Johnny Winter in 2001: A Blues Legend's Enduring Spirit Amidst Health Struggles

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I checked out your website—excellent! I just wanted to let you know that I saw Johnny Winter in concert last night at Harper's Ferry in Allston, Mass., which is in Boston. His guitar work was unbelievable! The only thing I didn't like was that the guitar drowned out his voice—you couldn't hear what he was singing.

He started off with the Laser and did most of the tunes off *Live in NYC*, including "Black Jack," "Boogie Real Low," "Mojo Working," "Johnny Guitar," and then he played a couple of slide tunes on the Gibson Firebird! I was hoping he would play more on this guitar. He played for about an hour and twenty minutes.

I was a little concerned with his looks. He looked very frail and had to be helped onto the stage using a cane. I have seen him three times; this was the first time I ever saw him have to use a cane. He also was on a stool for at least half of the show. Is he suffering from something, or did he have a stroke? He looks like he has aged very fast. I hope he is alright. Johnny Winter will always be one of my favorite guitar slingers!

Take care,

Bob P.

I attended the April 6, 2001, concert at the Royal Oak Music Theatre. As mentioned in previous reviews, Johnny indeed looked frail and had obvious trouble walking onto the stage. He used a cane to walk and had to be assisted by a companion with a flashlight whenever he moved. He appears to be suffering from a prior hip injury, and his vision is obviously compromised.

Unfortunately, I think that this deterioration of his physical condition leads many people to believe that his musical skills are slipping as well. I am not of that opinion. Although I am not a guitar aficionado, I do know my Johnny Winter music and can say, aside from a few miscues in the first song (due to nerves?), that Johnny's guitar work was superb. He appeared almost effortless on stage while playing in a manner that few musicians could duplicate. To me, that was impressive.

The song selections consisted, for the most part, of the "typical" concert repertoire featured and listed in recent reviews, with the addition of the rock standard "Going Down," during which his drummer supplied the primary vocals. The only disappointing aspects of the evening for me were the terrible acoustics of the Royal Oak Theatre and his return for only a single encore. The solid stone walls and ceiling of the building reverberated throughout the evening and lessened the quality of his performance.

The crowd was extremely enthusiastic and appreciative of his efforts. Most stood in front of the stage throughout the entire 80 minutes he was on stage. I would have hoped that Johnny would have responded in kind with another encore number, but he did not. Johnny sat for much of the concert on a stool and didn't sing as much as I would have expected, so it may have simply been a question of endurance. All in all, an excellent evening with Johnny Guitar.

Ed Fisher

I just saw Johnny Winter for the third—or was it the fourth—time at Legends in Victoria, BC, Canada (April 17, 2001). Two of us recorded the show, and one took pictures from four feet back from the stage. I went to see one of the nine best guitar players I've ever seen (I've seen Hendrix, Zappa, Clapton, Beck, Page, McLaughlin, Di Meola, Vai, not to mention many other greats), and I was shocked and saddened.

The legend was there in front of us, but—what happened? He seemed to have lost it almost totally. The sound was there from the Firebird and the Laser, but his playing and singing were not at the level we remembered. I've been a fan since I heard first pressings of *Progressive Blues Experiment* and *Johnny Winter*, and when I saw him in the seventies and eighties—wow!

But two nights ago, he could barely play; he found the main notes only sometimes on guitar and barely kept time with his great rhythm section. His vocals weren't as gravelly as usual—they were distant and, listening to the recordings, out of tune too. The phenomenal picking was gone, and the rhythm section had to lead the song arrangements as he could hardly move to look at them.

Johnny, everyone who went to the show loves you and wishes you a speedy recovery. We're glad you came to Victoria. Get better, and even if you don't, we'll always remember you for who you were. Godspeed; you've been the greatest blues player. All the best.

Fred

I just saw Johnny Winter at the Commodore Ballroom in Vancouver, and I was completely saddened by the experience. Johnny's place in the world of blues and rock guitar is secure—no one who saw him at his peak could argue otherwise. I had the privilege of opening for him in 1997 at the Commodore, and back then, the man was still on top of his game. However, seeing him in his current condition was very disheartening.

