Jimi Hendrix vs. Stevie Ray Vaughan
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John Watt
Member
I have to comment. This is my life we're looking at, and what used to be big business.
First, let me clarify, that despite my seeing Jimi Hendrix and setting myself up with his equipment,
and seeing Deep Purple, Mr. George Benson, Procul Harem, Frank Zappa, Herbie Mann, plus more,
it was jamming along three chord blues with the first two Columbia Johnny Winter albums,
that opened me up to playing electric guitar.
I see Johnny as a busy chatterbox on electric and acoustic slide, and his Dylan version is the best.
Now to the business.
This is the first time I've ever listened to this,
even if Johnny Winter was being pushed at us all the time as a friend of Jimi Hendrix.
When Jimi first toured Texas, he set up Z.Z.Top with a Strat and Marshall stack,
having a presence there already.
Columbia made big news by giving, in 1967, Johnny Winter $500,000 as a signing bonus.
The biggest signing bonus in any history. Why?
Here's Jimi, part of the British Invasion, and Johnny was supposed to become part of that,
as the more than just white guitarist, and as an American blues guitarist.
That wasn't good for Johnny, just worsening his narcotic addictions,
to where nude photos of him with women in bed were being used to promote him.
He had to hired a band with another guitarist, Rick Derringer, to support him,
and "Rock and Roll Hootchie Koo" became a big hit and a song a lot of bar bands played.
That's why I'm still the best general rock guitarist in Magle.dk.
I'm still alive, and undisputed.
And I can play all the stuff they played, and then play more, left-handed.
The sad Hendrix Estate, no doubt, wants this audio to be considered a song,
oh yeah, royalties, when it's not, it's just a jam, a very loose, and not good, jam.
And Jimi never released a three chord blues on any of his albums.
You can say "Red House", a live, after death release, all you want. Try and play it.
And that "plus more", from above, is about seeing more Canadian bands,
that were all far, far more musical and entertaining. Better looking too.
Healthy, if you like that. By that I mean, still putting out songs and gigging as seniors.
If you knew them and could talk about them, I might have some competition,
at least for my right hand.
If I'm talking about other peoples racist behavior,
that's all I'm doing, talking about their racist behavior,
from "Strange Fruit" to Jimi'n'Johnny standin'side by side.
I even did that too, hired by a soul band from Buffalo.
The Buffalo guitarist was "coloured" and played a white Strat through a Fender Twin.
I was hired in Niagara Falls for the biggest seven-nighter house gig on Lundy's Lane,
to stand beside him as a white, Canadian man, playing a black Strat through a Marshall stack,
and I could afford to have a Crybaby, phase shifter and effects,
when the Buffalo guitarist couldn't. I let him use my stuff.
If you understand the nature of those gigs, for example,
there were seven men onstage, all playing in every song,
but there were five men in the room as part of a twelve piece band.
The trumpeter would get up and just play when a trumpet part was needed,
and the others musicians were like that with their instruments.
They all should have been up there onstage instead of me,
because they knew the songs and I was just jamming along...
but then... I'm always just jamming along....
and I'll jam you up some day.... if you let me.
If Jimi hadda lived, he probably would have toured with Elvis.
That's how I got the biggest Elvis gigs in North America.
Everyone was saying Elvis would want to have the best guitarist,
and that would be Jimi Hendrix.
There are small mercies.
First, let me clarify, that despite my seeing Jimi Hendrix and setting myself up with his equipment,
and seeing Deep Purple, Mr. George Benson, Procul Harem, Frank Zappa, Herbie Mann, plus more,
it was jamming along three chord blues with the first two Columbia Johnny Winter albums,
that opened me up to playing electric guitar.
I see Johnny as a busy chatterbox on electric and acoustic slide, and his Dylan version is the best.
Now to the business.
This is the first time I've ever listened to this,
even if Johnny Winter was being pushed at us all the time as a friend of Jimi Hendrix.
When Jimi first toured Texas, he set up Z.Z.Top with a Strat and Marshall stack,
having a presence there already.
Columbia made big news by giving, in 1967, Johnny Winter $500,000 as a signing bonus.
The biggest signing bonus in any history. Why?
Here's Jimi, part of the British Invasion, and Johnny was supposed to become part of that,
as the more than just white guitarist, and as an American blues guitarist.
That wasn't good for Johnny, just worsening his narcotic addictions,
to where nude photos of him with women in bed were being used to promote him.
He had to hired a band with another guitarist, Rick Derringer, to support him,
and "Rock and Roll Hootchie Koo" became a big hit and a song a lot of bar bands played.
That's why I'm still the best general rock guitarist in Magle.dk.
I'm still alive, and undisputed.
And I can play all the stuff they played, and then play more, left-handed.
The sad Hendrix Estate, no doubt, wants this audio to be considered a song,
oh yeah, royalties, when it's not, it's just a jam, a very loose, and not good, jam.
