布鲁斯摇滚：Johnny Winter《18CD》1969-2014/FLAC/BD

约翰·道森·温特三世（1944年2月23日至2014年7月16日），被称为约翰尼·温特，是美国蓝调歌手和吉他手。温特还以高能量的布鲁斯摇滚专辑和1960年代末和1970年代的现场表演而闻名，温特还为布鲁斯歌手和吉他手Muddy Waters制作了三张获得格莱美奖的专辑。在沃特斯（Waters）工作之后，温特（Winter）录制了几张格莱美提名的布鲁斯专辑。1988年，他入选布鲁斯基金会名人堂，2003年，他在滚石杂志的“ 有史以来最伟大的100位吉他手 ”名单中排名第63位。

早期职业

约翰尼·温特（Johnny Winter）于1944年2月23 日出生于得克萨斯州的博蒙特（Beaumont）。他和弟弟埃德加（Edgar）（生于1946年）早年在父母的音乐追求中受到养育。他们的父亲，密西西比州人利兰（Leland），小约翰·道森·温特（John Dawson Winter，Jr.）（1909-2001），也是一位音乐家，他演奏萨克斯管和吉他，并在教堂，婚礼，基瓦尼斯和扶轮社聚会上唱歌。约翰尼和他的兄弟都是白化病患者，他们从小就开始表演。十岁那年，兄弟俩出现在当地的一个儿童节目中，约翰尼（Johnny）演奏夏威夷四弦琴。

他的唱片事业始于15岁，当时他的乐队Johnny和Jammers在休斯顿唱片公司发行了《 School Day Blues》。在同一时期，他能够通过经典的蓝调艺术家，如浑水，看演出BB国王，和鲍比·布兰德。在早期，温特有时会在罗蒙·海德（Roy Head）和特质（Treats）在博蒙特地区演出时陪伴他们，1967年，温特（Winter）用特质录制了一张单曲：“ 流浪汉 ”（Tramp）和“ 帕奇曼农场 ”（Parchman Farm）支持（环球唱片30496） 。1968年，他在奥斯丁的Sonobeat Records上发行了他的第一张专辑The Progressive Blues Experiment。

与哥伦比亚唱片公司签约

1968年12月，温特抓住了他最大的突破，在芝加哥遇见并与他交往的迈克·布卢姆菲尔德（Mike Bloomfield）邀请他在纽约市菲尔莫尔东（Fillmore East）的布卢姆菲尔德（Bloomfield）和艾尔·库珀（Al Kooper）音乐会上唱歌并演奏歌曲。碰巧的是，哥伦比亚唱片公司的代表（已发行了十大Bloomfield / Kooper / Stills Super Session专辑）在音乐会上。温特演奏并演唱了BB King的“这是我自己的错”，得到了热烈的掌声，并在几天之内签下了当时据说是唱片业历史上最大的进步——60万美元。

温特的第一张哥伦比亚专辑《约翰尼·温特》于1969年录制并发行。与他录制过《进步布鲁斯实验》，贝斯手汤米·香农和鼓手约翰·特纳叔叔以及在键盘和萨克斯风中的埃德加·温特一起录制的唱片一样，以及（代表他的“中庸之作”），威利·迪克森（Willie Dixon）演奏立式低音，大沃尔特·霍顿（Big Walter Horton）演奏口琴。专辑中精选了几首歌曲，这些歌曲成为Winter的特色歌曲，包括他的作品“ Dallas”（原声布鲁斯，Winter在其中演奏了钢制的共振吉他），John Lee的“ Sonny Boy” Williamson的“早安小女生》和BB King的《小心傻瓜》。

