The Johnny Winter Story

Johnny Winter timeline in 1969

Johnny Winter in 1969

1969 was a special year for Johnny Winter, not only for Johnny Winter but also for many other artists. This page is dedicated to a very special year in pop and rock music: 1969.

 

 

Johnny Winter positions in the Billboard Charts during 1969

Johnny Winter Story News

Additional album reviews from the 60s and 70s added to the "Second Winter"

Full length transcripts of many newspapers and magazines added to the Timeline 1969 , the Timeline 1970, Biography Chapter 1971

Updated Timeline 2007 with unpublished photos of Johnny Winter in Ingolstadt

 

January 1969

 

7 January 1969

New York Times publishes an article called "Blues Guitar Sound of Johnny Winter Comes North" by Mike Jahn. A transcript of this article:

Blues Guitar Sound of Johnny Winter Comes North By MIKE JAHN New York Times Jan 7, 1969;

Johnny Winter Blues Guitar Sound of Johnny Winter Comes North By MIKE JAHN

Johnny Winter has spent years playing bars and lounges in the South and now, with fingers that fly across his guitar like a Texas tornado, he is moving to New York. Mr. Winter is a blues guitarist. Many blues musicians have emerged in the last year, and Mr. Winter is one of the best. He brings his music — crackling-fast, perfected blues to the Fillmore East, 105 Second Avenue, this weekend. Mr. Winter grew up in Beaumont, Tex. He has been playing professionally since he was 15 years old and has always had his own band.

For several years he joined with his younger brother, Edgar, in a group called "Johnny Winter and the Black Plague." His present group is called "Winter," It consists of Mr. Winter on guitar, John Turner on drums and Tommy Shannon on bass. Mr. Winter also sings and plays harmonica. On guitar, he is a fountain of vintage blues. His moves are fast, and his playing is staccato and harsh. He captures the agony of the blues. "I think we're more black and more into simple things than most blues bands," he says. "We don't want to make it more modern, we want to make it funkier." Keeps It Moving Mr. Winter is a charismatic performer.

Pure blues can be terribly dull if authenticity is the only end the artist recognizes. Mr. Winter keeps it moving along. He is aware of the need to entertain. He is not afraid to play chords to raise the excitement level. Often he lays down a firm base of chords, then peppers single notes in a fiery burst of electric blues. Mr. Winter will share the bill at the Fillmore East this weekend with B.B. King, another top blues guitarist, and Terry Reid, a guitarist and vocalist from England. Mr. Winter is an albino. He is tall and thin, with shoulder-length, fleecy white hair and an angular face. His attitude about his appearance is very casual.

He says his physical appearance, which he once regarded as a detriment, no longer bothers him. "I think it's great," he said. "It was a hang-up when I was growing up. If something that's been a handicap before can help me now, groovy. I may as well get some good out of it."

Friday, Saturday 10 and 11 January 1969 Fillmore East

B.B. King, Johnny Winter, Terry Reid at the FIllmore East , Second Avenue at Sixth Street.

Transcript of the poster:

WINTER Featuring Johnny Winter

"The hottest item outside-of Janis Joplin ... If you can imagine a 130 pound cross-eyed albino with long fleecy hair playing some of the gutsiest fluid blues guitar you have ever heard, then enter Johnny Winter (Mike) Bloomfield called him the best white blues guitarist he had ever heard." — ROLLING STONE

"Mr. Winters ... Is one of the finest blues musicians to ever appear on the Fillmore stage." — NEW YORK TIMES

"It's not very often that something special. happens .. :Janis Joplin certainly is, as are Hendrix, Dylan, the Airplane, who else on the American scene? It's been a long time since anyone came along with that kind of class and charisma, but Johnny Winter flew into town last Friday, and, on tho basis of one set in which he jammed with the Kooper-Bloomfield show ...

It seems he may well be the next to join a very elite list ... The superlatives (Bloomfield) chose would be hard for the Stones to live up to, but Winter came out and just wiped the place out. 'A' talents (Beatles, Stones, Donovan ...) would be those with the highest aspirations and accomplishments. Johnny Winter stands a good chance, I think, to come up Into the 'A' category." — VILLAGE VOICE

Friday, 10 January 1969, Saturday 11 Jan 1969: Fillmore East

Bill Graham presents in New York - Blues: B.B. King, Johnny Winter, Terry Reid - Joshua Light Show Fillmore East , see also: Johnny Winter at the Fillmore East 1969

B.B. King and Johnny Winter at Fillmore East

 

February 1969

Johnny Winter is signed to CBS Records, for 300,000 a year, making him the highest paid musician in history at that point. Winter was later to bitterly regrest at all this ballyhoo: "I had this "fuckin" manager man. He made everybody think I got all that bread at one time. It was actually spread over a long time. I just wished I could give the whole goddam lot back and start over.

Tuesday, 4 February 1969: Johnny Winter Signs up with CBS

Johnny Winter signs up with Columbia Records (CBS) for $300,000 published in the New York Times on 4 February 1969.

The "Fond Du Lac, Wisconsin" newspaper reports:

Albino Star Signs Pact For Records By MIKE JAHN NEW YORK

Johnny Winter, the Texas albino guitarist and the newest star with progressive rock audiences, has signed a five-year contract with Columbia Records, with the most money ever offered by that company for a new artist, according to Clive Davis, president of Columbia. The signing climaxed a two-month battle by all the major recording companies for Winter's signature. Winter was first heard of in an article in Rolling Stone, the San Francisco music newspaper. He was mentioned in a story about the Texas rock scene. This prompted Steve Paul, owner of the Scene, the hip New York club, to fly to Texas in search of Winter.

They met in Houston, and Steve aecame Johnny Winter's manager. He brought him to New York, where he played jam sessions at the scene, and performed at the Fillmore East. Winter quickly became the favorite of New York's rock underground. Even Ihe establishment was impressed. Steve Paul leased a 30-acre estate in upstate New York for Winter, and Life and Look assigned writers and photographers to cover the story. Johnny Winter and his three-piece group, called Winter, appeared in Boston Sunday with the Janis Joplin Revue, and then at Fillmore East.

Friday, 14 February 1969, Saturday 15 Feb 1969 - Fillmore East

Jeff Beck Group, Johnny Winter, Aorta, Joshua Light Show at the Fillmore East

Jeff Beck Group, Johnny Winter and Aorta

Jeff Beck, Johnny Winter

 

Danish TV - Johnny and Edgar

Setlist includes: Tobacco Road, Frankenstein.

Friday 28 February 1969 - The Gastonia Gazette

An article called "On the C Sharp Scene" - Old Groups Add a New Thing" with CBS Director Clive Davis comments on Johnny Winter signing the contract with CBS

Time Magazine, 28 Feb 1969

Cover: Richard Nixon Music: Chicken-Soup Freak , Pic at the Fillmore

"The hottest recording discovery in the land... The swingingest, funkiest blues inger to come out of the south in years!"

Rolling Stone Magazine, 1969

"Hot Prospect: Columbia's Bid Bags Johnny Winter"

"Johnny Winter Fiasco Goes On"

 

11-12 April 1969 Boston Tea Party

Johnny Winter and The Raven perform on 11-12 April at the Boston Tea Party

Saturday, 12 April 1969: Progressive Blues Experiment

Johnny Winter's album The Progressive Blues Experiment scores 49 on the Billboard charts and is reviewed in the Los Angeles Times

 

 

Sunday 13 April 1969 Los Angeles Times

"Pop Album Briefs" Johnny Winter's Blues Sound - Pete Johnson reviews the "Progressive Blues Experiment" quote "Johnny's playing and singing are frequently high speed, similar in tempo and texture to English blues interpretations His voice has a hoarse crying quality which works nicely on his LP

The Progressive Blues Experiment. Johnny Winter. Imperial LP-12431.

Columbia Records recently paid more than half a million dollars to sign winner, an albino texas owes singer-guitarist. This album was recorded for a small Texas label (Sonobeat) some time before anyone thought about his pop potentiaL Exploitation albums such as this are generally poor quality (as in Capitol's early Jimi Hendrix product and Mainstream's Big Brother records), but this is a happy exception. It is recorded well and captures some exciting performances of largely traditional material.

Winter appears to be a devotee of the Muddy Waters 'Howlin' Wolf Chicago' brand of blues, and the album's highlights come from that school: "Rollin' and Tumblin',' "Tribute to Muddy,' "Help Me" and 'Forty Four.' His playing and singing are frequently high speed, similar in tempo and texture to English blues interpretations. His voice has a hoarse crying quality which works nicely on this LP, though his singing is occasionally buried in the electric instrumentation —PETE JOHNSON

18 April 1969 New York Times

An ad SAM GOODY stores for Johnny WInter's CBS debut album, catalog price $4.98 for the Sam Goody price of $2.69

"The hottest item outside of Janis Joplin, though, stillre-mains in Texas, if you can imagine a hundred-and-thirty-pound cross-eyed albino with long fleecy hair playing some of the gutsiest fluictblues guitar you have ever heard; then enter Johnny Winter. At 16, Bloomfield called him the best white blues guitarist he had ever heard. Now 23, Winter has been out and around for some time:-Rolling Stone (Dec. '68)

"The hottest recording discovery in the land these days is a tall, skinny, cross-eyed albino blues guitarist with limp, shoulder-length cotton white hair. Johnny Winter is the swingingest, funkiest new white blues singer to come out of the South in years." —Time magazine

"Johnny Winter is one of the best blues guitarists. He is a fountain of vintage blues. His moves are fast and his playing staccato and harsh. He captures the agony of the blues. Mr. Winter is a charismatic performer." —The New York Times

22 April 1969 Roundhouse, London, England

Juicy Lucy , Johnny Winter

Wednesday 30 April 1969 Oakland Tribune , Teen Age!

A lengthy review of the "Progressive Blues Experiment" by Michael Joseph Heinrich

The transcript of this review

Today's column is by Michael Joseph Heinrich, a senior at Encinal High in Alameda. Readers are invited to submit reviews of pop albums to the column each week_ Those whose columns are published each receive a copy of a recently released stereo pop album. Address all correspondence to: "Guest Album," Teen Age, Oakland Tribune. P.O. Box 509, Oak-land, 94604.

Johnny Winter was once referred to as "the ultimate white bluesman" — he's an albino — but perhaps the statement is not without other motivation. Winter is an excellent performer; however, this Liberty re-release only hints at his talent. "The Progressive Blues Experiment" was recorded about a year ago in Austin, Texas.

 

The sound is hazy. the blend could be better, and Winter's two sidemen are just barely competent. Winter himself keeps his vocals well in control, with good phrasing for the most part, and his guitar work is impressive save for one fault: Winter may start a phrase on his guitar 'way up on the neck, playing little whining notes, then work all the way down to the bottom, then bang, suddenly he's right back up on top again. It's a very unnerving thing, one that gives a feeling of dis-continuity. Nonetheless, Winter is a masterful guitarist, and even in view of the poor acoustics of the LP, it's a good idea to pick up on it.

The set has good things, bad things, all kinda funny stuff, but they should be experienced as an essential part of the fabric of the blues. Examining individual cuts:
"Rollin' & Tumblin' " leads off the album; it's been done many times before, but it's , still fresh here, and the track establishes two things about the set: one, the similarity in atmosphere to a live performance, and two, Winter's ability to breathe new life into a song you've heard over and over. He plays a very solid slide guitar here, a style which can also emphasize percussion as well as chording. "Tribute to Muddy" is a retitled and slightly altered "Two Trains Running." another song we've all heard at least once.

It's done in a slow 6-8 time, with the beat just driving on and on. and Johnny's guitar shin-as usual. It's paradoxical, listening to Winter's style_ He's lifting riffs from all the blues before him, and you think, "Him, I've heard Eric Clap tan doing that... " while Clapton probably lifted it at the same time — he just got it on record first. Winter often sings in unison to his guitar lines; it certainly leaves no doubt as to who's playing guitar. "Got Love if You Want It" sounds like a Magic Sam song — good for dancing, fun to listen to. It leads into "Bad Luck & Trouble," a rural blues multi-tracked by Johnny on guitar, mandolin, and harmonica.

The effect is crowded, cluttered, like three individuals sitting around working out for their own pleasure. It doesn't make for the greatest music. "Help Me" is done surprisingly close to the way Cream might have done it. The guitar dominates the track, right to the end. Then the guitar work really comes across on "Mean Town Blues," Winter's strongest original in this set. The rhythm is heavily syncopated, pushing forward all the time — the break goes just about as far as possible playing straight slide style. "Broke Down Engine" is a hard-four blues with just Johnny and his righteous old National The mood is light, both in lyric (" . . . You're like a broke down engine, mama — ain't got no drivin' wheel . ") and in music: Winter constantly breaks tempo and meter to get in another line or two on his guitar before the lyric comes around, showing a rare lack of reliance on musical rules in the form of a crutch.

There's nothing that livens up a set like a good workout on "Dust My Broom" or the like, and "Black Cat Bone" backs that up beautifully. Winter plays his Elmore James thing meticulously, and the song rolls along — far too swiftly for my taste. "It's My Own Fault" is the slow blues of the set; more or less like any good slow blues, but here it's apparent more than any other place on the album that the band needs another guitarist to fill the gaps left by the guitarist's breaks: They sound awfully thin. "Forty-Four" starts out a lot like a Jimi Hendrix song, and the feeling sometimes peeps out throughout the cut. In view of all that went before it. the cut was a weak choice with which to close the album. that's Johnny Winter's first LP. It's refreshing, tiring, promising, exciting, and just a little down-homish, and if you think you can catch it better yourself at the Fillmore with your t w o -tr ack Sony, fine. The all-important thing is to hear Winter. He's well worth it now, and is probably getting. heavier every day.

 

Johnny Winter in May 1969

In May 1969 Johnny Winter jams with Jimi Hendrix and Stephen Stills in a New York City club "The Scene". Recordings of these concerts have been used issued under many different album titles.

Circus, May 1969

Cover: Janis Joplin Article: Johnny Winter: Will He Be the Next Superstar? Probably.

Tuesday 6 May 1969 Chronicle Telegram

Ask Gary: reports

Columbia and Atlantic record companies have a bad case of winter blues.
A long time ago, even before lie was really together, music-wise, Johnny Winter was described by Mike Bloomfield as the "greatest white blues artist in the world."
THAT WAS IN 1965, a lifetime ago measuring by the longevity of most musicians' success. Today Johnny is truly an artistic genius who enjoys the envy and admiration of blues artists the world over.However until very recently he had been something less than a success financially. Then all of a sudden every major record label dealing in blues began bidding for his services.

COLUMBIA RECORDS won the bidding derby with an offer of $500,000, a bid to make most pro-football team owners look like cheapskates. Things were looking up for the Texas musician.

In a hurry to get a return on its investment, Columbia started cutting records like there was to be no tomorrow. An LP is scheduled for release early this month.

COLUMBIAS Promotion department bought full page ads in trade magazines, screaming the praises of the heretofore unheralded Winter, and extolling the virtues of his forthcoming album with phrases like "Columbia presents Johnny Winter, a white flame ignited by black blues." (from an ad in Billboard on April).

1969 04 26 5902 JWS Billboard White Flame

Before Columbia could get the success bandwagon mov ing with any speed. Jerry Wexler of Atlantic Records poured sugar in the gas tank.

IT TURNS out that Wexler and Atlantic purchased a recording contract on Winter from a Texan named Roy Ames for $50.000. They contend this is the only valid contract because it pre-dates Johnny's contract withColumbia.

IN AN INTERVIEW with Rolling Stone mag, Johnny declared his contract with Ames is no longer valid because: Ames failed to pick up his 1969 option to renew. He also asserted that Ames failed to record him since 1966. although the contract stipulated that a certain amount of material was to be recorded, but not necessarily released, every year. Furthermore, said Johnny, he was never paid royalties
or union scale session fees for the single and tapes he did make for Ames in 1966.

Both Columbia and Atlantic have stated they will release material by Winter. However Atlantic will release only the material on the tapes it received from Ames.

WINTER, WHO TURNED Atlantic down when they originally approached him, says he'll never record exclusively forAtlantic. He told Rolling Stone, "I'd never honor that contract with Roy Ames because it's not a good one."Somebody should tell Johnny that never is an awfully long time

9 May 1969 The Albuquerque Journal

A short note on Johnny WInter's first CBS album with focus ob corporatiob with blues giants: "Johnny Winter (Columbia C 882C) teams with a group of traditional blues artists, Including Willie Dixon and Walter "Shnkey" Horton, to turn out ono ol those good blends of electric pop guitar and Negro blues. The sound Is reminiscent of the more funky efforts by Canned Heat."