And Jimi never released a three chord blues on any of his albums.
You can say "Red House", a live, after death release, all you want. Try and play it.
And that "plus more", from above, is about seeing more Canadian bands,
that were all far, far more musical and entertaining. Better looking too.
Healthy, if you like that. By that I mean, still putting out songs and gigging as seniors.
If you knew them and could talk about them, I might have some competition,
at least for my right hand.
If I'm talking about other peoples racist behavior,
that's all I'm doing, talking about their racist behavior,
from "Strange Fruit" to Jimi'n'Johnny standin'side by side.
I even did that too, hired by a soul band from Buffalo.
The Buffalo guitarist was "coloured" and played a white Strat through a Fender Twin.
I was hired in Niagara Falls for the biggest seven-nighter house gig on Lundy's Lane,
to stand beside him as a white, Canadian man, playing a black Strat through a Marshall stack,
and I could afford to have a Crybaby, phase shifter and effects,
when the Buffalo guitarist couldn't. I let him use my stuff.
If you understand the nature of those gigs, for example,
there were seven men onstage, all playing in every song,
but there were five men in the room as part of a twelve piece band.
The trumpeter would get up and just play when a trumpet part was needed,
and the others musicians were like that with their instruments.
They all should have been up there onstage instead of me,
because they knew the songs and I was just jamming along...
but then... I'm always just jamming along....
and I'll jam you up some day.... if you let me.
If Jimi hadda lived, he probably would have toured with Elvis.
That's how I got the biggest Elvis gigs in North America.
Everyone was saying Elvis would want to have the best guitarist,
and that would be Jimi Hendrix.
There are small mercies.
Last edited:
John Watt
Member
5/15/2017, this is a new page in my domain,
a narrative about seeing Jimi Hendrix in 1969.
Jus'sayin'.
http://www.gigsters.ca/Jimi_Hendrix.html
a narrative about seeing Jimi Hendrix in 1969.
Jus'sayin'.
http://www.gigsters.ca/Jimi_Hendrix.html
Florestan
New member
Fascinating article! I started it thinking I would read a little bit and then come back to it, but I could not stop. Thanks for posting that link.
A huge Jimi Hendrix fan here playing the greatest blues song ever written:
I have heard many renditions of Red House by Johnny and never does he throw in the closing quip, "Tha's okay, I still got my guitar." I think he left that to the master and only played this song in honor of Jimi, in appreciation of Jimi, and for the great blues song that it is. Johnny once announced the song saying he was playing it for Al Hendrix, Jimi's father, who presumably was in the audience that night.
Last edited:
John Watt
Member
Florestan! Thank you, thank you very much, for your kind compliment.
I had to read it again for the first time, and after looking around here,
I'm giving it a slight return, to edit it.
Let me ask you a serious forum question, considering you are able to embed.
When I'm listening to this YouTube video here, that is embedded,
is this a version of streaming, where I'm paying extra fees if I exceed a limit?
All I can describe about my computer use, making my own YouTube videos,
if if I listen to the discs I save them on, I hear the computer sound also.
But if I copy them to my computer, I can listen with no other noise.
Hearing them here and on YouTube is also noise-free.
Here's a tip for playing Red House I've only heard Jimi do, okay, me too.
Jim never had a song on any of the albums he put out when he was alive,
that was just a three chord blues progression.
It was "Jimi Hendrix in the West", released after his death, that featured "Red House".
Johnny Winter is playing it in B major, and that might not be where it was for Jimi.
That could also be because Jimi could have been tuning his guitar down a fret,
or two, so his singing wouldn't have to be so high, and string bending fingers didn't get sore.
Jimi was always described as being very self-conscious about his singing,
and even in his own studio, would hide so he could record himself unseen.
When you play the D7th formation on the G, B and E strings, as the opening,
you can get feedback happening on the G string, that you don't move down,
as you move down the B and E as the descending notes.
I've done that, but I can't crank anything up in this apartment to find the key.
If you look at Johnnys' guitar, he's got the neck pickup covered in white tape,
and the bridge humbucker doesn't have the pickup frame, just held by springs.
My semi-solid-body fixes all that, as any symphonic player will understand.
I don't have a pick-guard. My pickups are screwed tight to the top section.
If you can imagine a violin or cello with pickups screwed down on top of them,
that's an aspect of my build.
Everything I'm describing here affects the capacities of any pickup.
Johnny has the lower pickup switch covered in tape, probably so he wouldn't accidentally change it,
and there's something behind his picking hand, maybe some kind of finger rest.
His two fingers wouldn't stay there long, on that slippery plastic,
and he does play very fast and precise, needing one.
I had to read it again for the first time, and after looking around here,
I'm giving it a slight return, to edit it.
Let me ask you a serious forum question, considering you are able to embed.
When I'm listening to this YouTube video here, that is embedded,
is this a version of streaming, where I'm paying extra fees if I exceed a limit?
