One nite, late '62, he went to see B.B.
King, who was playing in the Beaumont club called "The Raven". Johnny, Edgar, Ikey and
Robert Reeder were the only white guys among 1500 fans of the great bluesman, anxious
to play with him. Bobby drank more and more and and he asked the king if Johnny could play with them., and he replied
cautiously "Can I see a Union Card?" Johnny whiped it out and B.B. King
most surprised said: "Well, I don't know , I don't know...do you know our songs?",
Johnny replied: "Man, I know ALL your songs!" And suddenly three hundred black
people started yelling "BB Let him play with you". So the King agreed and Johnny
Winter made the audience flip out.
Article by: Lee Ashworth titled: "A local boy
who made good.. The Boy TO Watch.
Tuesday 29 May 1962: The Johnny Winter Orchestra performs at the Beaumont Country Club for the Saint Anne's 1962 Graduation Class
Photo of the original invitation to the Graduation Class
In 1964 Johnny WInter has the bands: "It and Them" , Johnny Winter and the
Toured the south with the Crystalliers.
Saturday 25 July 1964: Galveston News Tribune.
Headline: Area Bands To Play in Texas City
Youth work projects of the Texas City Noon Optimist Club will benefit from proceeds of the "Mid - Summer Spectacular" show of area recording gmups Aug. 3 at Robinson Municipal Stadium in Texas City.
SHOW TIME will be at 7 p.m., but doors will open at 6 p.m. Admission is $1 and seats will not be reserved a spokesman for the sponsoring Noon Optimist club said.
Headling the show bands will be the "Raiders of Freeport" who recorded "Stick Shift", "Motivation" and their new release "Raising Cane"- Appearing with the Raiders will be vocalist Bobby Reed, singing his new record "Girl of my Dreams" and Lonnie Robers performing his country western song, "Rugged but Right".
Also appearing will be the originals with their latest recording "Scattershot" and the Moore Twins singing their release of "Rosemary"
JOHNNY WINTER of Beaumont will sing his new record "Eternity" and La Marquee will be represented by the Surfs. and the Crosswords.
Appearing from Texas City will be "D and the Domino's", the Detours, the Highliners and the Jesters, The Tempests, Galveston group which has the record "Girl in Pink Chiffon" also will appear on the program
Jerry DeCre and disc jockeys from Station KILE will emcees for the program
Friday 31 July 1964 The Galveston News
A small advertisement of "The Texas Optimist Club" and KILE RADIO Presents MID-SUMMER SPECTACULAR
Robinson Stadium. Texas City, Mom. 3 Aug 1964 Donation 1$ Per Person , The Raiders , The Originals D & The Dominoes , The Highlinger , The Jesters ,- The Surfs ,The Crestwoods ,* The Tempests
Big Band from San Antonio with Johnny Winter, Bobby Reed, Mike Byron, Freddie Amburn, Johnny Lee and many othersWaller Crane , Johnny Winter , Bobby Reed , The Moore Twins , Mike Byron , Freddie Amburn , Lonnie Roberta , Garcia Bynum , Hunter Lowry , Mc Jerry Deore , DJ Dan Lanahin , DJ Jack Frost , DJ Bill Atkins (KTSASanAntonio) , Johnny Lee
Monday 3 August 1964 The Galveston News
Re-issue of the same advertisement as Friday 31 July
Tuesday 29 December 1964, Wednesday 30 December The Galveston News
An advertisement for the New Years Eve DANCE at Galveston Ball Room with Johnny Winter and Band from New Orleans
The single "Gone for Bad" is one of the spotlight winners of the week, in Billnoard 15 May 1965. Recorded 1965 Gulf Coast Studios, Beaumont Texas. Issued at the time on 45 by MGM.
On 24 July 1965, Billboard Magazine published an article that the masters of this record were sold to MGM. This article was called "MGM Buy Masters"
MGM Buys Masters NASHVILLE
Two masters have been purchased by MGM's new branch chief here, Jim Vienneau. The disks are "Keep On Dancing" by "The Gentry's" and "Gone for Bad" by Johnny Winter. With the addition of Vienneau as an executive able to bid on masters, competition for country disks stands to become even more aggressive.
On 21 August 1965 An advertisement in Billboard Magazine called "Still Looking, Glass? MGM's On Fire " to promote the following recordings: Roundabout Connie Francis MGM K-13389, Gone For Bad Johnny Winter MGM K-13380 , I'm Henry VIII, I Am Danny Davis And The Nashville Strings MGM K-13374, The Silence Roy Etzel MGM K-13381 , You're My Baby The Vacels Kama Sutra KA-200 , Stay Away From My Baby The Tulips MGM K-13375
Plays lead guitar for: The Great Believers playing Tuesdays, and Thurs thru Sat in a club called the "Act III Club"
Originally known as Amos Boynton and The ABCs this Houston-based
quartet (The Great Believers) was an early outing for the Winter Brothers who
had previously played together in Black Plague. The recorded
the single: Comin' Up Fast (Part 1)/(Part 2)(Cascade 365)
Believers also recorded another Johnny Winter
composition, Easy Lovin' Girl, backing Roy Head.