 

Saturday, 10 May 1969: Johnny Winter

Johnny Winter's first CBS album "Johnny Winter" aka the Black album, scores 24 in the Billboard charts

Saturday 17 May 1969 Corpus Christi Times Caller Times

Winter Just Keeps on Playing Back Home, a column by Al Rudis

Transcript of this article in Corpus Christi

Winter Just Keeps On Playing Back. Horne


By AL Rudis Chicago Sunday Times


ONCE UPON a time in Texas, there was a guitar player named Johnny Winter. He was not very good-looking. He was an albino with pink eyes and shocking white hair. Be was also cross-eyed. But Johnny didn't let that bother him. He liked to play the blues and he was good at it. He was up in Chicago playing with Mike Bloomfield before Mike became a superstar. He played with B. B. King before B. B. was known outside the black club circuit.

However, Johnny never went anywhere. He just stayed in Texas and played the blues. MEANWHILE other people were leaving Texas and going to San Francisco — Janis Joplin, Big Brother and the Holding Company, the Sir Douglas Quintet. the Steve Miller Band. They all became famous, but not Johnny. One day, Bolling Stone, a magazine about rock and pop music, decided to do an article on all the wonderful San Francisco people who had come from Texas and what they were like and where they came from and why they left. Quite a few of these Texas people remembered Johnny Winter and said to Rolling Stone something like 'If you think we're good, you should see Johnny Winter.

He is better than almost everybody and he's still kicking around Texas going nowhere." SOME PEOPLE read the article about Texasand took notice of Johnny Winter's name. They include a princa named Steve Paul, who owns a nightclub in New York sod kings Elektra, RCA. Columbia and Atlantic, who are record companies. Steve Paul flew down to Texas and found Johnny Winter and flew him to New York where he played before the kings. Then Steve Paul told the kings that Johnny Winter was available. At $500,000, RCA dropped out of the bidding. But the final offer of Columbia was around $600.000, And so evidently Johnny Winter Is to live happy over after. END OF THE fairy tale.

But real life Ls a little different. First along came Imperial Records, which didn't bid anything but went down to Texas and found a record Johnny had not for a little company called Sonoheat. Imperial bought thee whole company and released 'The Progressive Blues Experimeat" almost at the same time Columbia released its "Johnny Winter," Remember king Atlantic which lost out in the bidding? Well, It went down to Texas, too, and found a man who had some tapes of Johnny Winter that had been made a long time ago and never been put on a record. The man also had some kind of contract with Johnny. Atlantic bought both and it now claims to have the only legal contract.

That's the story of Johnny Winter up to now, It naturally raises this question: What kind of music does he play, anyway? THE ANSWER is black —ket black. In Nashville. while he was recording the Columbia album, they referred to it as pink-eyed soul. Call It cross-eyed soul, too, if you like, but it's nothing exotic. In Johnny Winter, we have a master musical technician and gruff-voiced vocalist who can really wail the blues: his appearance may be bizarre but his genius is basic. The chief difference between "Johnny Winter" (Columbia) and "The Progressive Blues Experiment" (Imperial) Is evolution. The Imperial IS an earlier record, and Johnny's improved since then.

He's kept the some backup men. Tommy Shannon on bass and John Turner on drums. Thoe Columbia does feature some guests on a few of the cuts, but essentially, It has the same good country blues, recorded much better of course. Despite the tremendous money and publicity that have been swirling around hint, Winter has remained true tee himself art1stically, which is sort of happy ending

Saturday 17 May 1969 Dallas Morning News

A short review of Johnny Winter's first album

Johnny Winter: Real Blues

JOHNNY WINTER (Columbia). This is the authentic debut album of the much talked-about albino bluesman. And it's doubtful that much production work had to go into it, for Winter's voice speaks for itself, He can sing as black as midnight and his style is straight blues, hard and heavy. His experiences and blues background are mirrored in his voice. In his own compositions (especially "Dallas" and "Leland Mississippi") as well as his true-to-form Interpretations of "Mean Mistreater," "Good Morning Little School Girl," Drawn in My Own Tears." Johnny Winter is a discovery. He's from Texas and he sings blues.

Friday 23 May 1969 The News

The Jazz Scene by Mike Davenport reports on Johnny Winters first album.

With the possible exception of new Beatles' albums, the most eagerly awaited release in recent times has been the first Johnny Winters album for Columbia. A white albino blues guitarist and singer, he was `discovered' by the outstanding rock magazine Rolling Stone, flown to New York from his native Texas, and given such a hype that Columbia Records paid a reported $600,000 for him. Is he worth it? Ask the Columbia accountants in a few years. In the meantime, pick up "Johnny Winter" Columbia CS 9826), and hear what I feel is the greatest blues guitar on record.

This may seem like a generous statement, but as far as I am concerned his technique, imagination and feeling has no equal in blues music anywhere, white or black Unfortunately, his singing Is not up to his playing. He belts out songs in a raucous style which leaves no room for subtleties. A little of it is all right, but It does not wear well and I feel It detracts from his total effect. His basic group, called Winter, consists of himself, Tommy Shannon on Fender bass, and John Turner on percussion. On this album they have added a horn and vocal section to "I'll Drown In My Own Tears" and Shakey Horton on harp to "Mean Mistreater."

The album is composed of nine tracks which are a mixture of blues standards like the above and originals of Winter's. On two tracks he plays a National standard steel guitar to great affect. The overall feeling of the album is breathtaking. Until someone better comes along, and I cannot see that happening for quite awhile, I feel that jcfhrmy Winter is going to be the standard against which all blues guitarists are judged.

Sunday 25 May 1969 Sunday Post-Crescent

Brief mentioning of Johnny Winter in the page with new albums reviews, "Under the Album Covers"

With a Little Help from My Friends (Joe Cocker, A&M SP 4182. stereo).
Johnny Winter (Columbia CS 9826, stereo).
Glad I'm in the Band (Lonnie Mack, Elektra EKS-74040, stereo).
Black and Mite (Tony Joe White, Monument SLP-18114, stereo).
Post Card (Mary Hopkin, Apple ST-3351, stereo).
The Adventures of Keith (RCA Victor LSP-4143, stereo).
The World of Oz (Deram DES 18022, stereo).
Large as Life and Twice as Natural (Davy Graham, London PS 552, stereo).

Look at it this way; if among your friends you counted Stevie Winwood and Jimmy Page — not to mention Barrie Wilson and Matthew Fisher of Precut Hamm — you'd be doing all right, right? Well, so is English singer Joe Cocker. The baritone's voice is gritty, flexible — sounding the way David Clayton-Thomas might if he did an impression of Richie Havens. With considerable imagination and taste, the diverse ensemble (at times including a "soul chorus" of Madeline Bell, Brenda Holloway and Rosetta Hightower, among others) tackles gospel, R&B, folkish and pop numbers. The antique "Bye Bye Blackbird" is a Redding-in-spired outing; slow soul blues.

The unusual arrangement ( maracas, rhythm piano, but still bluesy) of Dave Mason's "Feeling Alright" is an intriguing beginning for a record that has so many instant favorites that even top 90 is playing it. Dylan's "Just Like a Woman" is one of these. Cocker's reading, a marvel of insight into song and subject, bespeaks under-standing with a trace of pity but no bitterness or disgust. His falsetto in "Marjorine," a song he helped author, adds just the note of variety and unpredictability'necessary for pleasing contrast. The title cut was a bit in England, but did little here. It and "Don't Let Me Be Mis-understood," plus "I Shall Be Released," are other previously familiar songs.

The occasional lapses on the technical level this prohuncialions are sometimes oddly strangulated) are more than covered by the overall, intelligent, thoughtful musicianship and arrangements. This is a remarkable album: not because it in any hold way departs from much that has been said in the same vein, but because it puts together beautifully (o f t e n novelly) compatible segments of rock in as likable and entertaining a package since the second Blood, Sweat and Tears 1p. Even after writing about rock music and musicians for 12 years, it still amazes and amuses me when some mew "super star" seems to come out of the woodwork, invariably after many years of "paying dues" in one way or another.

The latest is Johnny Winter, who hit the rock-blues scene recently with great notices from rock's "legitimate press," such as Rolling Stone, Jam and Pop and others of that genre. If Cocker has great frknds, Winter has the blessings of one of the most respected men in blues, Willie Dixon, and that has to he the big bonus for the young albino blues artist (how about that for extremes?). The best aspect of this very solid set is that every track has something to recommend It. Each is well-grounded male and Winter may well be one of the brighter WHITE artists of the past year. His guitar and harp work are top-rate, also.

* * I remember Lonnie Mack when he was Just another rock and roll so-so artist who never quite made it, but these many years later, and with his talent developed consider-ably, Lonnie is back; and maybe even in style. Instrumentally, his guitar work is skillful, as on Berry's "Memphis," and vocally, he is adequate, or even a bit better. His material was selected with an ear toward the past and with an eye on young buyers. Among the better tracks are "Roberta," "She Don't Come Here Anymore ," "In.the Band" and "Sweat and Tears." After Cocker and Winter and to a degree, Mack —

Tony Joe White is a bit bland, but he does a fair job on his own works, which fill side one. Perhaps, though, the fact that these are unfamiliar makes them sound better; there is nothing with which we can compare them. Side two, however, has things like "Little Green Apples," "Wich-ita Lineman" and "Leak of Love," so there are other points of reference. And that's where Tony Joe dips a bit. Mary Hopkin, the first real discovery for Apple Records, has a precious little album which is light, fragile and a welcome diversion. One moment she sounds like today's hit parade ("Those Were the Days") and the next like an old movie ("Love Is the Sweetest Thing"). Mary's voice is delicate and virtually without depth or character, but her sound should be good for perhaps one other album.

The next will be based on "Goodbye," which, regretably, is not here. I hope I'm wrong about Mary's short future, especial-ly when no-talents like Tom-my Roe stay big after years, but the future will prove me right. I'll bet you my bippy it does.

 

Friday, 30 May 1969 - Saturday 31 May 1969: Detroit Rock'n'Roll Revival, Michigan State Fairgrounds, Detroit.

"The Albino" - Johnny Winter, gave the best performance of his career for the enlivened crowd on Friday night 30 May 1969. Even with lackluster sidemen, his albino blues brought the crowd to its feet and even drew one admirer, unable to restrain himself to the stage where he ambraced the "phantom of black blues" with a hug and kiss before being whisked off stage.

This two-day event featured advertised performances by the following (as listed on the original poster):

The MC5 / Chuck Berry / Sun Ra / Dr. John / Johnny Winter / The Stooges / Terry Reid / The Amboy Dukes / SRC / The Frost / The Rationals / Teegarden & Van Winkle / Lyman Woodard / The Up / The Wilson Mower Pursuit / Third Power / The New York Rock & Roll Ensemble /David Peel & the Lower East Side / The Red, White & Blues Band / Sky / Train / Savage Grace / The James Gang / Cast /The Gold Brothers / Dutch Elm.

 

Also appearing, but not listed on the poster: Brownsville Station/Plain Brown Wrapper.

Johnny Winter, John Turner, Tommy Shannon in 1969 by Burton Wilson

 

May 1969

Imperial releases a one-off album: "The Progressive Blues Experiment" which makes us #49. Recorded some-time earlier it is released in competition with the Columbia album.

Johnny Winter records a session together with Jimi Hendrix at the Record Plant. The band includes: Dallas Taylor (drums), Steve Stills on Guitar and Jimi Hendrix on bass. The recordings include: "Things That I Used to Do". Jimi & Johnny's performance of this song has never been officially released except as excerpts on the "Lifelines" box set of a few years ago. See also: "The Things I Used To Do"

 

Johnny Winter in June 1969

 

Columbia debut album "Johnny Winter" reaches US #24

Thursday 5 June 1969 - Hays Daily news

What's going on in Teen-Age World?

TEENS ARE RAPPING
ABOUT . . . Tiny Tim's successor, a 24-year-old cross-eyed albino guitarist with shoulder-length pineapple sherbet hair who goes by the name of Johnny
Winter . . . Winter starts off a song wailing like Yma Sumac... then the bottom falls out of his voice and he's down on the salty river bottom grinding out his funky lightning volts

6 June 1969 The Los Angeles Times

Blues by Albino by Joe Cappo

Music Epitome of Blackness

His white cornsilk hair hangs down to his shoulders and frames the creamy white skin and pointed nose on his face. His eyebrows and lashes are also white and they accent his pale, crossed eyes. This is Johnny Winter. As an albino, he is physically pure white: as a musician, he is the epitome of blackness. Winter is a guitarist and a vocalist, one of the unusual ones who somehow built up a respectable reputation as a blues man before he ever stepped 'into a recording studio. Born in Beaumont, Texas, 25 years ago, he was a child when his family moved to Mississippi to operate a cotton plantation. It was there that the blues first took hold on him.

The family eventually moved back to Texas, where Winter learned to play ukulele and guitar. With his kid brother Edgar (also white-haired), Winter started a teen-age blues group and made the rounds of the small road-side clubs in the South. After a semester at La-Mar Technical College, he left Texas and wandered to Chicago, where he met. Barry Goldberg and Mike Bloomfield, two youngsters destined to become the nation's foremost white blues men. At the time, Bloomfield was running The Fickle Pickle, State St. coffeehouse, and Winter would sit in with the jammers on guitar and mouth harp.

That was the start of five years of gigging, working with groups called The Plague and It and Them, travelling from Chicago to Pensacola, from New York to San Francisco.
Winter was working, learning and making little headway until Rolling Stone, bible of the rock music world, carried a two-page spread on him late in 1968. Within a month, Stan Paul, operator of The Scene in New York, contacted Winter and placed him in his club. Paul also became Winter's manager, counseling him to fit back while several record companies bid for his talent. The nod finally went to Columbia Records. which paid Winter a cool $650,000 for a five-year pact.

But if his first album is any indication, Winter will more than pay back the Columbia investment The record is called simply 'Johnny Winter." . He has both the of them together. comes from appearance, but there's. nothing simple sensitive feelings demand- The regulars is Winter's by two old pros, Chicago in the contents. The basic fare is rural blues, with Winter displaying extraordinary virtuosity on guitar. He has both the sensitive feelings demanded by the blues and the gift structuring tight jazz riffs plus the technical skill of putting them together. The regulars in Winter's group include drummer John Turner and bassist Tommy Shannon, but the real kick on this album comes from appeareances by two old pros, Chicago Blues composer Willie Dixon on acoustic bass and Walter (Shakey) Horton on mouth harp.

Thursday 12 June 1969 - Saturday 14 1969 Boston Tea Party

Johnny Winter and The Raven at the Boston Tea Party

10 June 1969 Van Nuys newspaper

The Van Nuys newspaper announces the Newport festival

Newport '69 to showcase 30 Pop-Rock Superstars

Headline acts Jimi Hendrix Experience, Creedancv Clearwater Revival and The Rascals today had been set by producer Mark Robinson for the Newport '69 Pop Festival In the held June 20, 21 and 22 at Devonshire Dawns in Northridge. John Carpenter, Music Editor of the Los Angeles Free Press, who regularly broadcasts over radio stations KPFK and KRLA will act as master of ceremonies with assistance from a number of special guest emcees.

Opening night will feature Jim Hendrix Experience with special guest stars Spirit. Other acts appearing on this evening Include Albert King, Southwlnd, Taj Mahal, Joe Cocker, The Edwin Hawkins Singers, Ike and Tina Turner and Jerry Lauderdale. On Saturday Creedance Clearwater Revival heads a bill which Includes guest stars Szeppenwolf, Buffs St Marie, Eric Burdon, Sweet-water, Love, Brenton Wood and Jethro Tull.

 

Highlighting the festival's Sunday program will be The Rascals, along with special guest star Johnny Winter. Other artists slated for this program are Flock, Mother Earth, Booker T. and The MO's, Three Dog Night, The Grassroots, Marvin Gaye, The Byrds, The Chambers Brothers. and Poco as special guest stars of the Newport '69 Pop Festival. Robinson, producer of the Newport '69 Pop Festival, said his organization was planning to "plant." more than 100,000 square feet of grass and 100 12-foot shade trees especially for the event.

Friday 13 June 1969 Delaware County (PA) Daily Times

The Delaware County Daily Times publishes an amusing column on Johnny Winter

TEENS ARE RAPPING ABOUT . . Tiny Tim's successor, a 24-year-old cross-eyed albino guitarist with shoulder-length pineapple sherbet hair who goes by the name of Johnny Winter . . , Winter starts off a song wailing like Yma Sumac . then the bottom falls out of his voice and he's down on the salty river bottom grinding out his funky lightning volts in grave-throated raps . . . UGLY models . London's swingiest modeling agency, which is revolutionizing the beauty business by glorifying teen-age girls with irregular features and Plain Jane looks . . . Who says the ugly duckling need turn into a swan to get ahead?

Saturday 14 June Colorado Springs Gazette Telegraph

The Colorado Springs Gazette Telegraph announces the Denver pop festival, scheduled to start on the 27th of June 1969.

Pop Festival Set In Denver Over a quarter of a million dollars of talent will be presented at the Denver Pop Festival to be held at Mile High Stadium. The Festival begins on Friday, June 27 and continues through Sunday, June 29. The three-day festival is being produced by Barry Fey, President of Feyline Productions, Inc. The following groups will perform: The Jimi Hendrix Experience; The Mothers of Invention; Sweetwater; Iron Butterfly; 3 Dog Night; Big Mama Thornton; Creedence Clearwater Revival; Tim Buckley; Crosby, Stills & Nash; Johnny Winter ; Joe Cocker; Taj Mahal; Aum; Zephyr and the Rev. Cleophus Robinson.