专辑的成功与帝国唱片（Imperial Records）进行了《渐进布鲁斯实验》（The Progressive Blues Experiment）的广泛发行。同年，冬季三重奏组在伍德斯托克（Woodstock）等几个摇滚音乐节上巡回演出。在哥哥埃德加（Edgar）作为小组成员的同时，温特还在1969年在纳什维尔录制了他的第二张专辑《第二冬天》。两张唱片，只有三张唱片面（第四张是空白的） ），还介绍了Winter音乐会的其他一些主要内容，包括Chuck Berry的“ Johnny B. Goode ”和Bob Dylan的“ Revisted 61 Highway”“ 也是在这个时候，约翰尼与珍妮丝·乔普林达成了短暂的亲密关系，但最终在纽约麦迪逊广场花园举行的一场音乐会上达到了顶峰，约翰尼在舞台上与她一起演唱和表演。

非官方相册

与城市传奇相反，约翰尼·温特（Johnny Winter）并没有与吉米·亨德里克斯（Jimi Hendrix）和吉姆·莫里森（Jim Morrison）一起出演1968年臭名昭著的Hendrix盗版专辑《早上醒来，发现自己死于纽约》的现场俱乐部。根据温特的说法，“我什至从未见过吉姆·莫里森！有一整张吉米和吉姆的专辑，据说我在专辑中，但我不认为我是因为我一生中从未见过吉姆·莫里森！我可以肯定，我永远也不会和吉姆·莫里森（Jim Morrison）玩过！我不知道那个谣言是怎么开始的。”

从1969年开始，约翰尼·温特（Johnny Winter）发行了第一张专辑，这些专辑是由他在1969年与哥伦比亚签约之前录制的大约15张单曲（大约30张“单面”）拼凑而成的。许多专辑是由Home的所有者Roy Ames制作的。曾做过Winter的烹饪记录/清晰音乐出版公司。根据休斯顿新闻社的一篇文章，温特出于离开他的明确目的离开了城镇。Ames于2003年8月14日因自然原因去世，享年66岁。由于Ames没有留下明显的继承人，因此Ames主唱片的所有权尚不清楚。冬季在接受采访时说，当罗伊埃姆斯的主题上来，“这家伙已经拧这么多人它让我很恼火，甚至谈论他。”

约翰尼·温特和

1970年，当他的兄弟埃德加（Edgar）发行个人专辑《入口》并成立了埃德加·温特（Richard B＆B）的R＆B / 爵士摇滚乐队White Trash时，三人解散了。然后，约翰尼·温特（Johnny Winter）与麦考伊斯（McCoys）的残余成员组成了一支新乐队，即吉他手里克·德林格（Rick Derringer），贝斯手兰迪·乔·霍布斯（Bandy Randy Jo Hobbs）和鼓手兰迪·Z（Randy Z（他是德林格的兄弟，他们的姓氏为Zehringer））。最初被称为“ Johnny Winter and McCoys”，名字简称为“ Johnny Winter And”，这也是他们的第一张专辑的名字。专辑包括Derringer的《Rock and Roll，Hoochie Koo“并暗示更注重摇滚方向为冬季。当约翰尼冬季开始游览，兰迪z为与鼓手更换鲍比考德威尔，他们的新摇滚歌曲与冬天的蓝调歌曲的混合物，在现场专辑拍摄现场Johnny Winter And。包括新曲《 It’s My Own Fault》，这首歌使Winter引起了哥伦比亚唱片公司的注意。

温特在约翰尼·温特·安德鲁斯（Johnny Winter And）期间沉迷于海洛因成瘾后，势头受到抑制。在寻求治疗并从这种瘾中康复之后，经理史蒂夫·保罗（Steve Paul）将温特置于音乐媒体的面前，坦率地讨论了这种瘾。到1973年，他重返音乐界，发行了Still Alive and Well，这是布鲁斯和硬石的基本混合物，其曲目由里克·德林格（Rick Derringer）撰写。他在纽约拿骚体育馆在长岛举行的复出演唱会上，“和” 乐队的成员是里克·德林格和鲍比·考德威尔。约翰尼的妻子苏茜也在舞台上表演。Saints＆Sinners和John Dawson Winter III，1974年发行的两张专辑，朝着同一方向发展。1975年，约翰尼回到路易斯安那州的博加卢萨市，为南部的摇滚乐队Thunderhead制作专辑，其中包括Pat Rush和Bobby“ T” Torello，后来与Winter一起演出。冬天的第二张现场专辑，《Captured Live！》。于1976年发行，具有“ Highway 61 Revisited”的扩展性能。

