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In 1992, key moments in Johnny Winter's career included a successful European tour and special performances alongside his brother, Edgar Winter.
During his live concerts that year, Johnny frequently paid tribute to fellow blues guitarist Stevie Ray Vaughan by performing Vaughan's iconic track "Texas Flood." These renditions became a highlight of his shows, showcasing Winter's deep connection to the Texas blues tradition.
Synopsis: "Better Than Ever: Life Begins in the 40s for Rocker Johnny Winter" by Shawn Ryan offers an insightful glimpse into the legendary blues guitarist’s perspective as he approached his late 40s. Reflecting on advice given to him by fellow bluesman Johnny Shines, Winter acknowledges that age brings a deeper understanding of music and life, and that his passion for music has only grown stronger over time.
The article highlights Winter's renewed energy and enthusiasm following the release of *Third Degree*, which critics hailed as a return to form. This album, featuring tracks like "Illustrated Man" and "Life Is Hard," captures the joy Winter rediscovered after the disappointing experience of producing *The Winter of '88*, an album he described as his least enjoyable to make. Unlike the previous record, which was heavily produced and aimed at a more commercial sound, *Third Degree* allowed Winter to collaborate with musicians and producers he trusted, like Dick Shurman, returning to the raw, authentic blues that defined his best work.
Winter’s career highs and lows are also explored, from his early success with CBS Records to his hiatus from recording and his work with blues icon Muddy Waters, which resulted in Grammy-winning albums. Despite the ups and downs, Winter never lost touch with his audience, continuing to perform live and maintain his reputation as a blues legend.
The article closes with Winter reflecting on his status as a "living legend," acknowledging the pressures that come with the title, but ultimately finding satisfaction in his enduring love for music and performing.
MUSIC CONNECTION
Published Every Other Thursday SincE 1977
Vol. XVI, No. 1 Jan. 6—Jan. 19, 1992
Texas blues guitar legend Johnny Winter may dress like a throwback to the Sixties, with his tie-dye shirt, wrap-around jeans, wide-brimmed black hat, and waist-length white hair, but his stunning performance at the Variety Arts Center showed just how comfortable he is playing music that spans a diversity of musical eras, styles, and influences.
Not much of a conversationalist, his trademark bellows of "YEAHHH!" make up the gist of his stage patter. Winter prefers to let his fingers do the talking, and on this night, they were speaking in tongues. Before an adoring, similarly garbed mob of Winter fanatics, this blues guitar vet revealed that he's lost none of his prodigious chops.
Throughout his 20-plus-year career, Winter has been justly known as one of the most visible contemporary purveyors of both Texas and Chicago style blues. But on this night, his blues textbook guitar stompings took him into jazz territory, ala Wes Montgomery and Jimi Hendrix. His chording on tunes like the slow, jazzy blues of "Blue Mood," the Hendrix-inspired jazz tinge of "Sugaree" and the aforementioned "Sensation" illustrated that Winter, much like contemporaries Beck, Clapton, and Page, has more to offer than just a pat blues-rock hand.
Though, at times, Winter's spellbinding technique overshadowed some occasional lapses in emotive playing, his pair of talented bandmates—bassist Jeff Ganz and drummer Tom Compton —continually pushed Winter to the limits. Ganz, whose high-pitched vocal screaming and facial contortions turned a potentially pedestrian reading of Willie Dixon's "Can't Judge A Book (By Lookin’ At The Cover)" into a humorously rocking joyride through the past, offered up several interesting bass solos, while Compton's knowledge of when to crash and burn contrasted nicely with his ability to pull back on the reins.
For extra measure, Winter threw in a jaunty Texas swing number ("Hokie Dookie Stomp"), a driving, heavy blues-rock tune reminiscent of Cream ("You're Humbuggin’ Me"), the slow, growly blues of "The Same Old Thing" and a boogie-infested version of the old warhorse "Shake Your Moneymaker." He amply demonstrated that his bite remains every bit as bad as his bark.
— John Lappen
Synopsis: Johnny Winter stands among the most influential guitarists in rock and blues, sharing the spotlight with legends like Jimi Hendrix, Eric Clapton, and Albert King. His fiery guitar playing and gritty vocals made him an iconic figure in blues, enduring decades at the forefront of the genre. Winter's journey from his Mississippi roots to the global stage reveals a deep commitment to the blues, evident in career-defining releases like Let Me In (1992). This article delves into Winter's early influences, his musical breakthroughs, and the lasting impact he has had on rock and blues guitar.