All I can describe about my computer use, making my own YouTube videos,
if if I listen to the discs I save them on, I hear the computer sound also.
But if I copy them to my computer, I can listen with no other noise.
Hearing them here and on YouTube is also noise-free.
Here's a tip for playing Red House I've only heard Jimi do, okay, me too.
Jim never had a song on any of the albums he put out when he was alive,
that was just a three chord blues progression.
It was "Jimi Hendrix in the West", released after his death, that featured "Red House".
Johnny Winter is playing it in B major, and that might not be where it was for Jimi.
That could also be because Jimi could have been tuning his guitar down a fret,
or two, so his singing wouldn't have to be so high, and string bending fingers didn't get sore.
Jimi was always described as being very self-conscious about his singing,
and even in his own studio, would hide so he could record himself unseen.
When you play the D7th formation on the G, B and E strings, as the opening,
you can get feedback happening on the G string, that you don't move down,
as you move down the B and E as the descending notes.
I've done that, but I can't crank anything up in this apartment to find the key.
If you look at Johnnys' guitar, he's got the neck pickup covered in white tape,
and the bridge humbucker doesn't have the pickup frame, just held by springs.
My semi-solid-body fixes all that, as any symphonic player will understand.
I don't have a pick-guard. My pickups are screwed tight to the top section.
If you can imagine a violin or cello with pickups screwed down on top of them,
that's an aspect of my build.
Everything I'm describing here affects the capacities of any pickup.
Johnny has the lower pickup switch covered in tape, probably so he wouldn't accidentally change it,
and there's something behind his picking hand, maybe some kind of finger rest.
His two fingers wouldn't stay there long, on that slippery plastic,
and he does play very fast and precise, needing one.
Last edited:
John Watt
Member
There might be a "Red House" over yonder,
down the street from the "House of Blue Lights",
but,
I would rather be sitting under my own waterfall,
where my worries seem so very small,
here beneath the rainbow wall,
of my waterfall...
with dripping guitar drops falling up and down...
until reality steps in for a super-charged middle section...
about crazy minded fools who have nothing else better to do,
that settles down again, under your waterfall.
down the street from the "House of Blue Lights",
but,
I would rather be sitting under my own waterfall,
where my worries seem so very small,
here beneath the rainbow wall,
of my waterfall...
with dripping guitar drops falling up and down...
until reality steps in for a super-charged middle section...
about crazy minded fools who have nothing else better to do,
that settles down again, under your waterfall.
Florestan
New member
This page talks all about Johnny's guitars and guitar playing style. The site is the most comprehensive site on Johnny Winter with full discography and calender of every year's concerts.
http://yeech.altervista.org/winter_guitars.html
I remember Johnny saying that he never used a tremolo bar and that most guys didn't know how to use it but the one guy who really knew how to use it is Jimi Hendrix.
Also I remember Johnny didn't like capos and it seemed to me that Johnny felt a capo was sort of a crutch.
http://yeech.altervista.org/winter_guitars.html
I remember Johnny saying that he never used a tremolo bar and that most guys didn't know how to use it but the one guy who really knew how to use it is Jimi Hendrix.
Also I remember Johnny didn't like capos and it seemed to me that Johnny felt a capo was sort of a crutch.
John Watt
Member
Florestan! As far as my playing experience goes, the Stratocaster tremolo unit was a first.
Up to then, every other tremolo created tuning problems, or wasn't pitch sensitive.
I'd call that the rockabilly style, or surf style, an effect, more than a playing device.
What made Jimis' use of it different, was a first time use.
When you had a Marshall feeding back, you controlled the feedback,
by detuning, keeping it at bay, or detuning to bring it back from being uncontrollable.
That's when you kept it in your hand all the time, riding the feedback.
A good way to think of that is looking at Jimi and Ritchie Blackmore, both with Strats and Marshalls.
Ritchie was loud, but wasn't about using effects and feedback, just plugging straight into the amp.
That was big back then, Jeff Beck advertising that as another big name.
Plugging straight into the amp was about being straight, not an acid-rock musician.
When you hear Ritchie, with his Stratocaster, he uses it like a rockabilly tremolo,
moving it up and down for a big effect, not riding it for detuning or bringing up chords in pitch.
The first effect he used, a few albums in, was a Dr. Q, a kind of wah-wah simulator,
for "Stormbringer", again, not something as part of song arrangement, just a stand-alone effect for the intro.
It's easy to see Jimi in so many original ways, but it was about the use of new, inventive electronics and guitar.
For me, Mr. George Benson was a genius with his fingers, just with the strings.
Johnny was more of an acoustic guitarist right from the start, and slide player,
finding his own tone as a loud guitar player.
Now, about capos, and I've seen a lot.
It's a big jump from playing chords at the bottom of the neck, to playing a barre chord.
