Johnny Winter: A Resilient Blues Legend in 2004 – A Year of Iconic Performances and Personal Struggles"

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NEW YORK (Reuters) - The Bottom Line, the legendary New York music club where for nearly 30 years stars like Bruce Springsteen and Miles Davis took the stage, has hit the finish line over a rent dispute.

The eclectic Greenwich Village club, whose acts also included singer Stevie Wonder and blind country-folk guitarist Doc Watson, owed landlord New York University nearly $200,000 (139,000 pounds) in back rent and could not agree on a new long-term lease. It closed for good on Thursday.

Co-owners Allan Pepper and Stanley Snadowsky, childhood friends who opened the club in 1974, posted a farewell note on the club's Web site that said, "The Bottom Line has always been about the music, and we find fulfilment in knowing that we have stayed the course and remained true to our vision."

The venue's final shuttering came six weeks after a judge's deadline for the owners to pay back rent or face eviction. The university had proposed a new lease that would have raised the $11,000 monthly rent. The owners vacated the property and were not evicted, according to the New York Times.

Pepper had said that the Bottom Line's business dropped off after the September 11, 2001, attacks on the World Trade Centre.

The closure came three weeks before the 400-seat club was to celebrate its anniversary with Kris Kristofferson, David Johansen, David Bromberg, Doc Watson and Loudon Wainwright III among those lined up to perform.

The 12 February 1974, opening night at the Bottom Line featured singer Dr. John, who was joined on stage by Stevie Wonder and Edgar Winter. Mick Jagger, Carly Simon, Bette Midler and Charles Mingus were among the celebrities in the audience.

Synopsis: The article "White, Hot & Blues: Johnny Winter" explores the life, career, and guitar style of legendary blues musician Johnny Winter. It begins by reflecting on the author's personal connection to Winter’s music and how Winter’s innovative blend of blues, rock ‘n’ roll, and hard rock reshaped the genre, making him a standout guitarist.

Born in Beaumont in 1944, Johnny Winter showed early musical promise, performing from a young age and making his first recordings as a teenager. By the late 1960s, he had formed a trio and quickly rose to fame, being hailed by Rolling Stone as one of the hottest white blues guitarists. His career saw both incredible success, with Grammy-winning albums and stadium tours, and personal challenges, including struggles with addiction and mental health.

A key focus of the article is Winter’s guitar technique, particularly his use of vibrato, fast-paced playing, and string bending, which set him apart from other guitarists. It also delves into his choice of instruments, including his iconic Gibson Firebird, and his use of amplifiers and effects. The piece highlights his collaborations with blues legend Muddy Waters in the 1970s, which marked a second phase of Winter’s career, as well as his later years of performing and recording.

Winter’s tone and speed, coupled with his emotionally charged playing style, make him a master of the blues. Despite his physical frailty in his later years, Winter’s performances remained dynamic and captivating, solidifying his place as one of the greatest guitarists of his generation.

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JOHNNY WINTER AND LIVE

"Johnny Winter And Live" is one of the most important and exciting LPs from the Texan blues rocker. Winter, born on 23 February 1944, released his debut album in 1969 and quickly became a new guitar star thanks to his virtuosic playing style. Initially touring as part of a trio—at first with bassist Tommy Shannon, who would later accompany Stevie Ray Vaughan—Johnny expanded his band into "Johnny Winter And." The project was now called "Johnny Winter And." The lineup included guitarist Rick Derringer, who had already scored a hit in 1964 with MGM's "Hang On Sloopy" as a teenager. In 1970, "Johnny Winter And" released a studio album, and the following year came a live recording—this very milestone, "Johnny Winter And Live." The project was successful, and the album "Johnny Winter And Live" was a resounding triumph. It captures the power and energy of a Johnny Winter performance, where he is in top form.

A standout blues track is "It’s My Own Fault." Winter and his band give the song a new depth while preserving its original soul. The transition between quiet and loud moments is masterfully executed.

Next comes "My Own Fault," a slow blues number, with its 12-minute version showcasing Winter impressively as an extraordinary singer with a truly unique voice. Then follows one of the album's highlights, the Rolling Stones classic "Jumpin’ Jack Flash." Winter starts the song with the familiar riff that sticks in your mind—right when his guitar comes in, it becomes unmistakable.

But that's not all—there's a major break in the solo (at 2:02), which is a brilliant piece of extended jamming and power. The "Good Morning Little School Girl" medley follows, including "Great Balls Of Fire," "Long Tall Sally," and "Whole Lotta Shakin’ Goin’ On." All the songs showcase the full range of Johnny Winter's talent. "Mean Town Blues," a Johnny Winter classic, is presented in a blues-rock medley style, with Rick Derringer closing it out.

The band skillfully brings the sharpness and rock'n'roll sound to the stage, with fantastic victories and fast attacks on the Chucks. The banger "On Top" closes out, bringing the band’s street-hit roll guitar sound with hardcore Johnny soul blues tones.

"Johnny Winter And Live" exudes atmosphere and feels genuinely alive: thanks to the compact overall sound, the musicians' stage banter, and the numerous audience reactions. Winter was a live artist who truly delivered when it counted. The live album became a huge success, foundational to this part of his career. His guitar sound was also pivotal, from aggressive rock tones, beautiful clean slide effects, rapid blues runs, to his unmistakable style.

