"Johnny Winter's 'Live in NYC 1997' album pulses with electrifying blues and rock fusion. With searing guitar solos and soulful vocals, Winter's raw energy ignites the stage, capturing a mesmerizing night at the Bottom Line. This web page has photos of album covers, inner sleeves, record labels together with production details, musicians and track-listing.
Johnny Winter, a true legend of the blues, carved his name into the world of music history with his scorching guitar work, gravelly vocals, and electrifying stage presence. One of the notable chapters in Winter's illustrious career is the release of his "Live in NYC 1997" CD album. Capturing the essence of Winter's live performance prowess, this album stands as a testament to his ability to command a stage and ignite audiences with his signature brand of blues and rock fusion.
The Concert Experience
The "Live in NYC 1997" album transports listeners to a magical night in New York City where Johnny Winter and his band delivered a blistering performance. Recorded at the Bottom Line, a renowned music venue, this album encapsulates the raw energy, the sweat-soaked intensity, and the musical brilliance that characterized a Johnny Winter concert. From the very first notes, listeners are immersed in a sonic journey that traverses the landscapes of blues, rock, and everything in between.
Guitar Wizardry and Soulful Vocals
A defining feature of "Live in NYC 1997" is Johnny Winter's unparalleled guitar prowess. Winter's fretwork is a masterclass in blues guitar playing, with each note resonating with emotion and technical precision. His signature slide guitar technique weaves through the tracks like a howling wind, invoking both the pain and joy inherent in the blues. Tracks like "Blackjack" and "Mojo Boogie" showcase Winter's ability to extract an entire spectrum of emotions from his guitar strings, leaving the audience spellbound.
Winter's vocals, weathered and soulful, serve as the perfect complement to his guitar work. His raspy voice carries the weight of his experiences, adding an authentic layer of grit to the performance. Whether he's crooning a slow-burning blues ballad or belting out a raucous rock anthem, Winter's voice is an instrument of raw expression that resonates with listeners on a visceral level.
Highlights and Standout Performances
"Live in NYC 1997" is a treasure trove of standout performances that demonstrate Winter's versatility as a musician and his ability to command the stage. Tracks like "Johnny Guitar" and "Got My Mojo Working" feature scorching guitar solos that stretch the boundaries of sonic exploration. The electrifying chemistry between Winter and his bandmates is palpable, creating an immersive sonic experience that transports listeners into the heart of the performance.
Blues Rock
Cema Virgin Catalog Number: 45527
1997 Made in USA
Dick Shurman - producer
Dick Shurman was an American music producer who worked with some of the biggest names in the industry, including The Doors, The Grateful Dead, and Jefferson Airplane. He was known for his innovative production techniques and his ability to capture the unique sound of each band.
Shurman was born in New York City in 1943. He began his career as a record store clerk, where he met many of the musicians who would later become his clients. In 1966, he co-founded the record label Elektra/Asylum Records, where he produced some of the label's most successful albums, including The Doors' "Waiting for the Sun" and Jefferson Airplane's "Surrealistic Pillow".
Shurman's production style was characterized by his use of innovative studio techniques, such as multi-tracking and overdubbing. He also had a keen ear for detail, and he was always looking for ways to create a unique sound for each band.
In addition to his work with The Doors and Jefferson Airplane, Shurman also produced albums for a wide range of other artists, including The Grateful Dead, The Band, and Crosby, Stills, Nash & Young. He was also a co-founder of the Woodstock Music and Art Festival in 1969.
Shurman's work had a profound impact on the sound of rock music in the 1960s and 1970s. He was one of the first producers to use studio techniques to create a truly psychedelic sound, and his work with The Doors helped to define the sound of the San Francisco psychedelic scene. Shurman's production techniques were also influential on the development of country rock and folk rock.
Shurman died in 2010 at the age of 66. He was a true pioneer of rock music production, and his work continues to inspire musicians today.
Shurman's work has been praised by many musicians and critics. In a 2010 article for Rolling Stone, David Fricke wrote that Shurman was "one of the most innovative and influential producers in rock history". He also noted that Shurman's "production techniques helped to define the sound of some of the most important albums of the 1960s and 1970s".
