The Johnny Winter Story

Johnny Winter timeline in 1971

Johnny Winter Timeline 1971

This page covers Johnny Winter in 1970, use the links below to quickly jump to the year: 1970 , 1971 , 1972 , 1973 , 1974 , 1975 , 1976 , 1977 , 1978 , 1979 .









Johnny Winter positions in the Billboard Charts during 1971


Johnny Winter in January 1971

1st and 2nd January 1971: Pirate's World , Sheridan Street, Dania

Pop Musik Nr 25 (Germany), Jan 1971

Interview with Johnny Winter.

16 January 1971: Melody Maker UK

Advertisement/Announcement of Johnny Winter and Genesis in Watford.


26 Januari 1971 Watford College Union or Watford Town Hall, Hertfordshire, England


31 January 1971: Falkoner Centret, Frederiksberg, Copenhagen


Johnny Winter in February 1971

Guitar Player, Feb 1971

Survey: Short interview with Johnny. Very basic questions : what type of pick do you use...At that time he was playing his Fender Mustang.

Monday 1 February 1971: Konserthuset, Stockholm, Sweden Setlist:

  1. Intro / Tuning
  2. Guess I'll Go Away
  3. Good Morning Little School Girl
  4. Rock 'n' Roll Hoochie Koo
  5. Be Careful With A Fool
  6. Jumpin' Jack Flash
  7. Rock and Roll Medley: Great Balls Of Fire/ Long Tall Sally / Whole Lotta Shakin 'Goin' On
  8. Johnny B. Goode Encore:
  9. Highway 61 Revisited

Below is the setlist/running order is for the radio broadcast of the show:

  1. Good Morning Little School Girl
  2. Rock and' Roll Hoochie Koo
  3. Be Careful with a Fool (Beatifully played with introverted second guitar playing by Rick Derringer extended version and takes around 18mins with verses of "It's my own fault" mixed in by Johnny)
  4. Jumpin' Jack Flash
  5. Rock and Roll Medley: Great Balls of Fire/ Long Tall Sally / Whole Lota shakin 'Goin' on

Tuesday, 2 February 1971: StadtHalle, Offenbach.

Johnny played the "Stadthalle" (city hall) in Offenbach/Main, a town near Frankfurt/Main, support act was Matthews Southern Comfort with Iain Matthews. Iain had just left Fairport Convention and got a major hit in Germany, "Woodstock" (a Joni Mitchell song).

Johnny Winter 1971 Offenbachm Nathews Southern Comfort

New Musical Express, (NME UK) 6 Feb 1971

In New Musical Express (NME a UK music magazine), the 6 Feb. 1971 issue there is an interview with Johnny Winter!

Johnny Winter and Jimi Hendrix

The head line is:


In the text Johnny Winter is quoted saying: "We played together at the Scene Club in New York...the Experience in L.A., and we even did a benefit for Tim Leary at the Village Gate in New York."

Then Johnny Winter talks about how they went into the Record Plant Studios in NY and..."We didn't play any particular tunes. It was just an extended guitar workshop. I mean, you just couldn't show that man anything new. It was just a case of Jimi watching how I used a bottleneck when playing. All I was doing was more or less demonstrating the basic technique to him."

And Johnny Winter goes on: "I guess Jimi and I must have played together for at least two or three hours that day. Now...if someone was to do a professional job of editing those tapes, I'm sure we could get a good album out of them. If they're good, then I'd really like to see them come out for everyone to hear. I know I shouldn't say it, 'cause I'm under contract to another company and all that stuff, but really, I'm not bothered if I don't make a penny from them. It's just that I liked him so much."

Then Johnny Winter goes on and tells an anecdote of Little Richard, when they were together on stage in Detroit with Mitch Ryder: "He wandered on stage, gave me a big kiss, and started singing. Man... he's so flash, but then he's so beautiful."

Then another anecdote about Jerry Lee Lewis when they met again at The Scene Club: "I first played with Jerry Lee way back in '64 when he was touring Texas. I didn't see Jerry Lee again until I came to New York in January of '69 to do a gig at the Scene. Anyway, he remembered me after all that time, but he got real annoyed - just like a father who was p..... off with his wayward son - 'cause he started bawling me out by saying: 'Goddamn it ...where did ya get all that damn hair from? Johnny, ya look just like a girl. For pity sakes, man, whatcha wanna go and do that for? Ya look so pitiful." Johnny goes on: Hey man, you know he got real angry. Then when I said: "But Jerry you were the first cat to have long hair" - he spluttered and go real nasty.

Then he continues about Jerry Lee when he comes off stage (after a successfull show)and starts a bad scene with both Johnny and a young photographer.

Johnny Winter ends the JLL story: "He may be a great rocker, but he's got a truck driver's mentality".

Front Row Reviews

NOT since Creedence Clear­water Revival took the Royal Albert Hall by storm last April have I witnessed such a genuine Ovation as Johnny Winter received when he celebrated his birthday at the same venue on Tuesday evening.

As long as Johnny sees fit to " get it on (his own words) there is no fear of any demise in rock and roll. Loosening up with " Rock Me Baby " Johnny and his band really ignited the atmosphere with "Good Morning

Little Schoolgirl before easing the pace with a slow and superbly played downhome Wuos, a number which I'm sure will silence any disbelievers of Johnny's artistry.

Before the applause had time to subside they were Trashing out the familiar riff of " Jumpin' Jack Flash " and Rick Derringer's " Great Balls of Fire " rock medley which led into a finale of "Johnny B. Goode." With the crowd on its feet they returned for an encore of Dylan's " Highway 61 " but even that wasn't enough as they came out the dressing room once again to play that old standby " Hound Dog."