浑水会议

在现场表演中，温特经常讲故事，讲述小时候他梦想着如何与布鲁斯吉他手Muddy Waters一起演奏。1974年，他获得了机会，当时著名的布鲁斯艺术家和他们的年轻弟兄聚在一起，向负责将布鲁斯带到芝加哥的音乐家（Muddy Waters）致敬，随后的音乐会呈现了布鲁斯的许多经典作品，并且是令人敬佩的电视连续剧的开始：Soundstage（此特定会议称为“芝加哥布鲁斯峰会”）。1977年，在沃特斯（Waters）的长期唱片公司国际象棋唱片（Chess Records）倒闭之后，温特（Winter）带着沃特斯（Waters）进入录音棚，为《蓝天唱片》（Blue Sky Records）录制《再度艰难》（Hard Again），由Winter的经理设置并由Columbia分发的标签。除了制作专辑外，温特还与口水老将詹姆斯·科顿（James Cotton）一起演奏口琴。温特（Winter）为沃特斯（Waters）制作了两张录音室专辑，《我准备好了》（大瓦特·霍顿与口琴合作）和金蜜蜂（King Bee），以及最畅销的现场专辑《泥泞的密西西比》沃特斯–现场。在沃特世乐队的成员的支持下，合伙企业为沃特斯颁发了三项格莱美奖，并为温特自己的《没什么，但蓝调》获得了另一项格莱美奖。沃特斯告诉《深蓝》作者罗伯特·帕尔默温特在重现沃特斯（Waters）1950年代老式国际象棋唱片（Chess Records）的声音和氛围方面做得非常出色。AllMusic作家Mark Deming指出：“在Hard Hard和Last Waltz [ The Band的 1976年音乐会电影之间]，Waters获得了重大职业发展，他发现自己再次为众多热情的人群巡回演出。”

针对DC漫画的诉讼

1996年，Johnny和Edgar对DC Comics和《Jonah Hex：蠕虫的骑士》和《 Such Limited Limited》系列的创作者提起诉讼，其中包括诽谤：该系列中的两个角色Johnny和Edgar Autumn非常类似于Winters 。兄弟俩声称这些漫画将他们错误地描绘为“邪恶，堕落，愚蠢，怯ward的超人类个体，他们从事肆意的暴力，谋杀和兽交活动，应予以杀害。” 加利福尼亚最高法院支持DC Comics，认为这些漫画书应受到第一修正案的保护。

后来的职业和死亡

在加入“蓝天唱片”之后，温特开始为多个唱片公司录制唱片，其中包括短吻鳄，Point Blank和Virgin，他主要研究蓝调材料。 1992年，他与苏珊·沃福德（Susan Warford）结婚。] 2004年，他因《我是布鲁斯曼》专辑而获得了格莱美奖提名。从2007年开始，一系列名为Winter Bootleg Series和Live DVD的冬季Winter专辑进入了十大Billboard Blues榜。2009年，伍德斯托克体验专辑发行，其中包括温特在1969年音乐节上演奏的八首歌曲。2011年，约翰尼·温特（Johnny Winter）在Megaforce Records发行了Roots。它包括温特对11种早期布鲁斯和摇滚经典的诠释，并邀请了多位来宾艺术家（文斯·吉尔，桑尼·兰德雷斯，苏珊·特德斯基，埃德加·温特，沃伦·海恩斯和德里克·卡车）。他的上一张录音室专辑“ Step Back”（其中乔·波纳马萨（Joe Bonamassa），埃里克·克拉普顿（Eric Clapton），比利·吉本斯（Billy Gibbons），莱斯利·韦斯特（Leslie West），布莱恩·塞泽（Brian Setzer），约翰（John），保罗·尼尔森（Paul Nelson），本·哈珀（Ben Harper）和乔·佩里（Joe Perry）于2014年9月2日发行。尼尔森和温特（Nelson）和温特（Winter）在2015年的“ 后退”（Step Back）赢得了最佳布鲁斯专辑类别的格莱美奖。温特告诉他：“如果我们不能为此赢得格莱美奖，那他们就疯了。”

