich selbst gegenüber kaschieren zu können.

Johnny Winters Auftritt ist während der ersten dreißig Minuten ein Lehrstück für die zahlreich im Publikum vertretenen Amateur-und Semiprofi- Gitarristen. Souverän demonstriert er das ewige Gitarrensolo zu Bass- und Schlagzeugbegleitung, drei Töne für einen, schnellster Schützen des Westens, Artist. Dabei hebt sich der ursprüngliche Vergröberer angenehm ab von jenen Hanseln, die wiederum seine Art zu spielen vergröbert und aufgeblasen haben. Die Zeit hat aus der Fälschung ein Original werden lassen, das monolithisch aus den sechziger Jahren in die Gegenwart ragt und sich neben den Gitarrenmachismo der Siebziger fast schon wieder sympathisch ausnimmt.

Nach der Kür die Pflicht: Johnny Winter spielt ein Johnny -Winter-Konzert, Long Tall Sally und Jumping Jack Flash, der stampfende Boogie jagt den stumpfen Rock'n'Roll, das Publikum wird für dumm gehalten und dementsprechend abgefertigt. Das wäre schon alles gewesen, hätte Johnny Winter nicht einen der einflussreichsten Rockmusiker der letzten drei Jahrzehnte mit nach Europa gebracht: Dr. John alias Mac Rebennack aus New Orleans, der es als einer von wenigen Musikern aus der Crescent City geschafft hat, und schaffen wollte, die reiche, wenn auch in die Vorstädte abgedrängte Binnenmusikkultur von New Orleans in den USA populär zu machen.

In den ausgehenden sechziger Jahren war er der Zu Zu Man, der Gris-Gris Mann, der Voodoo Mann, dessen afro-amerikanische Religion und Vertrautheit mit Drogen ihm Kultstatus im psychedelischen Taumel der Hippie-Zeit verschaffte. Für Mick Jagger und Eric Clapton war er Lehrer, was Funk, karibische Musik und der Verschmelzung von schwarzen Musikstilen mit der Rockmusik anging; lokalpolitisch half er, die weitgehende Anerkennung von Voodoo als Religion durchzusetzen; die letzten Jahre brachten uns den Solo-Pianisten in der Tradition Professor Longhairs, den Thelonius-Monk- Interpreten, den Rapper und nun den Blues-Rock-Sideman Dr.John.

Im Vorprogramm zu Johnny Winter setzte er dessen Fans und den paar Dutzend Mac-Rebenack-Liebhabern second line piano, boogie woogie, rhythm'n blues vor, akustische Musik vor dem elektrisch verstärkten Bluesdonnern- wie riskant, wie schön, wie erfolgreich! Und als Dr.John nach etwa einer Stunde das Johnny -Winter -Trio zum Quartett ergänzt, sind es allein die beiden Songs aus seinem Repertoire. You Lie to Much und Walk on Guilded Splinters, die das Zuhören noch lohnen, weil Dr.Johns rauhe, getragene Stimme Winters Krächzen auf die Plätze verweist und das während dieser Songs etwas lauter abgemischte E-Piano wie selbstverständlich die Leichtigkeit der Musik aus New Orleans in den einfältigen Blues winterscher Spielart herüberrettet.

KARL BRUCKMAIER

Sold-out house for the Texan blues albino. Almost everyone present had probably seen Johnny Winter live at least once before, as the audience consisted almost entirely of middle-aged blues rock fans. The younger crowd had headed to the Hallenstadion that evening, where Europe was giving their Swiss performance. Thus, there was a sweltering heat in the Volkshaus, which brought sweat to the audience’s brows even without the hot sounds.

Johnny Winter was once again on tour, presenting his latest album *3rd Degree* live. As usual, he dazzled with his technical virtuosity, and even after years, his unique guitar playing showed no signs of wear. Winter, who has significantly influenced generations of guitarists, still stands today as a sovereign master of the six strings, often playing at a blistering pace.

One minor downside of his endless touring is perhaps that spontaneity has at times given way to routine. However, his feel for the blues remains fully intact. Some may have found his long guitar solos somewhat tiring over time, but so what? Despite changing listening habits nowadays, everyone surely knew what to expect that evening. And the audience celebrated the white-haired, almost blind guitarist.

At the end of Winter's performance, the opening act, the voodoo priest from New Orleans, Dr. John, returned to the stage to give a short performance with Johnny Fastfinger. Conclusion: nothing new from the Winter front, but still top-class guitar blues, played like no one else ever will.

URS ROTH

Ausverkauftes Haus für den texanischen Blues-Albino. Wohl jeder der Anwesenden hat Johnny Winter zumindest schon einmal live gesehen, denn das Publikum bestand fast ausschließlich aus mittelalterlichen Bluesrock-Fans. Der jüngste Jahrgang hatte sich an diesem Abend ins Hallenstadion aufgemacht, wo Europe ihr Schweizer Gastspiel gaben. So herrschte denn im Volkshaus eine brütende Hitze, die den Anwesenden auch ohne heiße Sounds die Schweißperlen auf die Stirn trieb.