Compilation appearances include: Comin' Up Fast
(Part 1) on Mindrocker, Vol. 4 (LP) and Acid Visions (LP); Comin'
Up Fast (Part 1) and Easy Lovin' Girl on Acid Visions - The Complete Collection Vol. 1 (3-CD).
The Great Believers band members were:
AMOS BOYNTON - Drums
DAVE RUSSELL - Bass
EDGAR WINTER - Keyboards
JOHNNY WINTER - Guitar, Vocals
with: Mike Bloomfield at his
Fickle Pickle coffeehouse, Barry Goldberg, B.B. King.
After touring the Southwest for 2-3 years, returned
to 1967 and became the house band at the Act III Club.
Recorded "Take My Choice" wit local (Houston) bluesman Calvin "Loudmouth" Johnson.
Recorded "Coming Up Fast" 1967 Pasadena Sound Studios. A short version edited down to less than three minutes, was released at the on the Cascade label, only a few hundred 45s were pressed, which are today much sought after collector's items.
Recorded "Living In The Blues" and "Birds Can't Row Boats " 1967 Andros Studios Houston, first released 1969.
January 1967 recorded "I Wonder If I Care" Pasadena Sounds studios, Pasadena Texas, released on album 1969.
2 February 1967 Recorded "Don't drink Whiskey"
Recording Service Studios, Pasadena Texas.
For a short period band leader of "The Traits"
and released the single: Tramp. Most likely he performed on "Tramp" which was recorded during the brief period in 1967 when Johnny Winter was the leader of "The Traits" and it was released under the group name, in a pressing of 300 45s on the Universal label.
10 January 1968 recorded "Suicide Won't Satisfy", "Blue Suede Shoes" , "I Wonder If I Care" at Andros Studios, Houston.
19 January 1968 recorded "Going Down Slow" Andros Studios, Houston
In 1968 Johnny Winter records "Birds cant row boats" on the Pacemaker label
In April 1968, Johnny Winter began playing in a trio with bassist Tommy Shannon and drummer Uncle John Turner. Their shows at Austin's Vulcan
Gas Company and Houston's Love Street Light Circus.
In July 1968 stars playing almost every month at VGC (Vulcan Gas Company) . These shows of Johnny Winter at the Vulcan Gas Company, attracted the attention
of a writer for Rolling Stone magazine, who had been writing an article about
the Texas hippie scene. The author devoted three paragraphs to Johnny, whom
he referred to as "the hottest item outside of Janis Joplin". The article brought
nation wide attention to the album "The Progressive Blues Experiment", a collection
of songs that Johnny's trio had recorded live at the Vulcan Gas Company, which
was quickly picked up for national release by Imperial.
Rolling Stone Magazine 1968
"Texas" (feature article on the Texas music scene
featuring Johnny, [w/pic of him],
Concert-dates of Johnny Winter at the Vulcan Gas Company in 1968 include
5 and 6 July 1968 Johnny Winter at the Vulcan Gas Company, Bubble Puppy
7 July 1968 Conqueroo / Johnny Winter / Shiva's Head Band
2 and 3 August 1968 Muddy Waters / Johnny Winter
Tommy Shannon, "Uncle" John Turner and Johnny Winter on 13 August 1968
16 August 1968 Johnny Winter / New Atlantis / Zackary Thacks / 1948
Blues Unlimited Sep 1968
Blues Unlimited, Sept 1968 p.24 article by Mike Ledbitter
20 & 21 September 1968 Johnny Winter / Endel St. Cloud
10, 11, 12 October 1968 New Atlantis / Johnny Winter
Sunday 13 October 1968 Theater For The Performing Arts, Hemisfair Arena, San Antonio, TX Steppenwolf / Johnny Winter / New Atlantis with Giant Light Show
17 , 18, 19 October 1968 Shiva's Head Band / Johnny Winter
8 November 1968, Downtown Tubes wit Stevie Miller
21 November 1968 Theater For The Performing Arts, Hemisfair Arena, San Antonio, TX Janis Joplin with Big Brother and The Holding Company / Johnny Winter / Shiva's Headband
20, 21 December 1968 Johnny Winter / New Atlantis
Friday 13 December 1968 - Johnny Winter arrives in New
Saturday 14 December 1968 - Johnny WInter jams Mike Bloomfield, Sam and Dave
SOUL TEAM PLAYS `SOUTH OF BORDER' Sam and Dave Give Concert at the Fillmore East By MIKE JAHN Sam and Dave, the popular soul team, have one of the most carefully staged acts in popular music. They, made a rare south-of-the-border (below 110th Street) appearance Friday and Saturday at the Fillmore East, 105 Second Avenue at Sixth Street. The concerts were the first by a hard soul act to be presented at the Fillmore. The main theater for soul groups is the Apollo, at 253 West 125th Street. With the exception of occasional Carnegie Hall and Madison Square Garden appearances, soul perform ers rarely are seen downtown.