冬季继续进行现场表演，包括在整个北美和欧洲的节日中。他为新奥尔良爵士音乐节和传统音乐节，芝加哥布鲁斯音乐节，2009年瑞典摇滚音乐节，沃伦·海恩斯圣诞节果酱和Rockpalast等著名活动做大标题。首次亮相40周年之际，他还在纽约的信标剧院与Allman兄弟一起演出。在2007年和2010年，温特在埃里克·克拉普顿（Eric Clapton）的 “ 交叉路吉他节”上演出。两个吉他教学DVD被制作樱桃里的音乐和哈尔伦纳德公司。吉布森吉他公司（Gibson Guitar Company）在纳什维尔（Nashville）举行的颁奖典礼上发布了签名的约翰尼·温特· 火鸟（ Johnny Winter Firebird）吉他，并进行了Slash表演。

冬季是专业有效，直到他接近死亡的时候苏黎世，瑞士，2014年在7月16日，他两天后，他最后的表现发现，在他的酒店房间死了，在卡奥尔蓝调音乐节在法国。温特之死的原因尚未正式公布。据他的吉他手朋友兼唱片制作人保罗·纳尔逊（Paul Nelson）称，温特死于肺气肿合并肺炎。

温特去世后，大卫·马尔凯斯（David Marchese ）在《滚石杂志》上撰文说：“冬天是最早的布鲁斯摇滚吉他演奏家之一，在六十年代末和七十年代初发行了一系列流行而火热的专辑，成为了舞台上音乐会的舞台。这个过程… [他]通过演奏布鲁斯为自己创造了标志性的生活

物质损失

2019年6月25日，《纽约时报》（New York Times）杂志将约翰尼·温特（Johnny Winter）列为数百名据报道在2008年环球大火中被毁的艺术家。

认可与遗产

冬季三张格莱美奖 -winning通过专辑浑水 – 再努力（1977年），我已经准备好（1978），和浑“密西西比”沃特斯-现场（1979年）。 Winter自己的几张专辑获得了格莱美奖提名-Guitar Slinger（1984）和Serious Business（1985）最佳传统布鲁斯专辑，Let Me In（1991）和I’s Bluesman（2004）最佳当代蓝调专辑。在2015年冬天去世后赢得了葛莱美奖最佳蓝调专辑的步骤返回。该专辑还获得了2015年布鲁斯音乐奖的最佳摇滚布鲁斯专辑奖。在2015年的第18届枫树布鲁斯奖上，温特还被追授了BB King国际年度艺术家奖。

1980年，温特（Winter）登上了第一期《吉他世界》的封面。1988年，他被选入布鲁斯名人堂，这是第一位入选名人堂的非裔美国人表演者。电子游戏《大雨》中有一个角色以冬天命名。

众多吉他手都将温特（Winter）视为影响力，包括乔·佩里（Joe Perry），弗兰克·马力诺（Frank Marino），迈克尔·申克（Michael Schenker），阿德里安·史密斯（Adrian Smith）和亚历克斯·斯科尼克（Alex Skolnick）。

吉他和采摘风格

温特在他的职业生涯中演奏过多种吉他，但他可能以使用吉布森火鸟而闻名。他拥有几辆，但偏爱1963年的Firebird V模型。温特解释说：

我仍然有全部六个人 ……但是我买的第一个[1963]是我的最爱，因为我已经玩了很长时间并且已经习惯了。它们听起来都不同，但是听起来最好。脖子又好又细 …没有什么不能做的。这是一把很棒的吉他。

Firebird V与Gibson的传统配置有所不同，它采用了迷你型humbucker拾音器代替了公司的标准尺寸PAF humbucker或P-90单线圈拾音器型号。在2014年的一次采访中，温特描述了基调：