First and foremost, he should not be on the road, charging money for performances when, in reality, he can no longer play at the level that made him a legend—whatever the reasons may be. Yes, he has had lifelong addiction issues and, I’m sure, a variety of other ailments, but that should not be used as an excuse to go out and charge people money. Whoever is responsible for allowing this (i.e. his manager) knows full well that his fans are being ripped off, and Johnny’s dignity is being eroded. It is obvious to anyone in the audience that he is beyond his playing abilities, and his legendary status should not be tarnished by uncaring music industry figures.

I will always consider myself a Johnny Winter fan, but I will never attend another show. If his management truly wants what's best for Johnny, they should gather his many friends in the music world and organize a fundraising benefit for him. The who's who of the guitar world would be there in a second for this man who has given us so much over the years.

Matt Steffich

Johnny played the Aladdin Theater in Portland, Oregon, on April 20 to a near sell-out crowd, with tickets priced at $30 each. I've been a big fan since the late sixties but hadn’t seen him live in nearly fifteen years. What I saw was far from what I expected, and I was shocked by Johnny’s condition.

His eyesight, always marginal, now seems to have worsened, and he appeared very frail and hunched over. He could only walk slowly with a cane and sat motionless on a stool for most of the show. It struck me that he may have suffered a stroke or some other serious, debilitating illness. His singing was weak, and while his guitar tone was still good (mostly due to the equipment he was using), his playing was only a shadow of its former glory. The speed, the blazing solos, and the precision were gone—his timing was off, and he frequently missed notes, either hitting wrong ones or failing to execute hammer-ons, hammer-offs, and fast triplets. He seemed only able to riff through the chord changes on rhythm.

To his credit, the young rhythm section he had with him was tight and carried the show. The only real bright spots were the couple of songs where he played slide on his Firebird and a respectable rendition of his theme song, "Johnny Guitar." However, by the end of the performance, I was more saddened than disappointed.

I completely agree with Matt and Fred, who reviewed the two BC shows: Johnny’s legendary status is secure, but I believe his management is misrepresenting him. Charging fans such high prices to see him play, without any forewarning about his current health and condition, feels unjust. I’ve seen blues legends like Muddy Waters, Johnny Shines, and Robert Jr. Lockwood when they were either ill or past their prime, but I attended those shows knowing what to expect, and as a result, those artists were treated with the respect they deserved and maintained their dignity.

If Johnny really needs the money, there are countless musicians who owe their careers to his groundbreaking style of Texas electric blues-rock. They should be more than willing to donate their talents in support of Johnny.

Randy Albright

I caught the tail end of Johnny Winter’s performance at the Ballard FireHouse in Seattle last night (Saturday, April 21, 2001). Since I didn’t catch the entire show, here are some random observations.

Physically, it’s clear Johnny is dealing with some serious issues: the glass cane, the on-stage/off-stage assistance, his alarming frailty, and a lack of expression. There’s no doubt something is going on that’s against doctor’s orders. I’ve got to agree with Matt, who saw Johnny Winter in Canada just a few days earlier.

Musically, yes, there were missed notes and some uncoordinated playing. But here’s the mysterious thing—and I think I’m echoing nearly every review posted since 1997: even when playing slow, safe, and a bit awkward, Johnny Winter is still wonderful to listen to. Musicians I know from classical, rock, jazz, and Latin genres have a word they use to describe guitar playing they respect: “musical.” They ask, “Is it musical?”—meaning does it flow, is it free, is it technically accomplished, is it imaginative, and does it combine all of these qualities to transport the listener to a special space? That, I believe, is the musician’s definition of "musical." And Johnny, if nothing else, is musical.

Compared to Johnny, the millions of notes played by virtuosos like Al, Joe, and Steve can sometimes feel like just sound. It must be frustrating for those guitarists to master the instrument so completely, only to find they can’t always captivate an audience the way Johnny does. Don’t get me wrong, I respect those guitarists as much as any guitar lover, but Johnny has the *duende*—the Spanish term for that magical spirit in a guitarist that makes listeners fall in love with the player.