Johnny Winter Royal Albert Hall 1971

SOUNDS Interview with Billy Walker - printed February 6, 1971

SOUNDS Interview with Billy Walker -

Before Columbia Records signed Johnny Winter the Texan albino had slogged his way through 10 years of music - recording for many labels, playing whatever the club audiences wanted to hear, having to play blues to black audiences because the whites wouldn't listen - Winter finally began to make it, but even then he was labelled as the "great white hype" and just as his band of blues and rock and roll began to gain acceptance he changed the line-up of his band and his approach. Winter and the new band (Rick Derringer : guitar/vocals; Randy Jo Hobbs: bass; Bobby Caldwell: drums), are due to tour Britain this month and after a solitary date here before starting his tour in Scandinavia, he spoke to SOUNDS about his early years, his present band and the future.

Did you start originally as a blues or rock and roll guitarist?

Really everything. In Texas what you had to do was play whatever the people in the club wanted you to play or you'd either get beat up or fired. We played everything when we first started. Chuck Berry was my big idol he was the Hendrix of the fifties. All the guitar players coming up played "Honky Tonk" and "Johnny B. Goode" and things like that. We started doing that kind of rock stuff and there was a strange kind of rock music that Fats Domino was the closest thing to and we did a whole lot of that stuff.

What was it like playing gigs then?

I loved it, I loved it even if I didn't make a penny. I loved just playing to anybody who'd listen, it was great.

Did your brother Edgar start with you at fifteen?

Edgar and I played together before I even got a band. He was three years younger, I was fourteen when I started and Edgar was eleven, but before that Edgar and I had played together, we played Everly Brothers things both on guitar, but he decided he didn't like guitar and started playing piano. In the first band we had piano, sax, bass and drums.

Was there any particular blues artist who influenced you?

Not one in particular, I had a few favourites. I just liked all of it. I was fascinated with blues. I liked Muddy Waters for singing, he's one of my favourite singers. Robert Johnson was definitely the best slide guitarist, Little Walter was definitely the best harp player,Willie Dixon was definitely the best bass player. Otis Spann, they had a lot of good piano players but I liked Otis a whole lot. But they all had different things, how can you compare those? B.B. King was the best of his style. How can you say, it's like trying to compare Segovia with Chuck Berry, you just can't do it, it's impossible. There are a lot of people I was influenced by, I was influenced by everything that came into my ear.

Texas is a tough place, did you have any trouble at gigs?

Sure, all the time. In fact that's the reason why I started using a solid body guitar, so I could hit people with it. I had this old Gibson and all the tuning pegs were bit and wompy-jawed, I just kinda hit people with it, you just had to. They'd come up and say " Hey, I asked for a song", you'd say, " I don't know that song, I'm sorry". And they'd reply, "You'd better God damn learn it or you ain't gettin' out of here," and so I'd remember some of it and they'd come back, "I don't like it God damn it, don't sound like the record. Hey, I gonna smash this whole bandstand up" - and they'd never get up if you hit them with a guitar, they'd never get up. Nobody ever got up, man, swing from the neck and there's no chance.

Were these audiences white Texans? <Ü> Sure, white hillbillys and they were pretty aggressive specially when they drink, a lot of Lone Star beer.

Did you play for many black audiences?

Yeah, I did just for my own personal enjoyment. There was a club called The Raven, it was a black club in Beaumont and I'd go looking and hear people, that's where I met B.B. King and played with him the first time. Bobby Blue Band, Blue Junior Parker and people like that would come in and play and I'd go looking and I was always the only white person in the place but it was fun. I could play blues for those people and they'd like it, but if I played blues for white audiences they'd leave. They totally accepted it, they accepted me because I was the ony white in there and it was scarey and they knew it was scarey for me to be in there, it was great, in fact I felt a lot more at home there than I did in other places. So I would play white gigs to make bread and then go over to the black clubs to play blues.

Do you still come up against the "white men can't play the blues" argument?

Yeah, people say that sometimes. One of the greatest things in the whole world was when I was playing the Fillmore, B.B. King was headlining, it was the first time I'd played anything big. We came to New York and we played and he played and after the gig he was talking to this black chick and she was saying, "You were great, you were great man, but what do you have to get up there with that white boy for? It's a disgrace, you shouldn't be on the same stage as that kind of s_ _t." B.B. said, "Wait a minute", and what was so great about it was that I was standing in a different part behind a post and he didn't know I was there and he said, "Wait a minute, that guy is really good, he's not black, he plays a little different maybe, but he plays good blues, you're wrong," and I almost cried, I really did it was that great a thing, cause I couldn't believe it, it really made me happy. <Ü> Muddy Waters said the same thing, we played in Austin with him before I made it. A lot of theses black people don't know what to expect, they've been playing around all their lives, white people have hated their music and not like it and so all of a sudden after they're old and almost senile, some of them, all these young white kids, are liking it. They don't understand it and they'll try to water down the blues a lot of times and they have some soul songs they do kinda bad like "Outta Sight" and James Brown, Otis Redding stuff because that's what the people want to hear. They got up at this place in Austin and played this kind of stuff and nobody really reacted to it, everybody was dissappointed and I played all these old songs, my version, the way I'd play it and Muddy got up the next set and played great, played nothing but blues and wiped everybody out.