火鸟是世界上最好的。感觉像吉布森，但听起来比大多数其他吉布森更接近挡泥板。我从不热衷于嗡嗡声拾音器，但是Firebird上的迷你嗡嗡声具有更大的咬感和高音。

2008年，吉布森定制店发行的签名约翰尼冬季火鸟V 在纳什维尔举行的仪式与湿地呈现。

1984年，琴师 Mark Erlewine带着Lazer电吉他接近了Winter。温特以其不寻常的设计（当时）没有床头柜，而且机身小巧，立即做出了回应：“我插上电源的第一天，听起来太好了，以至于当晚我想将它用于演出。” 他评论：

[Lazer是]我发现最听起来像Strat的感觉和Gibson感觉的东西 。…Lazer比Firebird容易演奏。动作很高，但是琴弦拉起来更容易 。。。但是我仍然在幻灯片歌曲上使用Firebird；幻灯片在Firebird上听起来仍然更好。
温特拥有和演奏的其他吉他包括Gibson ES-125（他的第一把电吉他），Fender Stratocaster，Gibson Les Paul / SG Custom，Fender野马，Gibson Les Paul Goldtop（带有P-90拾音器），Gibson Flying V，Epiphone Wilshire，Gibson Black Beauty，Fender Electric XII（只有常规的六弦）和声学国家共鸣器。

冬季打了一个拇指挑他的手指。他的采摘风格是受切特·阿特金斯（Chet Atkins）和梅尔·特拉维斯（Merle Travis）的启发，他从未使用过平采。
Winter更喜欢Gibson ]出售的塑料拇指拨片和钢质小滑梯，后来由Dunlop出售。

John Dawson Winter III (February 23, 1944 – July 16, 2014), known as Johnny Winter, was an American blues singer and guitarist. 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”.

Early career

Johnny Winter was born in Beaumont, Texas, on February 23, 1944. He and younger brother Edgar (born 1946) were nurtured at an early age by their parents in musical pursuits. Their father, Leland, Mississippi native John Dawson Winter, Jr. (1909–2001), was also a musician who played saxophone and guitar and sang at churches, weddings, Kiwanis and Rotary Club gatherings. Johnny and his brother, both of whom were born with albinism, began performing at an early age. When he was ten years old, the brothers appeared on a local children’s show with Johnny playing ukulele.

His recording career began at the age of fifteen, when his band Johnny and the Jammers released “School Day Blues” on a Houston record label. During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B.B. King, and Bobby Bland. In the early days, Winter would sometimes sit in with Roy Head and the Traits when they performed in the Beaumont area, and in 1967, Winter recorded a single with the Traits: “Tramp” backed with “Parchman Farm” (Universal Records 30496). In 1968, he released his first album The Progressive Blues Experiment, on Austin’s Sonobeat Records.

Signing with Columbia Records

Winter caught his biggest break in December 1968, when Mike Bloomfield, whom he met and jammed with in Chicago, invited him to sing and play a song during a Bloomfield and Al Kooper concert at the Fillmore East in New York City. As it happened, representatives of Columbia Records (which had released the Top Ten Bloomfield/Kooper/Stills Super Session album) were at the concert. Winter played and sang B.B. King’s “It’s My Own Fault” to loud applause and, within a few days, was signed to what was reportedly the largest advance in the history of the recording industry at that time—$600,000.

Winter’s first Columbia album, Johnny Winter, was recorded and released in 1969. It featured the same backing musicians with whom he had recorded The Progressive Blues Experiment, bassist Tommy Shannon and drummer Uncle John Turner, plus Edgar Winter on keyboards and saxophone, and (for his “Mean Mistreater”) Willie Dixon on upright bass and Big Walter Horton on harmonica. The album featured a few selections that became Winter signature songs, including his composition “Dallas” (an acoustic blues, on which Winter played a steel-bodied, resonator guitar), John Lee “Sonny Boy” Williamson’s “Good Morning Little School Girl”, and B.B. King’s “Be Careful with a Fool”.