Backstage will be such veterans of the Monterey and Miami Pop Festivals as Bill Hanley providing the sound system, and Chip Monck designing the lights. This promises to be a heavyweight production with the top stars in the pop field. Hours for the Festival will be 5 p.m. to 12 Midnight all three days. Tickets for the event are $6 for one day and $15 for all three days. Cheeks or money orders for advance tickets should be sent to the Denver Pop Festival, Box 306, Denver, Colorado 00201.

Sunday 15 June 1969 Oxnard CA

Newport '69 Pop Festival Features Many Big Names Headline acts The Jimi Hendrix Experience, Creedance Clearwater Revival and The RascaLs have been set by producer Mark Robins/In for the Newport '69 Pop Festival 4.0 be held at Devonshire Downs in the San Fernando Valley, June 20-22. John Carpenter, music editor of the Las Angeles Free Press, who regularly broadcasts over radio stations KPFK and KHLA will act as master of ceremonies with assistance from a number of special guests. Opening night, Friday June 20 will headline Jimi Hendrix Experience with special guest group Spirit.

Other acts appearing this evening will be Albert King, Sweethwind, Taj Mahal, Joe Cocker, The Edwin Hawkins Singers, Ike and Tina Turner and Jerry Lauderdale,_ On June 21, Creedance Clearwater Revival heads a bill which will Include guest stars: Steppenwolf, Buffe St. Marie, Eric Burdo , Charity, Friends of Distinction, Lee Michaels, Albert Collins, Sweetwater, Love, Brenton Wood and Jethro Tull. Appearing on the festival's Sunday, June 22, program will be headliners The Rascals, along with special guest star Johnny Winter.

Additional artists slated for this show will be Flock, Metier Earth, Booker T. and The MG's, Three Dog Night, The Grass Roots, Marvin Gaye, The Byrds, The Chambers Brothers, and Poco as special guest stars of the Newport '60 Pop Festival. Mark Robinson, producer of the Newport '69 Pop Festival has arranged for the "planting" of more than 100- ON square feet of grass and 100 twelve foot shade trees especially for the comfort of the more than 203,000 fun-seeking music lovers expected in invade the Valley Stale emits facility.

20 June 1969 Newport Jazz Festival

Newport '69 at Devonshire Downs in Northridge. Tickets available for 6$ and the 3 day package 15$

 

 

Poster of the Newport Jazz Festival

The Brandon Sun newspaper mentions:

On 22 June The Rascals hold top spot. Guest star is the latest flash in eccentric-rock pan JOHNNY WINTER- This albino artist has been referred to by various pop columnists as The White Tiny TIm, perhaps an unfair comparison as his rendition of Heavy Blues has won him acclaim at such places as the Fillmore in New York.

Saturday, 21 June 1969 and Sunday 22 Jun 1969 Toronto Pop Festival, Varsity Stadium, Toronto, Canada

The success of the Toronto Pop Festival is heralded in the Bridgeport Post, Monday 23 June 1969: Texan Johnny Winter twanged his blues guitar and got four standing ovations.

Johnny Winter Toronto Pop festival 1969

23 June 1969 Emporia KS Gazette

Texas-born blues guitarist and singer Johnny Winter has embarked on his first national tour beginning with an appearance at the Seminóle Indian Village in Florida.

The Capitol Times Green , Madison WIs, is reporting that Booker T. Johnny Winter and Albert King are in town.

The WInnipeg Free Press reports: Toronto Pop Festival a HIT, highlighting Johnny WInter's performance as the best of the evening.

 

Friday 27 June 1969 - The Brandon Sun reports:

Super-group fills blues-rock niche by Grahame Newton

The star of the Saturday session was Johnny Winter, an albino blues guitarist who is currently rated among the best in North America.

 

Saturday, 28 June 1969 - Denver Pop Festival, Mile High Stadium, Denver Colorado

    Setlist
  1. Rollin' & tumblin'
  2. Help me
  3. Leland Mississippi
  4. Going down slow
  5. Mean town blues
  6. I'm not sure
  7. It's my own fault

Other bands include: Jimi Hendrix

Sunday, 29 June 1969 - Walker Art Center / Tyrone Guthrie Theatre

Johnny Winter Band and The Holy Modal Rounders. The Johnny WInter band: Johnny Winter, Tom Shannon and "Uncle" John Turner.

The Holy Model Rounders are Peter Stanofel, Steve Weber, Richard Tyler, Michael McCarthy, John Annas

June 1969 Johnny Winter at Walker Art Center / Tyrone Guthrie Theatre

 

Johnny Winter in July 1969

 

Tuesday, 1 July 1969: Fillmore West

Johnny Winter, Lonnie Mack, Rockin' Foo, Lights: Brotherhood Of Light

Tuesday 1 July 1969 Los Angeles Times

The Los Angeles Times reviews the Toronto Pop Festival with the header "Pop Festival Hailed by Toronto Fans",

TORONTO — Tiny Tim sang "Tiptoe Through the Tulips" and waved his ukulele at more than 27,000 screaming fans. Texan Johnny Winter twanged his blue guitar and got four standing ovations. The Blood, Sweat and Tears rock group didn't bleed and they didn't weep—but they doubtless - contributed some perspiration with their rhythmic rock. All in all, the two-day, $200,000 Toronto Pop festival was termed. a success by organizers Ken Walker, 23, and John Brower, 22. "Not to plan an even bigger festival next year would deprive many beautiful Toronto people of -- something they obviously enjoy," said both.

Tuesday, 1 July 1969 till Sunday 6 July 1969 - Fillmore West

Fillmore West 1969

Fillemore East 1969

Thursday, 3 July 1969 - Atlanta Pop Festival

 

Venue: Atlanta International Raceway

    Performers at the '69 Atlanta Internation Pop Festival included:
  • Delaney & Bonnie
  • Creedence Clearwater Revival
  • Joe Cocker
  • Johnny Winter
  • Led Zeppelin
  • Janis Joplin
  • Sweetwater

 

 

 

 

Thursday, 3 July 1969 - Newport Jazz Festival at Festival Field.

16th Annual Newport Jazz Festival, Thu, Fri, Sat and Sun, July 3, 4, 5, 6. Johnny played on Sunday 6 July and shares the evening with Herbie Hancock, B.B. King, Buddy Rich, and Led Zeppelin.

Newspaper reports: Artists participating include Grammy ''Award winning pianist Bill Evans. ho will add Jeremy Steig on flute to his trio for the occasion; the exciting and popular Young-Holt Unlimited, recently on the charts with "Soulful Strut"; the definitive jazz vocalist, Miss Anita O'Day; returning .to Newport .after a long absence; guitarists Kenny Burrell and George Benson; dynamic and influential young drummer Sunny Murray; altoist Phil Woods and His European Machine; trumpeter, Freddie. Hubbard and his Quintet; and Sun Ra and his Solar Arkestra.

Blues fans will get a double treat on the Mixed Bag Concert when Johnny Winter, a young guitar sensation from Texas, meets veteran blues man B. B. King, the originator of the modern blues guitar style.

    Setlist:
  1. Intro
  2. Leland Mississipi
  3. Black cat bone
  4. Mean town blues
  5. Slide jam
  6. Dallas [!! with slide guitar!]
  7. I love everybody [rare]
  8. It's my own fault
  9. Everyday I have the blues [13 minutes jam with B.B. King]
  10. Five long years [17 minutes with B.B. King]

A review of the Newport festival, published 12 July 1969 in the Corpus Christi Times, written by Kathy Orloff

Newport '69 Made a Very Loud Thud

The best thing about Newport '69 is that it is over, and that hopefully it will never happen again. The "Pop Festival to end all pop fesIivals" probably has had at least in the Los Angeles area and at least for quite some time. There were two things that interested me there: The music and the electric yo-yo that glows in the dark. The rest was so awful I wonder how the promoters (Mark Productions Dd.) had the nerve to appear. The plastic not-so-fan-tastic "fair" offended me deeply fur these reasons: The music was used to exploit products, the air was thick with crass commerciality and there was no feeling of self-respect or of consideration for people. their feelings or their needs.

The music was at worst mediocre and at best exhilerating. Featuring over 30 of Rock's top acts, the three-day show included Jimi Hendrix, Spirit. Don Ellis, the Edwin Hawkins Singers, Ike and Tina Turner, Joe Cocker, Taj Mahal, Creedenee Clearwater Revival, Stcppenwolf, Albert Collins. Brenton Wood, Buffy Sainte-Marie, Eric Burdon, Jethro Tull. Cat Mother, Love, Sweetwater. The Rascals, the Chambers Brothers, Booker T. and the MG.s. the Grassroots, Johnny Winter, Marvin Gaye. Poco. the Byrds and Three Dog Night. Impressive? certainly. But the conditions for the enjoyment of so heavy a bill of fare were so limited as to negate the meaning of the entire event.

Maybe there are some who went and had a great time. They have yet to speak up. THE FESTIVAL was held it Devonshire Downs in the sub-urb of Northridge, adjacent to San Fernando Valley State College. The "specially imported shade trees" promised turned out to be potted twigs. Twenty-seven acres of camp-ground promised was never delivered. The stage was raised so high that unless you were right under it, the performers looked like mites. But you had to step way back to even see over the edge. It got so crowded i wouldn't be surprised if a couple of people got crushed.

The "psychedelic midway" sold everything anyone would ever need to became an instant hippie—from blacklight posters to leather hats, bikinis, and genuine "Newport '69" roach clips. In most cases the whole image was simply uncool. Sanitair facilities (portable toilets) were not nearly sufficient. The tab for the whole debacle was $6 a day, $15 for three days or $7 at the gate. Friday's crowd was luke-warm and detached. There seemed to be some kind of contest going on to see which young lady could get the most naked while still remaining somewhat clothed. By Saturday, the croud grew more hostile: fights; broke out and the grounds were filthy with trash, sawdust and garbage which covered the small area of rent-a-grass and larger burlap covered infield.

By Sunday arrests were being made, volunteers Were treating the wounded (most of whom consisted of those whose bare feel picked up broken glass) and skirmishes were more frequent, THE SOUND system might have been good, but open fields have never been conductive to good acoustics and it was lost toward the fringes. The constant churning of a police helicopter didn't help, After dark. the copter criss-crossed the area with powerful search lights, almost blinding all those people who were supposedly surrepticieusly. lighting Up dope or swigging wine, AS FOR THE performances I did see or hear, which was the case with the majority), some were incredibly good. Ike and Tina Turner were electrifying. Taj Mahal and Joe Cocker and the Grease Band scored handily. Jethro Tull and Creedence Clearwater Revival were splendid, Eric Burden appeared with his new band (War), and they sounded well fitted to each other.

Happiest surprise of the festival was Cat Mother and the All Night News Boys, a New 'York band being produced by Jimi Hendrix for Polydor. At their Forum date in April they were so loud I was driven to take refuge in the lobby. But their festival set was one of the best of the whole affair, and you couldn't ask for more in a real rock 'n' roll band. Newport '69 made a definite comment on pop culture and the effect of fads and the meaning of the new revolution itself'. Once you can sell a product that tries to create something that was once spontaneous, that something has lost its meaning, The Monterey Pop Festival was pure magic. It will never happen again, I doubt that it could have ever happened in Los Angeles.

This is just not the place, At Monterey there was a real, honest love thing ping. Those that came gave as much to the musicians as the musicians gave to them Monterey was a true happening, as was the San Francisco "be-in" and several other events at the time. They were natural outgrowths of n naive exuberance and an tetimate respect and toleranee for all What happened in L.A. had to be created. It was artificial and plastic. And because of that, It was doomed before it started. You Can just sell so much before yo» have to cell yourself. And that is what Newport '60 had to do was at times erotic. but it was never warm, It used people. it used the music, and most horrihly, it used a movement which at one time generated the most beautiful of all vibrations: Those of love and peace.

 

Life Magazine, 4 Jul 1969

Review: It's Hard to Fake the Blues (Probably one of Johnny's worst)

6 July 1969 New York Times

On the 6th of July in the New York Times there is an advertisementfor the Greatest Pop festival ever: Woodstoc Music and Art Fair, Presents An Aquarian Exposition in Walllkill N.Y. 3 Days of Peace and Music

6 July 1969 New York Times
 

8 July 1969 Elyria OH Chronicle Telegram

The Telegram announces the Cleveland concert , scheduled for 25 July 1969

2 major names in rock world coming to Cleveland July 25

Two major names in the rock world today will he starred in a concert at 8:30 p.m. on July 25 at Cleveland Public Auditorium. "A Midsummer's Night Dream" is the name given by Belkin Productions, Inc., sponsoring organization, to the concert which will feature the Creedence Clearwater Revival and Johnny Winter. The Revival is riding the crest of popularity currently, with two hit singles on the charts and two other hits that have been on the charts during the past five months. ACCORDING to a recent review in the Christian Science Monitor, this group produces a "psychedelic sound. . .with earthy blues rhythms and rocking, jarring harmonies." it's considered one of the principal exponents of the present country-rock sound.

The Revival's first million-selling singles were "Susie-Q" and "I Put a Spell on You," These two songs were borrowed from early r & b artists. Johnny Winter has been described as "the most exciting personality and probably the best blues guitarist in the rock field." He's become the Joe Namath of the entertainment business, it's claimed. Johnny received a $500.000 bonus for Signing his first Columbia recording contract. JOHNNY HAS recently appeared at major festivals in Detroit, Newport and New York, completely devastating audiences with his driving, black-blues sound.

This guitarist with the long white hair is something to see and hear say those who have. ABC recording artists SILK will open the show. Tickets are available by mail order from Burroiv's, 439 Euclid Ave., Cleveland.

Friday 11 and Saturday, 12 July 1969: Laurel Pop Festival , Laurel Race Track in Maryland

Johnny Winter performs on Friday 11 July 1969

 

Laurel Pop Festival in Laurel Md in 1969. Washington Post contained an article about the Festival written by the reporter Bob Woodward (Watergate Scandal). Johnny was a no name at the time. The Festival include Jeff Beck, Jethro Tull, and Headlined by Led Zeppelin.
He came out and played cuts from Progressive Blues Experiment and Johnny Winter(Columbia).

He was Playing with Uncle John Turner and Tommy Shannon. Before his set was over, everyone was standing on their chairs. A couple of times between songs he asked the crowd up front to back up and stop pushing. The Newspaper story speaks of the New white blues player that was the hit of the festival.

Johnny Winter Laurel Pop Festival 1969

Saturday 12 July 1969 The Times Herald Record

A newspaper ad announcing the Woodstock Music and Art Fair, An Aquarian Exposition in Town of Walkhill, near Middletiwn, N.Y. Three Days of Peace and Music

Tuesday 15 July 1969 Chronicle Telegram

A newspaper ad for Blood, Sweat and Tears and Johnny WInter at Cleveland

 

20 Juy 1969 New York Times

Three newspaper advertisements promoting pop music concerts

the Woodstock Music and Art Fair.

The Atlantic City Pop Festival

Diana Ross and the Supremes

 


20 Juy 1969 New York Times
20 Juy 1969 New York Times

Thursday, 24 July 1969 - West Allison, Wisconsin

    Setlist:
  1. Leland Mississippi
  2. Divin' duck
  3. Black cat bone
  4. It's my own faulty
  5. Mean town blues
  6. Johnny B. goode
 

Friday 25 July 1969 - Cleveland Public Hall

Belkin Productions present: Creedence Clearwater Revival plus Johnny Winter, tickets 3.50$ and 5.50$. Tickets on sale at Record World, Midway Mall, Elyria. This event was also known as "Midsummer's Night Dream"

Sat. Review, 26 Jul 1969cl

Review: New Adventures of the Jazz Guitar (Bad Review)

Saturday 26 July 1969 - 1969 Forest Hill Music Festival at Forest Hills Tennis Stadium

Blood, Sweat and Tears. Johnny Winter

Sunday 27 July 1969 - New York Times

An ad promoting the Woodstock Music & Art Fair

Look, 29 Jul 1969


Winter Blues, By Thomas Barry. A Texas albino called JOHNNY WINTER wows the pop world with music that is old, new borrowed -- and blue. A complete copy of this Look's article can be found on the "Mean Town Blues" site.

Johnny WInter Look Magazine

 

Monday 28 July 1969 - New York Times

Mike Jahn writes a full column review of Johnny Winter's performance at the Forest . Hill Event. This article is called: "Agility marks Blues by Johnny Winter at Forest Hills Fete".

Agility Marks Bluet By Johnny Winter At Forest Hills Fete

By MIKE JAHN

Johnny Winter, the Texas blues guitarist and vocalist, seems to be singing with ever larger gulps of blues. When he first played here last December he was impressive for his agility in presenting both country and urban blues styles with force. But at that time he had just arrived from playing in and around Texas and seemed somewhat awed by the increased attention he was receiving. Appearing Saturday at the Forest Hills Music Festival, Mr. Winter showed the same agility, but far more power and confidence than previously. Most important, he showed much interest in playing blues-oriented, old-style rock. One of his songs, "Black Cat Bone," is an original.

