Johnny Winter's "Third Degree" was recorded and released in 1986, this album re-unites Johnny with his band-members from the 1960s: Tommy Shannon and Uncle Red Turner on several tracks. in the beginning of 1987 Johnny Winter Tours in Europe (together with Dr John The NightTripper to promote this album. This web page has photos of album covers, inner sleeves, record labels together with production details, musicians and track-listing.
In the realm of blues and rock music, few names resonate as loudly as Johnny Winter. An extraordinary guitarist and legendary performer, Johnny Winter carved his path in the music industry, leaving behind a trail of electrifying performances and unforgettable albums. Among these milestones stands the 1986 release "Third Degree", a momentous CD album that marked the reunion of Johnny Winter with Tommy Shannon and Red Turner, alongside the remarkable addition of Dr. John on piano.
A Triumphant Reunion
The 1980s were a challenging period for Johnny Winter. Despite his immense talent and reputation, he faced personal and professional struggles. However, "Third Degree" proved to be a pivotal point in his career, bringing together a group of musicians whose collective prowess breathed new life into his artistry.
The reunion of Johnny Winter with bassist Tommy Shannon and drummer Red Turner was a source of excitement for both fans and critics alike. The trio had previously collaborated on some of Winter's most iconic works, including "The Progressive Blues Experiment" (1969) and Johnny Winter's self-titled debut album on CBS Records (1969). Their chemistry on stage and in the studio was undeniable, and the prospect of their reunion fueled high expectations for "Third Degree".
The Magic of Dr. John
One of the most compelling aspects of "Third Degree" was the inclusion of the venerable Dr. John on piano. The charismatic New Orleans musician, known for his unique blend of blues, jazz, and funk, brought a distinct flavor to the album. His addition to the lineup added a layer of complexity and texture that complemented Winter's blistering guitar work perfectly.
Dr. John's collaboration with Johnny Winter on "Third Degree" was not just a musical match but also a meeting of two souls deeply connected to the blues tradition. Their shared passion for the genre resonated throughout the album, making it a memorable experience for anyone listening.
The Tracks That Defined "Third Degree"
"Third Degree" featured a mix of original compositions and inspired covers that showcased Johnny Winter's remarkable versatility and mastery of the blues. The album opens with "Mojo Boogie", a high-octane track that immediately immerses listeners in Winter's signature guitar licks, backed by the tight rhythm section of Shannon and Turner.
The title track, "Third Degree", exemplifies Winter's ability to convey raw emotion through his guitar. His searing solos and passionate vocals combined with Dr. John's skillful piano accompaniment elevate the song to a level of blues brilliance seldom achieved.
"See See Baby" and "Tin Pan Alley" are further standouts on the album. The former captures Winter's fiery intensity, while the latter showcases his soulful side as he pours his heart into every note.
Legacy and Impact
"Third Degree" was a commercial success and garnered critical acclaim, earning Johnny Winter newfound recognition in the 1980s music scene. The reunion with Tommy Shannon and Red Turner proved that their musical chemistry had not waned over the years, and Dr. John's presence elevated the album to new heights.
Beyond its immediate impact, "Third Degree" solidified Johnny Winter's legacy as a blues virtuoso who continued to innovate and captivate audiences well into his career. The album remains a beloved piece of his discography, revered by fans and celebrated by blues enthusiasts worldwide.
Blues Rock
Sonet Records SNTF 965
1986 Made in USA
I REALLY LIKE THIS RECORD. It's got a lot of different kinds of blues on it, more variety.
First, there's Casey, Johnny and Ken.. To me, these guys are the cream of the crop as far as blues today. They can play everything. They're always challenging,too. They're right in the pocket, and make me want to play better.
Then, there's Dr. John. Mac is someone I've known since the early '60s, and I've wanted to record with him for quite a while. He's got that New Orleans flavor that nobody else can do. He knows a lot of great old songs that I don't know, which is excellent because he comes up with songs that I have a good time playing! Our musical roots are so similar that we mesh real well. I hope we can work together more in the future.
A lot of my fans and friends have been asking me when I was gonna do some more acoustic stuff. I think we got a couple of very nice ones on this album. Actually, I was never interested in playing acoustic guitar until I discovered those metal Nationals back in '68. I fell in love with that nasty sound. It reminds me of a garbage can with wire on it. It's got all that metal ring to it, a real bluesy sound. On this album, I used two different Nationals, an old one for all the slide stuff and a newer one for the fretting. I had to practice for about a month before we made the record because they're much harder to play than an electric guitar and I don't play an acoustic on the road. It's a challenge to play, but it's worth it, because before there was electricity guitars like this were all blues musicians had. And if you can't do it, if you have to have an electric guitar to play the blues, it's not a good feeling. I had to be able to master that guitar.