The album’s success coincided with Imperial Records picking up The Progressive Blues Experiment for wider release. The same year, the Winter trio toured and performed at several rock festivals, including Woodstock. With brother Edgar added as a full member of the group, Winter also recorded his second album, Second Winter, in Nashville in 1969. The two-record album, which only had three recorded sides (the fourth was blank), introduced a couple more staples of Winter’s concerts, including Chuck Berry’s “Johnny B. Goode” and Bob Dylan’s “Highway 61 Revisited”. Also at this time Johnny entered into an intimate, albeit short-lived affair with Janis Joplin, which culminated in a concert at New York’s Madison Square Garden, where Johnny joined her on stage to sing and perform.

Unofficial albums

Contrary to urban legend, Johnny Winter did not perform with Jimi Hendrix and Jim Morrison on the infamous 1968 Hendrix bootleg album Woke up this Morning and Found Myself Dead from New York City’s the Scene club. According to Winter, “I never even met Jim Morrison! There’s a whole album of Jimi and Jim and I’m supposedly on the album but I don’t think I am ’cause I never met Jim Morrison in my life! I’m sure I never, never played with Jim Morrison at all! I don’t know how that [rumor] got started.”

Beginning in 1969, the first of numerous Johnny Winter albums was released which were cobbled together from approximately fifteen singles (about 30 “sides”) he recorded before signing with Columbia in 1969. Many were produced by Roy Ames, owner of Home Cooking Records/Clarity Music Publishing, who had briefly managed Winter. According to an article from the Houston Press, Winter left town for the express purpose of getting away from him. Ames died on August 14, 2003, of natural causes at age 66. As Ames left no obvious heirs, the ownership rights of the Ames master recordings remains unclear. As Winter stated in an interview when the subject of Roy Ames came up, “This guy has screwed so many people it makes me mad to even talk about him.”

Johnny Winter And

In 1970, when his brother Edgar released a solo album Entrance and formed Edgar Winter’s White Trash, an R&B/jazz-rock group, the original trio disbanded. Johnny Winter then formed a new band with the remnants of the McCoys—guitarist Rick Derringer, bassist Randy Jo Hobbs, and drummer Randy Z (who was Derringer’s brother, their family name being Zehringer). Originally to be called “Johnny Winter and the McCoys”, the name was shortened to “Johnny Winter And”, which was also the name of their first album. The album included Derringer’s “Rock and Roll, Hoochie Koo” and signaled a more rock-oriented direction for Winter. When Johnny Winter And began to tour, Randy Z was replaced with drummer Bobby Caldwell. Their mixture of the new rock songs with Winter’s blues songs was captured on the live album Live Johnny Winter And. It included a new performance of “It’s My Own Fault”, the song which brought Winter to the attention of Columbia Records.

Winter’s momentum was throttled when he sank into heroin addiction during the Johnny Winter And days. After he sought treatment for and recovered from the addiction, Winter was put in front of the music press by manager Steve Paul to discuss the addiction candidly. By 1973, he returned to the music scene with the release of Still Alive and Well, a basic blend of blues and hard rock, whose title track was written by Rick Derringer. His comeback concert at Long Island, New York’s Nassau Coliseum featured the “And” line-up minus Rick Derringer and Bobby Caldwell. Also performing on stage was Johnny’s wife Susie. Saints & Sinners and John Dawson Winter III, two albums released in 1974, continue in the same direction. In 1975, Johnny returned to Bogalusa, Louisiana, to produce an album for Thunderhead, a Southern rock band which included Pat Rush and Bobby “T” Torello, who would later play with Winter. A second live Winter album, Captured Live!, was released in 1976 and features an extended performance of “Highway 61 Revisited”.