Johnny Winter mastered the Gibson Firebird for one of the first high-speed combinations, alongside Rick Derringer as on "Bill Spackling." Winter continued to showcase his blues skills during this show.

His energy and his unparalleled way of playing guitar made Johnny Winter, despite his health issues, a living legend. He also helped raise the profile of other musicians like Muddy Waters, James Cotton, Edgar Winter, Bobby Bland, Big Walter Horton, and many others. He often played with bands, including Kris, Meat Loaf, Todd Rundgren, and so on, but he always stayed true to the blues icon.

Today, he is considered one of the greatest guitarists.

JOHNNY WINTER AND LIVE

„Johnny Winter And Live“ zählt zu den wichtigsten und spannendsten Longplayern des texanischen Blues-Rockers. Winter, geboren am 23. Februar 1944, veröffentlichte 1969 sein Debüt-Album und avancierte dank seiner virtuosen Spielweise zum neuen Gitarrenstar. Anfangs noch in Trio-Besetzung unterwegs – bis zu Beginn mit dem späteren Stevie-Ray-Vaughan-Begleiter Tommy Shannon am Bass – erweiterte Johnny seine Band zu „Johnny Winter And“. Das Projekt hieß nun „Johnny Winter And“. Zur Formation gehörte auch der Gitarrist Rick Derringer, der bereits im Teenager-Alter mit der 1964er MGM Hit „Hang On Sloopy“ landete konnte. 1970 wirft man mit „Johnny Winter And“ ein Studio-Album auf den Markt, im Jahr darauf folgt eine Live-Mitschnitt-Aufnahme – eben jener Meilenstein „Johnny Winter And Live“. Das Projekt war erfolgreich, und das mit durchschlagendem Album „Johnny Winter And Live“. Es fängt die Wucht und Energie eines Auftritts mit Johnny Winter ein, der sich hier in blendender Form zeigt.

Ein herausragendes Bluesstück ist „It’s My Own Fault“. Winter und seine Band geben dem Song eine neue Tiefe, ohne dabei seine ursprüngliche Seele zu verlieren. Der Wechsel zwischen den leisen und lauten Momenten wird meisterhaft herausgearbeitet.

Es folgt „My Own Fault“, ein Slow-Blues, dessen 12-minütige Version Winter eindrucksvoll als außergewöhnlicher Sänger mit einer wirklich eigenartigen Stimme. Dann folgt sicher ein Höhepunkt des Albums, der Rolling-Stones-Klassiker „Jumpin’ Jack Flash“. Winter beginnt das Stück mit dem bekannten Riff, das einem direkt ins Gedächtnis dringt – genau in dem Moment, als seine Gitarre eingreift, wird es unverwechselbar.

Aber das macht alles gar nicht aus, es ist ein großer Schnitt im Solo (bei 2:02) – ein geniales Stück lange Jams und der Power. Genauso das „Good Morning Little School Girl“-Medley, bestehend aus „Great Balls Of Fire“, „Long Tall Sally“ und „Whole Lotta Shakin’ Goin’ On“. Alle Songs zeigen das volle Programm von Johnny Winter selbst. „Mean Town Blues“ ein Johnny-Winter-Klassiker im Blues-Rock-Medley-Stil. Rick Derringer am Schluss.

Die Schärfe und den Rock’n’Roll-Sound bringt die Band gekonnt auf die Bühne, mit fantastischen Siegen und schnellen Attacken auf die Chucks. Der Banger „On Top“ schließt ein und bringt die Band-Gassenhauer-Roll-Guitar mit Blues-Sounds aus dem Hard-Core-Johnny-Soul.

„Johnny Winter And Live“ strahlt viel Atmosphäre aus und kommt einfach lebendig rüber: durch den kompakten Gesamt-Sound, die Zwischenansagen der Musiker und die zahlreichen Reaktionen aus dem Publikum auf der Bühne. Winter war ein Live-Arist, der gerade in seiner Arbeit auf den Punkt traf. Das Live-Album wurde zu einem riesigen Erfolg, grundlegend für diesen Teil seiner Karriere. Auch sein Gitarren-Sound war entscheidend, von aggressivem Rockig, schönen sauberen Slide-Effekten, schnellen Bluesruns bis hin zu seiner unverwechselbaren Art.

Johnny Winter meisterte die Gibson Firebird für eine der ersten Höchstgeschwindigkeits-Kombinationen mit Rick Derringer wie bei „Bill Spackling“. Winter erlebte während dieser Show weiterhin die Fähigkeiten des Blues.

Seine Energie und seine unvergleichliche Art, Gitarre zu spielen, machten Johnny Winter, abseits seiner gesundheitlichen Probleme, zu einer lebenden Legende. Er verhalf auch anderen Musikern wie Muddy Waters, James Cotton, Edgar Winter, Bobby Bland, Big Walter Horton und vielen anderen zu größerem Bekanntheitsgrad. Er spielte oft mit Bands, darunter auch Kris, Meat Loaf, Todd Rundgren und so weiter, blieb aber immer der Blues-Ikone treu.

Er gehört heute zu den größten Gitarristen.

Johnny played the Phoenix Concert Theatre in Toronto to a full house, estimated by an employee to be "near a thousand."

The concert, though pretty much in line with recent form, exceeded all expectations.