If a beginner guitarist is asking me for advice,
I show them how I can play chords at the bottom of the neck with my barre chord finger sticking up.
I encourage everyone to start playing with that finger in the air,
to prepare themselves for the day when they lay it down across the frets.
If there is one nice thing about using a capo, it's using one higher up the neck.
That can make your playing sound more like a ukelele, or a smaller, treble instrument,
allowing a different sound for a mix, if you have two or three guitars.
When rock videos were making it, actually when rock videos were where it was at,
I always expected to see one where a rocker was playing away on guitar,
and a sexy woman came up and put her finger up on the guitar, as a sexy move,
and acting as a barre chord finger, but I never saw that.
As far as giving someone the finger, using that upright finger as a barre chord finger,
I never saw that either.
There were a lot of statues of the middle finger giving someone the finger,
but I never saw anyone use one of those as a capo or slide.
I can see calling it a crutch, something to carry to help your playing.
Oh-oh! I must be getting to be a senior player.
I can see using a crutch as a slide, or stringing one up as a bass.
Oh, the time before synthesizers, when audiences and dancers were more a-tuned to lead guitarists.
Playing barre chords with the bass string on the bottom,
I could take my thumb and stick it out under the neck towards them and wiggle it,
and that could be a request, or when I started doing that,
people could gather up, saying he's wiggling his finger at me.
I had other guitar players come up to me, saying they heard about my wiggling finger,
and ask me to show them that.
A properly set up Stratocaster really doesn't go out of tune.
You can press the tremolo down and be playing one or two frets down,
with strings that feel very soft, letting the pitch slide up.
Leo Fender invented the Stratocaster to be a stand-up steel guitar,
and you can play it that way, if you can call that the Jimi Hendrix technique with feedback.
I could be playing with any number of other guitarists, all blending together,
but if I was riding the tremolo arm and pitch bending all the time,
that made me a unique sound that set me apart. It still works that way.
I'm surprised no violinist has ever paid someone to build one,
that would be truly singular, and I can see using your chin to control it,
or have a wire to the floor with a foot pedal.
Up to then, every other tremolo created tuning problems, or wasn't pitch sensitive.
I'd call that the rockabilly style, or surf style, an effect, more than a playing device.
What made Jimis' use of it different, was a first time use.
When you had a Marshall feeding back, you controlled the feedback,
by detuning, keeping it at bay, or detuning to bring it back from being uncontrollable.
That's when you kept it in your hand all the time, riding the feedback.
A good way to think of that is looking at Jimi and Ritchie Blackmore, both with Strats and Marshalls.
Ritchie was loud, but wasn't about using effects and feedback, just plugging straight into the amp.
That was big back then, Jeff Beck advertising that as another big name.
Plugging straight into the amp was about being straight, not an acid-rock musician.
When you hear Ritchie, with his Stratocaster, he uses it like a rockabilly tremolo,
moving it up and down for a big effect, not riding it for detuning or bringing up chords in pitch.
The first effect he used, a few albums in, was a Dr. Q, a kind of wah-wah simulator,
for "Stormbringer", again, not something as part of song arrangement, just a stand-alone effect for the intro.
It's easy to see Jimi in so many original ways, but it was about the use of new, inventive electronics and guitar.
For me, Mr. George Benson was a genius with his fingers, just with the strings.
Johnny was more of an acoustic guitarist right from the start, and slide player,
finding his own tone as a loud guitar player.
Now, about capos, and I've seen a lot.
It's a big jump from playing chords at the bottom of the neck, to playing a barre chord.
If a beginner guitarist is asking me for advice,
I show them how I can play chords at the bottom of the neck with my barre chord finger sticking up.
I encourage everyone to start playing with that finger in the air,
to prepare themselves for the day when they lay it down across the frets.
If there is one nice thing about using a capo, it's using one higher up the neck.
That can make your playing sound more like a ukelele, or a smaller, treble instrument,
allowing a different sound for a mix, if you have two or three guitars.
When rock videos were making it, actually when rock videos were where it was at,
I always expected to see one where a rocker was playing away on guitar,
and a sexy woman came up and put her finger up on the guitar, as a sexy move,
and acting as a barre chord finger, but I never saw that.
As far as giving someone the finger, using that upright finger as a barre chord finger,
I never saw that either.
There were a lot of statues of the middle finger giving someone the finger,
but I never saw anyone use one of those as a capo or slide.
I can see calling it a crutch, something to carry to help your playing.
Oh-oh! I must be getting to be a senior player.
I can see using a crutch as a slide, or stringing one up as a bass.
Oh, the time before synthesizers, when audiences and dancers were more a-tuned to lead guitarists.
Playing barre chords with the bass string on the bottom,
I could take my thumb and stick it out under the neck towards them and wiggle it,
and that could be a request, or when I started doing that,
people could gather up, saying he's wiggling his finger at me.
I had other guitar players come up to me, saying they heard about my wiggling finger,
and ask me to show them that.