After he got through he said, "Man you play my music the way I played it when I was 25, I'm an old man and I've been playing the same songs every night and I liked that music". But after you play the same songs every night, you just lack something, he's a caricature of himself sort of "Muddy Waters , well I gotta do 'Hoochie Coochie Man', gotta do all this", that's what they expect; it's just a gig and he's an old man and what do you care when you're 60 years old and not a whole lot to look forward to? so he was really turned on because we were young and really excited with the music, put a lot of energy and excitement into it and he said, "You play that stuff the way I used to". And that's what's ridiculous and theses people don't just tell me they tell interviewers that, it's ridiculous I'm playing their music my way and they accept it and love it.

One of the worst things that ever happened was when I played the Memphis Blues Festival because these people asked me to do it. It had always been a black thing and they thought they'd get some white people because they would draw more people and get money for theses old people. I didn't take any bread, it was supposed to be me and every other rock star in the world - Eric Clapton, Rolling Stones, Beatles, everybody - I was the only one that showed up and I got rapped so bad for that because I had a lotta amps. We were playing and this harp player, Johnny Woods came out and grabbed me and hugged me during the set and said, "Man, you Elmore James, you Elmore James" and flipping out, and then when I read about it a year later, this story said that Johnny Woods was amazed and p----d off because of all the amps up there and that we were disturbing the tranquility, all the birds were p----d off and the trees didn't like us. Oh man, it really hurt and it made me real mad too because all I was wanting to do was help theses old people. I got so down on blues purists then, but I really love those who did it, those people are completely disowning the purists and intellectual people that wouldn't know blues if it climbed up their ass, they don't know what it is or anything about it. <Ü> What was the reaction to the new band in the States on the first dates?

We were terrified, we were afraid that we were really going to be put down. It's most weird - look at the McCoys now, there name is completely clear. They're one of the old great rock and roll bands and before they were a a piece of s--t, a bubblegum piece of s--t, and they never were a bubblegum piece of s--t, people just put that label on them. And at that point if I hadn't done something good, if I had just faded out, I would have been a big joke like the Ultimate Spinach and the whole Boss Town hype, and it was really a scarey point. It was a scarey point for the McCoys and for me because they had already been put down by everybody in the world, they really got some good reviews but people just didn't accept them because of "Hang On Sloopy" and people were beginning to feel that way about me because I was playing me, I wasn't playing anything that people expected. I think it was good, it was what I wanted to do but it was really different. And so here we get together two big jokes and it could have been a bigger joke, and all of a sudden everybody accepted completely, "Wow great, Johnny, fantastic, one of the greatest blues guitarists in the world - McCoys, one of the greatest old rock and roll bands, look at it." We were prepared for everything, we were prepared for beer cans and tomatoes, we didn't know what was going to happen but we hoped people would like it 'cause we knew it was gonna be good music.

How important do you think a well rehearsed stage act is?

People want to see something up there. They don't want to see people standing up there, they can listen to the record. They go for a show to listen to good music. That's why they had to put lightshows in all the bands in San Francisco, because you get so bored watching them standing up there and nobody moves, they don't even wiggle their ass, ever. They've got to worry if they get to the next chord on time or not, they can't worry about jumping around, they should be good enough musicians to play well and put on a show. I wouldn't want to see the guy next door up there, you go next door to see that. You want to see someone getting it on, playing good music, it's not demeaning or degrading I don't think. It's really what you're supposed to do. It's showbusiness entertainment.

You wrote a lot of the material on "Johnny Winter And". Do you enjoy songwriting?

I do. On that album the band had just started and we want really to get back and write some songs, because on that album we hadn't written any of those songs for the band. Rick had three or four songs already written and I had three or four I'd already written and we got together and said, "I'll play your songs, you play mine and put them on the album", and it was supposed to be more of a music album. My albums had always been real free-form playing, no songs at all, just jamming and guitar playing. On this album we tried to write songs and play more music than jamming. For the next album that's coming out, it's a live album, it's more like Johnny Winter. Fans still expect a lot of guitar things and excitement and so we've got the live album coming out in about three weeks. It's not like the old band, we do some old tunes and some rock and roll things and I felt it was time for this album. But after this we're gonna get together and write together for the band.

Would you like to spend more time writing and producing?

What I want to do the most is what I'm doing, and I'd like to have more time but I don't wanna take time out from what I'm doing now. I do want to take time out to write a little bit and I wanna produce real bad, I don't think there's hardly any people now that are producing old blues the way they should sound and I'd like to do that. I really would like to produce people like Muddy Waters , Lightnin' Slim, Lightnin' Hopkins, just anybody, because they don't do it right. Now it's a stereo thing and it doesn't come off today. People like Jerry Lee Lewis and Chuck Berry have said that they can't make hit records any more because of the way things are recorded. In the old days you put up a mike in the middle of a room and everybody plays and it comes out a hard ball of sound, not hearing a guitar real clean. Stereo's not realistic, it's a very clinical approach, it's what's being played but not what you hear when you listen to it live, and it doesn't sound like blues and rock and roll - it's not hard enough. With stereo you hear instruments individually and not a big ball of sound coming at you.

Richard Vernon does a real good job in producing that kind of stuff. He's one of the few people I think that does it right. I was going to have a go with him. I'd come to London before I'd made it in the States because I'd been playing for ten years and nothing happened so I thought, "well all the blues is in England so I'll go over there". I took all my old lady's money, she was a beautician, and I came over here and after two weeks I got a deal worked out with the Vernons where I was going to come over here and play and record for Blue Horizon and then things started happening in the States and it was just better for me to stay there. I really wonder what would have happened if I'd come over. It might have been really good, it might have been better.

On the last album you sounded remarkably like Jimi Hendrix on one track. Was this a conscious attempt?

That was Rick messing around with the stuff. He phased things and did all kinds of strange things, I really liked it. The song was, I guess a kinda Jimi Hendrix flavoured tune and it just kinda lent itself to that kind of thing.