This song lies on the thin border where country blues meets the early rock of guitarists like Chuck Berry. It combines the crisp feel of bottleneck guitar-playing with the heavy hand of early rock. He played this song Saturday, and closed with a Chuck Berry song, "Johnny B. Goode." He uses his raspy voice and aggressive playing well on material of this sort, which Is directly derived from standard blues.

Through this growing interest in songs like Mr. Berry's, and the increased confidence and force given him by seven months of popularity, Mr. Winter's playing has improved greatly. The hard blues and old rock style has become very popular this year, and Mr. Winter's experiments in it were his best moments. Mr. Winter was backed by John Tarner, drums, and Tommy Shannon, bass.

   

Tuesday 29 July 1969 Elyria Chronicle Telegram

Review the Cleveland show

Johnny Winter's singing was over-powering at times, but his playing was always good. A standing ovation brought him back to do "Johnny B. Good" as encore, delighting the crowd

It seems certain that Johnny made many new fans Friday night in Cleveland. He recently received a half-million dollar bonus when he signed with Columbia Records.

The full transcript

Creedence Clearwater Revival leaves the audience spellbound By Jan Elkovich Darkness descended upon Cleveland Public Auditorium Friday night and red stage-lights came up on four young-men, the Creedence Clearwater Revival. They Were ordinary-appear-ing youths in levis, sweat-shirts and boots, with longish hair. Two wore beards. Yet when they began to sing the hall rocked with sound and the audience was spellbound. FROM THE first note of "Born to the Bayou" to the final crash of cymbals in the last number, the audience was enveloped in the magic that has skyrocketed the CCR to the top.

Their current hit, "Green River," was their second number and the jam-packed auditorium echoed and vibrated to the sound, as the audience thrilled. The group's performance included their popular hits "Bad Moon Rising," "Proud Mary," "Lodi," and "Pully-Al." Creedence Clearwater Revival has that intangible substance of stardom which makes the difference in greatness. FLAXEN-HAIRED Johnny Winter, the blues guitarist. was the other part of Belkin Production's "Midsummer's Night Dream" concert. Backed by his red-haired drummer, Johnny stunned the audience into silence. Clearly no one had expected the delicate-appearing young man to have such a strong voice.

His singing was over-powering at times. but his playing was alWays good. A standing ovation brought him back to do "Johnny B. Good" as encore, delighting the crowd. It seems certain that Johnny made many new fans Friday night in Cleveland. He recently received a half-million dollar bonus when he signed with Columbia Records.

LEAD-IN BAND for the show was Silk, a Cleveland group which shows promise. They opened with psychedelic rock. Master of ceremonies was Chuck DunaWay, WKYC disk. jockey.

 

Johnny Winter in August 1969

Hit Parader, August 1969

On Cover: Johnny Winter's Texas Blues

Friday 1 August The News

Brad Ritter previews the show at Hollywood Bowl, calling it "Winter May Warm Bowl ... or half of it.

 

Winter May Warm Bowl ... Or Half of It Blood,

Sweat and Tears no doubt will put on a good show tonight at the Bowl. Keep In mind that those sitting beyond the halfway mark in the huge arena probably won't be able to tell if its good or bad. But it will he interesting in watch for the reaction bo Johnny Winter, the albino blues singer who has received varying critical reviews.

Winter has been around, but never got far. Then came the blues revival and someone found Winter, put together a substantial promotion campaign and shoved him into the big time. Some critics say he was a poor choice: he shows a lack of individual style; that he borrows from various blues singers and winds up with a combination that adds up to little.

But Critics sometimes get pretty hung up and it's the people who listen to music, and buy recordS, who determine who makes if. and who won't. brad Atter

Friday 1 August 1969 Hollywood Bowl

In the concert series of "Summer, Show and Stars" at the Hollywood Bowl, Blood Sweat and Tears, Kaleidoscope with Guest Star: Johnny Winter

    Setlist:
  1. Help me
  2. Leland Mississipi Blues
  3. Mean Town Blues
  4. It's my own Fault
  5. I hate Everybody
  6. Tell the truth
  7. What I Say

This concert of Johnny Winter has been released on the bootleg "Johnny Winter HOT"

Friday, 1 August 1969 - Sunday 3 August 1969 - Atlantic City Pop Festival.

Atlantic City Race Track, Atlantic City, N.J. August 1-2-3 Fri, Sat and Sun. Johnny was supposed to play on Fri. Aug 1, due to equipment problems he never appeared on stage, other rumors tell that because Johnny Winter is an albino, that he could not play because of the sun.

The schedule of the Atlantic City Pop Festival was:

    Friday August 1
  • Iron Butterfly
  • Johnny Winter
  • Crosby, Stills & Nash
  • Chicago
  • Procol Harum
  • Joni Mitchell
  • Mother Earth
  • Santana Blues Band
  • Booker T & The M.G.s
    Saturday August 2
  • Jefferson Airplane
  • Creedence Clearwater Revival
  • Crazy World of Arthur Brown
  • Grateful Dead
  • B. B. King
  • Butterfield Blues Band
  • Byrds
  • Hugh Masekela
  • Lighthouse
  • American Dream
    Sunday August 3
  • Janis Joplin
  • Canned Heat
  • Mothers of Invention
  • Moody Blues
  • 3 Dog Night
  • Sir Douglass Quintet
  • Joe Cocker
  • Little Richard
  • Buddy Rich Big Band •
  • Dr. John the Nighttripper
 
69-06-01%20New%20York%20Times

The Commercial Appeal Mid-South Magazine 1969 with Johnny Winter

Saturday 9 August 1969 Cumberland MB, Times News

Birthplace of the 'Blues' to be Modernized, Beale Straat Updated

By ROGER DOUGHTY NEA News Editor MEMPHIS, Tenn. (NEA)

"lve been trying to get the old man to move away from here for years," smiled Maurice Hulbert Jr., a lanky young man in his 20s. Leaning against a printing press, one ear cocked to the unsteady beat of an air condi-ioner, Hulbert nodded toward his father. "He talks about it sometimes," the son continued, "but they will carry him out in a box. Beale Street is in his blood." "It all started here a long time ago," explains Hulbert Sr., a nattily attired Negro in his 70s. "This is the cradle of the only original American art form. This is where the blues were born.

This, mister, is Beale Street." Hulbert says the name with pride. He's the mayor of Beale Street, the old-timers tell you, and he remembers things as they once were. This year marks the 150th birthday of this bustling Mississippi River port and "The Mayor" has seen a lot of its history written right here on Beale. Once it rivaled Greenwich Village for color and notoriety. Both have slipped a long way, Shade your eyes to the sun and squint through the time-worn window of Hulbert's print shop and you can see Beale Street as it is today — the way his son sees it. "Nothing here," says the young man, downing a soft drink.

"Nothing but old buildings and memories of a lot of things that probably never happened in the first place. There's still good music — Booker T. lives here and Johnny Winter and Albert King are in town this weekend, but they're not on Beale Street. Nothing is." Whatever it once was, Beael isn't much today. The official Memphis guidebook calls it dilapidated, which is being kind. The Memphis Housing Authority sees Beale not as it is or was but as it will be after a $240 million urban renewal project plows under the rubble and gives birth to a " 'blue-light' district of night clubs and restaurants reminiscent of Beale Street's colorful past."

Whatever that means, it's bpuad to be an improvement. But the old ways die hard in places like this and the future can he frightening to the hardy handful of Beale Streeters who were here shortly after the turn of the century when W. C. Handy used to spread his music sheets on the cigar counter of Pee Wee's saloon. Handy wrote "The Memphis Blues" at Pee Wee's, getting his inspiration from the street, but that was a long, long time ago. "The white kids like the blues," says Hulbert the elder, shutting the door to his shop behind him and stepping into the mind-bending heat, and Handy would have liked that.

His music was for everybody. If you ask me, he was way ahead of his time. Walking along Beale, past the long-boarded-up Daisy Theater, where the rank smell of urine fills the air, the ghosts of happier times are everywhere — and Handy's spirit dominates the street. His statue casts a giant shadow from its perch in Handy Park, where pigeons land disrespectively on the stone likeness of the great man's trumpet and sleeping drifters take cover from the sun. "Back around 1910," Hulbert recalls, "things were really happening around here.

Handy was at his best and there was gambling and corn whisky and policy houses and plenty of women and good times. Lots of things went on here that wasn't right with the law, but they were right as far as we were concerned. As the kids say now, we were doing our own thing." Which may explain why, on a blistering Saturday with the temperature nudging the 97-de-gree mark at noon, a half-dozen white kids from half a country away walk down Beale, shading their eyes from the sun, searching for the truth. "I didn't come all the way down here to see a lot of broken - down buildings and cracked-up sidewalk," explains Bob Thomas, a New. Yorker who says he's skipping his col-lege graduation to be here for a blues festival.

"I came to hear the music, but I figured that as long as I'm here I might just. as well see the street. This is where `sour was born, in the truest sense of the word. When you listen to Winter or Jimi Hendrix, or Janis Joplin or Charley Musselwhite, you know their roots are here, even if they have never been near this street. If it hadn't been for Handy, there wouldn't be much worth listening to today." And so it is that the late W. C., a quiet genius whose music made other people rich, has taken his place today as the man who closed the generation gap. Those who remember him well don't seem too surprised by his most recent accomplishment.

"Handy wasn't much when it came to getting paid," recalls Robert Henry, a 79-year-old pool room onerator. "I remember when his band used to make $2.50 a night right across the street from my place. Funny thing was, the white folks always liked Handy the most. The blacks never did think too much of him until he packed up and moved to New York. "But Handy's music was the real thing. The songs of the fields, the long days in the sun, the hard times, it was all there. Handy told it like it was a long time before anybody thought up that expression. First time heard it, I thought they must have had Handy in mind when they made it up."

A block or so away, in a house that's scheduled to be torn down to make way for that $240 million project, Otto Lee, a member of Handy's last band, collects pictures and clippings of his former friend and waits for the bulldozer. "I used to call him Professor Handy," Lee says in a cadet; pleasant voice. "There were other bands, but Handy was the master. He wanted to have a band that would make headlines from Beale Street to Broadway; but it never worked out. Professor Handy would have liked things the way they are today. He was such an honest mad who believed in love and kindness that he would have liked playing for these young folks."

Just around the corner, in an old hotel that has seen better days, Sun Smith, a blind trumpeteer well into his 70s, fingers his horn while sitting in the breeze of a fan and gets ready to go to work. "I play some new songs, like `Chicago'," Sun says, slipping his mouthpiece into his instru-ment, "but mostly I play Handy's music. 'St. Louis Blues', `Memphis Blues', 'Beale Street Blues', those are the songs people like to bear, especially the young people. The blues never did go away, but now they're really back. The blues are gonna outlast me." The blues outlasted Handy, outlasted Beale Street as he knew it and. will outlast the street as it is today.

The blues, it would appear, are gonna' outlast us all.

Friday, 15 August 1969 - Saturday, 16 August 1969: Electric Theatre / Kinetic Playground, Chicago.

The Billboard Magazine wrote about this:

CHICAGO The Arbors, Date artists, who just finished a successful engagement at Club Atlantis of the Regency Hyatt House in Atlanta, are making their way back home to Chicago via New York. where they have a number of commercial sessions lined up.. . .

Columbia's Johnny Winter, Elektra's Paul Butterfield and the Flock are on tap at Aaron Russo's Kinetic Playground Friday (15 August) and Saturday (16 August). . . . Doug Lee hosted a Decca Records party for the London House opening of Young-Holt Unlimited. Also on hand from Decca were Frank Scardino, Denny Miller and Shim Weiner. . . . The Judy Roberts Trio has replaced the Eddie Higgins Trio at the London House. Higgins re-signed as headmaster after 12 years.

 

The poster announcing this concert at Aaron Russo's Kinetic Playground, with Paul Butterfield, Johnny Winter and special guest: "The Flock"

Mercury's Buddy Miles Express held the spotlight July 31 at the Blues Concert at the Northbrook Sports Complex. Also featured were the Joe Kelly Blues Band and the Stanley Moss Blues Band. WCFL's Barney Pip served as master of ceremonies.... Top Old Town performers entertained at North Park Study Center's fifth annual benefit Folk Sing, which was held recently at Second City.

Friday 15 August Pacific Stars and Stripes

Hollie I. West writes Big Money Whites singing Black

By HOLLIE I. WEST the Washington Post WASHINGTON

The white youth Of America; have picked up a new fad — playing the blues. Shaggy-haired kids in the, cities and small towns are learning blues chord changes almost as fast as they are learning their guitars. No longer do American youth look to Broadway as 'a 'model for vocal stylings. The new demi-gods are gnarled black blues singers who paid their dues in the tangled maze of this country's racial mores. This new interest has been called a . "rebirth of the~ blues." More accurately, though, it should be referred to as an awakening, the blues has not died in black communities. The gospel-in-fluenced. sounds of soul music, or rhythm and blues, may have superseded the blues in popularity in the urban ghettoes, but black southerners still like their blues in large doses. More than anything, perhaps, this widespread popularity of the blues among whites is part of the youth revolution of our time.

The young are trying not to be confined to the kind of jack-in-the box thinking about race and sex that their parents accepted. For many of them, the blues is not a back alley music played by loose-moraled blacks. Their curiosity about 'the blues may represent a blessing and an act of folly and cruelty. The blessing is obvious.. Forgotten blues performers who never would have seen the light of a commerical day without the blues awakening have been brought out of obscurity and, and earning enough from their music to support themselves, The cruel irony of these developments, however, is that the black bluesmen, the pioneers and originators, always find themselves in the second billing position on programs with white bluesmen.

And the difference in money paid to blacks and whites is so lopsided that it staggers the imagination, _ Janis Joplin, ballyhooed for the last year as the top rock star, is given space on the covers of the national slick magazines and earns $10,000 for a night's concert work, But Willie Mae Thornton, one of Miss. Joplin's thief stylistic models, remains in the financial minor leagues, earning in a year what Miss Joplin may make in several days. Compared to her model, Miss Joplin is a poor excuse for a blues singer. She is probably well on her way toward ruining. her voice under the strain of trying for the harsh, raucous sounds that black performers use naturally.

The publicity given to Miss Joplin's career had not been equalled until Columbia Records helped bring Johnny Winter on the national scene earlier this year. Winter has immersed himself in a variety of styles, none of which he has brought any originality. The journeys the imitative route through the music of Ray Charles, Muddy Waters and Howlin' Wolf. Despite the absence of a fresh musical approach, Winter was signed for one of the most spectacular contracts in the history of the recording industry --- an initial fee of $300,000 and a long term contract calling for $600,000. B.B. King, the most creative bluesman on the current scene, has not seen such money for a recording contract.

Record company officials know a good thing when they see it. They recognize the music of Johnnie Taylor and James Brown cannot be sold en masse to white teen-agers because it has too much black-ness. Exceptions can be made for the watered down black sexual imagery of Jimi Hendrix, who has surrounded himself in an absurd melange of electronic sound and guitar burnings, or the Chambers Brothers, a mediocre former gospel group that sings a pallid combination of soul and rock. The general rule is to sell white groups that are engaged in a latter day version of black face. This is an important part of the history of American music and there is little black blues musicians cane do about it.

Avant-garde black jazz musicians solved a similar problem by enveloping their music with so many Afro-Asian influences that it would be completely outrageous for white musicians to imitate them. This avenue is not open to bluesmen who must keep their music simple, for the blues cannot incorporate outside musical influences as easily as jazz. What can be done about the inequities of contracts and artist fees for black innovators and white imitators? Probably not much in the foreseeable future. Record companies, particularly major ones such as Columbia and RCA Victor, can do much more in the way of promoting black musicians.

But with a company like Columbia reaping 60 per cent of its record sale profits from rock music, the prospects for change are not bright. White musicians recognize the inequities, but few are doing anything about it. There is the policy of the rascals to play only concerts where the audience is 50 per cent black, but they are rare among whiter groups. What other group would give up the prospect of earning $15,000 to $20,000 for each concert date? The situation seems beyond repair. Money talks and businessmen listen.

 

Sunday 17 August Oakland Tribune

Folk Rock Musicians borrow from the Blues too, by Craig Modderno

The current blues revival also has brought quick success to such relative newcomers as the Steve Miller" Blues Band and blues singer Johnny Winter.

Winter said in a recent Newsweek article of this $300k record contract: "I went from total nothingness to everything. I'd been put down for years for singing the blues and suddenly everyone liked me and wanted to hear me

Full transcript of this article

By CRAIG MODDERNO Tribune SWF Writer "Rock is like a battery," says Eric Clayton of Blind Faith, one of the leading blues guitarists, "It always has to go back to blues to get recharged, to restore its energy." The musical sounds of country basic hard rock and electrified blues are taking over today's rock-pop music scene. The Beatles' c o u n t r y-flavored "Get Back," Bob Dylan's debut album as a country singer, "Nashville Sky-line," and the recent popularity surge of Johnny Cash and Glen Campbell demonstrate the financial acceptance of 'what pop arts once laughingly mimed to as hillbilly music. But the big change in the rock field Is the rebirth of the blues.