A properly set up Stratocaster really doesn't go out of tune.
You can press the tremolo down and be playing one or two frets down,
with strings that feel very soft, letting the pitch slide up.
Leo Fender invented the Stratocaster to be a stand-up steel guitar,
and you can play it that way, if you can call that the Jimi Hendrix technique with feedback.
I could be playing with any number of other guitarists, all blending together,
but if I was riding the tremolo arm and pitch bending all the time,
that made me a unique sound that set me apart. It still works that way.
I'm surprised no violinist has ever paid someone to build one,
that would be truly singular, and I can see using your chin to control it,
or have a wire to the floor with a foot pedal.
Last edited:
John Watt
Member
Despite what I'm always going on about Jimi Hendrix... yeah...
I bought the first two Johnny Winter Columbia albums,
and "Deep Purple in Rock", and that's where I learned to jam along.
Jimi... oh yeah... too much equipment, too many sounds, too many overdubs,
but jamming along with Johnnys' three chord blues and folk-rock covers,
when he was playing acoustic slide guitar, really got me going.
Jamming along with "Sweet Child in Time", in Am, and "Speed King", in G, were easy for me.
Look what I got today, Florestan, for $!, with the disc looking new.
This Ibanez is an S.G. copy, also new, what Johnny's playing here,
so it's all coming together. Too bad you're not here to play bass.
I took off the right-handed pick-guard, or it would look the same.
How does this recording rate in your Johnny Winter world?
He looks really young in the photo.
You saw what I had to say, about rock and blues,
but it was fifteen jazz albums I jammed to that opened me up the most.
They were mostly Elvin Jones, John Coltrane, with a few others, all instrumental.
When I say fifteen albums, when I reached owning that many,
that was all I needed. I could be jamming through one album,
and by the time I went through all fifteen, it felt fresh to start over.
One of the first songs I played through my Marshall amp,
was the beginning to Beethoven's Sonata in C#m.
Maybe I can get a mix happening, and do some Winter Moonlight.
I bought the first two Johnny Winter Columbia albums,
and "Deep Purple in Rock", and that's where I learned to jam along.
Jimi... oh yeah... too much equipment, too many sounds, too many overdubs,
but jamming along with Johnnys' three chord blues and folk-rock covers,
when he was playing acoustic slide guitar, really got me going.
Jamming along with "Sweet Child in Time", in Am, and "Speed King", in G, were easy for me.
Look what I got today, Florestan, for $!, with the disc looking new.
This Ibanez is an S.G. copy, also new, what Johnny's playing here,
so it's all coming together. Too bad you're not here to play bass.
I took off the right-handed pick-guard, or it would look the same.
How does this recording rate in your Johnny Winter world?
He looks really young in the photo.
You saw what I had to say, about rock and blues,
but it was fifteen jazz albums I jammed to that opened me up the most.
They were mostly Elvin Jones, John Coltrane, with a few others, all instrumental.
When I say fifteen albums, when I reached owning that many,
that was all I needed. I could be jamming through one album,
and by the time I went through all fifteen, it felt fresh to start over.
One of the first songs I played through my Marshall amp,
was the beginning to Beethoven's Sonata in C#m.
Maybe I can get a mix happening, and do some Winter Moonlight.
Florestan
New member
Yeah, Johnny loved acoustic, especially the steel guitar that he said had an edge on it like a garbage can. He also got to where he would play the Earlwine Lazer with the treble all the way up.
Florestan
New member
There are some great songs on that Gangster of Love album, it is stuff he kind of didn't want released and his ex manager was a jerk and kept releasing stuff left and right repackaged and I don't think Johnny got a dime for it all, but it is great music. But I would say the last five are absolutely excellent:
12. Low Down Gal of Mine
13. Parchman Farm
14. Leaving Blues
15. Goin Down Slow
16. Kind Hearted Woman
In these last five he sounds like an early bluesman. I think these songs rank as high as any of his finest power blues. Here he really sounds like he is living the blues live. There are many more good ones in these old releases.
John Watt
Member
Florestan, I'm going to have to disagree with you.
This "Gangster of Love" CD really disappointed me. If you're a big Johnny Winter fan, I'm surprised you like it.
My overall opinion is that it's not even half the guitar playing I'm used to, from his first two Columbia albums.
The basic production level seems to be mild, New Orleans style Cajun rock, and I really mean mild.
I can't imagine any song being used as part of anything, from a TV show for children to a movie soundtrack.
It almost sounds like Johnnys' singing was used, and dubbed over a karaoke cassette, not even a CD.
One song even sounds like it isn't Johnny playing guitar, just very slow, simple playing, but with a heavy effect,
maybe doubling the sound, what could be a guitar synthesizer or octave device, sounding like that.
I think that was track six. Track seven would be the "Unchained Melody" chords, not even blues.
You and I might even be listening to two different products.