Do you think there'll ever be anyone to replace Hendrix?

No, there'll never be anyone else like that.

Can you see yourself getting back to more blues?

Yeah, I'm going to in fact. I'm gonna do some of that, too, on the next record, we're going to do some real rocking-type stuff. It'll be country blues but it might be a little strange, I don't know exactly but it's definitely going to be country orientated, all the blues stuff we use will be, very bluesy.

You don't play much mouth harp now. Do you find it hard to fit into the new format?

No, not really. It's because I forgot. I was concentrating a lot more on guitar because when I first started I was playing a lot of harp, mandolin and guitar and people picked up on guitar and I started practising on guitar a whole lot. Just travelling around, there wasn't time to stay reaaly good on all th instruments. I could have done a pretty good job on everything but I decided I'd rather be a real good guitar player than a mediocre harp man and guitar player. I'm playing slide right now, which is completely different from regular guitar and I was, up until the start of this band, doing pretty much mandolin. Harp is a real hard instument to work with on stage and if you don't keep playing it you don't stay good. I've been thinking about it a whole lot. What we really want to do is broaden out, like Bobby and Randy are thinking of switching on bass and drums and Rick plays pedal steel guitar and I play mandolin and harmonica. We'd just like to have time to get real good at everything we do and have a lot of variety in what we do, put steel guitar in maybe and do country songs or something or maybe do rock and roll steel songs or a blues steel song. We could do all kinds of things, this bands hasn't come close to its potential.


Monday, 8 February 1971 Kinetic Circus, Birmingham

Note: not sure whether this date is correct, see 18 February 1971

  1. Guess I'll go away [briefly cuts in]
  2. Good morning little school girl
  3. Rock'n'roll hoochie koo
  4. It's my own faulty
  5. Jumpin' jack flash
  6. rock & roll medley:
    • Great balls of fire
    • Guitar jam
    • Long tall sally
    • Whole lotta shakin' goin on [with lines of "mean woman blues"]
  7. Johnny B. Goode
  8. encore: Hound dog

13 February 1971 The BIG APPLE, Brighton, England

Johnny Winter. One of the best gigs at Big Apple as far as I was concerned. If you want to hear what they were like then have a listen to 'Johnny Winter And….Live', which was out around that time. They did many songs from that album including 'Johnny B. Goode', 'Great Balls of Fire' and 'Jumping Jack Flash' as well as the classic 'Rock and Roll Hoochie Coo'

1971 Munich

Blond, Schwarz und Silber, Johnny Winter Im Blow Up. This concert took most likely place in 1971 . Transcript of an article of this concert follows below (in German)

Johnny Winter 1971 Munich

Johnny Winter im Blow up

Das Münchner Blow up war gesteckt voll, der Vorgruppe Southern Comfort fiel andauern die Verstärkeranlage aus, für eine halbe Flasche Bier musste man 2,20 Mark bezahlen, und als Johnny Winter endlich auftrat, hatten die meisten bereits drei Stunden gestanden, aber sie standen gern noch zwei weitere Stunden, denn Johnny Winter bewies, dass er mit seiner neuen Gruppe And zu den besten Rockmusikern zählt, die man zur Zeit aus Amerika hören kann. Der Albino aus Texas, weißblonde Haare bis weit über die Schultern, die lichtempfindlichen Augen fast völlig geschlossen, mit gezierten Bewegungen, schwarzer Kleidung und silbernen Schmuck, sieht so grotesk aus, wie man sich einen Narren bei Hofe vorstellt. Früher war er ein Solist, der allein oder mit seinem Bruder Edgar und unauffälligen Begleitmusikern gespielt hatte, ein Exponent des harten, weißen Blues, heute hat er sich ganz der Gruppe integriert, die sich zum Teil aus Mitgliedern der alten McCoys zusammensetzt.

In Rick Derringer hat er einen zweiten Lead-Gitarristen, mit dem er vorzügljch zusammen spielt, ohne, wie das dem Trend der augenblicklichen amerikanischen Pop-Musik entsprechend würde, dieses Zusammenspiel den starren Regeln vorher bis ins letzte Detail festgelegter Arrangements zu unterwerfen. Natürlich, und das glauben alle Stars dem Publikum schuldig zu sein, hatten beide ihre große Solonummer, Rick Derringer einen zerfetzenden Rock and Roll und Johnny Winter einen unglaublich virtuosen und doch nicht synthetisch artifiziellen Blues, wie man ihn von seinen früheren Platten kannte. Der Beat-Schuppen-Atmosphäre des Blow up entsprechend spielte Johnny Winter nur während etwa eines Drittels seines zweistündigen Konzerts die Musik, die man von seiner letzten Langspielplatte her kannte, vitalen, auf lange Dialoge zwischen den beiden Gitarren aufgebauten Blues und Rock. Eingeleitet durch Jumping Jack Flash von den Rolling Stones spielte er den Rest der Zeit und eine ausgiebige Zulage lang harten Rock and Roll, ohne sich viel um die ehemals so starren Regeln dieser frühesten Gattung der Pop-Musik zu kümmern.

Zeitweilig kam beste Jam-Stimmung auf, und dann war es ganz deutlich zu spüren, wie diese Gruppe ihr Zusammenspiel aus dem Musizieren selbst findet und nicht vorher auf dem Notenpapier ausklügelt. In solchen glücklichen Momenten, die es im ersten Teil des Konzertes bei den ausimprovisierten Dialogen der beiden Lead- Gitarren auch gegeben hatte, konnte sich auch das Publikum ganz in diese Musik einbezogen fühlen

Blond, schwarz und silber

Announcement of the Johnny Winter tour of 1971 in Britain

Johnny Winter, The Texas Blues singer and guitarist, is to tour Britain in February 1971 - the first time he has toured throughout England and the first time he has been here with this new grooup

Announcement of Johnny Winter tour in Britian 1971
Announcement of Johnny Winter tour in Britian 1971

Thursday 18 February 1971 - Kinetic Circus

Johnny Winter at the Kinetic Circus, Mayfair with "Dog That People" as supporting act.