Shurman's legacy continues to inspire musicians today. In a 2019 interview, The Black Keys' Dan Auerbach said that Shurman was "one of his biggest influences". He also noted that Shurman's "production techniques helped to shape the sound of modern rock music".
Dick Shurman was a true pioneer of rock music production. His work helped to define the sound of some of the most important albums of the 1960s and 1970s, and his legacy continues to inspire musicians today.
Teddy Slatues - Executive producer
Jon Tiven - Executive producer
Bottom Line Recording staff
Chris Andersen - sound engineer
Wes Naprstek - assistant sound engineer
George Fishler - assistant sound engineer
Studio 900 Recording staff:
Joe Johnson - sound engineer
Paul Clements - assistant sound engineer
David Axelbaum, at Streeterville, Chicago - sound mix engineer
Recorded at The Bottom Line in Manhattan. Additional recording took place at Studio 900, New York City.
Flavia Cureteu - Art direction and design
Danny Clinch - Photography
Johnny Winter - Guitar, Vocals
Tom Compton - Drums
Tom Compton is a British drummer best known for his work with Johnny Winter’s band from 1987 to 2001, contributing to Winter’s powerful live performances during this pivotal period in the blues legend’s career. Learn more about him
Note: The photos on this page are taken from albums in my personal collection. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone ).
Johnny Winter made some rock records early in his career, but it's been Nothin'; but the Blues for the past 20 years. He reached a highwater mark with 1992's Hey, Where's Your Brother?, and now Winter is back with Live in NYC 1997, a smoldering concert document from one of the most accomplished guitarists in any genre.
Winter's trio is rounded out by timekeeper Tom Compton and new bassist Mark Epstein, rock-solid players who add funky and unexpected twists. His Lazer guitar is still downtuned to D, though his tone is thicker than the lightly chorused sound he's favored lately, and while the fluidity, imagination and precision of Winter's playing is still head-turning, it seems more deliberate and measured than in the past. Winter's singing, too, has changed: it's clearer and less mannered, with his familiar growl making only a few appearances. Neither change should dissuade long-time fans, and, indeed, the slightly less urgent feel may help bring into the fold some who had felt Winter was too much.
Freddie King's "Hideaway," which Winter has been playing for years but had never recorded, includes all of King's lines plus wicked overbends and chordal runs up the neck. Frankie Lee Sim's Texas lope "She Likes to Boogie Real Low" rolls along unstoppably, providing the launching pad for several firebrand guitar breaks. Winter invests Ray Charles' "Black Jack" with deep blues power; where he traditionally would blaze through a slow blues, his measured approach here emphasizes space more than speed. "Just a Little Bit" makes up for the lost notes with heartpounding soloing. Winter again proves to be one of the slide guitar greats on "The Sun Is Shinning" (not Elmore James' slow Chess slide but a Jimmy Reed Shuffle) and "The Sky Is Crying" (James' song, played more in the style of Muddy Waters).
Apart from absorbing and marveling at the playing, it's instructive to take the change Live offers to look into the mind of someone who has listened to and played more blues than most mere mortals. Freddie King's "Sen-Sa-Shun" turns up as the extended introduction to "Got My Mojo Workin'." The similarity between the two songs makes the pairing a natural, but many have listened to each tune without making the connection Winter makes. Much of the melodic concept for the solo in "Black Jack" is adapted from "You Shook Me."
Winter's theme song, "Johnny Guitar," is based on a Johnny "Guitar" Watson number; here Winter interpolates a snatch of Larry Williams' "Boney Maroney." Winter recorded the later song years ago, but its inclusion here is doubly significant because Williams teamed with Watson for a time in the 1960s. And when Snooks Eaglin's "Drop the Bomb" takes things out on a very funky note. Winter fans won't miss the extended nod to Johnny's own "Fast Life Rider." Live in NYC 1997 is a trip for the head as well as the ears from one of the greats. Subtitle this one "Genius at Work."
Johnny Winter
Live in NYC '97
Pointblank 7243 8 45527 2 5
Hideaway/Sen-Sa-Shun/Got My Mojo Working/She Likes to Boogie Real Low/Black Jack/Just a Little Bit/The Sun Is Shinning/The Sky is Crying/Johnny Guitar/Drop the Bomb
When Eric Clapton, another blues/rock icon whose career took off in the ‘60s, revisited his blues lineage on Journeyman, the emphasis was on his return to the genre. Johnny Winter never left. Though he has been a blues loyalist for a third of a century, rarely has he treated listeners to such an in-depth guided tour of his roots.