You've got "Parchman Farm" as 13, but it's 9 for me with only ten songs overall.
1: Road Runner 2: Gangster of Love 3: The Guy You Left Behind 4: Five After Four AM 5: That's What Love Does
6: Leave My Woman Alone 7: Oh My Darling 8: Low Down Gal of Mine 9: Parchman Farm 10: Goin' Down Slow
If you want to talk about having a sense of urgency, no, nothing sounds energetic at all.
I'll say one thing, it makes me want to hear his first two albums again.
If this proves anything at all about Johnnys' popularity,
this is the first used CD of his that I've seen, one of the reasons I got it. I can see why it was donated.
Long after Johnny seemed to disappear as a big rock star, probably because he just toured live, or hibernated,
I heard a new song, something about rain falling, for him, more of a pop-rock-blues production,
but it was a great song, it was the Johnny singing and playing that I knew,
and it got a lot of FM radio play, and became a song other blues players covered.
And if god said to Abraham, going and pick me one,
I'm sure he'd still be looking for Johnnys' version of highway 51.
This "Gangster of Love" CD really disappointed me. If you're a big Johnny Winter fan, I'm surprised you like it.
My overall opinion is that it's not even half the guitar playing I'm used to, from his first two Columbia albums.
The basic production level seems to be mild, New Orleans style Cajun rock, and I really mean mild.
I can't imagine any song being used as part of anything, from a TV show for children to a movie soundtrack.
It almost sounds like Johnnys' singing was used, and dubbed over a karaoke cassette, not even a CD.
One song even sounds like it isn't Johnny playing guitar, just very slow, simple playing, but with a heavy effect,
maybe doubling the sound, what could be a guitar synthesizer or octave device, sounding like that.
I think that was track six. Track seven would be the "Unchained Melody" chords, not even blues.
You and I might even be listening to two different products.
You've got "Parchman Farm" as 13, but it's 9 for me with only ten songs overall.
1: Road Runner 2: Gangster of Love 3: The Guy You Left Behind 4: Five After Four AM 5: That's What Love Does
6: Leave My Woman Alone 7: Oh My Darling 8: Low Down Gal of Mine 9: Parchman Farm 10: Goin' Down Slow
If you want to talk about having a sense of urgency, no, nothing sounds energetic at all.
I'll say one thing, it makes me want to hear his first two albums again.
If this proves anything at all about Johnnys' popularity,
this is the first used CD of his that I've seen, one of the reasons I got it. I can see why it was donated.
Long after Johnny seemed to disappear as a big rock star, probably because he just toured live, or hibernated,
I heard a new song, something about rain falling, for him, more of a pop-rock-blues production,
but it was a great song, it was the Johnny singing and playing that I knew,
and it got a lot of FM radio play, and became a song other blues players covered.
And if god said to Abraham, going and pick me one,
I'm sure he'd still be looking for Johnnys' version of highway 51.
Florestan
New member
It isn't power blues and some of it is poorly produced. Johnny didn't want the guy releasing all this stuff, but it gives you some history, and I still stand by 8: Low Down Gal of Mine 9: Parchman Farm 10: Goin' Down Slow as being excellent renditions as provided on the Gangster of Love album.
Here is another one from that same era. These are songs where Johnny's voice is as important as the simple guitar accompaniment. He is covering the very old bluesmen. Too bad the You Tube poster put the wrong picture implying power blues and showing an electric guitar when it is acoustic.
Same song by the great Robert Johnson (I think Johnny did it justice):
The popularity is strong enough that they recently released a 40 track album with most of this early stuff. It is variable, some great, some cheesy, but all of it worth having for a Johnny Winter freak.
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John Watt
Member
oh... oh... my heart... my sanity... finally... put me to rest, just not the rest of re-issues.
I didn't know Johnny played in the Matrix as the only white-haired ultra-reality suit-man.
I can see why he was edited out of the movie, he's smiling.
This has to be photo-shopped, this has to be photo-shopped, as I'm clicking not only these keys,
but my ruby red shoes, hoping some Texas hurricane takes me away... oh... oh...
And I'm going to really disagree with you this time, Florestan, if you think you're a Johnny Winter fan.
The acoustic song wasn't simple blues, no, not at all.
Just listen to the steady driving bass beat, not just plunking it to accent a chord,
but playing a steady, driving bass line first and foremost, and that's so hard for a righty to do.
The fact the acoustic is just acoustic, not a National Steel guitar or electric,
and is mixed behind the vocals, is what makes it sound mild as guitar playing, when it's not.
Eric Clapton, "Clapton is God", was playing just the, for him, bottom four strings, at the start.
When he got to be the fifth Beatle, playing acoustic guitar as holding up George Harrison,
the fact he played a bass G for a C major chord, or a bass G moving from an A minor chord,
made him hot, even if it wasn't even busy hippy folk guitar playing.