As for the concert itself: if you’re expecting Niagara Falls, don’t go. But if you want to contemplate a small, beautiful creek—or even a simple fountain—then it’s worth your time.

Das

I’ve been a fan of Johnny Winter’s music for about ten years and own many of his albums, which I love. Since he hasn’t visited Sweden for quite some time, this was my first opportunity to see him live. Despite the rumors about his health and performance, and a ticket price of $35, I decided to go. Johnny’s playing about five gigs in Sweden, including an extra concert in Stockholm after the first show sold out. The first two shows, in Gothenburg and Stockholm, received poor reviews, so I had been warned that he might not be at his best.

The club, Katalin, was sold out, and the audience was big and enthusiastic. Johnny has always been popular in Sweden, and it’s clear he still has a dedicated following here. Johnny and the band came on stage at a quarter past ten, but I missed the first number, "Hideaway," because my friend fainted, and I had to help him outside and revive him—it was very warm in the club. We made it back just as the first song ended.

Johnny looked really weak; he barely moved and appeared stiff in the face. It seems likely he’s suffering from Parkinson’s disease. However, I was pleasantly surprised by his performance. He followed "Hideaway" with "Mojo Working," and although he plays much slower than he used to, his playing is still full of taste and retains his signature sound. His vocals were a bit weak at times but carried that same sleazy charm you hear on the records.

I believe he followed "Mojo Working" with "She Likes to Boogie Real Low," which is one of my favorites, and he performed it well. His guitar work was tentative at first but improved as the song progressed. Then he moved to the side of the stage, where a roadie helped him switch guitars, and the band played "The Sun is Shining." His slide work was fine, although he sang out of tune on this number and played a bit out of tune towards the end. This happened a few more times during the show, but it wasn’t overly noticeable.

The band closed with "Johnny Guitar," after which Johnny briefly stepped off to the side of the stage before returning for an encore—an instrumental with a bit of the "Fast Life Rider" riff thrown in. I enjoyed the show and was thrilled to see one of my favorite artists live. It’s true that he’s playing far below his previous standards, but this is clearly due to his medical issues. Nevertheless, he still plays with taste and feeling, and I didn’t find it to be a tragic performance.

The band was very good, tight, and supportive. Johnny does look shockingly frail, and perhaps touring isn’t the best thing for his health. Still, it seems like he enjoys playing—he smiled now and then, and a big grin appeared on his face during the encore. Peter Strömbäck

I went to the concert with my 17-year-old son, Morten. He was excited, and so was I! Johnny took the stage at 22:15, assisted by a roadie and using a transparent plastic cane. He looked very fragile, walking stiffly with small steps. A stool was set up on stage, which he used frequently throughout the show.

Johnny’s first song was "Hideaway," but, unfortunately, he didn’t play it very well. He seemed tired and unfocused, hitting quite a few wrong notes. Still, standing in the front row, it was incredible to watch him in person.

Fifteen minutes into the concert, during the second song, some idiot in the crowd threw a full half-liter of beer at Johnny, hitting him, his hands, and his guitar. Johnny was soaked in beer! He looked shocked for a brief moment but continued playing, despite the beer dripping from his fingers and the guitar’s neck. At the end of the song, Johnny asked, "Who was that motherfucker who threw beer at me?" The bass player reassured him, saying, "It's all right, Johnny, he’s been thrown out."

Johnny had to clean his sticky fingers and guitar, and I thought for a moment that he might walk off stage, like he did at Roskilde Festival about 15 years earlier when people threw beer cans and bottles at him. But thankfully, he didn’t—credit to you, Johnny! I’m glad you chose not to let one idiot ruin the experience for the rest of us.

As the concert went on, Johnny’s performance improved, though he was still not at his peak. Nevertheless, he had the spirit and glimpses of the greatness from his earlier years.

For me, the concert was OK, but for my son, it was amazing—he loved every minute, even though he can play "Hideaway" more accurately than Johnny did that night. But my son doesn’t have the soul of a man who’s been playing the blues for nearly 50 years. Johnny had two great musicians backing him up—his drummer and bass player did an excellent job of supporting him.