I had dreamed about playing with Tommy and Red again ever since we broke up back in 1970 because I don't think any of us really ever wanted that band to break up I don't feel like I could have made it without them in the first place. They were the first musicians ever to come to me and say, "We love what you do. We don't care if we make any money, we're willing to do straight blues, whether we make it or not." It was the first time I ever had a straight blues band. Up to that point, I had to play soul music -- Top 40, Beatles music, a little bit of everything. I said they were crazy we'd starve to death for sure playing nothing but blues. In about six months we did starve. Red's mother had a beauty shop, and we practiced at the beauty shop after hours late at night. Red stayed in the extra room, and Tommy slept on the couch. And those guys, if they hadn't done that, nobody would ever have heard of me or known that I was a blues guitar player. It was such a good feeling when we finalIy did make it playing straight blues. There was a feeling we had when we played together because we cared so much about each other and the music. It felt great to work with those guys and it still does. To get together in the studio again after 15 or 16 years ... and I feel like we played better on this record than we did back in Texas! It was really a dream come true to be able to work together again and show everybody we still got it.
"It makes a lot of difference when you love the guys you're playing with--it's just bound to come out in the music."
Johnny Winter
Johnny Winter - Producer
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.
Johnny Winter — electric guitar, National steel guitar, vocals
Ken Saydak — piano
Dr John — piano
Johnny B. Gayden - bass
Tommy Shannon — bass
Tommy Shannon: Legendary bassist, known for his work with Stevie Ray Vaughan and Double Trouble. Explore his influential career and impact on blues-rock music.
Uncle Red Turner — drums
Uncle John Turner (the unsung hero behind the blues). Explore his legacy, music, and the profound impact he had on Johnny Winter's journey and Texas music.
Casey Jones — drums
The track "Broke and Lonely" was originally recorded by Johnny Winter in the early 1960s under the alias Texas "Guitar" Slim and released on Jin Records. Learn about Jin Records Company
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 ).
The following reviews of 3rd Degree capture Johnny Winter at a defining moment in his career, where the weight of years spent on the road and in the studio comes together in an album steeped in raw, unvarnished blues. Winter’s guitar playing, as sharp as ever, cuts through each track with the same effortless precision that made him a standout from the start. Yet, 3rd Degree offers more than just guitar mastery—it’s a return to the jam-session spontaneity and Southern-rooted authenticity that has always set Winter apart. With collaborations from old friends and blues legends, the album feels like a homecoming of sorts, reminding listeners that even as Winter evolves, his heart remains deep in the blues. The reviews reflect this—a portrait of a musician who, after 15 albums, is still pushing the limits of his craft, while staying true to the gritty, powerful sound that made him a legend.
The name of the scruffy albino has become synonymous with Texas heavy-metal blues. Finally, there is some variety here, as two different backing bands are used. First, there are Albert Collins’ Icebreakers, who breathe new life into J.B. Lenoir’s “Mojo Boogie.” On two other tracks, including the ballad “Tin Pan Alley,” pianist Dr. John joins in, bringing cross-border music from East Texas to South Louisiana.
On three tracks, Winter brings back his old companions Tommy Shannon and Uncle John Turner after 16 years, igniting fireworks just as in their “good old times,” only sharper and more perfected. Twice, Winter demonstrates where the blues comes from: he grabs his acoustic metal-bodied National guitar. The lyrics of “Evil on My Mind” and “Bad Girl Blues”—as you might guess—are about the evil woman who left him. Lyrically, nothing extraordinary here, and as a “singer,” Winter’s raspy vocal cords can sound monotonous.
However, it’s the electric guitar that does the trick, as he unleashes solos and forces you to listen intensely. This demands repeated listening…
– NH
“I really like this record. It’s got a lot of different kinds of blues on it, more variety,” Johnny Winter writes in the liner notes for this album. That sentiment is touching, solid, and simple, just like what 3rd Degree delivers. It is a calm, time-tested work from Johnny Winter’s slide guitar (and as noted, he had to put it down for a month), accompanied by equally solid and well-seasoned musicians of the finest caliber.