Here where I'm local, that could include Bruce Cockburn, always a busy bass.
Back in that era, the only acoustic player I would put up there with Johnny Winter,
was the banjo player from "The Nitty Gritty Dirt Band". Sure, their albums were great,
but he appeared on the Johnny Carson show a lot as a guest, playing by himself,
so I could hear how truly great he was.
Now I remember. As a cover for his intensive use of narcotics, and to facilitate delivery,
when he was living in backstage rooms, he put on Tupperware parties as a cover.
That's when this photo was taken, seeing, not harvest gold or avocado green,
but sea-foam blue as a back-ground colour. I have a butter holder in that colour.
yeah, that's right.
The butter holder is like Johnny Winter.
You can put the whole pound of butter in there, getting the complete package.
The lid for the holder, doesn't jam, doesn't squeeze in, it just fits good enough to be a preservative,
and keep the butter fresh. It's also big enough so no butter sticks to the lid.
That is like the Johnny Winter I know. The complete package, and oh so loose, just flowing nicely all the time,
and being a perfectionist.
And if you leave the butter holder out,
there is a sense of urgency, just like Johnnys' first two Columbia albums,
that never got soft,
because he never let the hydrogenized become homogenized like his later under-amplified,
white blues-man, British Invasion, albinized musician.
When he had never been big, just a Texas player,
Columbia Records paid him the biggest signing bonus ever given to anyone in history,
$100,000 just to say he would record two albums for them.
That's how he came to be advertised and reported on, all about the money.
I just hear an incredible right hand technique, and the vocals to go with it,
as a real blues-man, and a good friend of Jimi Hendrix.
Noto! Noto Von Heft! I didn't know you had albums, and look at Johnny!
What's that you're saying... yeah.... stop playin'..,
"when god said to Abraham, make me a son,
to make a blues man he kept him out of the sun".
nice riff Noto, yeah... keep'er'goin'.
"when that heavy rain falls in the dead of the night,
a glowing white man comes out, jamming out of sight".
okay Noto, yeah...
I didn't know Johnny played in the Matrix as the only white-haired ultra-reality suit-man.
I can see why he was edited out of the movie, he's smiling.
This has to be photo-shopped, this has to be photo-shopped, as I'm clicking not only these keys,
but my ruby red shoes, hoping some Texas hurricane takes me away... oh... oh...
And I'm going to really disagree with you this time, Florestan, if you think you're a Johnny Winter fan.
The acoustic song wasn't simple blues, no, not at all.
Just listen to the steady driving bass beat, not just plunking it to accent a chord,
but playing a steady, driving bass line first and foremost, and that's so hard for a righty to do.
The fact the acoustic is just acoustic, not a National Steel guitar or electric,
and is mixed behind the vocals, is what makes it sound mild as guitar playing, when it's not.
Eric Clapton, "Clapton is God", was playing just the, for him, bottom four strings, at the start.
When he got to be the fifth Beatle, playing acoustic guitar as holding up George Harrison,
the fact he played a bass G for a C major chord, or a bass G moving from an A minor chord,
made him hot, even if it wasn't even busy hippy folk guitar playing.
Here where I'm local, that could include Bruce Cockburn, always a busy bass.
Back in that era, the only acoustic player I would put up there with Johnny Winter,
was the banjo player from "The Nitty Gritty Dirt Band". Sure, their albums were great,
but he appeared on the Johnny Carson show a lot as a guest, playing by himself,
so I could hear how truly great he was.
Now I remember. As a cover for his intensive use of narcotics, and to facilitate delivery,
when he was living in backstage rooms, he put on Tupperware parties as a cover.
That's when this photo was taken, seeing, not harvest gold or avocado green,
but sea-foam blue as a back-ground colour. I have a butter holder in that colour.
yeah, that's right.
The butter holder is like Johnny Winter.
You can put the whole pound of butter in there, getting the complete package.
The lid for the holder, doesn't jam, doesn't squeeze in, it just fits good enough to be a preservative,
and keep the butter fresh. It's also big enough so no butter sticks to the lid.
That is like the Johnny Winter I know. The complete package, and oh so loose, just flowing nicely all the time,
and being a perfectionist.
And if you leave the butter holder out,
there is a sense of urgency, just like Johnnys' first two Columbia albums,
that never got soft,
because he never let the hydrogenized become homogenized like his later under-amplified,
white blues-man, British Invasion, albinized musician.
When he had never been big, just a Texas player,
Columbia Records paid him the biggest signing bonus ever given to anyone in history,
$100,000 just to say he would record two albums for them.
That's how he came to be advertised and reported on, all about the money.
I just hear an incredible right hand technique, and the vocals to go with it,
as a real blues-man, and a good friend of Jimi Hendrix.
Noto! Noto Von Heft! I didn't know you had albums, and look at Johnny!