With his credentials as a Texas blues guitar slinger firmly established, Winter heads off into territory populated by his heroes. Not many musicians can handle the combination of chunky funkiness and agile lyricism that characterizes Freddy King's style, but Winter pulls it off. The opening track, a hot cover of Hideaway, slips and lurches in all the right places, capturing some of the master's dazzling touch. By building a medley on an unlikely pairing of Sen-Sa-Shun and Got My Mojo Working, Winter marries King's style with the rhythms of Muddy Waters ' Chicago sound. The effect is both jarring and thrilling.
When Winter sets aside his impressive guitar acrobatics, his more graceful playing is evident on the standout slow blues selections on Live in NYC. His cover of Ray Charles' Black Jack, a tale of a life lost to gambling, is packed with tension and sorrow. He transforms Elmore James' The Sky Is Crying into a dramatic slide guitar event, with swoops and quivers aplenty. Set off against James' tune by its title, Jimmy Reed's The Sun Is Shinning gives Winter another opportunity to flaunt his considerable talents as a flashy electric slide guitar player. As he dusts his broom on Reed's song, Winter moves in and out of Delta stylings, even toying with the phrasing of Roy Orbison, all the while slipping and sliding his guitar like nobody's business.
After six years, the Texan blues guitarist and singer has released a new album. The fact that his twentieth LP is a live recording can be forgiven, since only two of the nine tracks had been previously released.
But: Did it really have to be such a terrible concert recording? Winter’s vocals are uninspired, and his guitar solos—which are usually a true fireworks display—consist of bland licks that often miss the mark in intonation and are frequently repetitive.
When recalling Winter’s brilliant performance of “Highway 61” during Bob Dylan’s 30th-anniversary concert, one can only shake their head sadly at his current slide guitar abilities.
But the truly unbearable part is the constant, irritating hum from his effects pedal!
Producer Dick Shurman, who was responsible for the two preceding good albums of the albino musician, who is constantly plagued by health issues, should have thought better than to release this recording, which is likely to disappoint even the most hardcore Winter fans.
Johnny Winter is like the flu. At the most inappropriate time, just when you think you've reached the apex of coolness, he gets into your bloodstream and takes over. I don't care how conversant you are about the lives of obscure Piedmont rag pickers, there's something about a squint-eyed guy with a shock of platinum hair, a snake-brimmed range hat, Rorschach-tattooed arms and a St. Vitus guitar style that just wins you over.
Now, the albino thunder god's latest, Live in NYC '97, is nothing revelatory. He's gone live before, and if you're looking for his hair-raising winterized treatments of Dylan's "Highway 61 Revisited" and the Stones' "Jumping Jack Flash," you'll have to look elsewhere. This scorching 1997 show, recorded at New York's Bottom Line, is strictly blues – and if Winter sometimes lapses into obligatory flag wavers like "I Got My Mojo Working," well, as deep into the blues life as he's gone, who's got the right to squawk?
Some facts have got to be faced up front, Winter can play like a crossroads demon, but his singing voice is barely a shade more soulful than Tex Avery's cartoon dog, Droopy. There are moments in this show, like on Ray Charles' "Blackjack," when he sounds about ready to give up the ghost. Winter has always sounded best when, as he did at Dylan's Bobfest show a few years ago, he growls along with his machine-gun guitar licks. There's plenty of growling here, but when his side licks get high and lonesome, his watery crooning can get hard to take.
The guitar work, on the other hand, is almost always stellar, even if there are times when his glassy lines sound a bit too often like Albert Collins. Stevie Ray Vaughan copped a lot from Collins, too, so who's complaining? The disc hops off with a fresh, fluid version of "Hideaway," then heads off-track with the more rare "Sen-Sa-Shun" and a rote "Mojo."