Sam and Dave were backed by 11 musicians: four saxophones, bass, guitar, trumpet, trombone, two drummers and an organist. All of the musicians displayed elaborate footwork as they played. They stepped back and forth and from side to side, swinging their instruments it unison. There was even a go-gc dancer, with blue costume and white fringe. She appeared for two songs. Sam and Dave sang their hits, including "Hold On, I'm Comin' " and "Soul Man," and they sang "Satisfaction," by the Rolling Stones, which may well be the major rock song of the 1960's. They also did a very good version of "I've Been Loving You Too Long," an Otis Redding song that seems almost obligatory in soul concerts.
Sam Moore and Dave Prater sing crisp tight phrases, with free-swinging soul. The six horns combined to provide them with a firm background of simple riffs, repeated over and over. Their act is limber, powerful and effective. At the Fillmore this weekend Sam and Dave appeared with Earth Opera and the Supersession Band, with Mike Bloomfield on guitar and Al Kooper on organ. They were joined for the second set Saturday by Johnny Winters, a blues guitarist. Mr. Winters, a 23-year-old albino, is one of the finest blues musicians ever to appear on the Fillmore stage.
31 December 1968 Shiva's Head Band / Johnny Winter
"Discovered" by Rolling Stone's Larry Sepuvaldo.
Who wrote in a Rolling Stone issue: "...a hundred-and-thirty pound crosseyed
albino with long fleecy hair, playing some of the gutsiest fluid blues guitar
you have ever heard-
Friday, 13 December 1968: Fillmore
East - Johnny Winter's first major appearence, welcomed on stage by
Michael Bloomfield. This concert is partially available on the album:
Al Kooper, Mike Bloomfield, Fillmore East, The Lost
Concert Tapes 13 Dec 1968.
Shady Grove in Maryland in 1968 (196? - Who remembers
Friday, 20 December 1968 and Saturday 21 Dec
1968 Johnny Winter and New Atlantis at the Vulcan Gas Co.
Summer of 1968 - In the summer of 1968, John Sinclair
and the MCS put on something called the Motor City
Rock Festival- a ton of bands and three headliners over two nights: The Five,
Sun Ra and Johnny Winter. Sunburned and ornery as only a teenage purist can
be, I wanted to skip Winters's set. He'd been hyped in Rolling Stone as an
albino celebrigeek, and I figured any guitar player noted for the paleness
of his complexion could not be worth much. My girlfriend, who'd already seen
Johnny, told me that if we stayed, I'd love him. I listened to her, and then
I listened to him, and felt that love. What Johnny did that night was one
of the most indelible blues or rock show I've ever seen, white hot music under
cool blue spots. As Johnny roared through his Muddy
Waters gone to Texas show,
he got off what are still some of the most stinging slide riffs ever played
in my presence. And though he may have slowed the pace a time or two, the
band never stopped rockin'. Not for a minute.
Like so many of the greatest players of the Sixties (Dylan,
Hendrex, Bloomfield, Clapton), Johnny Winter did not make much distinction
between the blues and rock 'n' roll. That's why what you get here is as
much classic rock--including Chuck Berry's "Johnny B. Good" and perhaps
the best version of Dylan's "Highway 61 Revisited" ever put on tape--as
classic blues. What makes these records blues are the long, elastic lines
Winter's guitar strings out, the undercurrent of sadness that balances the
exuberance, the structure and the origin of some of the songs ("Messin'
With The Kid" from Junior Wells, "Rollin' And Tumblin" from Muddy
"Rock Me Baby" from B. B. King); what makes them rock is the relentlessly
attacking sheets of notes, the sheer physical exuberance that Johnny pours
into the music, the refusal to bend to the pain they express and the sheer
pace and force, which don't lift for a second, even on tracks as downhearted
as "Too Much Seconal".
All blues musicians are essentially artists in pursuit
of some fundamental truths about themselves and the people around them--about
the human condition as they have known it. The music is about exploring
as deep inside yourself as you can stand to go, and learning how you're
connected to everyone you've ever encountered; about individual expression
standing on the shoulders of all that has come before it. For Johnny Winter,
that has been a lifelong task, from his first bands in Texas to the big-time
rock 'n' roll career he had when he made the first of these records, to
his great work with Muddy
Watersand his departure for a territory that
still engages him, out there on the road somewhere, maybe in your vicinity
as this new collection spins. He is a true bluesman.
But he has also never lost his rock 'n' roll heart: For
Johnny, that great Chuck Berry story about the country boy who carried his
guitar in a gunny sack and strummed to the rhythm of the locomotive wheels
is his own story. Yet, what called to him was finally not just his name
in lights but the far more enduring sound of the blues itself. No matter
what anyone imagines, he's the real thing, and as such must be heard to
be believed and understood. The grace note is this: Everyone who listens
up is amply rewarded. As a scoffing skeptic who became a fan, I'm living
proof. Dave Marsh May 1997