The proceedings started off well. Two Canadian bands got the crowd pumped. The lead-in band, David Gogo, was very good, though I appreciated him most for the references and tributes to Johnny that he made between almost every song. My only disappointment was that he did not play "Dallas," a song he covered on an album a few years ago.

Another tribute came when it was time for the show – the introduction was made by the lead guitarist from the Conan O'Brien show band, Jimmy Vivino, who was in town to tape some shows. Then came the first surprise – Johnny walked straight to his chair, no cane, no flashlight, no help at all. He still walked with a slight lean forward at the waist and a noticeable favouring of one side, but he walked strongly and unassisted.

"Hideaway" kicked things off, though a little tentatively throughout. One could tell that he was a bit rusty. The second song, "Sugar Coated Love," provided the next surprise. As soon as Johnny started to sing, my friend and I looked at each other and said, "Wow." His vocals were much, much stronger than even 14 months ago. It wasn’t the same powerful voice as before but rather a more soulful, mellow voice, much stronger than in recent years. Throughout the night, Johnny sang very, very well. For me, the vocal highlights included "Blackjack" and "Sick and Tired" – these were performed with much more authority than in 2002.

His playing seemed to improve with each and every song. "Sick & Tired" (the seventh song) was played with confidence, accuracy, and gusto. The only blip I noticed, after "Hideaway," was during "Messin' with the Kid," from which he recovered quickly. However, all night long, you could feel the confidence and authority build. Johnny was kicking ass. The guitar highlight for everyone, I think, was the encore – "Mojo Boogie." His slide playing was simply ferocious.

At the end, he stood up, picked up the cane that had been lying there all night long, and pointed it at the crowd with a huge smile as he walked off stage.

– Tim

Synopsis: On a cold winter night, blues legend Johnny Winter took the stage at the Phoenix Concert Theatre in Toronto for a rare performance. Johnny Winter, though frail in appearance, captivated the crowd with his signature Texas blues sound. Backed by a stellar band featuring James Montgomery on harmonica and vocals, Winter played classics like "Sugar Coated Love" and "Boogie Real Low," as well as a powerful encore on his Gibson Firebird. The evening proved that traditional blues still resonates deeply, drawing in fans both old and new.

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Synopsis: The article previews an upcoming performance by legendary blues guitarist Johnny Winter in London, Ontario. It highlights Winter's impressive career spanning over four decades, from his rise to stardom in the 1960s to collaborations with blues greats like Muddy Waters. At 60 years old, despite facing health challenges that require him to perform seated, Winter remains passionate about the blues. He discusses his forthcoming album I'm a Bluesman, set for release in 2004, and reflects on his experiences working with his band and producing new music. The article also shares Winter's critique of Martin Scorsese’s documentary The Blues, while praising his road manager and guitarist Paul Nelson, showcasing Winter’s ongoing commitment to his craft.

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Artists And Songs: Johnny Winter: Rock & Roll Hootchie Koo, Rollin' & Tumblin', Mean Town Blues, Highway 61 Revisited, Hustled Down In Texas, Still Alive And Well. Muddy Waters: Mannish Boy Sonny Terry: I Think I Got The Blues John Lee Hooker: Susie Wayne Baker Brooks: It Don't Work Like That

Tuesday night at the Galaxy Theater in Santa Ana is a night I will always remember and cherish. I met up with some good friends, and together we had an unforgettable evening!

It had been 33 years since I first heard Johnny playing "Good Morning Little School Girl" on a Woolworth monaural phonograph, from the And Live album, in a little one-car garage in San Francisco. It had also been 26 years since I last saw him live on stage. Finally, I got to meet the Grand Master of Blues! The Guru of Swing! The Ruler of all Guitar Slayers! I was truly in the presence of greatness.

The show was tremendous! Johnny was tremendous! He walked on stage unassisted, sat down, smiled, greeted everyone, and asked how we were doing. Then he launched into his famous tune-up chop on his white Laser guitar. As usual, he kicked off the set with "Hideaway." The performance included some tracks from his upcoming new CD, I'm A Bluesman. Johnny was clearly having a great time and sounded awesome.

His tone—HIS TONE! The richness of his sound that night was incredible, as always. It was magical, captivating. Johnny, James Montgomery, and the rest of the band performed a killer extended version of "Hoochie Coochie Man." James was especially animated during his performance! The entire show was electrifying. Johnny sounded as soulful as ever—perhaps even more so. When he played "Blackjack," it sent chills down my spine.

About two-thirds of the way into the show, many people in the audience moved down to the pit to shuffle their feet and dance. By the end of the show, the pit was filled with people, both young and old, having a grand time. I was getting goosebumps throughout the night. For the encore, Johnny came out with his Firebird and slide guitar, delivering a flawless version of "Mojo Boogie." It was a night to remember.

I waited 26 years and traveled nearly a thousand miles to see Johnny live on stage, and I can say it was worth every moment. It was nothing short of grand. I hope you all get the chance to see Johnny at one of his upcoming shows. It will be a blast!

I saw Johnny Winter at the Belly Up Tavern in Solana Beach, CA, on 19 May 2004. I had seen Johnny Winter previously in the early '80s, and of course, it was amazing—unbelievable. Over the years, I've amassed quite a collection of Johnny Winter shows through trading.

