John Dawson Winter III album reissue with different title, different artwork and different running order of the tracks. John Dawson Winter III is the seventh studio album by Johnny Winter, released in 1974. John Dawson Winter III, known as Johnny Winter, was an American musician, singer, songwriter, multi-instrumentalist and producer. Best known for his high-energy blues-rock albums and live performances in the late 1960s and 1970s, Winter also produced three Grammy Award-winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, Winter recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".
Winter's debut album for Columbia was also arguably his bluesiest and best. Straight out of Texas with a hot trio, Winter made blues-rock music for the angels, tearing up a cheap Fender guitar with total abandon on tracks like "I'm Yours and I'm Hers," "Leland Mississippi Blues," and perhaps the slow blues moment to die for on this set, B.B. King's "Be Careful with a Fool." Winter's playing and vocals have yet to become mannered or clichéd on this session, and if you've ever wondered what the fuss is all about, here's the best place to check out his true legacy.
Culled from Johnny's 3 '80s Alligator albums (Guitar Slinger-Serious Business-Third Degree) these 12 tracks prove that after the guitar slingers CBS years he still had the fire to burn the fingerboard! Back by top notch Chicago blues players and the occassional guest's Dr. John & Tommy Shannon (ex Stevie Ray Vaughan bassist)during his Alligator years, these recordings show Johnny at his best with no confetti or studio razzle dazzle. These raw to the bone blues tracks boil red hot. If you don't own any of the guitar legends Alligator albums, you must get this one.
A two-CD survey of Winter's recordings for Columbia between 1969 and 1979, the era of his greatest commercial success. This collects many of his most popular tracks, though it doesn't do much to argue a case for artistic diversity. Includes two otherwise unavailable songs: an alternate take of "30 Days," and a previously unreleased 1973 cover of Robert Johnson's "Come on in My Kitchen."
Muddy Waters had his second coming 30 years ago, when longtime friend and disciple Johnny Winter and his Blue Sky label returned him–after a series of listless recordings aimed at the rock audience–to the raw, powerful authenticity of his timeless Chess material with a series of powerful albums. Beginning with 1977's acclaimed Hard Again, a subsequent tour produced Muddy "Mississippi" Waters Live, recorded onstage in Detroit, New York, and Philadelphia with Muddy's band, Winter, and harmonica player/vocalist James Cotton. Enough live material remained for Legacy to release an expanded version with an entire second disc of unissued concert material. It seems even that wasn't the end. This collection returns again to those remarkable concerts, featuring Muddy on five tracks, among them a rousing "I Can't Be Satisfied," "Trouble No More," "Caldonia," and the closing "Got My Mojo Workin'." Winter and Cotton are no less powerful, Cotton redoing Jackie Brenston's hit "Rocket '88'" and Winter ripping up John Lee Hooker's "I Done Got Over It" and "Mama Talk to Your Daughter."
Johnny Winter returns to major-label distribution for the first time in eight years with The Winter of '88, released by Voyager Records via MCA. This is a project produced and engineered by Terry Manning, who also contributed some keyboards, and Manning's intent seems to have been to move Winter in a more commercial direction, specifically toward the synth-enhanced boogie of ZZ Top. That effect is particularly notable on the lead-off track, "Close to Me," and on "Show Me"; otherwise, Manning is more subtle. Still, after three straight blues albums for the independent Alligator Records label, Winter had established a pure blues pedigree, and a move back toward the mainstream may not sit well with his more purist fans. It isn't really that overt, for the most part, but this is clearly a more highly produced, more commercially intended record than any Winter has made since he left the CBS Records subsidiary Blue Sky after Raisin' Cain in 1980.
After two late-'60s albums on Columbia, Johnny Winter hit his stride in 1970 working with Rick Derringer and the McCoys, now recruited as his sidemen and collaborators (and proving with just about every note here how far they'd gotten past "Hang on Sloopy"). In place of the bluesy focus on his first two albums, Winter extended himself into more of a rock-oriented mode here, in both his singing and his selection of material. This was hard rock with a blues edge, and had a certain commercial smoothness lacking in his earlier work. Derringer's presence on guitar and as a songwriter saw to it that Winter's blues virtuosity was balanced by perfectly placed guitar hooks, and the two guitarists complemented each other perfectly throughout as well…
If you ever wondered what the white blues monster sounded like at the very peak of his name, this is it! Recorded at a 1969 Johnny Winter concer in Houston, Johnny and his regular band members (brother Edgar, I.P. Sweat, Uncle John Turner) display the honed-to-perfection combination of blues with rock that ws catapulting Johnny to stardom at tis very time in music history. No longer was he merely a regional blues man doing old favorites for a cult following; Johnny was blazing forth with a totally new sound that captured big audiences everywhere.