Johnny Winter’s Electrifying Journey Through 1989: A Year of Tireless Blues Performances and Iconic Moments

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THE LONELINESS OF THE BLUES BUILDS ALBINO WINTER UP TO AN INFERNAL GUITAR FIREWORK. THE MAN AND HIS GUITAR STILL CREATE PURE EMOTION, BREATHING NEW LIFE INTO EVEN EXHAUSTED BLUES STANDARDS.

The question of whether white people can play the blues is as old as it is boring. Johnny Winter, once one of the greatest idols of blues rock, probably never cared about this issue, otherwise he wouldn’t still be touring today and delivering such hard-hitting concerts like recently at the "Große Freiheit." With the album *WINTER OF '88*, he made a full comeback in the studio, and nothing could really go wrong live either, as he and his two companions Jon Paris (b) and Tom Compton (dr) have been on the road for years, most likely trying to break the record for continuous touring.

All the more endearing that the three of them are still not a soulless routine band, as Winter & Band need a good half an hour to warm up. Gradually, but irresistibly, like a huge truck setting off on a long journey, Johnny Winter reached his boiling point, and by the time he swapped his hideous guitar for a proper one, he started playing as fiercely as he hadn’t in a long time. Cutting, each note a lightning bolt, razor-sharp melody lines that in the next moment clump into chords and roll out of the speakers like giant firewheels – it’s strange, but it is still possible to create pure fascination with virtuosity.

While Winter staggers, croaks, and sways his hips from one break to the next, Jon Paris makes sure everything stays in place and occasionally pulls out the harmonica for extra emphasis. The secret master of ceremonies? No, that’s the guy behind the drums. Tom Compton plays like "Animal" from The Muppet Show, a reborn Keith Moon, unbelievably precise and present. A ZZ Top feeling, free of any brutality, a flowing inferno of organic drum discipline. Rare to see something like that.

The further their set progressed, the denser and hotter the music of the Winter Band became. And at no point was it annoyingly noticeable that the Texan fast-finger was actually only playing standards, aside from a few original songs like "Hustling Down in Texas." He’s an interpreter – but one with entirely unique, incomparable standards.

This fireworks display of solid, straight-as-an-arrow playing joy could have lasted a little longer than the meager 70 minutes, but so what: There are few concerts of this kind that leave a better memory.

WERNER THEURICH

DIE EINSAMKEIT DES BLUES STEIGERT ALBINO WINTER BIS ZUM INFERNALISCHEN GITARREN-FEUERWERK. DER MANN UND SEINE GITARRE ERZEUGEN IMMER NOCH DAS PURE GEFÜHL, HAUCHEN AUCH AUSGELAUGTEN BLUES-STANDARDS IMMER WIEDER NEUES LEBEN EIN.

Die Frage, ob Weiße den Blues spielen können, ist ebenso alt wie langweilig. Johnny Winter, einst eines der größten Idole des Blues-Rock, dürfte diese Problematik nie einen Deut geschert haben, sonst würde er heute nicht mehr auf Tournee gehen und so brettharte Konzerte hinlegen wie jüngst in der "Großen Freiheit". Mit dem Album *WINTER OF '88* hatte er sich studiotechnisch vollwertig zurückgemeldet, und eigentlich konnte live auch nichts schiefgehen, denn seit Jahren sind er und seine beiden Compadres Jon Paris (b) und Tom Compton (dr) unterwegs, höchstwahrscheinlich um den Rekord im Dauer-Touren zu brechen.

Umso sympathischer, dass die drei trotzdem keine seelenlose Routine-Band sind, denn immerhin benötigen Winter & Band gut und gerne eine halbe Stunde, um sich warm zu spielen. Sachte, aber unaufhaltsam, wie ein riesiger Lastwagen, der auf große Fahrt geht, kam Johnny Winter auf den Siedepunkt, und spätestens nachdem er seine abgrundhässliche Gitarre gegen eine ordentliche vertauscht hatte, bretzelte er so los, wie man es von ihm schon lange nicht mehr gehört hatte. Schneidend, jede Note ein Blitzstrahl, gestochen scharfe Melodielinien, die sich im nächsten Augenblick zu Akkorden ballen und wie große Feuerräder aus den Boxen kullern – seltsam, es ist also doch noch möglich, mit Virtuosität heiße, pure Faszination zu erzeugen.