Once the lifeblood of jazz trumpeter Louis Armstrong and the big bands of Duke Ellington and Woody Herman in the 1920s, the blues background is the Mississippi Delta and its form is a simple three-line terse structure. When The Beatles, Dylan, The Rolling Stones and The Animals emerged on the rock scene, their strong back-ground in the blues was a widely overlooked part of their music. Now the artists who influenced these rock groups — Bessie Smith, Muddy Waters, John Lee Booker and Jimmy Reed — are once again hearing their music through the songs of Canned Heat, Ten Years After and Steppenwolf.

Today's blues singers are experiencing an enormous popularity at dancehalls and their music keeps the cash boxes ringing. Blues artists no longer are confined to small nightclubs; they now perform in huge — and crowded — ballrooms, often with the smell of marijuana seeping through their over-amplified sounds. Blues artists such as Chuck Berry, B.B. King, Lightin' Ilopkins, Elvin Bishop,and Albert King receive standing ovations when they headline shows at Fillmore East and West. The current blues revival also has brought quick success to such relative newcomers as the Steve Miller Blues Band and blues singer Johnny Winter.

Winter said in a recent Newsweek article of this $380,000 record contract: "I went from total nothingness to everything. I'd been put down for years for singing the blues and suddenly everyone liked me and wanted to hear me." When Duke Ellington was asked what types of music exist, he replied: "There are only two types of music — good and bad music. Paul Butterfield of the Paul Butterfield Blues Band, one of the first American rock musicians to play the blues, says, "Blues is any kind of music that comes from feeling."

Soul music has been described to this writer by Smokey Robinson as "the inward emotion or feelings of anybody as expressed in a song." If soul and blues are not the same musiea1 expression, then the great singing of Ray Charles, James Brown and the late Otis Redding combines the two musical forms to create their own unique singing styles. For years the blues have been expressed only through the cadences of black men and women whose songs generally described the aches and pains of living in the Mississippi Delta. One of the best black blues singers, 44 year-old Albert King disagrees on their limitations.

Anyone can have the blues." says King. "A little baby crying in his crib for his bottle; if he doesn't get it, he's gut the blues." Blues singer-guitarists Eric Clayton and John Mayall from England. Paul Butterfield and Mike Bloomfield of Chicago, and Canada's David Clayton-Thomas received critical acclaim in the rock music industry for their records before the current blues demand. The Grateful Dead and the Jefferson Airplane, the last remaining San Francisco groups from the psychedelic rock splurge in 1967, recorded sonic blues songs in their earlier albums. While the Airplane's "Young 'Girt Sunday Blues" and Blues From an Airplane" seem rock-oriented, the group's lyrics and vocals project a strong identification with the blues.

The Dead, however, took a modern blues favorite, "Good Mornin' Little School Girl," and two original tunes, "New Minglewood Blues" and "Viola Lee Blues," and provided them will the dynamic electric beat that is a forerunner of the blues today. Janis Joplin, 26-year-old former lead singer with Big Brother and the Holding Company, belts the blues for fun and profit. "When you sing a song that means something to you," Janis says, "you turn everything back inside yourself and just sort of explore." Mississippi-born B.B. King, 43-year-old undisputed champion of the blues, says, "Janis Joplin sings the blues just as hard as any black person."

But Steve Katz, lead guitarist of the jazz-blues Blood. Sweat and Tears, wonders how Miss Joplin's success in the rock field has affected her feelings for her music. "When you're making $10,000 a night. you can't sing of hard luck and trouble," says Katz. "Janis is selling something she no longer is. How can you be a blues superstar? It's such a contradiction in terms." The music of the Creedence Clearwater Revival best demonstrates the fusion of rock and blues today. Their songs describe life amongst bayous, green rivers and small obscure towns. Cast in country settings of the Delta area, songs describing the pain of the blues.

The Working Man" and Pent-house Pauper." are delivered through a hard, driving rock beat of three guitars and drums. "I guess all the time I've been living on the bayou in my head," explains El Certito's John Fogery, leader-songwriter of Creedenee and perhaps the best of the male rock-blues singers. "When I used to get super uptight at the world, I used to drive on the freeway and open my lungs and scream." he says. That's what singing the blues is all about." It's impassible to predict how long blues will stay in the rock spotlight. But now the rock music fan has been exposed to this foundation of American popular music.

Whatever music style evolves. the blues will be a major contributor.

Sunday, 17 August 1969: Woodstock 1969

Aug 15,16,17 (Bethel. New York) Johnny performs on the third day, playing "Mean Town Blues". Sun 17th Aug at the Woodstock festival, along with Country Joe and the Fish, Alvin Lee and Ten Years After, Joe Cocker, Sha-Na-Na, The Paul Butterfield Blues Band, The Band, Blood, Sweat and Tears, Crosby, Stills, Nash and Young, and Jimi Hendrix. Like many of the performers there, it is not known if Johnny got paid for his performance: he was suppose to have gotten $3,750.

Johnny Winter Woodstock 1969


When Michael Wadleigh, director of WOLFEN, and Bob Maurice were filming the festival, they wanted to include footage of Johnny for the upcoming Warner Bros. film, WOODSTOCK.

A movie commemorating the event for those that were able to attend and for those who could not. Regrettably, disagreements occurred over the contract that Steve Paul had drawn up for Johnny and before things could be resolved, the parties concerned went without the footage.

Likewise, Johnny was left out of the WOODSTOCK and WOODSTOCK II albums that were issued by Cotillion Records in 1970 and 1971. In fact, the recordings remained dormant until 1994 (the 25th Anniversary of Woodstock), when Atlantic Records included Johnny?s "Mean Town Blues" on WOODSTOCK DIARY and WOODSTOCK: 3 DAYS OF PEACE AND MUSIC-THE 25TH ANNIVERSARY COLLECTION.

Johnny Winter Woodstock 1969
Johnny Winter and Joe Cocker

The programme of 17 Aug 1969:

  • Joe Cocker @ 2:00pm
  • The BIG STORM - not a band, but Mother Nature wanted to have an act in Woodstock nonetheless
  • Max Yasgur - the farmer whose land Woodstock was held on
  • Country Joe and the Fish
  • Ten Years After @ 8:00pm
  • The Band @ 10:30pm
  • Blood, Sweat and Tears @ 12:00am
  • Johnny Winter
  • Crosby, Stills, Nash and Young @ 3:00am
  • The Paul Butterfield Blues Band
  • Sha-Na-Na
  • Jimi Hendrix @ 8:30am

 

  Johnny Winter's performance at Woodstock 1969 has been released on the DVD's: Woodstock 1969 Director's cut and Woodstock Diaries 1969

  • About Woodstock: Johnny: "I woke up and wandered onstage"

    Many have forgotten that Texas guitarist Johnny Winter was at Woodstock since he didn't appear on the Woodstock albums.

    His main recollection is of crawling up to sleep on a pile of garbage in a press trailer.

    "Then I woke up and wandered onstage with the band just to see what was going on,"he said. "Whoever was scheduled to be on wasn't on, so the audience saw us and wanted us to go on."

At the time, 'Winter's' manager (Steve Paul) had blown off an agreement to be in the film and on the record. The movie cameras did take footage of Winter, but none of it was included in the final film. 'Woodstock, Three Days Of Peace and Love'. The filmmakers said Winter's act was too strange, he remembers. "Too strange for Woodstock! That was all about flaunting traditions, so that must have been pretty strange."

The set-list was:

  • To Tell The Truth"
  • Johnny B. Goode
  • "Six Feet in the Ground"
  • Leland Mississippi Blues or Rock Me Baby?
  • Mama, Talk To Your Daughter
  • Mean Mistreater
  • "I Can't Stand It" with Edgar Winter )
  • Tobacco Road...( with Edgar Winter )
  • Meantown Blues (encore)

Various movies of this historic pop-festival are available, I'm not sure if Johnny Winter appears in anyone of them, below a summary:

Creation Of Woodstock 1969 Music Festival - Interviews w/ founders & developers of fest. & clips by Ritchie Havens, Leslie West, Mountain, Arlo Guthrie, Janie Jop lin, & Sly & Family Stone. Archival photos & rare & never-b efore-seen film footage. 60 min

Woodstock - 3 Days Of Peace & Music - Woodstock set the standard for all rockumentaries to come. Sensing that the now-legendary 1969 Woodstock concert would be something more than a mere "happening", director Michael Wadleigh brought along a battalion of cinematographers and assistants. As a result, what could have been an aloof, detached record of the landmark concert is as "up close and personal" as it was possible to get without actually being there. Utilizing widescreen, splitscreen, and stereo-sound technology to the utmost, Wadleigh puts us right in the middle of the 400,000 screaming, mud-caked spectators, then zooms in to loving closeups of the stars.

Edited by Martin Scorsese (among many others), the finished product won the 1970 Oscar for Best Documentary-and was also stamped with an "R" rating due to some innocuous (by 1990s standards) nudity and profanity. The talent lineup includes Canned Heat, Richie Havens, Country Joe and the Fish, The Who, Jimi Hendrix, Santana, David Crosby and Stephen Stills, Jefferson Airplane, Joe Cocker, Arlo Guthrie, John Sebastian, Sly and the Family Stone, Ten Years After and Sha Na Na. The original 184 minute running time was expanded to 224 minutes for the 1994 video version, featuring previously excised footage of Janis Joplin. One of our favorite shots in Woodstock has no music at all: the final image, as a group of dour policemen survey the garbage and debris left behind by the Woodstock Naton.

The Compilation album Woodstock - 3 Days Of Peace & Music released on four CD's contains "Mean Town Blues" performed by Johnny Winter.

Woodstock: Director's Cut

23 August 1969 Charleston, WV Gazette

Reviews and comments the trend on the Pop festival in 1969

By Ray Brack The incredible influx of 800,000 rock freaks to Max Vasgar's upsale New York dairy farm for the Woodstock Art and Music Fair last week was a predictable climax to a summer-long series of bummer pop music festivals, In vain attempts to remix the ingredients that produced unforgettable vibrations at the historic Monterey (Calif.) pop music festival in 1967 (Janis, Jimi, Otis and grass on the grass were the magical mystery elements), pop promoters have been booking ever heavier casts of rock talent into gigantic open-air circuses ever since. The impressarios hit their festival stride this summer. scheduling a dozen or more major rock extravaganzas at or near most of the nation's large population centers.

First indications that the 1969 festival season was to be a "down" scene came from the Newport Festival at Devonshire Downs in the northern end of California's San Fernando Valley. (The festival took its name from its proximity to Newport Beach. and should not be confused with the older festivals at Newport, R.I.) tHE PROMOTERS of this June 20-22 festival promised to deliver a mind-expanding rock bill that included Jimi Hendrix Experience, Joe Cocker, Janis Joplin, Albert King, Edwin Hawkins Singers, Creedence Clearwater Revival. Steppenwolf, Buffy St. Marie, Albert Collins, Johnny Winter, Booker T. and the MG's. Rascals, Byrds and Three Dog Night.

Incredibly, all those big votes showed, and so did 150,000 kids. That is io say. 130,000 gut into the old fair-grounds where the action was. Thousands of others were turned away. (For two months Newport was to hold the record as the largest pop festival ever held.) Unfortunately, the promoters drastically underestimated the pulling power of a conglomerate of contemporary rock performers. Only a fraction of the crowd that made it into the festival grounds ever heard the music, because the sound system was woefully inadequate, The audio problem was aggravated by the thudding overhead of an omnipresent police helicopter.

Even fewer people could see the performers sight lines being limited by a low, six-foot stage_ And 100-foot queues marked the inadequate number of stinking overflowing portable toilets at all times. WHILE THE VIBES turned sour inside, the scene outside the festival grounds soon waxed violent. Since tickets cost 5$. hundreds of youngsters came to the festival admittedly to crash the gate. During a disorganized assault on the festival's $11,000 worth of hurricane fencing, severe hassling with police commenced. Some of the kids blew their cool and launched rocks and bottles. The cops counter-attacked with batons.

When the three-day casualty tally was taken, it showed 300 injured (15 policemen) and 75 arrested. An estimated $50,000 in damage had been done to homes and businesses in neighboring Northridge. Producer Mark Robinson claims the whole atrocity lost him $150,000. A week later the festival spotlight focused on Denver, where promoter Barry Fey had hooked another heavy pride of talent into his Denver Pop Festival at Mile High Stadium. Big names were again Jimi Hendrix, Creedence Clear-water, Johnny Winter and Joe Cocker, with the Mothers of Invention added. A lot of lesser-known groups were also on hand.

Again, it was a small group of gate-crashers who provoked a peace-office riot. At the final concert, while a group called Zephyr played doggedly on the cops began lobbing tear gas canisters at a flying wedge of would-be crashers. The wind wafted the gas clouds inside the stadium and thousands of paying customers prostrated themselves on the playing field to avoid the fumes. Zephyr played on Totals: 30 arrests, nine inju-ries including three policemen. Notable in the Denver episode was police deployment of a portable tear gas generating machine called "Pepper-Fog." This weapon sprays a mixture of tear gas and Mace.

It was turned on a crowd of son kids from which a water-melon rind was launched at police. Reported the Denver Post. "The vast majority of those who suffered from tear gas were guilty of no more than being in the wrong place at the wrong time." WITH TWO HUMMERS a matter of I record, everybody expected fireworks at the Atlanta International Pop Festival at the Atlanta Raceway on July 4 and 5. All the elements of disruption were present. There was another hyper-magnetic bill, including Blood Sweat & Tears. Booker T. and the Canned Heat. Chicago. Chuck Berry. Creedence Clearwater Revival, Janis Joplin, Joe Cocker, Johnny Winter, Led Zeppelin and a dozen other excellent acts.

There were the high ticket prices ($8.50 per person at the gate). And there were the cops. This time cracker cops. Atlanta shocked the world of rock. Nothing happened. The city reinforced its claim as the most progressive big town in America. The cops were cool and hip. The kids payed their money and generated the mightiest mass groove since Gandhi. The talent took care of business. And the promoters took care of toilet facilities. it Was the summer's only "up" scene and showed that a rock-style circus maximus can be pulled off if handled right. Caught up in the love scene, the Atlanta fuzz even took a tolerant view of grass.

In one documented instance, two back-up musicians for Johnny Winter returned to their hotel room just as two narcs were uncovering a stash of weed. The cops told the musicians to stick around and they'd be back in the morning. They returned at dawn with nothing more than a gentle lecture. THAT SAME WEEKEND, the fifth annual Newport Jazz Festival started to wail. Famed impressario George Wein had decided to mix rock with the jazz. And with the rock came the kids. Attendance hit a record for the festival. Thousands of the youngsters perched an a hill outside the festival grounds and when the rock got going in earnest (most observers say it was during the Jethro Tull set) they swooped down, toppled the fence integrated themselves with the blazer-straight jazz buffs and threw the festival up for grabs.

The same thing happened the following night while Sly and the Family Stone were on stage. The upshot was 60 arrests and this vow from Wein: "There will never again be any rock at any of my festivals because of these petulant and destructive youths." Now the stage was forbodingly set for what promised to be the biggest bum-mer of the summer, the Woodstock Mu-sic and Art Fair scheduled for Aug. 15-.17. The promoters, all under-30 cats from New York City. were thinking big. They were signing the heaviest cast in the history of rock, a bill they expected to draw crowds up to 100,000 in a single day.

Like Robinson, they were seriously underestimating the pop-cultural imperative of acts like Joan Baez, Arlo Guthrie, Tim Hardin, Richie Havens, Laura Nyro, Ravi Shankar, Canned Heat, Creedence Clearwater, Janis Joplin, Jefferson Airplane, The Band, Blood, Sweat & Tears, Iron Butterfly, the ubiquitous Joe Cocker and Johnny Winter, Crosby. Stills and Nash and the Who. (Worried about this bill's pulling power, they added Jimi Hendrix at the last minute!) THE FESTIVAL hassles began long before kids all over the country began poring over roadmaps looking for the site. Originally scheduled to be held at Woodstock. N. Y., the fair was moved 15 miles away to Wallkill when Woodstock natives became restless at the prospect of hosting 100.000 freaks.

No sooner had the promoters gotten their Wallkill permit and site lined up than a local group called the Wallkill Concerned Citizens Committee sought an injunction to block the festival, charging that the event would overburden the town's ability to deal with sanitation, traffic and security. The good burghers of Woodstock and Wallkill can scarcely be blamed this week for saying "I told you so" to the citizens of Bethel, N. Y., who welcomed the fair with some enthusiasm at the last minute. Bethel, 98 miles from New York City has about 2.500 population. The town hoard approved a license for the festival and a site was found in a large alfalfa field on Max Yasgur's dairy farm.

