The Johnny Winter Story

This 16-track anthology spans the first decade of albino Texas blues guitarist Johnny Winter's career, especially the early (1969-'73) Columbia albums that built his legend. While some purists have groused at his often manic precision, this collection makes a point of underscoring his impressive range as a musician. The fervent gospel-blues of "I'll Drown in My Tears" showcases Winter's vocal stylings (and is one of several tracks featuring brother and frequent sideman Edgar), then segues neatly into the spare, acoustic heat of the dobro-'n'-flute rarity "Come On in My Kitchen." But the emphasis is on Winter's showy rock star turns and the collaborations with his potent band (and fellow axeman Rick Derringer and his cohorts from the McCoys, of "Hang on Sloopy" fame) on "Rock and Roll Hoochie Koo," "Still Alive and Well," and forceful live workouts of "It's My Own Fault" and "Mean Town Blues." His original, late-'60s power trio is on display here, too, and that small, formidable outfit can't help but emphasize the debt that Stevie Ray Vaughan and many of his musical progeny owe Winter. Indeed, Winters's bassist in the trio was none other than Tommy Shannon, who would enjoy another turn in the spotlight a decade later in Vaughan's Double Trouble. If American electric blues is your gospel, this collection should be one of its cornerstones of faith. --Jerry McCulley

Production Notes:

Liner notes by Johnny Winter

I am very happy and excited that Columbia/Legacy is releasing an anthology of some of my early material for the first time. I have many fond memories of those days and hope to my fans, from then and now, enjoy this record as much as I do. Johnny Winter, November 2001

Liner notes by Lawrence Cohn

Tempus fugit. Indeed! Can it really be more

than thirty years since I first saw and heard the music of this Texan, by now a true legend in blues and rock 'n' roll? 1969. Music of all types abound. Popular music runs the gamut from Miles Davis to Santana to Blood Sweat and Tears to Janis Joplin to Jimi Hendrix to Creedence Clearwater Revival to Simon and Garfunkel to Sly and the Family Stone and cascades an endlessly. New sounds, old sounds, soul sounds, not so-soulful sounds, with something existing for everyone. A veritable cornucopia. A feast for the ears and many times, in addition thereto, also a feast for one's eyes.

And rising from this musical map Iike the fabled, mythological Phoenix, was the White phantom-like likeness of Beaumont's Johnny, at the outset a bluesman who once and for all put the rest the old, plaintive moan, „can white men and play the blues?“ Well, Winter in his albino skin couldn’t have been whiter in color and more multe-hued in his musical approach. He listened to and absorbed everything: rhythm and blues, Western swing, pop music of the day, city blues, country blues, music of the Texas honkytonks, rock 'n' roll, country music and indeed, learned his lessons well. (I am convinced that he is able to play every guitar riff that he has ever heard!)

year for our young Star. Major record companies took notice, partially occasioned by a feature story in Rolling Stone Magazine, and the bidding war was on. No langer content to remain in Texas, and looking for broader and more far reaching avenues of creative his albino skin couldn't have been whiter in color and more multi-hued in his musical expression, he opted to sign with Columbia Records for an advance that was quite large and rather healthy for it's time. A wise choice indeed. After all, the label had been the home of Robert Johnson, Charlie Patton, Memphis Minnie, Big Bill Broonzy and numerous other legendary giants of the idiom. Further, it was now, additionally, a force to be reckoned with in the pop-rock 'n' roll world. The die was cast: Johnny was to become a member of a label with a tiffany history extending back to before 1900.

The impact Winter was to make was astounding from the very beginning and anyone who had the good fortune to see him during these early days (this writer, for one) never failed to be mesmerized and astounded by this wizard. After all, most of us thought, the things that he played were just unplayable. How was it possible to execute that which Johnny indeed DID execute? Well, I'II leave the answer to be provided by a higher power because it is far beyond the reach of mere mortals. And not to be forgotten is his prowess as both a singer and a songwriter. Damn, but the man has it all covered. God has truly touched his brow and may Johnny Winter continue into eternity!

The tracks presented on this compilation reflect his history as both a blues artist and a rock'n' roll star, which he was and STILL is. The program is varied as it begins with "Rock And Roll, Hoochie Koo," a composition of oftused sideman Rick Derringer, a rock and roll star in his own right. Derringer, of "Hang On Sloopy" fame shines here playing unison guitars with Johnny as Winter makes one of his first moves away from the strict blues idiom and towards a more rock and roll/pop music approach.