Synopsis: In this 1992 Guitar Player interview, Johnny Winter reflects on his long-standing dedication to blues music, tracing his journey from being an unknown Texan guitarist to becoming a blues-rock legend. Known for his fluid, gritty guitar playing, Winter discusses his early influences, such as Robert Johnson, Son House, and Muddy Waters, and highlights the role these musicians played in shaping his style, particularly his slide guitar work.
Winter reveals his deep connection to the blues, explaining how it resonates with him emotionally and creatively, while also offering insight into his recording process and equipment preferences. His use of classic equipment like the Music Man amp and the Gibson Firebird, and his approach to creating raw, authentic blues, emphasizes his commitment to preserving the traditional sound of the genre.
Throughout the interview, Winter touches on various milestones in his career, including his work with Muddy Waters in the late '70s and his albums with Alligator Records in the '80s. The conversation also covers his thoughts on modern blues players, guitar techniques, and the enduring appeal of the blues, which he believes will continue to captivate audiences for generations to come.
By JOHN M. MORAN
Courant Staff Writer
Johnny Winter, tattoos clinging desperately to his scrawny limbs, warmed Saturday's frigid night with a blazing set of Texas blues.
The scene was a sold-out date at The Sting in New Britain, where Winter’s tour paused to promote the new album, “Hey, Where’s Your Brother?”
That answer to that musical question came earlier in the evening when Johnny’s look-alike brother, Edgar, opened the concert with a set by his own band.
If it weren’t for Johnny’s tattoos and Edgar’s beard, it would be nearly impossible to tell these two wild Texans apart. Their snow-white hair, albino complexions, and natural family resemblance make them look like twin bleached scarecrows.
But those cosmetic similarities fell away on stage, where Johnny’s guitar-playing simply blasted Edgar & Co. into the shadows.
A product of the Texas roadhouse tradition, Johnny Winter has made a career of his talents as a hot-shot blues guitar-slinger. It hasn’t made him rich (has anyone ever gotten rich playing the blues?), but it’s a living.
Saturday’s performance opened just before midnight with a sharp rendition of the old Freddie King instrumental “Hideaway.” It warmed up Johnny’s chops and immediately established the right tone for a blues-laced set.
The band — which also features Jeff Ganz on bass and Tom Compton on drums and percussion — then plunged into something off the new album called “Check Out Her Mama,” which allowed Winter to warm up his growing vocals as well.
Johnny’s movements look herky-jerky as his hands flash across the fretboard, an impression that is reinforced by his lanky frame and bony fingers. But you get no sense of that in the sound, which is bright and clear as Waterford crystal.
These stinging licks and lightning-fast runs are all the more impressive because they are delivered in crisp style. No sloppy solos and half-articulated riffs; just raw, screaming blues power.
Other highlights of the 75-minute set included “You're Humbuggin’ Me,” and an impressive version of Bob Dylan’s “Highway 61,” featuring a tremendous slide lead by Winter.
As you might expect, Edgar Winter pulled out his saxophone and joined brother Johnny for the encore, “Sick and Tired,” a nice uptempo blues shuffle from the new album.
In 1992, Johnny Winter's setlists reflect a vibrant mix of blues, rock, and a touch of jazz, showcasing his signature guitar work and dynamic stage presence. His performances during this year feature a core selection of tracks that highlight his musical evolution and deep roots in the blues tradition.
1. Sen-sa-shun – This upbeat opener becomes a staple, energising audiences.
2. You're Humbuggin' Me – A fan favourite, demonstrating Winter's storytelling ability through music.
3. Texas Flood – A poignant rendition of the classic, highlighting his emotional guitar playing.
4. Mojo Boogie – A testament to his boogie-woogie roots, keeping the energy high.
5. Shake Your Moneymaker – A lively track that gets the crowd dancing.
6. Johnny B. Goode – A rock and roll classic that allows Winter to showcase his virtuosity.
7. Illustrated Man – A blend of blues and rock, often featuring impressive solos.
Throughout the year, Winter frequently changes up his setlists depending on the venue and audience. For example:
- Collaborations with Edgar Winter during shows in December bring new life to classics like "Please Come Home for Christmas" and "Sick and Tired," highlighting their familial musical bond.
- Vocal Contributions from bassist Jeff Ganz on tracks like "Your Mind Is on Vacation" add variety and depth to the performances.
Johnny Winter's 1992 performances encapsulate the essence of his musical journey—blending traditional blues with rock influences, delivering both powerful solos and engaging stage presence. The year stands out not just for the music but also for the way Winter continually reinterprets his repertoire, ensuring each performance remains fresh and electrifying for fans.