Tuesday, 23 February 1971 - Royal Albert Hall - London

Johnny Winter Royal Albert Hall 1971


Record Mirror: 27 Feb 1971

Headline: Jimi Hendrix Death Letter, front page covers Johnny Winter: "Winter packs mall"

Around 1971: Johnny Winter and the Allman brothers.

At the show he saw, the Allman Brothers opened up for Johnny Winter. For the last Allman brothers song of the night, Duane Allman was playing slide on a Les Paul. As the song wound down, all the lights went down except for a single white spot light on Dwayne. The circle of light got smaller and smaller until all you could see was the slide on the neck of the guitar as he vibratoed one long note.
After a few moments, the circle of light began to enlarge again to reveal Johnny now holding the guitar while still holding the same note, and the band launched into his first song!

Johnny Winter in March 1971

Thursday 11, 12 and 13 Mar 1971: Fillmore East

Fillmore East, Johnny Winter And headlined the shows which included: Elvin Bishop, Allman Brothers Band. There was no light show, Johnny vetoed.

The bands have been: Carmel Quinn, Van Morrison, Johnny Winter, Allman Brothers, Elvin Bishop


Thursday 11 March 1971 The Capitol Times

Johnny Winter To Appear Here On March 29

Johnny Winter has been booked for an appearance March 29 at Snoopy's, 103 N. Park St. Winter's blues singing and guitar artistry have received rave reviews from most major music trade magazines as well as popular publications. The co-owners of Snoopy's, Cindy and Jan Klund, reportedly are paying §3,000 for Winter's appearance.


Fred Kirby reviews Johnny Winter, Elvin Bishop, Allman Brothers are Fillmore East March 1971

Smashing performances marked the early show at Bill Graham's Fillmore East 12 March 1971 , the third of six performances of the program featuring Johnny Winter AND, The Allman Brothers, and Elvin Bishop Group. Blues Rock and exceptional Guitar playing were the keynote as Johnny Winter, Rick Derringer , Duane Allman and Elvin Bishop all shone.

The Allman Brothers operating with an expanded eight and nine-man unit were recorded live for Capricorn records. The resulting album should be a beauty judging by their fine set. Greg Allman on organ and piano was excellent at lead vocals. THe guitar work of Dicky Betts stood out as did the tricky playing of Duane Allman, one of the best. Drummer Jai Johanny Johanson and Butch Trucks were assisted by Joe Lala, percussion and bass guitarist Berry Oakley for a strong rhythm section, Thom Doucette harmonica and a saxophonist named Juicy contributed splendidly , especially the latter.

Johnny Winter and Rick Derringer, formerly with the McCoys are two pf the most active rock performers today as they led the Columbia Records group through an exciting set , a combination of Blues and Rock. Strength followed strength , whether it was Winter leading in "Highway 61 Revisited" or Derringer leading in "Great Balls of Fire", Bass guitarist Randy Hobbs, also a former McCoy and drummer Bobby Caldwell also were assets for Johnny Winter AND.

The Three Pointer Sisters belted out Rhythm and Soul numbers with Jo Baker in the solid Elvin Bishop Group set. The four girls helped make the move. Bishop and the other instrumentalists also were first rate for the Fillmore Records Set.

On 13 March 1971, Johnny Winter's first live album: "Johnny Winter AND Live", scores #40 on the Billboard chartsis reviewed in the Billboard Magazine on 13 March 1971 , Page 57 and enters the Billboard charts in position 114.

Tuesday 16 March 1971 The Chronicle Teéegram

Mountain, Black Sabbath to perform in Cleveland

Mountain and Black Sabbath are two of the groups appearing at Cleveland Public Auditorium Friday at 7:30 p.m. The concert, sponsored by stereo rock station WNCR-FM and produced by Belkin Productions also includes Johnny Winter and the J. Geils Blues Band. Tickets are available at all Burrows Stores. Convention Center Box Office. Halcyon Days in Kent, and The Men's Shop in Elyria. 19 March


18 March 1971 Quinnipiac College Hamden: Johnny Winter, Mountain

Mountain and Winter An unusual concert.

"Mountain" and "Johnny Winter And" are two hard-rock blues groups which have amassed a considerable following with almost no sales of single records. "Mountain" is powered by 290-pound Leslie West, above, and Felix Pappalardi producer of The Cream's records. Johnny Winter is the fantastic Texas blues guitarist who has a backup group consisting of- (believe it or not) The Mc-Coys. Don't Worry; they've come a long way from their "Hang on Sloopy" days. The two groups will each appear twice March 18 at Quinnipiac College in Hamden, at 8 and 11 p.m. Tickets may be obtained at the University of Hartford Gengras Campus Center lounge Tuesdays and Thursdays.

19 March 1971 Cleveland Public Hall: Johnny Winter, Mountain , Black Sabbath, J. Geils Bues Band

JOHNNY WINTER was Columbia Records guitar find of the decade in 1969 He is considered the finest blues guitarist ever The J Geils Blues Band is a new group with six members

MOUNTAIN will be headlining the first major ruck concert presented by WNCR-FM. the new rock sUreo radio station that has captured Cleveland's underground rock audience. The concert will be presented at Cleveland s Public Auditorium March 19 at 7 30 p m. ALSO APPEARING will be Black Sabbath, Johnny Winter and the J Geils Blues Band Mountain recently released its second album. Nantucket Sleigh Ride The group features 300-pound Leslie West and Felix Papalardi the former producer of The Cream, Black Sabbath is a British quartet formed in January 1969 under the name of Earth All four of its members hail from Ashton England.

