Well...Ill try to post something meaningful here. If that is possible....Second album I ever purchased was Johnny Winter And. First was Dark Side of the Moon. Obviously, production values did little in terms of influencing me. But I did continue to gravitate to Johnnys music. I went back in time, to Second Winter, the breakthrough Johnny Winter album, the other breakthrough album known as The Progressive Blues Experiment, and by then, And Live, and Still Alive and Well. By that point, I was sold. The old Roy Ames (Aames?) releases had surfaced, and I dug these tracks as well. By this point, I realized Johnny was the master of blues rock and rockin blues. To hammer his virtuosity home even further, were the acoustic tracks. Plenty in the Ames years, but then Bad Luck and Trouble, Broke Down Engine, Dallas, When You Got A Good Friend, Too Much Seconal. Then Dirty and Come On in My Kitchen...possibly from the same sessions around the Still Alive and Well/Saints years, Sweet Papa John (which I include because it almost SHOULD be done acoustically). Then in the Muddy years, there is TV Mama and Bladie Mae off of Nothin...And then there is Nickel Blues, Evil on My Mind, Bad Girl Blues, Let Me In, Blues This Bad, That Wouldnt Satisfy.... That would be 15/16 minimum. Then there would be the Bootleg series, the Muddy acoustic tracks, the Sonny Terry thang, and then a ton of stuff in the Ames years. That, in and of itself, is career worthy. If there is some sort of output question...put it to rest. Johnny probably recorded as many acoustic tracks as R. Johnson did. But it is not about output...Just wanted to point out that he was equally proficient in the resonator world as the electric boogie realm. His countryfied leanings are another topic altogether. Cheers, T
Posted on: Thu, 31 Jul 2014 04:43:40 +0000
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