Während sich Winter taumelnd, krähend und in den Hüften federnd von einem Break zum nächsten hangelt, passt Jon Paris genau auf, dass alles klappt und kramt zur Steigerung auch mal die Mundharmonika hervor. Der heimliche Zeremonien-Meister? Nein, der sitzt hinterm Schlagzeug. Tom Compton spielt wie „Das Tier“ aus der Muppet-Show, ein wiedergeborener Keith Moon, unglaublich präzise und präsent. Ein ZZ-Top-Feeling bar jeder Brutalität, ein fließendes Inferno organischer Drum-Disziplin. Selten, sowas.

Je mehr ihr Set fortschritt, umso dichter und kochender wurde die Musik der Winter-Band. Und zu keiner Sekunde fiel störend auf, dass der texanische Flinkfinger eigentlich nur Standards spielte, von wenigen eigenen Songs wie "Hustling Down in Texas" mal abgesehen. Ein Interpret – aber einer mit ganz eigenen, unvergleichlichen Maßstäben.

Dieses Feuerwerk an solider, schnurgerader Spielfreude hätte gern etwas länger dauern dürfen als die kargen 70 Minuten, aber was soll's: Es gibt wenig Konzerte dieser Art, die man in besserer Erinnerung behält.

WERNER THEURICH

Synopsis: In this exclusive interview, the legendary guitarist Johnny Winter opens up about his struggles with addiction, his triumphant return to the stage, and his unique take on modern guitar heroes like Stevie Ray Vaughan, Jeff Healey, and Steve Vai. He also shares intimate details about his favorite guitars, his lifelong love for the blues, and the surprising item he’d take to a desert island! Discover the untold stories behind the music and the personal journey that shaped one of blues' most iconic figures.

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Synopsis: Johnny Winter's career, marked by the release of The Winter of '88 , reveals an artist constantly pushing the boundaries of blues and rock. While incorporating pop elements in tracks like “Close to Me” and “Show Me,” Winter never loses sight of his blues roots. His fierce slide guitar playing on songs like "Lightning" and “Stranger Blues” showcases his enduring dedication to the genre. This article explores Winter’s evolution as a musician, reflecting on his early career with albums like The Progressive Blues Experiment and his work with legends such as Muddy Waters. Despite commercial pressures, Winter remains steadfast in his commitment to the blues, demonstrating how versatility and a love for spontaneous, raw sounds define his legacy. From the early days in Beaumont, Texas, to his rise in New York City, this article sheds light on Winter’s influences, collaborations, and how his passion for music transcends genres and cultures.

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Synopsis: This article offers insight into Johnny Winter's guitar preferences and playing techniques, particularly focusing on his use of the Erlewine Lazer guitar, which he praises for combining the tonal qualities of a Stratocaster with the feel of a Gibson. Winter reflects on his history with various guitars, including his first Gibson ES-125, and details his evolution towards using Lazers in recent years. He also discusses his slide guitar technique, experimenting with different objects before settling on a unique copper pipe for slides, which he has used for over twenty years. Additionally, the article notes his use of Music Man amps and D’Addario strings, showcasing Winter’s personalized approach to his sound.

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WINTER KILLERS

JOHNNY WINTER is these days committed to playing what he calls “the best of two worlds”—that is, his Lazer, designed by Mark Erlewine of Austin, Texas. “It’s really the closest thing I’ve found to sounding like a Stratocaster and feeling like a Gibson. I like the sound of a Strat, but I just can’t play one. It just doesn’t feel right to me. If I pull the strings, I don’t get as much out of it as I put into it. I can put the same effort in with a Gibson and get back twice as much. With the Lazer, I get both.”

Before getting into Lazers, Winter owned and played numerous guitars. “My first real one was a Gibson ES-125 with no cutaway and a single pickup, which I got at age eleven. Afterwards, I had a Strat for a while, then a Les Paul Custom, and an SG. For my first album, Johnny Winter , I played a Fender Mustang on some of the songs, along with a National Steel Duolian. Afterwards, it was mostly Firebirds, and lately, it’s been Lazers.”