The crowd loved the show, and after an encore, Johnny seemed quite pleased, despite the beer incident. He walked off stage with his cane—a small man with a giant inside.

Thank you, Johnny. You’ve still got the blues, and my son and I wish you all the best for the future. Take care of yourself!

Michael Madsen, Denmark

Synopsis: Johnny Winter: A Unique Personality in the Blues World explores the life and career of blues legend Johnny Winter, focusing on his significant influence on the genre and his crossover into blues-rock. Known for his striking appearance—an albino with long white hair and a tattooed body—Winter's raw energy and mastery of the guitar set him apart in the late 1960s. His fluid playing style and ability to blend traditional blues with rock elements captivated both fans and critics.

Born in Beaumont, Texas, in 1944, Winter began his musical journey alongside his younger brother Edgar. Influenced by early rock 'n' roll icons like Little Richard and Elvis Presley, as well as blues legends like Muddy Waters, Winter formed his first band at 14 and soon recorded his debut single. By the late '60s, Winter gained recognition in the blues scene, especially after the release of The Progressive Blues Experiment (1969) and his major label debut, Johnny Winter . He also performed at Woodstock that year, marking his rise to fame.

Winter's career was defined by his respect for blues tradition, even as he incorporated rock elements. He produced several albums for Muddy Waters in the late '70s, including Hard Again , helping to revitalize Waters' career. Although Winter struggled with personal challenges, including drug addiction, he continued to release influential albums and maintained his status as a blues icon.

The article highlights Winter's collaborations with prominent musicians like Rick Derringer and his role in shaping modern blues-rock. Despite his limited songwriting, Winter's electrified versions of classic blues songs introduced the genre to a wider audience. His live performances, such as those captured on Johnny Winter And Live (1971), showcased his explosive energy and skill, solidifying his legacy as a pivotal figure in the evolution of blues music.

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Synopsis: In this engaging interview, blues legend Johnny Winter opens up about his musical journey, creative process, and long-standing connections within the blues community. Joining Johnny are his bandmates—bassist Scott Spray, drummer Wayne June, and harmonica player James Montgomery—each offering unique perspectives on the band’s chemistry and Johnny's powerful influence. The interview delves into Johnny’s early shift from blues to rock, his deep bond with Muddy Waters, and his thoughts on blues' evolution over time.

Johnny reflects on his role as a key figure in both blues and rock, explaining his return to the blues after a stint in rock during the 1960s. He shares memories of collaborating with Muddy Waters, whom he calls a father figure, and his admiration for other blues pioneers like T-Bone Walker and Lightnin' Hopkins. His bandmates chime in, praising Johnny's contributions to blues and his ability to infuse Texas blues into his sound, with James Montgomery likening him to John Lee Hooker in terms of mastery and influence.

The conversation also touches on Johnny’s influence on younger blues artists, including Stevie Ray Vaughan, and his thoughts on blues' ongoing vitality despite being a niche genre. With candid moments of humor and nostalgia, Johnny talks about his enduring love for blues, his interactions with fans, and his hope to continue performing internationally. The interview ends with a private concert for the TV crew, where Johnny offers a special tribute to his hometown roots, leaving the audience with a lasting impression of his unwavering dedication to the blues.

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Blues guitarist Johnny Winter had to pull out of his scheduled performance at the Bishopstock Festival due to illness. Despite being unable to perform, Johnny went on stage to personally apologize to the more than 5,000 fans in attendance before heading to a nearby hospital.

The 57-year-old blues legend was suffering from numbness on his right side, a condition known as radial nerve palsy, which made it impossible for him to play. According to festival organizers, Johnny was taken to the Royal Devon and Exeter Hospital, but his condition was not considered serious.

Fans were disappointed but appreciated Johnny’s personal gesture of addressing the crowd, a testament to his dedication and connection to his supporters.