"I'm Yours And I'm Hers" finds Johnny back in the blues/rock format and he is truly astounding, playing lead and slide guitars (by way of the technical marvel of overdubbing]. Turner and Shannon, his Iong-time backing musicians afford their usual solid support on this Winter original. "Johnny B. Goode," Chuck Berry's rock and roll anthem, is given a straight-ahead rock and roll approach and benefits with the addition of brother Edgar on piano. This is "good-time" music!

Johnny's blue-eyed soul interpretation of the Henry Glover classic "1'11 Drown In My Tears" (made famous by the great Ray Charles] is another exploration into uncharted waters for the artist, a blend of saut music and RH with his unique, personal take on the sang. Brother Edgar appears on piano, along with a full harn section and backing vocalists. We return to the artist's blues roots with the absolutely inspired interpretation of the legendary Robert Johnson's classic "Come On In My Kitchen!" Featured is some stunningly beautiful slide guitar, teamed with the ethereal, other-worIdly sounds of Jeremy Steig's flute. This performance remained unissued for close to 25 years after first being recorded. "Robin' And Tumblin'," a classic blues which credits M. Morganfield, far better known as Muddy Waters, as composer, is based upon traditional themes and melodies. By this time in Winter's career, he was very involved in Muddy's career, producing and playing on many sessions for his Blue Sky labet. Actively recreating many of Muddy's successes on Chess Records, they became a formidable team and recorded new material as well.

With it's matchless energy, drive and musicality, this interpretation of Bob Dylan's "Highway 81 Revisited" must surely stand as the most exciting version of the sang ever recorded. All stops are pulled out as Johnny provides one of his career-defining performances, arguably the best he has ever done. „Hustle Down In Texas,“ is another Winter original. This largely autobiographical piece follows the familiar hard-times blues theme and is highlighted by his brilliant single-line guitar playing throughout. An up-tempo shuffle approach gives Don Robey's "Mother-ln-Law Blues" a work out. This song and musical approach is quite typical of the kind of material that Johnny performed in Texas venues when he was first beginning to make a name for himself. "Dallas," another Winter autobiographical original featuring everyone's favorite verse, "So much shit in Texas/You're bound to step in some," has some lovely unaccompanied acoustic slide guitar, once again showing that Johnny Winter is indeed, one of the greatest slide players who ever lived.

The straight-ahead R&B performance of Little Richard's "Miss Ann," replete with horns, is southern road-house music at it's best, the focal point being Johnny's extended guitar solo and a typically-Texan, honking tenor break. "lt's My Own Fault" is an extended live performance of B.B. King's classic, something to be found in the repertoire of virtually every blues artist who performed during the 1960s and 1970s. Taken at a slow tempo, the structure allows Winter to stretch out, exhibiting his many talents and approaches. Using a high-speed locomotive as a model, "Mean Town Blues," another Winter original, is taken at such break-neck pace that the performance ultimately leaves the listener breathless. A highlight of the track is the twin-guitar break just prior to the reintroduction of the main theme, towards the later Part of the recording. Another Rick Derringer composition, "Still Alive And Well" is about death, durability and other of life's assorted joys. One of B.B. King's best compositions, "Be Careful With A Fool" is a straight ahead blues with Johnny's mesmerizing guitar in the spotlight. This is typically the type of blues that Winter was performing live in the late 1960s and the 1970s. The captivating Percy Mayfield classic "Memory Pain" closes our multi-leveled Johnny Winter program, exhibiting the many musical faces of this extraordinary artist.

Best of Johnny Winter Compilation Album 2001, click on the thumbnails to see the fullscreen photos

Band Members:

• Johnny Winter - Guitar, Vocals.

Tracks:

Tracks
1. Rock and Roll, Hoochie Koo
2. I'm Yours and I'm Hers
3. Johnny B. Goode
4. I'll Drown in My Tears
5. Come on in My Kitchen
6. Rollin' and Tumblin'
7. Highway 61 Revisited
8. Hustled Down in Texas
9. Mother-In-Law Blues
10. Dallas
11. Miss Ann
12. It's My Own Fault [Live]
13. Mean Town Blues [Live]
14. Still Alive and Well
15. Be Careful With a Fool
16. Memory Pain

Comments and Reviews:

Johnny Winter Compilation albums

Johnny Winter and other Artists compilation albums