About 5 or 6 years ago, I wanted to see him when he was in town, but I was preparing for a CPA exam that was scheduled the day after his show. I was really torn between going to the show and staying focused on my studies. My friend Steve Foster advised me to be content with the memories of seeing Johnny Winter in the '80s. He warned me that Johnny's playing wasn’t quite what it used to be, so I decided to pass on the opportunity.

Fast forward to last May, and I found out Johnny Winter would be playing at the Belly Up, so I had to go. My friend and bandmate, Jimmy Head, came with me. Jimmy had never seen Johnny Winter live, but Johnny had been one of his biggest influences when he first started learning guitar. Back in high school (in the '70s), we played in bands together, and Johnny Winter’s tunes like Bony Moronie and It’s All Over Now were staples in our setlist. We were both excited to see him, but I warned Jimmy about what Steve had told me years ago, that Johnny’s playing wasn’t quite the same.

It was, of course, great to see Johnny Winter again. Although he doesn’t play quite like he used to, his trademark style still shines through. The highlight for me was when he came out with the Firebird for the encore and played slide guitar on Mojo Boogie. Don’t get me wrong, Johnny Winter is still amazing! Most impressive was the love the fans showed for his music. The crowd was loud, appreciative, and gave Johnny standing ovations. The backup band was really good too, especially the bass player, who not only tore it up but also kept the pace of the songs for Johnny.

Having followed Johnny Winter’s career when his playing was at its peak, it’s a little saddening to see that he's not as fluent a player as he once was. But even now, Johnny Winter’s playing is undeniably magical, and his music is still miles ahead of most.

— Paul Jensen

JUNE 23, 2004

Dear Barbara,

Johnny Winter is currently under the treatment of two physicians, one in boston and one at yale university hospital. He is suffering from acute anxiety and stomach disorder and is also in the process of withdrawing from medications that he has stopped taking which he has been on for several years.

He will be undergoing numerous tests next week at yale university hospital so that the physicians treating him can best understand the proper treatment.

Johnny is able to tour within the united states using a tour bus which enables him to be near his treating physicians.

We hope that this is a temporary situation but will know more after the tests are completed.

We are all very sorry for any inconvenience that johnny winter's health issues may have caused all involved.

Sincerely,

Teddy Slatus

Source & Full Article

Personal Note: the medications used over many years, was most likely methadone (Source: wikipedia

Johnny came on after a pretty raucous set by the warm-up act, Eric Sardinas, who was way too loud. Despite being a really good guitar player, his sound was so overbearing that it wasn't too enjoyable. Eric played a National Steel guitar through some kind of delay/chorus/flange effects pedal and a full Marshall stack, so it didn’t have much of that signature National sound. The drummer’s kick drum almost ran us out of the room every time he kicked it, and the bass player was so loud it reminded me of those cars that pull up behind you at a red light, blaring nothing but bass. Other than that, and Eric saying that Johnny Winter would be out soon, they were pretty good, I guess.

When the curtain opened again, there was Johnny sitting center stage in a comfortable-looking wingback chair (much classier and more comfortable than the metal folding chair I saw him sitting on in Nashville a few years back).

The fans immediately erupted into applause, hoots, hollers, and whistles. No question about who everyone was there to see, and I was certainly no exception. I just love how Johnny's fans love Johnny. He gave a quick "Hey, how’s everybody doing?" before they launched right into "Hideaway." Ahhh yes, I was in my comfort zone again, finally. It had been two years since I last saw Johnny, and everything I’d heard (from those who actually know) about him seemed to be true. He was playing quite a bit better than the last time I saw him and definitely moved around better. He probably won't be beating Lance Armstrong in the Tour de France this year, but I was very glad to see him walking around without a cane, and he appeared to be very alert and in no pain.

"Hideaway" lasted about eight minutes, and they moved pretty smoothly through the next few numbers: "Sugar Coated Love," "Tore Down" (sung by Wayne), and, much to my surprise and delight, they did a great version of Junior Wells' "Messin’ With the Kid." It’s a song I’ve always loved hearing Johnny play and sing. They also performed "Johnny Guitar," "Black Jack," and "Boogie Real Low."

At one point, James Montgomery told a little story about being in Texas not too long ago, where they met a man who said he’d known Johnny since he was 13. James said the guy told them that, when Johnny was 13, he said someday he’d jam with the great Muddy Waters. James went on to say that not only did Johnny jam with Muddy many, many times, but Johnny produced several great albums for him. And what's more, Muddy was so enamoured with Johnny that he called him his son ! With that, they broke into "Hoochie Coochie Man," which made me (and many others) very happy, as I had never seen Johnny perform that song live. It was a truly magical moment.

James then sang "Start All Over Again," which he co-wrote with Johnny for the new record. Johnny walked himself back to where his Gibson Firebird stood, strapped it on, and just tore up "Mojo Boogie." Of course, I was hoping for "Highway 61" too, but I certainly wasn’t disappointed that he didn’t play it. No one else seemed to be either, as the crowd was going wild. There were two couples sitting next to us who looked to be in their mid-to-late 20s, and judging from their applause, they were having just as much fun as this old fan was.

A few of the people I was with went on the bus afterward, and I would have loved to join them. However, we had our children back at the hotel, so we left immediately after the show. I sure hope Johnny does a national tour in support of I’m a Bluesman, as the official site suggests. If he does, and he comes anywhere near here, I’ll let you know how that show goes as well.