Then it gets interesting. Winter displays his Texas roots on Frankie Lee Simms' "She Likes to Boogie Real Low." It's the highlight, a cooking boogie number that lopes like an old mule. For the rest of the performance, Winter settles into his slide, groaning through, "Blackjack" and then blowing out wonderfully-twisted runs on Jimmy Reed's "The Sun Is Shinning" and the Elmore James chestnut, "The Sky Is Crying." Winter dedicates this disc to all his fans. But even those who consider him an occasional guilty pleasure, Live in NYC has lots to recommend
Johnny Winter has been cranking out blues, rock/blues, and rock n' roll for 40 years. He played blues when it wasn't popular for white performers to do so. He often jammed with Jimi Hendrix, and worked with musicians as diverse as Rick Derringer, Muddy Waters , and his younger brother, keyboard and sax man, Edgar Winter. His scorching guitar style and usually ragged vocals are immediately identifiable, and not often copied. In fact, I don't recall ever hearing the phrase, "that guy sounds like Johnny Winter".
Breaking a five-year hiatus, Johnny Winter Live in NYC '97 showcases a set of songs Johnny says are dedicated to all his fans. While Johnny may have mellowed just a tad, and the ragged edge to his voice has smoothed somewhat, this recording is a great example of what Johnny has been doing for what seems an eternity. His playing is still crisp, acurate, powerful, and exciting. And although I never considered him to be a great singer, for some reason I always enjoy hearing him sing. There's this kind of arrogance to his voice. Kinda like he's saying, "I'm gonna sing it, and you're gonna love it".
There is a bit of everything on this CD, from rock 'n roll to slow blues, and, my personal favorite, some nasty slide guitar. In my opinion, Johnny is the meanest slide player ever, bar none. I won't go into describing the individual songs, except to say that they are all excellent, except for the last cut, The Bomb. This is one of those monotonous, repetitive songs that I just can't learn to enjoy. There just has to be a better song that could have been used to close out this otherwise excellent set. If not for that song, I would've given this CD a 5.0 rating.
Whether you are looking for your first Johnny Winter CD, or you have his entire collection, I heartily recommend this CD. It is definitely one that makes you wish you could've been there, the real test of any live recording.
I can't close this review however, without mentioning a couple of other Winter recordings. Nearly all of his recordings are great, but two stand out as must have items. Captured Live, recorded in 1976, showcases Johnny at his live best. This album is really more rock than blues, but is one of the most awesome live recordings ever. That set closes with the Johnny's own Sweet Papa John,, probably the most powerful slide blues performance you're likely to hear.
The other album is Nothin' But the Blues, recorded in 1977. This one consists primarily of acoustic, Muddy Waters influenced blues. In fact, Muddy and his band perform with Johnny on the album. Probably the closest to traditional blues Johnny ever got. There is some electric guitar, but the volume is turned down and the emphsis is on the vocals. These two albums show two extreme sides of Johnny Winter, with most of his other recordings falling somewhere between these two boundries.
ElectricBlues
Herm
Yeahhh!!!!!!!
This is a smoker. A must for all you dedicated fans. I just finished listening to the live album for the first time, and it was certainly worth the wait. I’ve seen Johnny several times in the last two years performing this set, and this album is the next best thing to being there.
I’ve always loved his version of “Hideaway,” and I’m glad to see it’s finally recorded. The melodic laydown of chord and lead work on “Black Jack” was blistering. His version of “Just A Little Bit” absolutely cooks, and his slide work on “The Sun Is Shining” and “The Sky Is Crying” is excellent.
The best, I must say, is this recording of “Johnny Guitar.” This is a driving, high-energy stomp where he uses licks from back in the good ole days. “Drop The Bomb” is funk at its best.
I thought the guitar work was flawless, and the vocals really stood out to me. Clear vocals, with less of the growl of the seventies, but the growl isn’t gone entirely. Overall, his vocals sound healthy. I see he’s going to be in the South and California for the next month before returning to NYC. If you’re in those areas, get out and see him—you won’t be disappointed.
I’m anxiously waiting for the video. Slatus sent out a postcard announcing the album, video, and interview. It’s only the second thing I’ve gotten from the fan club since joining in September 1996. I hope Hugh is right about things looking up with Slatus, but I have my doubts.
I know you’ll enjoy the new CD. I’m going back for another listen.
—Frank
I guess I'll split the difference with the opinions on the CD.