Johnny Winter is a legend. Sure, that title gets tossed around in rock and roll like a Frisbee in the park on Sunday, but in this case, it’s an accurate description. From the '60s onward, with landmark albums like Johnny Winter And, The Progressive Blues Experiment, Still Alive and Well, Saints and Sinners, Let Me In, and Captured Live, along with endless touring, Winter captured and kept a loyal audience who, to this day, speak his name with reverence.

We spoke with Johnny by phone, and while this may not be one of the most in-depth interviews we’ve ever done, it is definitely one of the most important because this man is a true rock and blues icon. A guitar slinger admired by players and fans around the world. We feel lucky to have shared a few minutes with Johnny Winter.

Thanks for speaking with us, Johnny. It's really a pleasure.

The pleasure is mine.

How have you been doing since your hip surgery?

Pretty well. I've just about recuperated, but I still get a little sore once in a while. But I'm doing pretty good.

How was your recent European tour?

It went real well. We always like playing Europe.

How would you compare audiences in Europe to those in the USA?

Well, there's not a lot of difference. But it seems like the European fans are a little more tuned into the blues. It seems like the blues are bigger over there. There's just a larger audience for it over there, I believe.

What's your favorite place to play in Europe?

I don't know. I like a lot of it, but Copenhagen was real nice. And I like Stockholm.

I hear you are working on a new album. How's that coming along?

Yes. We've got two tracks finished. We have most of the material chosen for the rest of it. There are two new songs on the record, written by a guy named Tom Hambridge. There's also a T-Bone Walker song and a Magic Sam song. I think they are planning on putting it out the second week of January.

We certainly look forward to it. We really enjoyed the new video compilation you have out, Pieces and Bits. Do you have more material that you plan to put out later?

I don't think so. I think we used just about everything that we had, but you never can tell. Sometimes stuff comes up, and you might run into some more material on the road.

I've always loved the rock albums you did in the past, especially Still Alive and Well and Saints & Sinners. What drives you to do primarily blues instead of rock and roll?

I just seem to like playing the blues better. It's what I love. Some of the old style rock and roll I like a lot too, though.

Speaking of the blues, the world just lost a great one in John Lee Hooker. I wonder if you'd share your thoughts on John Lee?

Oh, yeah. He lived a good long life, and it seems he said everything that he had to say. It was a shame to see him have to go, though. There will never be another one like him.

Who were your major influences in music? Who made you want to get out there and play?

Oh man. I listened to every blues record I could find, you know? I bought every blues record I could find. It wasn't just a couple of people that I liked a lot, it was the blues in general. People like Muddy Waters, of course, he was one of my favorites. And Robert Johnson, and Little Walter. Those were some of my favorites. Bobby Bland was great too.

How do you feel about the state of blues music in the 21st century? There seems to be a resurgence with artists like Jonny Lang and Susan Tedeschi.

Yeah, there are a lot of good young people coming up. I think it continues to thrive and grow. I don't think the blues will ever die, but I don't think there will ever be any more like Muddy Waters or Howlin' Wolf. The ones that are gone—it'd be pretty hard to find people to replace them.

I loved the records you did with Muddy Waters. What was he like as a person?

He was a great guy. He was like a father figure to me. One of the high points of my career was working with Muddy.

Do you think you'll do any more work with your brother Edgar anytime soon?

I don't know. I might use him on this album. I might have him come in and do some keyboards. I don't know yet. I don't know how he's doing on time—if he's got time to do it.

When you listen to music yourself, do you listen strictly to blues, or do you listen to other stuff too?

Mostly blues. I like Dr. John a whole lot. He's pretty bluesy, but he does some rock and roll too. I don't listen to much of the new music. I like the old stuff better.

The new Double Trouble record is really good. Do you think you'll ever play with Tommy Shannon again, or Uncle John Turner?

Yeah. They're both pretty busy right now. The last time I played with them was on the Alligator Records. They played on four cuts on the last Alligator record that I did.

A lot of that was just reissued on a double-disc compilation.

Yeah.

What's next on your agenda, Johnny?

Well, the new album is the main thing I'm doing right now. And we're gonna keep touring too. So, with touring and making a record, I'm gonna be pretty busy.

Thanks for your time, and thank you for all the great music all these years.