Bottom line: You want to know if Johnny is as good as he used to be, right? Well, I’ll put it like this: I used to see Johnny play live, and it made me very happy. Seeing him play last Friday night made me very happy. What more could anyone ask of a performance?

Best regards,

Randy

The festival featured two stages with performances by Johnny Winter, Bernard Allison, and the Blind Boys of Alabama.

Johnny Winter took the stage after a powerful opening set by Savoy Brown, featuring Kim Simmonds, who delivered an energetic performance. Johnny walked unaided to his seat in the center of the stage and warmly greeted the crowd of a few thousand.

From the opening riffs of "Sen-Sa-Shun," it was clear that Johnny's tone remains intact. He worked through the instrumental quite well, staying within his current range. While the lightning-fast runs of his earlier years may be gone, it's not about the number of notes—it's about the quality. And the quality is still there.

Johnny's vocals were a bit frail, though not disturbingly so. As reflected in the set list, some of the singing duties were taken on by other band members. This didn't seem to be a necessity for Johnny but more a shared responsibility. (Can anyone confirm the title of the song sung by Wayne, the drummer? I thought I caught the word "Georgia" in the lyrics, but I couldn't be sure.)

Johnny's playing was within his current abilities. While there were some occasional slips, his performance was overall tasteful and mostly clean. One exception was "Black Jack," which was painfully slow and felt like it dragged on. It did pick up in tempo about two-thirds of the way through, but not by much. I'd suggest Johnny drop this song in favor of another slow blues number, though it seems he enjoys playing it.

The rest of the set was solid and entertaining. James Montgomery's animated playing brought a level of energy that might otherwise have been lacking, though I'm not sure it's the perfect fit for Johnny. Still, it complemented his playing without overshadowing it. Wayne June and Scott Spray provided a steady backbeat that supported Johnny without detracting from his performance. The band, while not extraordinary, was competent and worked well together.

A highlight of the night was "Hoochie Koochie Man," featuring a lengthy intro by James Montgomery. Johnny's rhythm work during the intro was a real treat. He didn't disappoint when James launched into the vocals, providing solid support throughout.

The encore, "Mojo Boogie," was another highlight. Johnny brought out his Firebird and delivered some wonderful slide guitar work, which added an energy boost to both his playing and vocals. It was a nostalgic moment that recalled his earlier days, and he seemed visibly energized by the slide guitar.

The main highlight, however, was meeting the man himself. Thanks to the Messrs. Pearl and Foster for helping me get backstage. Paul Nelson (a really nice guy) facilitated the meeting. I was the last one to shake Johnny's hand, and although he was eager to get on the bus, he was gracious enough to chat briefly. I managed to give him a copy of the May 1969 jam session with Jimi Hendrix and Stephen Stills from the Record Plant. Johnny seemed excited, immediately asking what was on it. The rest of the crew looked forward to listening to it on the bus.

The last time Johnny played in Pittsburgh was in 1998, and he seemed in rough shape, appearing lost during much of the set. This time around, his performance was much more focused and solid. Based on recent reviews, it's clear Johnny has turned a corner. I can't wait to see him again. Maybe next time I'll fly to California, hoping for a longer visit. One can dream, can't they?

Ron MacDonald

Synopsis: In this 2004 article from the Boston Herald, legendary blues guitarist Johnny Winter reflects on his enduring career, health struggles, and latest album I’m a Bluesman. At age 60, Winter continues to tour despite walking with difficulty following hip surgery and years of battling addiction. His long-time collaborator, James Montgomery, credits Winter’s recent health improvements to a change in medical treatment, which has led to a renewed vigor in his performances.

The article highlights Winter’s deep connection to blues history, particularly his work with Muddy Waters in the late '70s, which revitalized Waters' career and earned the duo multiple Grammy Awards. Although Stevie Ray Vaughan later overshadowed Winter’s reputation as the greatest white blues guitarist, his fanbase remains loyal, especially in Europe, where he is still revered.

Winter’s latest release, I’m a Bluesman, produced with a distinct New England influence, marks his first album in nearly eight years and continues his lifelong commitment to blues music.

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I had the pleasure of witnessing a blues legend perform last night. John Dawson Winter III, better known as Johnny Winter, got the 600-seat Regent Theatre in Arlington, MA into a steamy, red-hot groove with a career-spanning set, along with some fiery tracks from his latest recording, I'm a Bluesman.

Before Winter took to the stage in the humid July evening, a young and vibrant talent warmed up the crowd—a guitar slinger in the mold of Eric Johnson, named Julien Kasper. I briefly spoke with Kasper during the break and mentioned that he might be influenced by Johnson. He responded, "Well, no, I don't listen to him." Nevertheless, his sound carried strong echoes of Johnson, which is a high compliment for any guitarist.

As they were setting up before Winter's set, the stage crew placed a chair in the middle of the stage, puzzling many in the audience. Johnny is still recovering from major hip surgery and was moving gingerly, so he remained seated throughout the evening. Despite this, he blew us all away with guitar licks that would have made his musical mentor, Muddy Waters, proud. Whether standing or sitting, at 60 years old, this man hasn't lost a step in his guitar mastery. His vocals may have diminished a bit, but it's still the blues, and Winter remains a globally respected figure in the genre.