I have to agree that some of the guitar playing is less than the best work Johnny has done in the past. I saw him live in '97, but the last time prior to that I'd seen him was 1975, so I don't have a good basis for comparison. The last live performance I'd seen on TV was the "MTV Guitar Greats" performance, which was from the early '90s, I think. His playing on that was completely amazing. His playing when I saw him in '97 was not as good.
On the other hand, I think some of this critique is judging Johnny solely on his solo guitar technique. As I've seen Johnny say in interviews, he doesn't want people standing there reverently studying every note he plays; that isn't why he plays music. He'd rather see people up dancing around, having a good time, and his ability to get people to do that is still amazing.
I think most of the playing (lead or otherwise) on Live in NYC '97 is excellent. The music is great. The band is great. Some of the guitar solos are merely good. The only two weak points that stand out to me on the CD are:
1. The solo on "Black Jack Game" – an absolutely incredible build-up to that point but only an average solo. 2. Part of the slide lead on "The Sky is Crying" – a bit of off-key "zinging" above the 22nd fret.
I hope Johnny is soon able to exceed his previous performances, but even with some apparently reduced capabilities, he's still one hell of a performer. I think Live in NYC '97 is a great CD.
Keep rockin', Hugh
Well, we've had the CD for a week now. A lot has been said about it, mostly good, with several dissenting opinions. I think there's room for all the opinions, and they're all valid. No, this is not Johnny's best album—whatever that may be. No, this is not Johnny's worst album—whatever that may be. Johnny has such a huge catalog of material that you're bound to get differing opinions on any aspect of it.
I think, Jan, you hit the nail on the head: a more thoughtful and subdued Johnny. I personally really like this new CD. I already have Montreux, Barcelona, Captured Live, Massey Hall video, and more, if I want torrential floods of stunning speed, notes, and pyrotechnical (is that a word?) gymnastics. How about a variation on a theme, people? He's working comfortable grooves that seem right for him and fun at the same time. He's obviously enjoying it, and damn it, so am I! Hell, you can dance to this stuff!
Great slow blues boogies and shuffles from the best (I can't help it, I'm listening to "The Sun is Shining" right now!). An older, safer Johnny still puts most other guitarists to shame—meaning he's very listenable and keeps you interested throughout a song.
I love this new CD: it's different, it feels nice, it flows well, and it is a breath of fresh air. Plus, check it out: some new tunes! Shock! No nth version of "Jumpin' Jack Flash" or "Johnny B. Goode," etc. Variety! Change it up!
In summary, I can certainly see why our more technical contingent might be somewhat disappointed, but this album can grow on you if you give it a chance. :)
Go Johnny Guitar!
I bought Live in NYC '97 last Friday. At first, I felt a little disappointed. I had hoped that Johnny would really silence every skeptic, but instead, I thought I found signs indicating Johnny’s illness. When I listened to it a second time, I realized at once that I had been totally unfair and immoderate.
Johnny's vocals are not as strong as before, but if you just let him, he can still easily make your socks revolve with his virtuous guitar playing. Just put your wrong attitude and prejudices aside. Johnny obviously suffers from the fact that many of his former recordings are so unbeatable. It is difficult to be better—or even as good as—the world's best blues guitarist at his peak!
After all, Live in NYC '97 is an excellent blues CD—good old Johnny Winter with two world-class musicians, Mark Epstein and Tom Compton. I wish I had been there when it was recorded!
I loved Johnny Winter in the late '60s and early '70s but hadn’t listened to anything by Johnny since then—until picking up Live in NYC '97 on the recommendation of a complimentary review in a British rock magazine. I must tell you, I was stunned at the quality of this set. Winter is just brilliant, and I’m sorry I missed all the years in between.
First, the production has a deep, vibrant feel—one of the best-sounding live CDs I’ve ever heard. More importantly, Johnny’s playing is just scintillating—precise, authoritative, always on key, with hardly any errors I could detect. Every lick shows the deep impress of his blues heritage but also has his inimitable stamp.
I could cite many examples, but in particular, the rhythm and lead playing on the ninth track, that heavy funk-type number, just blew me away. When it stops, you want it to go on and on! And it’s remarkable that Johnny can maintain this heavy sonic playing after thirty years of high-volume stage performances. Clearly, his ears are in good shape.