The only local protest took the form of downtown sign urging: "Stop Max's Hippie Music Festival. No 150.000 hippies here. Buy no milk. Even opposition crowd estimates proved conservative. The promoters announced that 300 off-duty New York cops would he on hand to handle traffic, and that they'd taken out a s:t million insurance policy to cover contingencies. CONCERNED ABOUT violence at other festivals, the Woodstock group called a meeting of the underground press and pop music leaders late in June to discuss the problem. Said Woodstock vice president. Artie Kornfeld, "We are here to curtail incidents between kids and police.

If we want to stop violence and tension from becoming the norm on the fair grounds. we've got to set new tones for the festival and redefine its meaning. Our concept is three days of peace and music." The festival planners also promised a "mathamatically computed" number of comfort stations, first aid stations, water supply stations and rice kitchens for kids with no money. Gate crashing was to be forestalled by busing kids from the parking lots to the fairgrounds. All the elaborate preparations were rendered academic, of course, when Yasgur's farm sustained the largest invasion since Normandy. While sheer physical glut made it impossible for most of the kids to see or hear the musicians not one serious cop-kid hassle was reported. Under stress, a cooperative spirit united the generations.

"It all happened," summed up Kornfield. "because we wanted to see all our favorite performers on the same stage just once."

23 or 24 Aug 1969 - Shea Stadium in New York

 

24 August Corpus Christi

Newspaper advertisement promoting The Texas International Pop Festival

24 August 1969 San Antiono Light

The San Antonio Light newspaper previews the Texas International Pop festival which will he held starting 30 August 1969

DALLAS — Plans for the first annual Texas International Pop Festival here Aug. 30-Sept are now being finalized. The talent lineup includes Canned Heat, Chicago Transit Authority, James Cotton Blues Band, Janis Joplin, B. B. King, Herbie Mann, Rotary Connection, and Sam & Dave, on Aug. 30. Appearing Aug. 31 will be Led Zeppelin, Chicago Transit Authority, James Cotton BluesBand, Delaney & Bonnie & Friends, Incredible String Band, B. B. King, Herbie Mann, and Sam & Dave. On Sept. 1 Johnny Winter, Delaney & Bonnie & Friends, B.B. King, Nazz, Sly & The Family Stone, Spirity, Sweetwater, Ten Years After, Freddie King, and Tony Joe While. (not in particular stage order).

The three-day festival Labor Day Weekend, is expected to attract 45-50,000 people per day. Included will be a light show by Electric College of Atlanta, Ga. The sounds will be done by top acoustical engineers Bill & Terry Hanley. Hanley Sound has done the Newport Jazz Festival sound for the past nine successful years. Construction for the festival is now under way at Festival Field at the Dallas International Mo-tor Speedway, 12 mile north of Dallas on 1-35E. The festival will be using approximately 25 acres of ground for the stage, ground seating, concessions, and back stage area. Parking for 40.000 cars will be provided.

In addition to crowd preparations, elaborate preparations have been planned for the comfort of the attending press and varied media representatives. Tents, water and phones will be provided in a separate area from the public. Trailers will he located within the restricted press area for interviews, e t c. Advance ticket prices are $6. per day, or a booklet price for three days of $18. Ticket prices at the gaze will be $7 per day, State camping facilities are located approximately three miles from Festival Field. All camping will come under the State Public Camping Gudelines, and the sponsors cannot guarantee the amount of availability or provide security.

Camping will be operated separate of the music festival. The Texas International Pop Festival is produced by the same people who produced the highly successful Atlanta International Pap Festival July 4th, and Showco of Dallas.

Tickets are available in San Antonio at Platter Palace in Wonderland Center, JaInt-Effort at 3811 Broadway, Record Rendezvous in McCreless Center, and Sound Town 3223 West Avenue. Tickets will only be available a short time longer, through Aug. 20, after that only at the gate in Dallas. Details are on XTSA Radio in San Antonio

Sat 30 Aug 1969 until Mon 1 Sep 1969 Texas International Pop Festival

Dallas International Motor Speedway, Louisville, TX. Other artists: included Canned Heat, Janis Joplin, James Cotton, Santana , Sam & Dave, Chicago, Led Zeppelin , Sly and the Family Stone and Ten Years After.

Texas International Pop Festival 1969
    Sat 30 Aug 1969
  1. Canned Heat
  2. Chicago Transit Authority
  3. James Cotton Blues Band
  4. Janis Joplin
    Sun 31 Aug 1969
  1. Chicago Transit Authority
  2. James Cotton Blues Band
  3. Delaney and Bonnie and Friends
  4. Incredible String Band
  5. B.B. King
    Mon 1 Sep 1969
  1. Johnny Winter
  2. Delaney and Bonnie and Friends
  3. B.B. King
  4. Nazz
  5. Sly and the Family Stone
Texas International Pop Festival 1969
Video material of the Texas International Pop Festival has been released as: "Got No Shoes, Got No Blues"

Saturday 30 August Corpus Christi Times

Joe Cappo writes a short biography calling it "Solid White Singer"

By JOE CAPPO

HIS WHITE cornsilk hair hangs down to his shoulders and frames the creamy white skin and pointed nose is his face. His eyebrows and lashes are also white and they accent his pale, crowed eyes. This is Johnny Winter. As an albino, he is physically pure white.

As a musician, he is the epitome of blackness, Winter is a guitarist and a vocalist, one of the unusual ones who somehow built up a reputation as a bluesman before he ever stepped into a recording studio. Born in Beaumont 25 years ago, he was a small child when his family moved to Mississippi to operate a cotton plantation. It was there , that the blues first took hold on him.

 

The FAMILY eventually-moved back to Texas, where Winter learned to play ukulele and guitar. With his kid brother Edgar (also white-haired), Winter started a teen-age blues group and made the rounds of the small roadside clubs in the South. After a semester at Lamar Technical College, he left Texas and wandered to Chicago, where he met Barry Goldberg and Mike Bloomfield, two youngsters destined to be-rates the nation's foremost white Bluesmen. At the time, Bloomfield was running the Fickle Pickle, a State Street coffeehouse, and Winter would sit in with the jammers on guitar and mouth harp. That was the start of five years of digging, working with groups called the Plague and It and Them, traveling from Chicago to Pensacola, from New York to San Francisco.

Winter was working, learning and making little headway until Bolling Stone, bible of the rock music world carried a two-page spread on him late In 1968. WITHIN A month, Stan Paul, operator of "The Scene" In New York, contacted Winter and placed him in his club. Paul aLso became Winter's manager, counseling him to sit back while several record companies bid for his talent, The nod finally went to Columbia Records, which paid Winter a cool $650,000 for a five-year pact. But if his first album is any indication, Winter will more than pay back the Columbia investment. The record Is called simply "Johnny Winter," but there's nothing simple in the contents.

The basic fare is rural blues, with Winter displaying extraordinary virtuosity on guitar. He has both the sensitive feelings demanded by the blues and the gift of structuring tight jam riffs, plus the technical skill of putting the two of them together. The regulars in Winter's group include drummer John Turner and bassist Tommy Shannon, but the real kick in the pants on this album comes from appearances by two old pros, Chicago blues composer Willie Dixon on acoustic bass and Walter (Shakey) Horton on mouth harp. The only weak part in this album is Winter's singing, which Is a little too unmotivoted and unconvincing, particularly when it is displayed side-by-side with his master-ful guitaring. Winter is more musician than singer.

He also is more musician than the vast majority of young guitarists who have drifted to the blues. if he becomes successful — and he should — the whole world contemporary music will better off because of it

The Texas International Pop concert of Johnny Winter resulted in the record: "White Lighting" and is also available on video: Got No Shoes Got No Blues - video of the 1969 Texas International Pop Festival

    Setlist of Johnny Winter at the Texas International Pop Festival 1969
  1. Intro
  2. Mean town blues
  3. Black cat bone
  4. Mean mistreater
  5. Talk to your daughter
  6. Leland, Mississipi
  7. I'm not sure (fade out)

Someone remembers:

I first saw Johnny Winter at the Texas International Pop Festival in 1969, a few weeks after Woodstock. There were close to 300,000 people there.

Johnny was dressed entirely in white and was wearing a white jacket with long fringe. He played at night on the third day and when the spotlights hit him I'm sure he could be seen for miles. I imagine people looking out of their plane windows could have seen him that night. He reflected light so well.

I can't remember if he had a bass player or not. I have always heard that he did some gigs for a while without one. And it was around that same time. Apparently Johnny and Tommy Shannon had some falling out. I saw Tommy Shannon about a year after Stevie Ray had died, when his new band was playing at a club near where I worked. I mentioned his early stuff with Johnny Winter and got a very chilly response. I guess he was still really hurting from Stevies death, and apparently Johnny Winter is still a sore subject with him. But Stevie was the best friend Tommy ever had. They were like brothers. But I digress.

At the time of the Texas International Pop Festival, Leeland Mississippi was pretty much Johnny's theme song. I used to hear it on top 40 radio every now and then. I remember he played it that night. He probably opened with it.

I didn't see him again untill he toured with the band on the "Captured Live" album, with Randy Joe Hobbs and the rest. Except for the festival and maybe one other show, that was probably the show I liked the best.

Not long after Captured Live Johnny returned more to his bluesy roots and stop doing so many of his older rock-n-roll songs. He was as good as ever, but their were a lot of tunes he just didn't play very often anymore, such as Still Alive and Well, and Rock-n-Roll Hootchie Koo, and Leeland Mississippi.

I started seeing him fairly regularly in the late seventies and early eighties. He came around quite a lot. He stuck with the same trio for quite a while. The bass player blew harp on almost every song, it seemed. He had a special harmonica rack that looked like a clear plastic tube. He blew harp while he played bass. That trio was perfect for Johnny. That band accounts for some of the best performances I ever saw Johnny give.

I was still missing some of his old rock songs though. Then one time I saw him in a bar (with the same three-piece band). The band seemed to be in a great mood that night, and it was a good crowd too. There was a built-in table that surrounded the whole stage. That is where I was sitting. People who were sitting there started writing song requests on napkins and passing them up to the bass player to read. After Johnny had done a few requests, I decided this might be my opportunity to hear Leland Mississippi live for the first time in almost ten years. So I handed the request to the bass player, and he whispered in Johnny's ear. Johnny and the bass player went over and talked to the drummer for a while. I don't think they had ever even rehersed that song before as a group, because they talked about it for quite a while. Then Johnny stepped up to the mike and said,"Here's an old one that I haven't played in a long time, called Leland Mississippi."

They played it perfectly, and the crowd went nuts. Johnny's fans are some of the most loyal in the music business. They are mostly old timers who know his music backwards and forwards. I think everyone else was as happy as me to hear that song after such a long time.

Johnny was obviously enjoying himself at this point. I never saw him so happy at a show before or since. At one point someone requested a song, and Johnny and the bass player had another meeting. Then Johnny said into the mike," We've got a song we're gonna do, but I'm going to let my bass player play guitar." Then they switched, and Johnny started playing bass. I believe it was Wipe Out, but they ended up doing three songs that way, if I remember right. They were all laughing and having a blast up there. That was obvious. Anyway, they did do Wipe Out (of all songs for Johnny to play), and they were loving it. The drummer did a solo, and then came out from behind his drumms and started playing his solo on mike stands and anything he could get to. He eventually came to the front of the stage and started drumming on the stage floor and the table that surrounded it. He was right at our place at the table and started playing his solo on our glass ashtray. Butts and ashes were flying everywhere, but that was alright. We didn't care. It was a blast.

It was like they were playing in their own garage. They were really having a ball. Eventually Johnny and the bass player switched back and they went back to playing Johnny's stuff. They played a long time, and did several encores. That crowd just wouldn't let the band get out of there that night. That was one of the best shows I ever saw Johnny put on. He also did "Hustled Down in Texas" off of Second Winter. That is the only time I remember hearing him play that song live. I've never seen Johnny have so much fun as on that night.

saw him a lot of times after that too. I've seen him so many times I really couldn't count them all. Another good show saw I was back in 1985 roughly. That was when he was billed with Edgar's band and The Greg Allman Band. Edgar opened the show, and he was in top form. He almost had a fussion sound mixed in with his past styles. It's obvious that Edgar just keeps studying. Everytime you see him he is better, and introducing new elements into his music.

After Edgar, Greg Allman's band came on. They had Dangerous Dan Toller on lead if I remember right. They had plenty of guitar power to do all of the Allman brothers material. In fact it really sounded more like an Allman Brothers concert. They did Whipping Post, Statesboro Blues, and a lot of other Allman Brothers stuff. Then Johnny came on. He didn't have a bit of trouble topping Edgar and Greg. I really thought there might be a few Greg Allman fans leaving after his show, but that didn't happen. That was one of the best shoes I have ever seen.

I don't know if there are any other Johnny Winter fans out there, (in this ng) but this post is for them.

 

Johnny Winter in September 1969

 

Hit Parader, September 1969

Article: An Interview with Johnny Winter

Johnny Winter Strobe Magazine Sep 1969 The Apotheosis of Johnny Winter

And When The Stone Rolled Away, The Word Did Reach Paul- Go Ye To Texas And Seek A Blues Man!

By Jon Millingtowne

'He's a skinny, long-haired, white-haired, pale, blues-living guitarist from Texas. I don't know if Winter is the name he was born with but it's certainly his real name. His incredibly white skin and white hair remind us of the icy season. The word Winter reminds us that if he were in a movie he would play the part of Death. But the truth is he's not in any kind of movie. And he makes music. He makes life. In the days we know little about, the days when history was sung rather than written, those who gave life were called heroes and kings. Ultimately they were called gods. The ritual elevation to gudhood was called apotheosis.

Now, when strangers are brought together at early morning hours by the whimsey of bus depots they still recount the story of how Johnny Winter came to be known. They talk knowingly of the article that appeared in Rolling Stone — the article that told of the Texas music scene in general. It mentioned Johnny Winter in particular. It indicated that he was magnificent beyond the limits of mortality. And then the words Steve Paul are uttered. They tell of how Steve Paul walked out of his New York night club. The Scene. hailed an aeroplane and flew to Texas to find Johnny Winter and bring him to New York to make music and add more life to his scene.

They tell each other of how Steve Paul became Johnny Winter's manager. The record companies fought for the right to record Winter. He and his grout. ultimately signed with Columbia Records. He appeared at the Filmores East and West. rehearsed in rural New York State area and eventually made prestigious public appearances making a lot of friends and money. Buses come into the depot to bear the spreaders of legend to distant parts of the land. There is momentary silence. A dime falls into the juke box (click) and the telling of the legend begins again. Johnny Winter tells a variation of the story. He tells of how he learned to feel blues and how he became unknown and how he was discovered and how he is now.

"I never really felt strange about going Into the black clubs and being in there if the people didn't feel strange about having me in there. In most cases they didn't seem to. There was never one incident. Maybe somebody would say something. There was never any real incidents. Maybe, once in a while. a black chick would ask me to dance just because she'd think, 'well this white cat coming in here. I wonder if he really likes us.' I'd be there listening to the music and not really wanting to dance anyway. If she were a white chick I wouldn't want to dance because I only wanted to hear the music. But instead I'd feel obligated.

That's the only kind of incident that would come up." But Johnny did have some problems with the owners of the clubs he worked in. 'These people had the P.A. control behind the bar sometimes and they would turn it up loud as they wanted. If they thought the band was too loud they'd turn the vocal down so you'd have to play quieter. I'd walk off the bandstand and do horrible things. I also knew club owners who would pick records off the radio and say 'you've got to learn this one next week.' And I did. You had to do it or starve. It was either do that or work in a filling station. "But the way things were going the other guys in the band had it worse than I did. Because I lived with a chick that was working regularly.

She didn't make a lot of money but she made 575-100 a week and I made money and I had a little money that I saved up that I had in the bank from when I was doing well. "We had an old Packard hearse, an old '52 Packard hearse that we have to get fixed up again. It's in Austin. It's a great car. People really, really, really couldn't believe us driving this big old hearse around Texas. Most of our money just went into keeping the car rolling, gas and other things, but it really wasn't as bad for me as it was for those two guys. That's why I hate to see them getting all the criticism. Like people ignore the fact that we're even a band. It's like Johnny Winter.

"At the start, the name of the band was Winter and it was a complete thing we were doing together. Now people are saying, 'Johnny Winter and the two shitty guys that are hanging on.' That's not right because the sacrificed even more than I did. They hadn't been into blues as long as I had. "As soon as I turned them onto blues they got excited and began to learn. I'd play records for them and they were getting into it, too. I played everything I had for them like a lot of Muddy Waters' things, Robert Johnson, Little Walter and just samples of B.B. King.

I'd say 'this is a good example of Chicago Blues and this is a good example of Delta Blues'." Every once in a while. Johnny ventured forth from Texas to seek his fortune. "I'd gone to England once and I was going to go back to England and work over there recording and working over in England. There was a local company that was offering several thousand dollars for me to sign with them, like five or six thousand dollars. At the time, we had nothing. You know like from nothing to have somebody say here's five thousand dollars. Finally it got up to where it was going to be like 10. maybe 15, I can't remember exactly.