Johnny's good friend, Paul Nelson—who also co-wrote and played on the new album—was there to make sure we had great seats. He treated my wife and me like royalty, a gesture I hadn't expected but greatly appreciated. Nelson, who also plays with Johnny on tour, was busy with other tasks for the band that night. He's a class act and made the evening extra special by arranging a meet-and-greet with Johnny after the show. Keep an ear out for more scorching guitar work from Nelson on a future studio album after the tour.

The incredibly entertaining James Montgomery, a blues legend in his own right, played the harmonica and sang with passion (most notably on "Hoochie Coochie Man"), complementing Johnny wonderfully. Drummer Wayne June also showcased his vocal talent, finding his groove on the classic "Tore Down," delivering it as if it were his own. The only band member who didn’t sing was bassist Scott Spray, but he played like a man on a mission, maintaining an impeccable rhythm with June throughout the night. Spray, whom I briefly met on the tour bus, was warm, smiling, and clearly thrilled to be part of Winter's entourage. Who wouldn't be? Winter is a kind soul and chatting with him was a true pleasure.

Johnny has put together yet another outstanding band—something he consistently manages to do. They were in top form live, and I felt privileged to witness a blues legend in action. When he launched into "Blackjack" and "Johnny Guitar," the crowd went wild. All 600 fans shared a once-in-a-lifetime evening with Johnny. I certainly left feeling that way, knowing I had experienced something truly unforgettable.

It was Christmas in July when Johnny Winter and Pam Baker performed at the Grand Auditorium in Ellsworth on Sunday, 25 July. The doors opened at 7 p.m., but fans began lining up on the sidewalk well before for the general admission concert that capped the promotional tour for I’m a Bluesman, the newest album from the legendary Texas bluesman, released by Virgin Records.

Portland-based Pam Baker and the SG’s opened the show with their signature style of bump-and-grind blues. Baker’s powerful voice, sultry delivery, and sheer enthusiasm—reminiscent, perhaps, of Mrs. Claus—wowed first-time listeners. For Pam Baker fans, of which there were plenty in attendance, her performance was an unexpected and delightful start to what promised to be a memorable evening. Backed by her fellow musicians, their performance both echoed and elevated the audience’s playful spirit. In fact, some fans even shouted, “Bring back Pam!” when an unexplained delay between acts occurred.

When 60-year-old Johnny Winter, recovering from hip surgery, was finally led onto the stage after 9 p.m., he didn’t appear as a “right jolly old elf,” but more like a frail, melancholy figure. The crowd, which had grown restless during the wait, continued murmuring until he picked up his Lazer guitar and blasted into Freddie King’s “Hideaway.”

When Johnny Winter arrived in New York City in 1968, Rolling Stone described him as “a cross-eyed albino with long fleecy hair, who plays some of the gutsiest, fluid blues guitar you’ve ever heard.” Thirty-five years later, this still held true. Johnny Winter’s 80-minute set electrified the crowd, including two songs from his new album: a sweet slide number, “Sweet Little Baby,” and “Let’s Start Over,” a collaboration between Winter and harmonica player James Montgomery. Montgomery, an outstanding musician, took on a significant portion of the vocals during the concert. At times, his performance came close to stealing the show, with his volume and lively delivery overpowering the quiet, seated Johnny Winter. The band also included Scott Spray on bass and Wayne June on drums.

The raw energy of Johnny Winter’s music compensated for the diminished voice of the former blues powerhouse, proving he still possessed the passion required to play the blues. His scorching guitar skills were evident on the Muddy Waters anthem “Hoochie Coochie Man” and “Johnny Guitar,” while the slower “Blackjack” revealed his ability to play with a deeper, more soulful sound.

For the encore, Winter broke out his Firebird guitar and delivered a rousing rendition of “Mojo Boogie,” which brought fans to their feet and propelled them into the street still moving to the groove. As the quiet of a Sunday night returned to Main Street in Ellsworth, echoes of “Man, he looked like a ghost, but he can still play” and “I’m glad I came” filled the air, creating yet another unforgettable Johnny Winter memory.

Synopsis: These two articles explore Johnny Winter's deep connection with two of his most iconic guitars: the Gibson Firebird and the Erlewine Lazer. The first article focuses on the Firebird, a guitar synonymous with Johnny Winter's image and sound since the 1960s. Known for its distinctive design and powerful tone, the Firebird became Johnny's signature guitar for decades, contributing to his electrifying performances. The article highlights how Winter instantly connected with the guitar and remained loyal to it throughout his career, appreciating its robust sound and reliability.

The second article shifts to the Erlewine Lazer, a guitar that Johnny began using extensively in the 1980s. This headless, compact guitar was favored for its portability and playability, especially during live performances. While the Lazer offered a different tonal range and was easier to handle than the heavier Firebird, Johnny still appreciated its ability to produce rich sound, proving to be a versatile addition to his collection. Although the Firebird remained Johnny's favorite, the Lazer allowed him to embrace innovation and keep evolving as a musician late into his career.

Both articles showcase Johnny Winter's dedication to his instruments, emphasizing the special role these guitars played in his musical journey, from early blues-rock recordings to his later performances.

Source & Full Article: _HERE_

When it comes to Johnny Winter’s trademark, there’s no doubt it’s the Gibson Firebird. This guitar, born in the early 1960s, came into existence during a time when semi-acoustic guitars like the ES series were the mainstream. However, they developed a completely different design, which became the Firebird.