Finally, there is his excellent singing. I loved hearing his actual voice instead of the bluesier or grainier style he used to sing in, as enjoyable as that was. He is actually an excellent singer, as he showed, for example, on She Likes to Boogie Real Low, and what great guitar licks he played on that number to emphasize his vocals. Plus, his drummer and bassist are real solid players, perfectly complementing his sound.
This is just an outstanding set that deserves to be widely known. Much as I like Eric Clapton, I think this set makes Eric’s Blues release of a few years ago look weak by comparison. I would love to hear how Johnny’s band plays his phenomenal Be Careful with a Fool from his late ’60s record, Johnny Winter .
I will definitely see Johnny’s band when he is next in my area, and I wish him much success with this current release and his future plans. Congratulations on maintaining this excellent webpage.
Sincerely, Gary Gillman, Toronto.
Imperial LP-12431, 1969, Made in US
"The Progressive Blues Experiment" by Johnny Winter is a legendary 12" vinyl LP album that showcases the extraordinary talent and unique style of the American blues guitarist and singer. Recorded live at the Vulcan Gas Company, an iconic music venue in Austin, Texas,
The Progressive Blues Experiment 12" Vinyl LP
CBS Stereo 63619 (1969) , 1969 , Made in USA
On the self-titled debut album Johnny Winter played the blues pure and simple,. Whether it was the stinging raucous Delta music as played acoustically on "Dallas", or his savage electric attack, on "Mean Mistreater", "Be Careful With a Fool", or on Good Mornin' Little Schoolgirl'
JOHNNY WINTER aka Black Album 12" Vinyl LP
CBS , 1969 , Brazil
"Johnny Winter's 'Second Winter' is a classic 12" vinyl album released in 1969 on the CBS Record label. The influential blues-rock musician's second studio album showcases his virtuosic guitar skills and soulful vocals. Featuring a mix of original compositions and covers, the record captivates listeners with its raw energy and timeless blues-rock sound, solidifying Johnny Winter's status as a music icon."
Second Winter 12" Vinyl LP
CBS – 64117, CBS – S 64117 , 1970 , USA
The Johnny Winter AND album is a masterclass in raw energy and virtuosic guitar playing, with Winter's and Derringer's fiery solos and soulful vocals captivating listeners. It's a timeless testament to the power and passion of blues rock music,
JOHNNY WINTER AND 12" Vinyl LPe
CBS S 64289 , 1971 , Made in Holland
"And Live" by "Johnny Winter And" is a gatefold 12" LP vinyl album that showcases the legendary blues musician's electrifying live performances. Released during his peak in the 1970s, this album captures Winter's virtuosic guitar skills and soulful vocals, delivering a high-energy experience for blues enthusiasts. With a diverse tracklist and excellent sound quality, this vinyl release remains a must-have for collectors and fans of authentic live blues music.
Live 12" Vinyl LP
CBS 65484 , 1973 , Made in USA
Johnny Winter's 1973 comeback album, "Still Alive and Well," showcases the blues-rock legend's electrifying guitar work and soulful vocals. With defiant tracks like the title song and an impassioned rendition of The Rolling Stones' "Let It Bleed," this LP reached #22 on the US Billboard Charts, leaving an enduring legacy in the world of rock music.
Still Alive and Well 12" Vinyl LP
CBS S 65842 , 1974 , Made in USA
"Saints and Sinners" is a blues-rock masterpiece released in 1974 on a 12" vinyl LP. Led by the incomparable Johnny Winter, the album features scorching guitar riffs, emotive vocals, and a soulful fusion of rock and blues. Produced by Rick Derringer, it boasts a talented lineup, including Edgar Winter, Randy Brecker, and more, creating an enduring classic that captivates listeners with its raw energy and timeless appeal.
Saints and Sinners 12" Vinyl LP
PZ33292 , 1974 , Made in USA
"John Dawson Winter III" remains a shining gem in the discography of Johnny Winter. This 12" vinyl LP album from 1974 continues to captivate audiences with its timeless blues-rock sound, and it serves as a reminder of the immense talent of Johnny Winter and his band-members, Randy Jo Hobbs and Richard Hughes. Whether you're a dedicated fan or a newcomer to Johnny Winter's music, this album is a must-listen for anyone seeking to experience the magic of true blues and rock artistry.