Muddy Waters sessions

In live performances, Winter often told the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters. He got his chance in 1974, when renowned blues artists and their younger brethren came together to honor the musician (Muddy Waters) responsible for bringing blues to Chicago, and the resulting concert presented many blues classics and was the start of an admired TV series: Soundstage (this particular session was called “Blues Summit in Chicago”). And in 1977, after Waters’ long-time label Chess Records went out of business, Winter brought Waters into the studio to record Hard Again for Blue Sky Records, a label set up by Winter’s manager and distributed by Columbia. In addition to producing the album, Winter played guitar with Waters veteran James Cotton on harmonica. Winter produced two more studio albums for Waters, I’m Ready (with Big Walter Horton on harmonica) and King Bee and a best-selling live album Muddy “Mississippi” Waters – Live. The partnership produced three Grammy Awards for Waters and an additional Grammy for Winter’s own Nothin’ But the Blues, with backing by members of Waters’ band. Waters told Deep Blues author Robert Palmer that Winter had done remarkable work in reproducing the sound and atmosphere of Waters’s vintage Chess Records recordings of the 1950s. AllMusic writer Mark Deming noted: “Between Hard Again and The Last Waltz [1976 concert film by The Band], Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds”.

Lawsuit against DC Comics

In 1996, Johnny and Edgar filed suit against DC Comics and the creators of the Jonah Hex: Riders of the Worm and Such limited series, claiming, among other things, defamation: two characters named Johnny and Edgar Autumn in the series strongly resemble the Winters. The brothers claimed the comics falsely portrayed them as “vile, depraved, stupid, cowardly, subhuman individuals who engage in wanton acts of violence, murder and bestiality for pleasure and who should be killed.” The California Supreme Court sided with DC Comics, holding that the comic books were deserving of First Amendment protection.

Later career and death

After his time with Blue Sky Records, Winter began recording for several labels, including Alligator, Point Blank, and Virgin, where he focused on blues-oriented material. In 1992, he married Susan Warford. In 2004, he received a Grammy Award nomination for his I’m a Bluesman album. Beginning in 2007, a series of live Winter albums titled the Live Bootleg Series and a live DVD all entered the Top 10 Billboard Blues chart. In 2009, The Woodstock Experience album was released, which includes eight songs that Winter performed at the 1969 festival. In 2011, Johnny Winter released Roots on Megaforce Records. It includes Winter’s interpretation of eleven early blues and rock ‘n’ roll classics and features several guest artists (Vince Gill, Sonny Landreth, Susan Tedeschi, Edgar Winter, Warren Haynes, and Derek Trucks). His last studio album, Step Back (which features appearances by Joe Bonamassa, Eric Clapton, Billy Gibbons, Leslie West, Brian Setzer, Dr. John, Paul Nelson, Ben Harper and Joe Perry), was released on September 2, 2014. Nelson and Winter won a Grammy Award in the Best Blues Album category for Step Back in 2015. Nelson said Winter knew it was an award winner and Winter told him “If we don’t win a Grammy for this, they’re nuts.”

Winter continued to perform live, including at festivals throughout North America and Europe. He headlined such prestigious events as the New Orleans Jazz & Heritage Festival, Chicago Blues Festival, the 2009 Sweden Rock Festival, the Warren Haynes Christmas Jam, and Rockpalast. He also performed with the Allman Brothers at the Beacon Theater in New York City on the 40th anniversary of their debut. In 2007 and 2010, Winter performed at Eric Clapton’s Crossroads Guitar Festivals. Two guitar instructional DVDs were produced by Cherry Lane Music and the Hal Leonard Corporation. The Gibson Guitar Company released the signature Johnny Winter Firebird guitar in a ceremony in Nashville with Slash presenting.

Winter was professionally active until the time of his death near Zurich, Switzerland, on July 16, 2014. He was found dead in his hotel room two days after his last performance, at the Cahors Blues Festival in France. The cause of Winter’s death was not officially released. According to his guitarist friend and record producer Paul Nelson, Winter died of emphysema combined with pneumonia.

Writing in Rolling Stone magazine, after Winter’s death, David Marchese said, “Winter was one of the first blues rock guitar virtuosos, releasing a string of popular and fiery albums in the late Sixties and early Seventies, becoming an arena-level concert draw in the process … [he] made an iconic life for himself by playing the blues.

