JOHNNY WINTER in 1991

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Who says Winter has to be cold? The performance inside Club Eastbrook Sunday night could have melted the latest snowfall to hit West Michigan with just one blast on Johnny Winter's sizzling guitar.

Johnny Winter, the Texas blues guitar singer, entertained about 350 diehard fans with his crying blues guitar, making those indoors forget about the snow outside.

Throw in a surprisingly solid performance by newcomer Sue Foley, an accomplished guitarist from Austin, Texas, who opened the show, and the night was a guitar lover's delight.

Relentless guitar-playing ability, Winter kept his 90-minute performance sharp and to the point: no light commentary between songs, no big production numbers, and no deviation from what he has done in the past. Just him and his flurry of rocking guitar solos.

One drawback of his style—which consists of one great solo after another and one jam session after another—is its repetitiveness. However, fans coming to his performance expect to hear tons of solos, or it just wouldn’t be a blues guitar show.

With bassist Jeff Ganz and drummer Tom Compton in his band, Winter played several songs from his catalog and even some new ones off his most recent album. Yet, surprisingly, the highlight of the evening wasn’t Winter. It was Ganz’s lead vocals and infectious bass on “Politician,” a Cream cover, which brought many in the audience to their feet.

Ganz’s vocals were stellar, displaying good range, and his bass had a thumping beat very similar to Cream’s own Jack Bruce. Judging by the reaction of the audience, Ganz could have done several more songs as lead vocalist with no complaint.

Winter—thin as ever and sporting those tattoos up and down his arms—sounded good vocally throughout the night. But for the most part, he let his guitar do the talking.

And the way his guitar was wailing, it wouldn’t surprise me if this snow melts away soon.

Thursday, 19 December 1991: The Academy, New York, New York

19 Dec 1991 Review of Johnny Winter in the New York Times

By JON PARELES

Johnny Winter blasted out of Texas in the late 1960s, playing supercharged blues-rock, full of raspy vocals, speedy guitar lines, and crashing drums. He reached a huge audience that still shows up for his concerts; fans at the Academy on Thursday night spent much of the show shouting out old titles like "Rock 'n' Roll Hoochie-Koo" between songs. However, more recently, he has returned to a kind of blues purism.

At the Academy, the rail-thin, heavily tattooed Mr. Winter calmly ignored the requests and led his trio through one well-tuned 12-bar blues after another, featuring songs from his new album, *Let Me In* (Pointblank/Charisma). Although most of the songs followed the same structure, Mr. Winter kept them diverse: chugging or stop-time, slow or uptempo, using regular or slide guitar, with each song defined by a full-scale arrangement, not just its lyrics. He left the showmanship to his bass player, Jeff Ganz, who used "Born Under a Bad Sign" as an excuse for scat singing while he played.

Mr. Winter's singing remained a burnished rasp, except when, as in a version of "Please Come Home for Christmas," he eased back, sounding conversational, almost shy. While his voice is adequate for songs about elusive women, bad luck, and the urge to party, he lets his guitar playing tell most of the story.

The crowd called for "Rock 'n' Roll Hoochie-Koo," but got nothing close.

Mr. Winter now leans toward Texas blues, which is a little more garrulous and closer to country music than Chicago blues. He can spew out fast scales and quick triplets, but he knows better than to fill every space with notes. His solos have a clear sense of organization, starting a new idea in each chorus and developing it through leisurely call-and-response phrases. He might use song-like single-note lines, set up a dialogue between high and low registers, or juxtapose pushy chords with linear replies.

His solos are methodical, usually assembling one two-bar idea after another. But Mr. Winter wriggles free of expectations as soon as he sets them up. In a slow blues, his solo started with speedy lines and ended with sustained blue notes—the reverse of most players' strategies. Mr. Winter may no longer be as raucous as his original fans would prefer, but he has the finesse of a blues master.

The New York Times Magazine

Illuminate: the news.

In 1991, Johnny Winter delivered a robust setlist across various venues, showcasing his distinctive blend of blues and rock. Below is a typical tracklist that encapsulates the essence of his performances during that year, reflecting both his classic hits and new material.

Typical 1991 Tracklist

1. Sen-sa-shun

2. You're Humbuggin' Me

3. Blackjack

4. Got to Find My Baby

5. Mojo Boogie

6. Stranger Blues

7. Be Careful With A Fool

8. Johnny B. Goode

9. It's All Over Now

Notable Songs Often Included:

- Crosscut Saw

- Ain't Just Like A Woman

- Red House

- Shake Your Moneymaker

- Rock and Roll Hoochie Koo

Special Highlights:

- "Let Me In" : Released in 1991 and nominated for a Grammy for Best Contemporary Blues Recording, the album featured songs that often found their way into live sets.

- Tribute Show : Winter shared the stage with legends such as Bonnie Raitt and Ry Cooder during a tribute for John Lee Hooker.

- Film Soundtrack : His track "Rock and Roll Hoochie Koo" was featured in the film Rush, increasing his visibility in popular culture.

Performance Venues:

Winter performed at notable venues, including:

- Madison Square Garden (tribute show)

- The Stone Pony in Asbury Park

- Iron Horse in Northampton

- The Academy in New York, where he focused on a more purist blues style.

Overview:

Johnny Winter's 1991 performances highlighted his adept guitar work and charismatic stage presence, as he navigated both classic blues and contemporary influences. His ability to captivate audiences with a mix of original compositions and beloved covers solidified his place in the blues-rock genre, making each concert a memorable experience.