John Dawson Winter III 12" Vinyl LP
Blue Sky – SKY 69230 , 1976 , Europe
"Johnny Winter's 'Captured Live' 12" LP delivers an authentic blues experience. Recorded during his peak in 1976, the album showcases his raw talent with scintillating guitar work and soulful vocals. The dynamic tracklist features crowd favorites like 'Boney Moronie' and 'Sweet Papa John'.
Captured Live 12" Vinyl LP
Blue Sky PZ 33944 / AL 33944 , 1976 , Made in USA
The promotional copy of Johnny Winter's "Captured Live" 12" vinyl LP album featuring Floyd Radford on rhythm guitar is a rare and coveted treasure for vinyl collectors and blues enthusiasts. This unique edition offers a glimpse into the blues legend's live performances during his prime in the 1970s.
Captured Live Promo Copy 12" Vinyl LP
Blue Sky LP 81338 , 1976 , Made in USA
Experience the electrifying energy of legendary musicians Johnny Winter and Edgar Winter with this thrilling 12" vinyl LP album, "Together". Explore this web-page featuring several captivating photos of the Winter brothers in their element, delivering unforgettable performances on stage.
Together (with Edgar Winter) 12" Vinyl LP
Blue Sky - Sky 82141 , 1977 , Made in USA
Johnny Winter's "Nothin' but the Blues" is an album that encapsulates the very essence of the blues. With his unparalleled guitar skills and soulful vocals, Winter breathes new life into classic blues compositions while paying homage to the genre's legends.
Nothin' but the Blues 12" Vinyl LP
CBS SKY 82963 , 1978 , Made in USA
"Johnny Winter's 'White Hot And Blue' 12" vinyl LP is a blues-rock gem featuring his soulful vocals and mesmerizing guitar skills. With a powerhouse lineup, including Edgar Winter's multi-instrumental brilliance, Pat Ramsey's haunting harmonica, and Tom Brock's captivating mandolin
White Hot and Blue 12" Vinyl LP
Blue Sky AL 36343 / JZ 36343 , 1980 , Made in USA
"Raisin' Cain" is the title of a 1980 album by American blues musician Johnny Winter. The album features a mix of original songs and covers of classic blues songs, such as "Sweet Little Angel" and "It's My Own Fault". The album received positive reviews from critics and was well received by Winter's fans. It features a mix of rock, blues and country music.
Raisin Cain 12" Vinyl LP
ATLAS Records LA25-5012 , 1984 , Japan
Johnny Winter's "Guitar Slinger" on 12" vinyl LP is not just an album; it is a masterpiece that encapsulates the brilliance of one of the greatest guitarists in the history of blues rock. The Japanese release of this iconic album further solidified its status as a musical treasure, appreciated by fans across the world.
Guitar Slinger 12" Vinyl LP
Alligator Records SNTF 948/Sonet , 1985 , Made in USA
Johnny Winter's "Serious Business" remains a timeless blues masterpiece that encapsulates the raw essence of the genre. With searing guitar work, powerful vocals, and an unwavering dedication to the blues, Winter and his talented band created an album that continues to resonate with blues enthusiasts and music lovers alike.
Serious Business 12" Vinyl LP
Sonet Records SNTF 965 , 1986 , Made in USA
"Johnny Winter's 'Third Degree' (1986) captivates with blues-rock brilliance. The iconic guitarist's studio album exudes raw energy and soulful vocals, showcasing his virtuosity. Featuring electrifying tracks like 'Mojo Boogie' and 'Tin Pan Alley,' it remains a timeless testament to Winter's legendary talent and continues to resonate with music enthusiasts worldwide.
Third Degree CD
- , 1988 , USA
"Winter of '88" is a blues-rock gem by Johnny Winter, released in 1988. With electrifying guitar work and soulful vocals, Winter returns to his musical roots, delivering an authentic and powerful experience. This album showcases Winter's enduring talent and influence
Winter of '88 CD
- , 1991 , USA
"Let Me In," Johnny Winter's 1991 album, marks a dynamic shift from MCA to Pointblank Records. With scorching guitar riffs and soulful vocals, Winter delivers an electrifying blues-rock masterpiece. Supported by skilled musicians like Billy Branch's harmonica and Dr. John's piano, the album blends emotional depth and musical diversity, cementing Winter's status as a blues legend.