The piano duties alternate between Ken Saydek and Dr. John, while the bass is handled by Johnny B. Gayden or Tommy Shannon, and the drums are played by Casey Jones or Uncle “Red” Turner. As Johnny W. says, these are people who can play everything when it comes to the blues and who are also old friends. 3rd Degree isn’t particularly spectacular, but it quietly turns from the pleasant Mojo Boogie to Tin Pan Alley and from I’m Good to Shake Your Money Maker, all the way to Broke and Lonely. The result is so cozy, warm, and exciting like the finest wool blankets. This is another great achievement by the master. Once you get in, you won’t want to get out.
– Jutta Koether
Johnny Winter remains one of the most dazzling figures in the American blues scene. As Rolling Stone once famously described: “… a 130-pound, cross-eyed albino with long, flowing hair who plays the smoothest guitar you’ve ever heard.” Up until now, 15 albums have showcased Winter’s ability “with sensitive feeling and great empathy to interpret Black blues as a white man.” With 3rd Degree, the blues hero presents his 16th production.
On all ten tracks, Winter shines with an irresistible blend of earthy blues-rock feel and phenomenal guitar craftsmanship. 3rd Degree is a typical Johnny Winter album from the first to the last note, with recordings that carry the atmosphere of a jam session—raw, unadulterated, and alive.
Born in Leland, Mississippi, on 23 February 1944, Winter was already playing his first gigs on local stages by the age of 14. With his brother Edgar, he formed the band “Johnny and The Jammers,” touring through Texas clubs. “It was fantastic,” Johnny recalls, “we won a talent show one after the other…” In addition to the musicians’ enthusiasm, the band also secured a recording contract. The “Dart” label released their single “School Day Blues” in 1959.
For Johnny Winter, even back then, it wasn’t easy to coordinate his commitments and those of the “Jammers”—getting all the band members together for studio gigs. If he had the time, he’d always sit down with blues greats like B.B. King or Bobby “Blue” Bland to exchange ideas and expertise.
Johnny didn’t just play the blues, though. With numerous formations of the “Jammers,” he toured the southern United States, playing everything from bubblegum pop to cocktail jazz. Blues was always a staple of his repertoire, among many others. He recorded singles for several small record labels during this time, but the lack of significant commercial success limited his exposure to occasional airplay on local radio stations.
In the early 1960s, after a brief stay in Chicago, Johnny Winter contracted a virus, which seemingly pulled him back onto the path of the blues. He threw everything else overboard and focused on what was essential. Before long, his breakthrough came, much like in a fairy tale: Johnny Winter delivered a superb blues concert, and shortly thereafter, a critic from the legendary Rolling Stone magazine discovered him.
Johnny Winter remains one of the most dazzling figures in the American blues scene. As described by the American showbiz magazine Rolling Stone in 1968: “… a 130-pound, cross-eyed albino with long, flowing hair who plays the smoothest guitar you’ve ever heard.” Up until now, 15 LPs have showcased Winter’s ability “with sensitive feeling and great empathy to interpret Black blues as a white man.” With 3rd Degree, the blues hero presents his 16th production.
On all ten songs, Winter excels with his unmistakable combination of earthy blues-rock feeling and phenomenal guitar craftsmanship. 3rd Degree is a typical Johnny Winter album from the first to the last note, with recordings that capture the atmosphere of a jam session—raw, unpolished, and alive.
Born in Leland, Mississippi, on 23 February 1944, Winter began playing local stages by the age of 14, earning his first wages as a talented youngster. Together with his brother Edgar, he formed the band “Johnny and The Jammers,” and they toured through Texas clubs. “It was fantastic,” Johnny recalls, “we won one talent show after another…” In addition to the enthusiasm of the musicians, the band also secured a recording contract. The “Dart” label released the single “School Day Blues” in 1959.
For Johnny Winter, even back then, it wasn’t easy to coordinate his commitments and those of the “Jammers”—getting all the band members together for studio gigs. If there was time, Winter would also meet up with blues legends like B.B. King or Bobby “Blue” Bland to exchange ideas.
Back then, Johnny didn’t just play blues. With many different versions of the “Jammers,” he toured the southern United States playing bubblegum and cocktail jazz. Blues was always a cornerstone of his repertoire, among other styles. He recorded singles for numerous small labels, but with little commercial success—his efforts were mostly limited to occasional airplay on local radio stations.
Eventually, a virus seemed to bring Johnny Winter back to his true calling. During a brief stay in Chicago in the early 1960s, he got sick and decided to focus on the essential: the blues. Shortly thereafter, in almost fairy-tale fashion, Johnny Winter delivered an excellent blues concert, and not long after, a critic from the legendary Rolling Stone magazine discovered him.