Their music is billed as a tough honest reflection of their background. JOHNNY WINTER was Columbia Records guitar find of the decade in 1969. He is considered the finest blues guitarist ever The J Geils Blues Band is a new group with six members. The concert is being produced by Belkin Productions Tickets are available at all Burrows Stores. Convention Center Box Office. Mayflower Travel Agency in Akron. Halcyon Days in Kent, the The Men's Shop in Elyria

20 March 1971 The Syndrome (aka Chicago Coliseum)

Johnny Winter as well as the Allman Brothers band were scheduled to appear at the Syndrome (Chicago) on the 20th March 1971. Due to the damage caused by riots at the Coliseum early March 1971, all concerts were cancelled.

Apparently this concert was rescheduled to the Rock Pile venue:



Saturday, 27 March 1971: Eastown Theater, Detroit Michigan

Humble Pie / Johnny Winter/ Dada

28 Mar 1971: Eastown Theater, Detroit Michigan

Humble Pie/Johnny Winter/Dada.

Sunday, 28 March 1971: Santa Monica

Breaking News: Second Wmter Concert Slated

Due to heavy ticket response for Johnny Winter's Monday night concert at the Santa Monica Civic Auditorium, Concert Associates has announced plans for a second Winter concert Sunday night at the same location.

Johnny Winter And 1971 Santa Monica
Johnny Winter And 1971 Santa Monica 
Johnny Winter And 1971 Santa Monica 
Johnny Winter And 1971 Santa Monica 

29 March 1971 Snoopy's 103 N Park Street, Madison

J o h n n y Winter has been booked for an appearance March 29 at Snoopy's, 103 N. Park St. Winter's blues singing and guitar artistry have received rave reviews from most major music trade magazines as well as popular publications. The co-owners of Snoopy's, Cindy and Jan Klund, reportedly are paying §3,000 for Winter's appearance.

Booked for an appearance April 5 at the student night spot are Alex Taylor, whose brother, James, was the first of the Taylor family to gain national attention for his blues renditions, will appear April 5. Booked together for a one night stand in April are John Lee Hooker and Canned Heat.

Johnny Winter in April 1971


4 and 5 April 1976 Santa Monica Civic

Johnny Winter, J. Geils Band, Little Feat.

The concert poster of this Easter in 1971 announced:

KRLA Presents Easter Concert Spectacular, 3 Big Shows 5 April Johnny Winter, J. Geils Band, Little Feat with 2nd show on 4th April 1971 . 7 April 1971 Kinks with special Artist Fanny (Jerry Riopelle), 9 April 1971 The Youngbloods also Jeffrey Cain


JWS Santa Monica Cive

Thursday, 8 April 1971 till 11 April 1971 - Fillmore West, San Francisco

Johnny Winter, J. Geils Band, Dreams

Johnny Winter at the Fillmore West in 1971

Wednesday 28 April 1971 University of Northern IOWA, McElroy Auditorium, Waterloo Iowa

Johnny Winter & New York Rock Ensemble

29 April 1971: Lawrence University

As a start, I'll mention that Johnny Winter will appear at Lawrence University April 29.H is backup group, as It's been on his last two albums, will be "And," formerly known as the McCoys. As you know, the ambiguous billing Is Johnny Winter And...

Friday , Saturday 30 April 1971: Howard Stein's Capitol Theatre, Port Chester, New York: Johnny WInter


Johnny Winter in May 1971

Saturday 1 May 1971 Howard Stein's Capitol Theatre, Port Chester, New York: Johnny Winter


Hit Parader: May 1971

Saturday 8 May 1971 Southlake, Tarrant County

Rock Fans Turn Out At Festival An expected crowd of 5,000 rock music fans had swelled to more than 8,000 by late Saturday evening at a rock festival staged at a farm east of Southlake Tarrant County. The festival, first major rock music event of its type this area since the Texas Pop Festival of 1969, got under way about 3 p.m. and was expected to continue into the early morning hours Sunday. Music was provided mostly by bands from the Dallas-Fort Worth area, although one nationally known performer, Johnny Winter, was expected late Saturday. The mood of the crowd was generally carefree, and a sprinkling of small children and old-sters were scattered among the longhairs. Some of the visitors brought camping gear for the night's stay.

Sunday, 9 May 1971: Liberty Hall, Houston Texas

With Willie Dixon and the Chicago All stars, which included: Willie Dixon - Bass & Vocals , Lee Jackson - Guitar, Lafayette Leake - Piano, Shakey Horton - Harmonica , Clifton James - Drums

  1. Sittin' and Cryin' the Blues
  2. Spoonful
  3. I Just Wanna Make Love To You
  4. Chicago Here I Come ( in the end of this song Johnny is introduced to the audience. Then he plays and sings till the end of the recording)
  5. Tore Down
  6. You Know it Ain't Right
  7. Mean Mistreater / Baby What You Want Me To Do
  8. Roach Stew
  9. Killing Floor

Friday, Saturday 12 & 13 May 1971: Spectrum, Philadelphia, PA.