"But they'd say things like. 'Well, you can have all the control over the tunes but we can't put that into the contract because what if you get in there and you just go crazy. We've got to have some controls and it's just got to be that way.' And I didn't want that. I knew exactly what I wanted because I've been screwed so many times. These people figure 'you're a musician, man. but I know pe-ple and I know what's going to sell. I know what people will pay money to hear so you should do it my way. You're the musician and I'm the business guy so I know better. I thought that I knew better and I didn't even care if I didn't know better.

I still wanted to do it my way. "I've been screwed a bunch of times. Everybody I ever recorded for said 'Listen to this record by Bobby Darin. Listen to how the drums go. And listen, man, this one sells a lot of records. Copy this and write your own words to it and it'll probably be a hit because so-and-so did it last week and this is real big on the charts and this is the sound that's happening now' and all that stuff that, you know, I hated. And I dedicated myself to never doing that again. And I was very wary of it. I just wasn't going to have a manager.I already turned down a lot of things because people would do that.

And I didn't think I'd have a chance to do things exactly the way I wanted." So. back to Texas and back to everything as it was. until that Rolling Stone appeared. And then Steve Paul appeared. "I thought he was a nut. I thought he was crazy. Down there all the people act like him. Steve's a big hype person all the way. He comes on that way. The big hard sell. You gotta come to New York play at my club and well do all this for you' — and the people who ran things down there were short-haired, older people and the people like Steve screwed up. I didn't know what was true. I'd heard of the Scene. I heard of Steve Paul and I really was at the point where I really didn't think he was real.

"I thought he was lust some nut who had read the article and told me he was Steve Paul. I really didn't believe him. I was already supposed to go to San Francisco and I had already promised to go there and work the Matrix and Steve would say 'you've got to come to New York now. First.' And I told him I can't do that. I'll come to New York later. I planned on going. I figured I didn't care how much of a nut he was. If he's going to give me a free plane ticket. I'd go for that. "Hut when I got to San Francisco. he'd call me at places where I had no idea he could find out where I was. I would be eating somewhere and get a call from Steve Paul. And he'd give me the same stuff.

'You got to come to New York. right now, man. It's very important because this week there's going to be a lot of people at the Scene because Hendrix is there and you can jam with him and it's really important that you go right now.' " "I said leave me alone. man. I'll come when I can. He'd bug me every day and talk for an hour on things that I didn't care about. He was telling me the same things over and over. 'You got to get up here. You got to get up here.' I told him I was coming later when I could. I went back to Texas and things worked out so that I could come and I figured I'd go there and see what he could do.

"I didn't really want a manager because I wanted to do everything myself. I figured I'd go up there and chock It out and at least get him off my back so I could say I've been there. And as soon as I wont there. just immediately. I realized that he would do what he said and another thing that I thought he would do that I really didn't want him to do Was try to tell me what to do, how to play and if you wear a red shirt they're going to like you better. and how to commercialize and how to set up for the kids. And he didn't do that at all. He didn't try to make me do these things. Everything he did was natural. If I didn't like it. he'd leave me alone. If I said 'I don't like this it isn't really me.' he'd immediately quit.

"Right away in the first two or three days I knew it would work great. Like, in San Fran-cisco. people liked me just as much as they did in New York. But yet I didn't get any press. Nobody was there. When I was with Steve he took me to Fillmore.' lammed. He did business type things like making sure the photographers were there, making sure the press was there. making sure the right people were there to hear me which is not hype. It's lust good business you know. Well. It's hype in a way but it's not dis-honest. "Hell. I've been playing for ten years and nobody would even listen to me. You got to do someting. You can't sit there hoping.

You got to go out and force them to hoar you. If they like, it. okay. If they don't. "He didn't bother me. He didn't mess with my music at all. We work together real well. And I think he was everything he seemed to be and It's been greet. We have a good re-lationship." And even before the news that Columbia Records paid somewhere between $300,000 and $600.000 the journalists of the land paid court to Johnny Winter. "I've been wanting to say things for ten years and I haven't had a chance to. You know it's great, man. It's not a drag for me at all. It's great that I have people who want to listen, just things like this kind of talking is great for me.

After ten years of talking and having everybody think you're crazy." When the record was made. one of the musicians who augmented the basic trio was Edgar Winter. Johnny's brother. "Edgar is an excellent musician. He's much better than I am technically but we're into such different things. Blues is not commercial and all. but it lust happens that what he's doing is also not commercial. I don't really know what he wants to do. He's never had a chance to do what he wanted. "I'd like to give him a chance to do the same thing that I did. lust have him come up and not have to play with me. Thai would be horrible to have him play stuff that he doesn't want to play.

It would be great if I could help him get musicians that he really enjoys playing with. I think I can because of the whole big deal—albino freak making it—and here's another one so everybody in the record business can't wait to pick up on it. 'That's one thing that almost pisses me off. I was never bitter about the fact that I was different that I had a hard time 1 never felt like 'poor me. why did this happen and all that stuff.' It never really bothered me. And now there have been several things written about me—The world is ready for any freak. any freak can make it' — just because I'm albino and look strange. Now it's supposed to be such a great and wonderful thing.

The magic in the music doesn't really make any difference. "lust because I'm weird people are ready to pick up on it. And for so many years. I didn't make it. especially in the old days of all the teenie hopper regular good looking beach boys. Can you imagine me in that bag. I didn't mind putting up with it all those years. How can people say it's an advantage now and I'm making it now because of that. It's a disadvantage again because people think that's the reason I'm here and that's the reason instead of appreciating the Music. "I'd hate to make it like that because I don't see myself as a Tiny Tim person that's just putting on a show or are there lust be. cause I am a freak.

It's just something that's there. Like some people are black. I want people to like me for my music and for what I do and lust dig that more than anything else. "I consider what I do just talking to people just a conversation. I can't perform. One thing I'm really horrible at and can't do is perform. is act. Like when you walk out there with a big smile and say 'hi there.' It used to be the big thing in the clubs where you are supposed to make everyone happy and keep them drinking. You know. 'water up folks. Last call for alcohol.' I can't do that. If I'm hating something I act like it. If I'm happy. I'll jump around and scream and do all kinds of things.

I can't put it on. It's impossible for me. I just can't. "Whenever I've tried to do it it seemed to me so ridiculous. I know people say the music business changes you. It can't change me. I know what I could do. I play guitar good. I sing good and I do good blues." Two strangers share a table in a night-time neon cafeteria. The coffee steams into the vacuums of their mouths and then words tumble out. Words about life-giving dynamite blues man Johnny Winter. And In the pleasure of these words are the simple truths upon which legends are built:

he plays guitar good; he sings good; and he does good blues.

 

Friday , Saturday 5 & 6 September 1969 Grande Ballroom , Detroit

Johnny Winter, Sky

7 September 1969 Kleinhans Music Hall , Buffalo

The "Blues Show" with Johnny Winter (source: The Daily Messenger Canadaigua)

Tuesday 16 September 1969 Delta Democrat Times, Greenville Mississippi

It really never died for Blacks: "Blues hitting white Youth" by Hollis I West, the Washington Post.

WASHINGTON— The white youth of America have picked up a new fad—playing the blues. Shaggy-haired kids in the cities and small towns are learning their guitars. No longer do American youth look to Broadway as a madel for weal stylings. The new demo-gods are gnarled black blues singers who paid their dues in the tangled maze of this country's racial mores. This new interest has been Called a "rebirth of the blues." More accurately, though, it should be referred to as an awakening, for the blues has not died in black communities. The gospel influenced sounds of soul music, or rhythm and blues, may have superseded the blues in popularity in the urban ghettoes, but black Southerners still like their blues in large doses.

More. than anything, perhaps, this widespread popularity of the blues among whites is part of the youth revolution of our time.The young arc trying not to be confined in the kind of Jack-in-the-box thinking about race and sex that their parents accepted. For many of them, the blues is not back alley music played by loose-maraled blacks. Their curiosity about the blues may represent a blessing and an act of folly and cruelty. The blessing is obvious, Forgotten blues performers who never would have seen the light of a commercial day without the blues awakening have been brought out of obscurity and are earning enough from their music to support themselves.

Too often in the past, they earned their bread by driving cabs, sweeping floors or working as domestics, Now they are Listened to in concerts and night clubs with reverence by young whites. The cruel Irony of these developments, however, is that the black bluesmen, the pioneers and originators, always find themselves in the second billing position an programs with white bluesmen whose expressions are a pastiche of black styles. And the difference in money paid to blacks and whites is so lopsided that it staggers the imagination. Janis Joplin, ballyhooed for the last year as the top rock star, is given space on the Covers of the national slick magazines and earns 10,000 dollars far a night's concert work.

But Willie Mae Thornton, one of Miss Joplin's stylistic models, remains in the financial minor leagues, earning in a year what Miss Joplin may make in several days. Compared In her model, Miss Joplin is a poor excuse for a blues singer. She is probably well on her way toward ruining her voice under the strain of trying for the harsh, raucous sounds that black performers use naturally. The publicity given to Miss Joplin's career has riot been equalled until Columbia Records helped bring Johnny Winter on the national scene earlier this year. Winter, a crosss-eyed albino from Texas, has immersed himself in a variety of styles, to none of which he - has brought any originality.

Journeys the imitative route through the music of Ray Charles, Muddy Waters and Howlin' Wolf. Despite the absence of a fresh musical approach, Winter was signed for one of the most spectacular contracts in the history of the recording industry — an initial fee of 300,000 dollars and a long term contract calling for 600,000 dollars. B. B. King, the most creative bluesman on the current scene, has not seen such money for a recording contract. Record company officials know a good thing when they see it. They recognize the music of Johnnie Taylor and James Brown cannot be sold en masse to white teenagers because It lies ton,, much blackness.

Exceptions can be made for the watered down black sexual imagery of Jimi Hendrix, who has surrounded himself in an absurd melange of electronic sound and guitar buntings, or the Chambers Brothers, a mediocre former gospel group that sings a pallid combination of soul and rack. Tine general rule is to sell white groups that are engaged in a latter day version of black race. the artistic product be damned. Indeed, it Janis Joplin and Johnny Winter were black, they probably would have never gotten into a recording studio. As nue record company official casually, put it, "You know this is something out of our hands. Whites have been taking black music and diluting it for years, and then making the big money on it"

This is an important part of the history of American music and there is little black blues musicians can do about it. Avantgarde black jazz musicians solved a similar problem by enveloping their music with so many Afro-Asian influences that it would be completely outrageous for while musicians to imitate them. This avenue is not open to bluesmen who must keep their music simple, for the blues cannot incorporate outside musical influences as easily as Jazz.

 

Saturday, 27 September 1969: The Johnny Winter Story

On Saturday, 27 September 1969 "The Johnny Winter Story" a compilation of early tracks cut during his days in Chicago, and released by GRT peaks US #111

3 October 1969: Massey Hall,Toronto, Canada

Opening act for the Johnny Winter Show was the local band: Whiskey Howl

Creem: November 1969

An article on Johnny Winter by Dave Marsh

Creem magazine 1969

 

12 October 1969 New York Times

A newspaper advertisement announcing the Bill Graham presents in New York - Johnny Winter, Chicago, Blodwyn Pig and the Joshua Light Show at Fillmore East, second avenue at sixth street

Saturday, 25 October 1969: Boston Garden, Boston, Massachusetts

 

Saturday 1 November 1969 Corpus Christi Caller Times

Mary Campbell writes Blues Guitarists Happy but Remembers and is writing on the return of Lonnie Mack

The promotion man for Fillmore East chose Johnny Winter knowing that critics would turn out for Winter and believing that of the two blues guitarists, Lonnie Mack was better than Johnny Winter, and would be compared and discovered

By MARY CAMPBELL LONNIE MACK is, back. He's happy to be back and yet he's nostalgic for where he's been. Blues guitarist Mack in 1963, at age 22 (born in a log cabin near Harrison, Ind.,) and influenced by a blind gospel guitarist (Ralph Trotto in Aurora, Ind.), cut his first rec-ord, "Memphis," for Fraternity Records in Cincinnati. It became a big hit and Mack thought, "This is easy." He was wrong, More recording produced no more hits. He got a group together and they started playing one-night stands, wearing out two cars a year driving themselves around, pulling their equipment in a trailer. After three years of that, they stepped up to playing one and two-week engagements in obscure locations for a couple of years.

They were playing in a converted airplane hangar in Fort Walton Beach, Fla., last summer, when Elektra Records sent a producer down to hear them. Somebody at Elektra had read a belated rave review of the LP, "Wham of that Memphis Man,', which Fraternity had brought out after the single. ELEKTRA immediately signed Mack, and he has two LPs out for the company, "Glad I'm in the Band," teamed with his drummer Ron Grayson and organist David Byrd, and "Whatever 's Right." Also, a promotion man played some tapes for Bill Graham, who said he'd book him at Fillmore West with anybody. The promotion man chose Johnny Winter mowing that critics would turn out for Winter and believing that of the two blues guitarists, Mack was better thar Winter, and would be compared and "discovered."

Tin reviews fulfilled his hopes Mack, Incidentally, had never heard of Johnny Winter. Now, Graham 's booking agency, Millard, is booking Mack in the major rock palaces across the country. "Now I'm a success, I wear workshirt," says Mack in his calm voice. "All I need now Is a laundromat. It's a lot easier this way than having to worry about getting suits cleaned and pressed, and getting razor cuts and all that hair spray. Now, I haven't really combed my hair in eight months, I think." MACK USED to play one-'lighters in buildings left from the era of the touring big dance and jazz bands. "It seems like every little town in the Midwest has got a big ballroom, beautiful places.

Nowadays a trio, with ampl-fiers, can make more noise than a 30-piece orchestra could. We could drown out Glen Miller, "One time we were booked in Hatfield, Minn., and the booking agent said, 'It's not on the map, so just get close to there and ask somebody.' We got to the town supposed to be next to it and couldn't n find anybody who knew it. There were only four or five a streets going out of town, so t we'd go down each one for 10 miles, looking at the signs. Finally we got to a handpainted sign saying Hatfield was one mile. It was a gravel road; there wasn't any blacktop, not even in the town. The only thing there was a bar, a church and a big ballroom, and the place was jammed.

"I would really love to go back and play Hatfield. •"Everything was so non-organized those days. So in many towns I went into, I'd drive up to a filling station gand say, 'Where is Lonnie s. Mack playing tonight?' and 1- they'd tell me. We just knew the town it was in; didn't 'a know the name of the place." it Mack says, "That driving gets tiresome. You think you'd id like to settle down, but I get in one spot and I've got to get out of again. se "As far as success goes,I really like where I'm at now, but really the other place is me. We were making pretly good money and getting to see a lot of the country. You go in because you like to play, and you play, and people enjoy it, and you feel good about your-self.

"Maybe 10 years from now, my attitude will change, but I don't think so. I think those will still be the best. memo-ries."

Thursday 6 November, Friday 7 November and Saturday 8 November 1969 - Raccoon Creek Rock Festival

Livingston Gym, Denison University. Leading acts: The Who. The Spirit and Johnny Winter. Supporting acts: Owen B, The Dust

14-15 Nov 1969 - Fillmore east.

Johnny Winter performs two nights at the Fillmore East

Johnny Winter Bloodwyn Pig
Blue Johnny Winter

Johnny Winter was the man of the night his southern slide, twang guitar style is so very cool and unique and you just must hear rock and roll hoochie coo the man served up some hot and spicy texas blues and sheer rock sweating passion as with the other musical selections just smooth tight harmony  this mixed with the raw real abandon as you can see in his pictures it was just he and the band with the music they were playing for that time the whole of his world was right there on that stage a "true natural force of nature loose in this house of music that was and is Johnny Winter" Then came something and someone I could hardly believe the man introduced his brother Edgar I think I remember him saying this is his new york debut but in all truth I was so blown away by Johnny all I was thing now their are two of them how can this be that thought didn't last long because the man came out like the best professional of the day sat at the organ and with that band and his brother at the helm, they rocked the house down and I do indeed mean "some down with it all rock and roll" as Edgar moved to other instruments, sax, organ etc. and is a virtuoso with each as he sang while mixing in textures in voice and music performance, truly gifted young men, a night I still don't want to forget.

 

16 November 1969 New York Times

Mike Jahn reviews the concerts of Chicago and Johnny WInter at Fillmore East, New York

Chicago is in short a good band but somewhat nondescript when compared with the other popular jazz-rock bands. Friday it was completely overshadowed by Johnny Winter and his band.

Full transcript of this review by Mike Jahn

CHICAGO, WINTER AT FILLMORE EAST Blodwyn Pig Also on Bill of Jazz and Blues Rock By MIKE JAHN Chicago, a jazz-rock band from that city, played Friday and Saturday at the Fillmore East on a bill with Winter, the blues-rock band, and Blodwyn Pig, a British group. Chicago was previously known as the Chicago Transit Authority and C.T.A. It consists of Robert Lamm, keyboard and vocals; Peter Cetera, bass and vocals; Terry Kath, guitar and vocals, James Pankow, trombone, Lee Loughnane, trumpet; Walter Parazaider, woodwinds, and Daniel Seraphine, drums.