Material loss

On June 25, 2019, The New York Times Magazine listed Johnny Winter among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Recognition and legacy

Winter produced three Grammy Award-winning albums by Muddy Waters – Hard Again (1977), I’m Ready (1978), and Muddy “Mississippi” Waters – Live (1979). Several of Winter’s own albums were nominated for Grammy Awards – Guitar Slinger (1984) and Serious Business (1985) for Best Traditional Blues Album, and Let Me In (1991) and I’m a Bluesman (2004) for Best Contemporary Blues Album. In 2015 Winter posthumously won the Grammy Award for Best Blues Album for Step Back. The album also won the 2015 Blues Music Award for Best Rock Blues Album. At the 18th Maple Blues Awards in 2015, Winter was also posthumously awarded the B.B. King International Artist of The Year Award.

In 1980, Winter was on the cover of the first issue of Guitar World. In 1988, he was inducted into the Blues Hall of Fame, the first non-African-American performer to be inducted into the Hall. There was a character in the video game Heavy Rain named after Winter.

Multiple guitarists have cited Winter as an influence, including Joe Perry, Frank Marino, Michael Schenker, Adrian Smith, and Alex Skolnick.

Guitars and picking style

Winter played a variety of guitars during his career, but he is probably best known for his use of Gibson Firebirds. He owned several, but favored a 1963 Firebird V model. Winter explained:

I still have all six of them … but that first one [1963] I ever bought is my favorite because I’ve played it so long and I’ve gotten used to it. They all sound different, but that one sounds the best. The neck is nice and thin … there’s nothing it can’t do. It’s a great guitar.

The Firebird V was a departure from Gibson’s traditional configuration, with mini-humbucker pickups in place of the company’s standard sized PAF humbucker or P-90 single-coil pickup models. In a 2014 interview, Winter described the tone:

The Firebird is the best of all worlds. It feels like a Gibson, but it sounds closer to a Fender than most other Gibsons. I was never a big fan of humbucking pickups, but the mini humbuckers on the Firebird have more bite and treble.

In 2008, the Gibson Custom Shop issued a signature Johnny Winter Firebird V in a ceremony in Nashville with Slash presenting.

In 1984, luthier Mark Erlewine approached Winter with his Lazer electric guitar. With its unusual design (for the time) without a headstock and having a small body, Winter responded immediately: “the first day I plugged it in, it sounded so good that I wanted to use it for a gig that night.” He commented:

[The Lazer is] the closest thing I’ve found to sounding like a Strat and feeling like a Gibson … Lazer is a bit easier to play than the Firebird. The action is high, but the strings pull easier … But I still use the Firebird on slide songs; the slide still sounds better on the Firebird.

Other guitars that Winter owned and played include a Gibson ES-125 (his first electric guitar), a Fender Stratocaster, a Gibson Les Paul/SG Custom, a Fender Mustang, a Gibson Les Paul Goldtop with P-90 pickups, a Gibson Flying V, an Epiphone Wilshire, a Gibson Black Beauty, a Fender Electric XII (with only the regular six strings), and an acoustic National Resonator.

Winter played with a thumb pick and his fingers. His picking style was inspired by Chet Atkins and Merle Travis and he never used a flat pick. Winter preferred a plastic thumb pick sold by Gibson and a steel pinky slide, later marketed by Dunlop.

专辑列表：
1969 – Johnny Winter (1997, Austria)
1969 – Second Winter (2004, E.U. 2CD)
1969 – The Progressive Blues Experiment (2005, USA)
1970 – Johnny Winter And (1999, Austria)
1973 – Still Alive And Well (1994, Austria)
1974 – Saint And Sinners, Johnny Dawson Winter III (2007, UK)
1977 – Nothin’ But The Blues (1992, E.U.)
1978 – Nothin’ But The Blues + White, Hot And Blue (2007, UK)
1980 – Raisin’ Cain (2015, USA)
1984 – Guitar Slinger (USA)
1985 – Serious Business (USA)
1986 – Third Degree (USA)
1988 – The Winter of ’88 (USA)
1991 – Let Me In (Holland)
1992 – Hey, Where’s Your Brother (E.U.)
2004 – I’m a Bluesman (Japan)
2011 – Roots (USA)
2014 – Step Back (USA)

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