Johnny Winter, The Allman Brothers Band, Redbone. Redbone opens with a great show (The Spectrum website lists this date as 14th May 1971)


Saturday, 15 May 1971: Municipal Auditorium, Atlanta , GA

Johnny Winter, Booger at the Municipal Auditorium, Atlanta , GA

Saturday, 15 May 1971: Municipal Auditorium, Atlanta , GA

Sunday 23 May 1971 Minneapolis


28 and 29 May 1971: Pirates World, Sheridan Street, Dania

Johnny Winter with TIN HOUSE as opening act




Saturday, 29 May 1971: Michigan State Fairgrounds, Detroit Michigan.

Detroit, MI. Detroit Rock Revival - Johnny Winter, Allman Brothers Band, Edgar Winter White Trash, Tin House, Bob Seger, J. Geils Band.


Johnny Winter in June 1971

Best Magazine - June 1971

Johnny Winter on the cover of Best (France) Magazine in June 1971.

Johnny Winter on the cover of Best (France) Magazine in June 1971.

Monday 21 June 1971 Syracuse Post Standard

The Syracuse Post Standard reports; Last Minute Law, Court End Youths* Rock Festival Plans

McCREA, La. (AP) - Several thousand young people milled around the plantation site of the proposed "Celebration of Life" rock music festival Sunday refusing to believe the event is off. Promoters of the festival were stilt trying to bring it back to life. A federal appeals court ruled Sunday in New Orleans that a lower court judge in refusing to give the promoters a hearing on their request to hold the music festival, despite a last-minute local ordinance that blocked it. The appeals court ruled Distnct Court Judge E. Gordon West in Baton Rouge must hold the hearing by noon Monday, when the eight-day festival had been scheduled to start.

"The festival is legally off," promoter Kenny Lind had earlier told the growing crowd of youths at the site. "The stage is being dismantled. I want you to disperse. Its over, man, it's over." Lind's plea was to no avail and many in the crowd simply detoured around a blockade set up at the entrance by police. Others were lined up on the narrow gravel road leading into the site where some youths lounged the sun along the roadside or swam nude in the Atchafalya River. ' All the highways are jammed. People are sleeping everywhere, on everybody's property, but we're getting them out as fast as we can," said Pomte Coupree Parish (County) Sheriff F.A. Smith.

"The kids aren't resisting. They're very nice. They're just here with no place to go." One youth was arrested for disorderly conduct, a deputy said. The lack of water and sanitary facilities caused some concern and one of Lind's associates asked a state trooper to keep the people off the grounds of the 700 acre plantation. "We haven't got any food or water. If you're going to let them in, open up the show and let us get our supplies in," said Lou Weinstock. Cambridge Investment Corp., the promoting firm, said m court it had spent obligated itself for some $500,000 and the money would be lost unless the injunction is granted.

A spokesman for the festival said that the concert could be postponed several days. "If we start one or two days late, we would extend it by that many days. We have been able to arrange for all the scheduled acts to appear," the spokesman said. Some of the performers are Richie Havens, John Lee Hooker, Canned Heat, Ravi Shnkar, Johnny Winter and Sly and The Family Stone. Nomusical entertainment also had been advertised, including circus acts, aerial tightrope artists, puppet shows and a bazaar.

The site is the Cypress Point Plantation, owned by Baton Rouge attorney Ralph Kelton and reportedly leased to the promoters for $20,000. "We pay our money and we want to have a festival," one youth complained. Promoters pledged to refund all ticket receipts. Many youths said they would stay until there is a show. About 100 state police were called in to aid local officials


Tuesday, 22 June 1971: Royal Albert Hall London

  • Rock Me Baby
  • Good Morning Little Schoolgirl
  • A downhome blues (It's My Own Fault?)
  • Jumpin' Jack Flash
  • Great Balls Of Fire (Medley)
  • Johnny B. Goode.
  • Highway 61 (listed as Highway 51)
  • Hound Dog!

Thursday, 24 June 1971 - Fillmore East

Johnny Winter, B.B. King, Moby Grape, Grootna, Johnny Winter And, Edgar Winter's White Trash, 24 June 1971, Fillmore East.

Johnny Winter, B.B. King, Moby Grape, Grootna, Johnny Winter And, Edgar Winter's White Trash, 24 June 1971, Fillmore East


Johnny Winter in July 1971

Jazz Podium (Germany) July 1971


Jazz Podium July 1971 (Germany)

Ist der schwarze Blues etwas anderes geworden, seit es den weißen Blues gibt? Who's got a right to sing the biues? Jeder weiße Bluesmann wird seine Gitarre hinlegen, wenn - sagen wir - T-Bone Walker anmarschiert, Janis Joplin legte einen Kranz nieder an Bessie Smiths Grab, einige Zeit vor ihrer Uberdosis. Sind die Bluespioniere also anerkannt? Sind sie die "gutbezahlten Stars"? Nein. American Folk Blues stirbt, und nicht umsonst: "Thank you ... I have the Blues a lang time ...

Jazz Podium July 1971 Germany

I have many Blues .., right now I have the type of Blues to make you feel kinda happy and gay", sagt Willie Dixon in der Jahrhunderthalle. Die Blues-Baß-Runden, die er gegen Champion Jack Dupree boxt - besonders in "School Day" - sind neben Jacks Gesang und Piano - sein fast romantisches Klavier auf "Sittin and Cryin"' - das Größte des Abends. Und der weiße Blues? Hier kommt er: Johnny Winter, der große Farblose des Blues, ganz und gar blaß und ausgelaugt, wie man sich das weiße Amerika vorstellt. Trifft das zu? Wenn dieses Bild unseres Verbündeten stimmt, dann tut's auch Johnny Winters Blues.