When Johnny first got his hands on this guitar, he didn’t say a word of complaint. All he said was “OK.” Ever since then, for many years, Johnny has continued to stand on stage with this guitar.

Since the 1980s, the main guitar Johnny has been known to use is the "Lazer." This model, made by Erlewine Guitars, is designed to be both compact and highly functional. The headless guitar style was quite popular at the time, and other guitar makers, such as Steinberger, were also exploring similar designs. However, in 1982, Johnny became closely associated with the Lazer guitar. This guitar was carefully crafted to meet Johnny's specifications: lightweight, with a small body, but still capable of producing a powerful sound. It features a unique pickup that can produce a range of tones, from a sharp high-end to a rich bass. Despite its small appearance, this guitar can deliver a striking sound.

Although the Firebird had been Johnny's go-to guitar for many years, this small Lazer became indispensable to him during live performances. In fact, it was hard to imagine Johnny without his Lazer guitar during the latter part of his career. Even though he was known for his signature Firebird sound, the Lazer provided Johnny with a completely new playing experience.

Johnny also played this Lazer model on several occasions on the "I'm a Bluesman" album, demonstrating its versatility. While Johnny's name is synonymous with the Firebird, the Lazer played a special role in his late-career performances, showing that even legendary players can embrace innovation without losing their classic touch.

Interview Johnny Winter discusses his favorite guitars.

Q: For you, what is the best guitar to play? Johnny: The Firebird is always the best for me.

Q: Why do you use the Firebird? What do you like about it? Johnny: It’s strong and it sounds great. It’s really comfortable to play.

Q: You've been playing the Firebird for over 40 years now. Is there a reason you've stuck with it? Johnny: The sound is the main reason. It just sounds right.

Q: How do you feel about the Lazer compared to the Firebird? Johnny: The Lazer is great. It’s lightweight, and it’s easier to carry around, which is useful when traveling.

Q: Do you think the Lazer has a different tone compared to the Firebird? Johnny: Yes, the tone is different. The Firebird has a stronger sound, but the Lazer has a good sound too. It’s especially good for fast playing because of the lighter weight.

Q: Some say the Firebird’s neck is difficult to handle. Do you agree? Johnny: The Firebird’s neck is big, but I got used to it over the years. It doesn’t bother me at all now.

Q: The Lazer is headless. How do you feel about that design? Johnny: I actually like it a lot. It's unique and fits my playing style.

Q: Do you use different guitars in the studio versus live performances? Johnny: Not really. I use the same guitars in the studio as I do on stage.

Q: Which guitar did you use the most on your "I'm a Bluesman" album? Johnny: Mostly the Firebird, but I did use the Lazer on a few tracks too. Both guitars have their strengths.

Q: Between the Firebird and the Lazer, which would you say is your favorite? Johnny: I still think the Firebird is my favorite, but I love the Lazer for its playability.

Q: Is there any new guitar you’d like to try out in the future? Johnny: Not really. I’m happy with the guitars I have now.

Q: Are there any changes or modifications you’d like to make to your guitars? Johnny: No, I’m pretty satisfied with them as they are.

Q: Do you have any advice for players looking to buy their first guitar? Johnny: Get a guitar that feels good in your hands. Don’t worry too much about how it looks or what brand it is. Just make sure it feels right.

Q: Any final thoughts on your relationship with your guitars? Johnny: My guitars are like old friends. We’ve been through a lot together.

Synopsis: The Guitar World (2004) article titled "Nuclear Winter" by Andy Aledort revisits the early career of Johnny Winter, a renowned albino blues guitarist, focusing on the significance of his first two albums, Johnny Winter and Second Winter. It explores Winter's rise to fame in the late 1960s, his fast, virtuosic guitar playing, and his pivotal role in shaping blues-rock. The article highlights the contributions of key band members during this period, including bassist Tommy Shannon , drummer Uncle John "Red" Turner , and Winter’s younger brother Edgar Winter , who played keyboards, saxophone, and provided backing vocals.

The piece emphasizes Johnny Winter's cultural impact during a time when individuality and pushing boundaries were celebrated in music. It also delves into Winter's early influences, his collaborations with major artists like Jimi Hendrix, and his brief struggle with drug addiction, followed by a powerful comeback in 1973 with Still Alive and Well. The reissue of Johnny Winter and Second Winter, along with Live at Royal Albert Hall, is highlighted as a way to reignite interest in Winter's influential but often underappreciated legacy. Through interviews with Winter, Shannon, Turner, Edgar Winter, and producer Eddie Kramer, the article sheds light on the unique blend of blues, rock, and experimental styles that defined Winter's groundbreaking work.