Johnny Winter war wieder einmal unterwegs, um sein aktuelles Album *3rd Degree* live vorzustellen. Wie gewohnt brillierte er durch seine technische Virtuosität, und sein einzigartiges Gitarrenspiel hat auch nach Jahren noch keine Spur von Abnutzung. Winter, der mittlerweile Generationen von Gitarristen maßgeblich beeinflusst hat, zeigt sich auch heute noch als souveräner Meister der sechs Seiten, und das bei überwiegend rasantem Tempo.

Ein kleines Manko seiner unaufhörlichen Tourneen ist vielleicht, dass Spontanität zeitweise der Routine Platz machen musste. Sein Feeling für den Blues ist allerdings nach wie vor voll vorhanden. Den einen mögen seine langen Gitarrensoli auf Dauer doch etwas ermüdend vorgekommen sein, aber was soll's – trotz geänderter Hörgewohnheiten in der heutigen Zeit wusste bestimmt jeder, was ihn an diesem Abend erwartete. Und das Publikum feierte den weißhaarigen, fast blinden Gitarristen.

Zum Abschluss des Winter-Auftritts betrat dann noch einmal das Vorprogramm, der Voodoo-Priester aus New Orleans, Dr. John, die Bühne, um mit Johnny Fastfinger eine kurze Einlage zum Besten zu geben. Fazit: Nichts Neues von der Winter-Front, aber nach wie vor hochklassiger Gitarrenblues, wie ihn kein anderer jemals spielen wird.

URS ROTH

Synopsis: In the August 1987 issue of Fachblatt Musik Magazin, a three-page interview with Johnny Winter offers an in-depth look at one of the most iconic and flamboyant figures in the American blues scene. Harold Mac Wonderlea engages Winter in a reflective conversation, offering insights into his musical journey and his continued success despite personal struggles.

The article opens by recalling a quote from Rolling Stone in 1968 that describes Winter as "a 130-pound, cross-eyed albino with long, flowing hair, who plays one of the smoothest guitars you’ve ever heard." Now in his mid-40s, Winter remains a celebrated figure on the world stage, still filling venues with a devoted fan base of both longtime followers and younger blues enthusiasts. He discusses his early influences, including country guitarist Luther Nelly and jazz guitarist Seymour Drugeon, and reflects on his career beginnings playing professionally with his brother Edgar at just 14.

Winter shares stories about his signature guitars, such as his Firebird, the headless Lazer guitar, and his latest addition, the Matz. He also touches on his disdain for Fender guitars despite admiring their sound, citing personal preferences for Gibsons, and details his collaboration with musicians like Dr. John on his latest LP, Third Degree. The interview sheds light on his production process and his thoughts on modern technology in guitar playing, while maintaining his unwavering dedication to the blues.

Throughout, Winter's unpretentious charm and passion for music stand out as he recalls his remarkable career and ongoing love for the blues. Despite his battles with substance abuse and health concerns, Johnny Winter remains resolutely committed to his craft, continuing to captivate audiences around the globe with his unmatched guitar skills and raw authenticity.

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During Johnny Winter's 1987 European "3rd Degree Tour," where he was joined by Dr. John as a special guest, a typical setlist included a strong mix of Winter's signature blues-rock tracks, with some performances featuring collaborations with Dr. John. The following is a breakdown of Winter's typical setlist and tracks performed with Dr. John:

Johnny Winter’s Setlist (Solo and Band Performances)

1. Succotash

2. Sound the Bell

3. Don’t Take Advantage of Me

4. Third Degree (from the 1986 Third Degree album)

5. Mojo Boogie

6. Bony Moronie (often featuring a drum solo)

7. Highway 61 Revisited (Bob Dylan cover)

8. Shake Your Moneymaker

9. Johnny B. Goode (Chuck Berry cover)

10. Boot Hill

11. It's All Over Now (Bobby Womack cover)

12. Jumpin’ Jack Flash (The Rolling Stones cover)

Collaborations with Dr. John

During the tour, Dr. John would join Winter on stage for several songs, particularly bringing his New Orleans flair to the set. These tracks included:

1. Walk on Guilded Splinters (a signature Dr. John song, blending blues with voodoo themes)

2. You Lie Too Much

3. Let the Good Times Roll (Louis Jordan classic)

4. Ooh Poo Pah Doo (R&B classic by Jessie Hill)

5. Lonely, Lonely Nights (Earl King classic)

6. Something You Got (Chris Kenner classic)

These collaborations provided a soulful, rhythmic contrast to Winter’s electric blues, adding variety to the set while allowing Dr. John to showcase his distinctive style. The interplay between Winter's blues guitar and Dr. John's New Orleans piano created a unique live experience during this tour.