“For slide, I use my old ’63 Gibson Firebird, which I bought brand new. I set the strings a little higher than I do on the Lazer. I remember reading about the bluesmen using bottlenecks and soup bones for slides, so I tried all sorts of different things myself: a four-dollar watch crystal, a test tube, a lipstick holder. Finally, this guy from the Denver Folklore Society, the same guy who got me my first National Steel guitar for $150 some twenty years ago, got me a real good slide. He took me to a plumbing supply place and got me a twelve-foot-long piece of conduit pipe. It’s copper in the middle, and it started out light grey on the outside. After I played with it a while, I wore that coat off and it turned black and glossy. From there it turned silver. So there are three different coats to this pipe. And I’ve got the same piece of pipe now that I started out with twenty years ago. I just keep sawing off another one-and-a-half-inch link whenever I need a new one.”

Winter plays through Music Man amps; one cabinet with two 12-inch speakers and one with four 10-inch speakers. He uses D’Addario strings (.010, .013, .017, .026, .036, .046) and Gibson thumbpicks.

—B.M.

Synopsis: The webpage features an article from "Tattoo Magazine" No. 14 (Summer 1989), focusing on blues guitarist Johnny Winter. It includes an extensive photo spread showing his various tattoos, including lesser-seen ones on his legs and arms. The article spans about eight pages with numerous images of Winter, offering a unique, personal view of the legendary musician. The article highlights his status as an avid tattoo fan, emphasizing his iconic style and personality. For more details, visit the page [here](https://vinyl-records.nl/johnny-winter/biography/1989/1989-07-00-johnny-winter-tattoo-magazine-no-14-summer-1989.html).

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Synopsis: Johnny Winter’s career has been a reflection of his music—marked by pain, joy, and persistence. His enduring legacy as a bluesman, captured in the quote “I make my living feeling rotten, but I feel good when I play blues,” epitomizes his lifelong dedication to the genre. Despite facing significant challenges, from childhood ostracism to battles with addiction and rejection by the industry, Winter remained steadfast in his pursuit of the blues.

The article, originally published in Guitar World in March 1989, highlights the evolution of Winter's music career, focusing on his dedication to blues while also experimenting with rock influences. His latest album at the time, The Winter of '88, marks a shift toward a more commercial sound, produced by Terry Manning, yet still retains Winter's signature killer guitar licks and blues spirit.

Winter recounts the difficulties of breaking into the blues scene, especially as a white musician in predominantly black clubs, and reflects on key influences such as Mike Bloomfield. Despite his struggles, Winter continues to embody the blues, playing to “lose the blues” and staying true to his roots, even as his sound adapts to the times.

The article also delves into Winter’s early experiences with the guitar, his preference for thumb picks, and the influence of radio stations and blues musicians from his youth. Ultimately, Survival Of The Fittest portrays Johnny Winter as an artist driven by an unwavering love for the blues, always evolving but never straying from the essence of his craft.

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“Here Comes Trouble Again” — Johnny Winter slides in with his unmistakable Firebird tone, and suddenly the blues feels alive again. The intro? Pure gold. It's a casual, almost throwaway moment between Johnny and Bruce Willis, of all people, just shooting the breeze. But once Johnny leans in with that Texas drawl, spitting out, *"I’ve seen a LOT of trouble!"*, you know what’s coming next.

Listen to Johnny Winter and Bruce Willis chatting

The typical setlist performed by Johnny Winter during his 1989 shows seems to feature a consistent core of songs that blend blues classics, rock covers, and Winter's own hits. Based on multiple performances throughout that year, the following tracks appear most frequently:

1. Succotash - A common opener at many shows, setting a bluesy tone.

2. I'm Good - Another regular in the early portion of his set.

3. Mother Earth - A deep blues song that often follows in the middle of the set.

4. Don't Take Advantage of Me - A consistent highlight in most performances.

5. Mojo Boogie - An energetic crowd favorite played towards the middle or as an encore.

6. Stranger Blues - A staple of the set, often included in the latter part.

7. Johnny B. Goode - One of the final songs before the encore, a rollicking tribute to Chuck Berry.

8. It's All Over Now - Frequently used as the first encore song.

9. Boot Hill - Often performed as the second encore.

10. Bony Moronie (with drum solo) - Appearing in various shows with an extended drum section.

Other songs that appeared occasionally throughout the year include "Serious as a Heart Attack," "Love Her With a Feeling," "Honky Tonk," and "Hideaway." In certain performances, "Jumpin' Jack Flash" and "Rock Me Baby" also made appearances.

Encore songs would vary slightly, with rare inclusions such as "Wildwood Flower" or extended versions of "Bony Moronie" with drum solos.