Wollen wir es annehmen, allein schon weil es ihn auf CBS-Records gibt! Texas hat sich den Winter redlich verdient. Die Musik: da erinnert vieles an Haley und Elvis, ich meine "Gefühls"-mäßig, nur ist Winter cooler: wie sensibel werden die Rock 'n'Roller 1990 sein? .lt's My Own Fault" ist das stärkste der hier versammelten musikalischen Selbstbekenntnisse. Das Publikum hat auf beiden Festen etwas zu Pfeifen und Grbhien. Günter Buhles

Johnny Winter in August 1971

Tuesday 17 August 1971 Daily News Red Bluff

Can The white Men Sing The Blues?

Ask Johnny Winter By MICHAFL BENNETT Canadian Press Staff Writer Written For The Associated Press)

Can the white man sing the blues? Johnny Winter, an albino stomp-'n'-shout guitarist, can — but he says it's not the same as Lazy Lester or Lonesome Sundown did it. And it probably never will be again. "When the life style changes, the music's not goin' to be the same, because it was an emotional music that was kinda spawned in poverty, depression and ignorance," said Winter, a wispy, drawling Texan with silkfine, flowing hair. "And once the people got out of that, it got to be like an intellectual thing: 'Well, okay, the blues is part of our heritage, so we're going to keep doin' it,' but they won't feel the same way about it.

"It changed a whole lot from the time people were doin' it in Mississippi. They moved to Chicago and the postwar Chicago blues was a completely different music, a completely different blues than the milder softer Delta-type blues. "It might not die, it might live on, but it won't be the same way it was." Winter was weaned on blues and rock 'n' roll records in Beaumont, a sleepy Texas town just northeast of Houston. "I learned a lot from a black disc jokey at a black station in Beaumont called KJET radio," he said. "This guy had a show called the Bon Ton, show, Bon, Ton Roulle, the Good Times Roll. He called himself Parent-Clarence Garleau was his real name — or Bon Ton and he used to play all his own records.

"I used to call him up and ask him to play things for me. I met him in a music store one day — I was teachin' guitar and I was about 16, pickin' up a little extra bread. "He came in and I recognized the sound of his voice, never had met him, and I started playin' one of his tunes. It flipped him out. "In those days, the white people just didn't dig that kinda stuff. "But if black people really knew you were diggin' it or interested in it, it turned them on. "He was really extra nice, man. I'd go out on gigs and he'd make sure nobody killed me or anything and let me play with the band. He really helped me a lot." Winter served his softer Delta-type blues.

"It might not die, it might live on, but it won't be the same way it was." Winter was weaned on blues and rock 'n' roll records in Beaumont, a sleepy Texas town just northeast of Houston. "I learned a lot from a black disc jokey at a black station in Beaumont called KJET radio," he said. "This guy had a show called the Bon Tor, show, Bor, Ton Roulle, the Good Times Roll. He called himself Parent-Clarence Garleau was his real name — or Bon Ton and he used to play all his own records. "I used to call him up and ask him to play things for me. I met him in a music store one day — I was teachin' guitar and I was about 16, pickin' up a little extra bread.

"He came in and I recognized the sound of his voice, never had met him, and I started playin' one of his tunes. It flipped him out. "In those days, the white people just didn't dig that kinda stuff. "But if black people really knew you were diggin' it or interested in it, it turned them on. "He was really extra nice, man. I'd go out on gigs and he'd make sure nobody killed me or anything and let me play with the band. He really helped me a lot." Winter served his apprenticeship with Johnny and the Jammers, Gene Terry and Downbeats and It and Them, playing small beer and brawl bars throughout the South. He more recently has made four albums for Columbia Records, each of which has sold over a quarter of a million copies.

The most recent, "Johnny Winter and Live," is selling the best of the four. "Man, you wouldn't believe some of the clubs. Louisiana was where it was really heavy. And it was just exactly like Easy Rider, exactly, man. "People would come up: 'Hey, man, play "Midnight Hour'. " "Midnight Hour" Man we've already played that three times. "Or they'd come up and ask for something you didn't know. "You couldn't explain you didn't know the song. Nothin' made any difference. "Those people got pleasure outta goin' out, gettin' real drunk, lookin' for chicks and fightin'." B. B. King remembers the night this frail-looking white kid walked into the Raven and stole the show seven years ago.

"It was about 10:30 and four or five white cats came in," said King. "I was havin' trouble with the internal revenue boys then and I figured: "Oh, oh, here it comes!" "Somebody said: "This is Johnny Winter, let him play some." "Now I don't let nobody do that because this is my livin'. Then I thought: "If I was in an all-white club and they didn't let me play, I'd think it was another racial thing." "So I asked him if he was sure he could play. I went to my drummer and said: "One number, that's all, I don't want to blow the gig." "Man, he played so good he set the people on fire. I told him if he kept goin', he'd do allright

Johnny Winter in October 1971


Rolling Stone, 14 October 1971, Issue #93

Article: Behind the Scene with Steve Paul


Johnny Winter in December 1971

19 December 1971 TV Seven

Rock festival on tap Monday

BOSTON — From 8:30 — 9 p.m. Channel 7 will present a holiday special, the "Zayre Television Rock Festival," featuring ten top rock recording artists. Disc jockey Johnny Williams hosts the half-hour of popular .entertainment, and introduces such well-known singmg groups as Chicago, Santana, Ten Years After, and Poco, singing some of their most popular hits. Also featured are singers Taj Mahal, Edgar Winter and Johnny Winter and groups Madura, It's a Beautiful Day and Boz Scaggs. The fast-paced half hour should delight young rock enthusiasts, and perhaps to introduce to their parents what their mucic is all about.

Johnny Winter is out of action due to a narcotics problem.

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Last Modified: 12-Dec-2017 13:56