Let Me In CD
POINTBLANK #86512 , 1992 , USA
"Johnny Winter's 1992 album 'Hey Where's Your Brother?' delivers electrifying blues rock, showcasing his signature guitar prowess and soulful vocals. With a mix of original tracks and inspired covers, the album captures Winter's dynamic energy and musical finesse, a testament to his influential legacy in the blues genre.
Hey Where's Your Brother? CD
Cema Virgin 45527 , 1997 , USA
Johnny Winter's 'Live in NYC 1997' album pulses with electrifying blues and rock fusion. With searing guitar solos and soulful vocals, Winter's raw energy ignites the stage, capturing a mesmerizing night at the Bottom Line. From haunting renditions of classics to the immersive chemistry
Live in NYC 1997
Virgin Records , 2004 , Made in USA
"I'm a Bluesman" is not just an album; it's a celebration of the blues, a tribute to tradition, and a testament to the enduring power of music. Johnny Winter and Mike Welch's collaboration on this record showcases their profound understanding of the blues genre and their ability to keep its flame burning brightly. With its rich blend of original compositions and classic covers, the album is a timeless masterpiece that stands as a true reflection of the bluesman spirit.
I'm a Bluesman CD
Megaforce Records , 2011 , Made in USA
Johnny Winter's 2011 album 'ROOTS' takes listeners on a captivating musical journey, showcasing his mastery of blues, rock, and roots genres. With soulful vocals and electrifying guitar solos, Winter pays homage to his musical influences while adding his own unique flair. This CD release is a timeless collection of tracks that capture the essence of his legendary career and demonstrate his unwavering passion for authentic, heartfelt music".
Roots CD
Megaforce Records – 0 20286 21697 1 , 2014 , USA
"Step Back" is the final album by blues guitarist and singer Johnny Winter. It features performances by a number of guest musicians, including Eric Clapton, Dr. John, Billy Gibbons from ZZ Top, Joe Perry from Aerosmith, Leslie West from Mountain, and Brian Setzer from the Stray Cats. It was released by Megaforce Records on 2 September 2014.
Step Back (Red Vinyl) 12" Vinyl LP
Janus Records – JLS 3008 , 1976 , Made in USA
"About Blues" is a compilation album of tracks recorded with Johnny Winter on Guitar. These recordings were made before JW became famous and when he worked as a free-lance guitarist and studio guitarist. The music on this album is representative for the popular music during the early 1960s.
About Blues 12" Vinyl LP
CBS 22020 , 1976 , Made in Holland
"Johnny Winter And" and "Johnny Winter And Live" is a 2LP vinyl album set that contains the first two albums "The Johnny Winter And" band released. The first album is a studio recording while the second album is a live recording. Both records were originally released as two separate albums.
"AND & AND Live" 12" Vinyl LP
CBS/Sony SOPM 91 , 1974 , Made in Japan
The "Best of Johnny Winter (Japan)" is a 12" vinyl LP that compiles the finest works of the renowned blues musician. This release showcases Winter's exceptional guitar skills and powerful vocals, highlighting his contributions to the genre. With carefully selected tracks, this album offers a comprehensive overview of Winter's career,
Best of Johnny Winter ( Japan ) 12" Vinyl LP
Blue Sky SKY 32206 / CBS 63619 / CS 9826 / LC 3231 , unknown , Holland
The First Album (Blue Sky Records) is a re-issue of the first album Johnny Winter released on the CBS Record label and was also known as the Black Album. The year of release of this re-issue on Blue Sky is unknown and must after 1973 (The year Blue Sky records was formed).
The First Album (Blue Sky Records) 12" Vinyl LP
Sunset Records SLS 50264 / Liberty LBS 83 240 1 / LP 12 431 , 1969??? , Made in Germany
Johnny Winter's "Progressive Blues Experiment" is a 12" LP vinyl album released on Sunset Liberty Records with the catalog numbers Sunset Records SLS 50264, Liberty LBS 83 240 1, and LP 12 431. This album showcases Winter's innovative approach to blues music, blending traditional elements with progressive influences.
Progressive Blues Experiment (Sunset Liberty) 12" Vinyl LP