Read The Full Article

Based on the performances from Johnny Winter in 2004, the typical setlist during this period included a mix of blues classics, some of Johnny's own well-known tracks, and covers from blues legends. A recurring setlist for 2004 would typically feature the following songs:

• 1. Hideaway (Freddie King cover)
• 2. Sugar Coated Love (Lazy Lester cover)
• 3. Boogie Real Low (Frankie Lee Sims cover)
• 4. Good Time Charlie (James Cotton cover)
• 5. Blackjack (Ray Charles cover)
• 6. I'm Tore Down (Freddie King cover)
• 7. Sick and Tired (Fats Domino cover)
• 8. Messin' with the Kid (Junior Wells cover)
• 9. Mona (Bo Diddley cover)
• 10. Got My Mojo Working (Muddy Waters cover)
• 11. Johnny Guitar (Johnny "Guitar" Watson cover)
• 12. Encore : Mojo Boogie (J.B. Lenoir cover)

These songs showcase Johnny Winter's dynamic slide guitar skills and his passion for traditional blues, while also reflecting his vocal evolution during this period. The 2004 setlist frequently included covers from other blues greats, which was a nod to his roots in the genre.

by Andy Aledort

Johnny Winter SONY/LEGACY, 2004; ORIGINALLY RELEASED ON CBS, 1969 Johnny's debut showcases his brilliant slide work on acoustic ("Dallas," "When You've Got a Good Friend") and electric ("I'm Yours and I'm Hers," "Back Door Friend," "Country Girl"), plus his blazing single-string blues ("Be Careful with a Fool") and incredible vocal prowess ("I'll Drown in My Own Tears," "Two Steps from the Blues").

The Progressive Blues Experiment RAZOR & TIE, 1999; ONE WAY, 1992; ORIGINALLY RELEASED ON IMPERIAL, 1969 Recorded at the Vulcan Gas Company in Austin, Texas, this "unauthorized" release was actually Johnny's primarily live demo tape, made before he'd secured a deal with CBS. It's also one of his favorite albums. Slide guitar highlights include the Muddy Waters gem "Rollin' and Tumblin'," Blind Willie McTell's "Broke Down Engine" and the Winter originals "Bad Luck and Trouble," "Black Cat Bone" and "Mean Town Blues."

Second Winter SONY/LEGACY, 2004; ORIGINALLY RELEASED ON CBS, 1969 Second Winter is one of the most artistically adventurous and ambitious albums of the late Sixties, with Johnny blazing more trails than any artist in the blues/rock idiom. Highlights of the original release include "Memory Pain," "Fast Life Rider," "Hustled Down in Texas" and Johnny's incendiary take on Bob Dylan's "Highway 61 Revisited." The Sony/Legacy reissue includes Live at Royal Albert Hall, a stunning performance as good as any live rock album ever released.

Johnny Winter And CBS, 1970 This sparkling studio offering made with Johnny's "new" backing band, the McCoys, includes Johnny's super-hot take on Rick Derringer's "Rock and Roll, Hoochie Koo," plus stunning original compositions, "Nothing Left" and "Guess I'll Go Away." A sadly overlooked gem, it has yet to be reissued on CD domestically.

Johnny Winter And...Live CBS, 1971 Johnny's best-selling album, but one of his least favorites. Regardless, his solos on "Good Morning Little Schoolgirl," "Johnny B. Goode" and "Jumpin' Jack Flash" are textbook examples of blues/rock genius, and the live take of "Mean Town Blues" remained unsurpassed until the version included on the Second Winter bonus disc, Live at Albert Hall.

Still Alive and Well CBS, 1973 Johnny emerged from drug rehab and cut his primarily three-piece outing with bassist Randy Jo Hobbs and drummer Richard Hughes. A more "live-sounding" studio recording you will not find. Highlights: the white-hot "Rock Me Baby," "Can You Feel It" and "All Tore Down," gutsy takes of the Rolling Stones' "Let It Bleed" and "Silver Train" (allegedly written for Winter), and the kicking title track, which Johnny introduces by saying, "I'm hungry, let's do this fucker!"

Saints & Sinners CBS, 1974; REISSUED IN 1996 WITH BONUS TRACKS More "commercial" than Still Alive and Well (and somewhat contrived), but not without bright spots, such as a rollicking version of Chuck Berry's "Thirty Days," a truly degenerate-sounding take on the Stones' "Stray Cat Blues," the fiery "Bad Luck Situation," and the acoustic slide bonus cut, "Dirty," featuring flautist Jeremy Steig and acoustic bass.

Captured Live! and Together—Live BLUE SKY, 1976 At the height of his rock and roll fame, Johnny released these two live gems, both testaments to his stature as the premiere guitar god of the Seventies. Highlights of Captured Live! include his blinding solo intro to "Bony Moronie," the X-rated Johnny joke "Sweet Papa John," and his balls-out cover of "Rock and Roll People," featuring a rippin' rendition of "Highway 61 Revisited." Together finds the Winter brothers revisiting songs from their earliest teenage performances ("Harlem Shuffle," "Soul Man," "You've Lost That Lovin' Feeling") and offers up the greatest rock and roll medley ever recorded.

Nothin' But the Blues BLUE SKY, 1977 With this album, Winter moved from rock to the blues for good. Flanked by Muddy Waters' band (including Muddy himself), he paved the way toward his eventual production of Muddy's Grammy-winning releases, Hard Again, I'm Ready and Muddy "Mississippi" Waters Live.

White, Hot and Blue BLUE SKY, 1978; OUT OF PRINT It's a sin that this near-perfect album is unavailable. Sony filled the gap with the disc Scorching Blues, which includes WH&B's "Walkin' by Myself," "One Step at a Time" and "Divin' Duck Blues" but criminally excludes "Ez Rider," "Nickel Blues," "Last Night," "Messin' with the Kid" and "Honest I Do."

Let Me In POINTBLANK/CHARISMA, 1991 Johnny's debut for Virgin Records, this current label, features truly inspired playing in the guitar and vocal departments, especially the heart-wrenching "Life is Hard," featuring stunning harmonica from Dr. John.