The group plays mostly its own material. Its songs tend to be long, with rock-oriented vocals at either end and long, jazz-flavored instrumentals in the middle. The original material is interesting, but nothing special. The group's best song on Friday was a remake of the old Spencer Davis Group number, "I'm A Man." Horn Section Dominates Chicago has been better in previous appearances here. The horn section, which tends to dominate, is capable but un-distinguished. The group did nothing that couldn't be done more excitingly by Herb Alpert & the Tijuana Brass, which is not known for its contribution to the history of jazz.

Chicago is, in short, a good band but somewhat nondescript when compared with the other popular jazz-rock bands. Friday it was completely over-shadowed by Winter. That Texas band is led by Johnny Winter, a lean, phantomlike blues guitarist with a tremendous capacity for embracing that bridge where country blues picks up its feet and becomes rock. The group was joined lately by Edgar Winter, Johnny Winter's brother, who plays keyboards, alto sax and drums.

On Friday the former played a spectacular simultaneous solo on two sets of drums with John Turner, the regular Winter drummer. The other member of Winter is Tommy Shannon, bass.

28-29 Nov 1969 West Palm Beach festival

Thanks giving weekend in 1969. It was at a drag strip outside of West Palm on the way to Okechobee (sp?). The band at that time was Johnny, Edgar Winter, Uncle John Turner and Tommy Shannon.

At that time, Columbia had released Johnny Winter and Second Winter. This was prior to JW hooking up with the McCoys. Johnny played all three nights with Edgar, Uncle John, and Tommy Shannon. He wore a black outfit that looked like a Wyatt Earp or Jesse James type outfit and stalked the stage ripping his guitar

Among others, Grand Funk played three nights also. The show featured Iron Butterfly, King Crimson (Robin Fripp and Greg Lake), Jefferson Airplane, Rotary Connection (Minnie Ripperton), PG&E, Rolling Stones, Vanilla Fudge, Janis Joplin and Her Full Tilt Boogie Band, and others. On the third night, Johnny played, then Vanilla Fudge played followed by Janis. Afterwards, the announcer said, Johnny wants it, Janis wants it, and the Fudge wants one. All three bands came out on stage and jammed. Edgar jammed with the drummers, Snooky Flowers, Janis' sax player, and with the organist from Vanilla Fudge. Tommy Shannon (SRVaughn's Double Trouble Band) jammed with both bass players and Johnny jammed with the guitar players.

But the top of the show was Janis and Johnny doing some good ole scat singing Texas Blues style. Johnny jammed with the guitar players and scatted with Janis, Edgar jammed on drums with the other drummers and on sax with Snooky Flowers, etc. It was a unusual and wonderful thing.

 

Johnny Winter in December 1969

 

3 December 1969 Oakland Tribune

In the column "Guest Album" , Dan Farte reviews the recently released "Second Winter". The transcript of the review follows

Today's column, a review of Johnny Winter's latest album, is by Dan Forte of Hayward. Readers are to submit reviews of their favorite pop albums or interviews with entertainers to the column each week. Those whose columns are published will each receive a copy of a recently released stereo pop album. Address all correspondence to: Guest Albuia, Teen Age, Oak-land Tribune, P.O. Box 509, Oakland, 94641.

"Second Winter" by Johnny Winter is literally an album and a half. As Winter explains in the liner notes, the group recorded an excess of material, planning to leave off anything that didn't satisfy them. In the end, all 11 songs were included, but put on three sides, because squeezing them all onto one record would have lost volume. As Winter stales, "We couldn't honestly give you more, and we didn't want to give you less, so here is exactly what we did in Nashville — no more and no less." "We" is Winter's group, which has now apparently added a new member. Johnny's older brother, Edgar, who was used to augment a few cuts on the first Columbia album, plays alto sax and keyboards.

The other members are Uncle John Turner en drums and Tommy Shannon on bass — both great instrumentalists. Winter plays lead mandolin and handles all vocals. All members are from Texas. "Memory Pain." minus Edgar, is an old blues which Winter has speeded up. This cut immediately displays the togetherness of the group. "I'm Not Sure," with Edgar on harpsichord, seems confusing at the start. but after a short "hoochie koochie" type of break, the group goes back to the original tempo, and gels going a lot better. "The Good Love" has its composer, Dennis Collins, on bass. This cut features Johnny using a wah-wah pedal, and shows influence of Jimi Hendrix.

Side two shows another side of Winter, with three old rock and roll tunes. "Slippinl and Slidin' " and "Miss Ann" both written by Little Ri-hard, don't come across very well. The group is more than competent in this field, but Johnny's singing is an attempt to copy Little Richard. It would have been better if the group had done it in Winter's style, like the next track, "Johnny B. Goode," On this cut the group doesn 't try to said like Chuck Berry, as the Rolling Stones and other groups have done. This is easily one of the best cuts on this album. Another great one is Bob Dylan's "Highway 61 Revisited."

This is a hard - driving blues with some of the best slide-guitar ever, It far impasses the original. Side three opens with "I Love Everybody," a Johnny Winter original. as are all songs on this side which features "I'm Not Sure." This is a fine blues, slightly reminiscent of Muddy Waters' "Two Trains Runnin'." Similarly, "Hustled Down in Texas" is close to "Got My Mojo Working," also written by Muddy Waters. Johnny again uses a wah-wah pedal, plus some fuzz effects. "I Hate Everybody" shows the group's talent in still another field — jazz. It features great guitar work by Johnny, and a few saxes and an organ played by Edgar. It continues into a drum introduction for "Fast Life Rider," which is minus Edgar.

Shannon plays some great, fast bass, and Red Twiner pounds out powerful driving drums. Stereo speaker switching makes it appear as though two guitarists are trading riffs. The song lasts more than seven minutes, and Johnny, aided only by drums throughout much of the song, shows why Mike Bloomfield once called him the greatest white blues guitarist, Personally, I doubt if any blues guitarist — white or black — could carry his pick, if possible, Winter has out-done his first Columbia al-, and also "The Progressive Blues Experiment" on Imperial. It's too bad there isn't a fourth side, but these three sides are plenty. Besides, another side would raise the price.

Saturday, 6 December 1969: Second Winter

Johnny Winter's album: "Second Winter" reaches position 55 in the Billboard charts

 

11,12,13 December 1969 Boston Tea Party

Johnny Winter, Sons of Champlin, Ten Wheel Drive perform at the Boston Tea Party on Lansdowne Street

Poster of Johnny Winter at the Boston Tea Party contributed by http://www.itsonlyrocknroll.com

Friday, 19 December 1969: Madison Square Garden

Janis Joplin with guest apperance from Johnny Winter

Janis Joplin Gives A Rousing Display Of Blues and Rock

By MIKE JAHN

Janis Joplin, the Texas-born girl who has become one of the leading blues and rock singers over the last two years, gave an excellent performance before a near-capacity crowd at Madison Square Garden last night. Miss Joplin, a shouter of great energy, emerged a year ago as a solo performer with her own six-piece backup band after first coming to prominence as lead singer for a raucus San Francisco rock group, Big Brother and the Holding Company. When her new band was first heard, its main fault was that energy was being sacrificed for precision. The raw, bursting-out blues of Miss Joplin seemed inhibited by an often colorless group of musicians.

That criticism did not apply last night. At the Garden, Miss Joplin's accomplices gave a powerful and spontaneously happy display of brass blues and rock, and she let herself go in a very exciting way. Despite some problems with the vocal amplification system early in her set, she sang lustily and loud, on such material as "Bo Diddley," an old rock song, and an original blues of undetermined title written about the experiences of a hip-type in Texas. For this she was joined by the guitarist Johnny Winter, another Texan who has come to light lately. They played and sang a long duet, which grew into an informal jam session with Paul Butterfield, whose blues band shared the bill at the Garden with Miss Joplin.

Exact date in 1969 unknown: Memphis Blues Festival

Johnny Winter jams at Memphis Blues Festival 1969
 

A promotional ad from 1969

Johnny Winter Promotioanl Ad 1969

27, 28, 29 December 1969 Blythe Festival California

Saturday 27 December 1969 Charleston Daily Mail

Report on the "Hollywood Rock Festival" with the heading "Rock Event Opens With Camp Fire"

HOLLYWOOD, Fla. — The Hollywood Rock Festival, featuring 72 continuous hours of music and an appearance by evangilist Dr. Billy . Graham and 150 other clergymen, opened early today. The music began at midnight Friday in 50-degree weather for 1,500 rock enthusiasts who had paid as much as $20 a ticket for the entire 72-hour.show. Rock groups included The Turtles and The Amboy Dukes played during the early morning hours while some in the audience enjoyed the show from tents they had pitched on the festival grounds or from around camp, fires. Others scheduled to play during the festival included The Grateful Dead, the Vanilla Fudge, Canned Heat, The Paul Butterfield Blues Band, The Bands Johnny Winter, blues guitarist B. B. King and something called The New Japanese Anti-Sterility Movement. The Rev. Graham and the other clergymen were scheduled to appear Sunday to speak and mingle with the crowd.

In a telegram sent to festival promoter Norman Johnson this week, Graham said: "I really dig this generation of young people-,they are great" Local police had devised elaborate measures to keep order on the grounds and prevent the use of narcotics. The Broward County Commission last week passed an emergency ordinance allowing sheriff's deputies to stop and frisk festival goers without the use of warrants. However, police made little use of the emergency measure in the festival opening. They also ignored the pitched tents and camp fires which also had been banned.

Newport Daily News

Three day Rock Festival Opens Florida City, expects 35000 fans

Rock News 1969 - information I gathered while researching Johnny Winter's career

In 1969 a musician called "RAINBO" released the song "John You Went too Far this Time": critizing the album cover of John Lennon's: Two Virgins, A newspaper from "Fond Du Lac, Wisconsin"

`John, You've Gone Too Far' Lennon Album Nudity, Not Art By RICHARD ROBINSON NEW YORK

John Lennon and his love, Yoko Ono, may have created a money-making sensation with their "Two Virgins" nude album cover, but from one 18-year-old Beatles fan the word is "John, You've Gone Too Far This Time." Her name is Rainbo, and her comment about John is the title of her first record. "It's not art. It's just a dirty picture," said Rainbo, brushing her blond hair back to let her green eyes sparkle. Apparently, many Beatles fans agree since the record is creating a sensation in many parts of the country. "The record isn't really putting him down," explained Rainbo. "I still love him, but he still went too far this time."

Originally from Texas. Rainbo came to New York City several months ago to visit her cousin Rip Torn and his wife Geraldine Page. During her visit she met a record producer who asked her to record the song about John. After hearing the tune, she agreed. Although she's upset with Lennon's photo, Rainbo doesn't nix all nudity. "Somebody could come along and use nudity and there is probably a way to do it if you use it right. But for the fans John has, the teenage girls, it was very tasteless.

 

Los Angeles Times April 1969

Happy Trails. Quicksilver Messenger Service. Capitol ST-120.

Most of thin album is an extended tribute to Bo Diddley which takes the form of a 25 minute 22-second version of his "Who Do You Love" and a nearly 7-minute arrangement of "Mona.' Much of the album was recorded live at the Fillmores East and West, but the engineering and production are so good that it is nearly impossible to distinguish between the studio and remote sessions. The San Francisco quartet 'weak vocally but their extended instrumental improvisations — particularly the lead guitar are imaginative and tastefuL —P.J.

The Bill Anderson Story. Deer DXSB 7198.

This two-record set, complete with four pages of background notes and photos, is an excellent showcase for one of country music' biggest stars. Though his voice tends be too "whispery* and sentimental Anderson is a fine writer. Examples "City Lights." Still,"Tip of the Fingers," "I Get the Fever" and "Once a Day." Nicely packaged. —RH


Cold Shot! Johnny Otis. Kent KST 534.

Not rock, not pop; just the stone soul blues, never over-emotionalized, with no "modrun" appurtenances. Otis sings and plays drums, piano and vibes, but his most startling contribution is the debut of his 14-year-old guitarist son Shuggie Otis, who must surely be the re-incarnation- of some ghost bite strummer of the 1930s. Another luable discovery is Delmar 'Might Mouth" Evans, an assertive bluesbod from the bayou. One track, 'Countr yGirl,' is already a hit single. The lyric of "Signifyin' Monkey' deserve an rating--no one under 16 admitted. —L:F

Elephant Mountain. The Young-bloods. RCA. Victor LSP-4150.

The Youngbloods are one of the best American rock groups, though their success has never matched the extent of their talents. Their third album, like its predecessors, contains some very good music and outstanding vocal performances from Jesse Colin Young. The material is not as strong as the selection on their first LP ("The Youngbloods," RCA Victor LSP-3724), with the exception of 'Darkness, Darkness' and 'Quicksand.',Beneath those peaks, though, is a series of tasty performances of nice songs. Jerry Corbitt left the Youngbloods while this record was being made, but their diminishment to a trio has not adverse-ly affected their rich sound. —P.J.

The Holy Land. Johnny Cash. Columbia KCS 9726.

Only an artist with the strength and integrity of a Cash could have succeeded in such a daring (both commercially and musically) album. Cash, who had been wanting to do a Holy Land album for a long time, visited Israel last year, recording his impressions on tape. After returning to Nashville, he wrote and recorded some songs to complete the album. It's a long way from Folsom Prison (his last album), but it is further testimony to his talent. His own compositions include "He Turned Water Into Wine and "Nazarene." Also included is his current hit, 'Daddy Sang Bass." Re-markable effort. —ROBERT HILBURN

Soulful. Dionne Warwick. Scepter 573.

The Memphis Sound is a noose around Miss Warwick's tonsils. With a couple of exceptions ("I've Been Loving You Too Long," "People Get Ready") the songs and arrangements are hackneyed and unworthy of her. The drummer, in his grimmer moments, sounds like a disturbance along the San Andreas fault. In short, the idea of an r & b LP at this stage in Miss W.'s life was a goof. Who needs 'Hard Day's Night"? Bacharach,,come back! —LEONARD FEATHER

19 July 1969 Charleston Gazette

During an interview Bo Diddley comments on white blues musicians copying his sound

In the beginning...
`Hey, Bo Diddley, where you been?'

If it's ever written, the definitive treatise tracing the roots of rock might well open with this simple assertion: "In the beginning was Bo Diddley." Diddley, whose true blues roots reach hack to the Mississippi Delta, ranks indisputably with Muddy Waters, Little Walter, Nowlin' Wolf and B. B. King as a primary influence on the host of young white artists who have processed raw blues into a highly marketable musical commodity. And while the Diddley imitators and plagarists collect gold records and monopolize the television guest lists on the strength of meteoric flashes to stardom, the master himself grows old and admittedly bitter as he continues — to use the argot of the music business — "paying his dues."

Bo Diddley came to Charleston Thursday night to gig for Phil and Mike Corey at the Checkmate. He arrived a little late, his road-worn Cadillac limping in off the turnpike with a blown transmission. Rut the Checkmate crowd had come to honor a legend. They waited CHOPPING tirelessly downward across the strings of his custom Gretsch, Diddley immediately nailed down the world-famous rhythm figure — his trademark — which has helped make a fortune for two Polish immigrants named Phil and Leonard Chess, owners of Chess Records, Diddley's record label. Charleston's most knowledgeable rock fans, like Powerhouse guitarist Randall Wray, crowded around the stage.

Beyond this tight circle of afficianades a black-lighted tableau of young people — awed in the presence of acknowledged genius - remained poised until the first harsh chord of the Bo Diddley Beat broke the spell and triggered compulsive physical response. The Checkmate throbbed to the same heat which, after Diddley's first records on Chess were released years ago, Dot Records picked up on and transmuted and promoted into a million-dollar sound using white artists. As Bo cooled off after his first set we asked him to comment on the anomaly of a white blues-imitator like Johnny Winter brilliant as he is) landing a fat 300,000 contract with Columbia Records while Bo, Muddy, B. B., of M, plug along doing $300 one-nighters.

"TIES UPSETS me." Diddley admitted. I have seen My ideas stolen and
copied, my songs swiped and my things popularized until the country is so glutted with my style that I can't make a living myself. But I cant change. I've got to do what I've always done. It's me. "Part of my problem is my record company. I have recorded a lot of things they just won't release, while all kinds of junk is being released and selling by the millions. During my career I've been forced constantly to borrow money from my record company to keep going." Some pop experts believe that Bo and the other basic blues artists are about to get their big break, gain popular recognition and emerge as major record sellers.

"I see signs of this." Diddley said. "There are indications that the young white kids, like those here tonight, are getting sophisticated enough to want the real thing. I hope this happens. I've paid my dues." P. S. Bo Diddley has a new record called "Mother Goose Is A Mother." Ray Brack

 

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