What's that you're saying... yeah.... stop playin'..,
"when god said to Abraham, make me a son,
to make a blues man he kept him out of the sun".
nice riff Noto, yeah... keep'er'goin'.
"when that heavy rain falls in the dead of the night,
a glowing white man comes out, jamming out of sight".
okay Noto, yeah...
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John Watt
Member
Whew! I feel like I just got finished making a speech, instead of just introducing the song.
It doesn't matter that I can't embed, even if I try,
because there is no video for this 1969 recording of Highway 61 by Johnny Winter.
I needed some tunes.
This is the second Johnny Winter album I bought at the time,
jamming along to learn three chord blues.
And I would have bet it was highway 51.
That was one of the better looking double album covers back then.
https://www.youtube.com/watch?v=yclRjptWlW8
It doesn't matter that I can't embed, even if I try,
because there is no video for this 1969 recording of Highway 61 by Johnny Winter.
I needed some tunes.
This is the second Johnny Winter album I bought at the time,
jamming along to learn three chord blues.
And I would have bet it was highway 51.
That was one of the better looking double album covers back then.
https://www.youtube.com/watch?v=yclRjptWlW8
Florestan
New member
That is a killer song! And a killer rendition.
I wonder why you can't embed. Maybe your computer is not displaying everything. But there is a list of icons at the top of the editing box. The filmstrip is for embedding videos. You must not have those items showing.
John Watt
Member
Florestan! If you saw how built up my apartment is,
stands of shelves screwed to walls, my Egyptian barge canopy roof in the kitchen,
things like that,
you'd know what I mean when I say I've been in since five this afternoon,
dismantling my apartment as I prepare to move.
All that to say, I'm glad you replied so I have something to reply to.
I've been given instructions on how to embed, and notice those functions have changed,
but I try and I tried but it never worked.
But let me ask you something. A link is a link, activating the function on the other domain.
That's my understanding.
Now, if I embed here is it using Magle.dk electricity, is it loading up a thread with too much juice?
This is a more important question for me than you might think.
I'm building a new music domain, and I'm not into code to build anything animated,
so embedding some videos, even mine when I get some good ones,
would be a nice addition, even if I'm not doing it all the time.
I just listened again. I don't hear it as going back for a retro oldie.
It still sounds fresh like I'm hearing it for the first time.
By the end of the 70's I was just listening to two sides of Electric Ladyland,
and I gave away my CD of "Are You Experienced" and didn't get another one.
While I'm taking things apart,
I've got the "No Doubt Rock Steady" live concert DVD on.
stands of shelves screwed to walls, my Egyptian barge canopy roof in the kitchen,
things like that,
you'd know what I mean when I say I've been in since five this afternoon,
dismantling my apartment as I prepare to move.
All that to say, I'm glad you replied so I have something to reply to.
I've been given instructions on how to embed, and notice those functions have changed,
but I try and I tried but it never worked.
But let me ask you something. A link is a link, activating the function on the other domain.
That's my understanding.
Now, if I embed here is it using Magle.dk electricity, is it loading up a thread with too much juice?
This is a more important question for me than you might think.
I'm building a new music domain, and I'm not into code to build anything animated,
so embedding some videos, even mine when I get some good ones,
would be a nice addition, even if I'm not doing it all the time.
I just listened again. I don't hear it as going back for a retro oldie.
It still sounds fresh like I'm hearing it for the first time.
By the end of the 70's I was just listening to two sides of Electric Ladyland,
and I gave away my CD of "Are You Experienced" and didn't get another one.
While I'm taking things apart,
I've got the "No Doubt Rock Steady" live concert DVD on.
Florestan
New member
I could sure use a bigger house and a room full of shelving to sort things out. I can't even find any of my Neil Young or Eric Clapton CDs. I know there are somewhere, but just can't find them. In a box somewhere.
Here is a Killer Hendrix Album. Band of Gypsies:
Here is a Killer Hendrix Album. Band of Gypsies:
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John Watt
Member
Florestan and bob32116, you're lucky I've got turkey pot pies in the oven.
Jimi Hendrix only released this Madison Square Gardens "New Years Eve Concert",
live cuts from two nights in a row, to end his American record contract.
He had been kidnapped at gunpoint, held in a cabin, and rescued by employees,
of his American record contract company, after a gun battle.
That's when he fled to Europe and was murdered.
Others were saying Jimi was burnt, he was so thin, looking emaciated,
and this album really isn't anything like his previous albums, the songs.
Mostly, it's just a droning bass playing the same thing, not even changing chords.
Jimi just comes in with the bass riff to be the start or ending.
It is tasty slow funk jamming, staying with the same effects and tone,
and it touches on Star Spangled Banner with the same war sounds.
However, at the time, it was the one Jimi album you could jam along to,
and hear him play lead guitar as a song, without all the overdubs.
I wasn't around the music scene to see Stevie Ray Vaughn,
but when others came up to me saying you should hear him, listen to "Little Wing",
for me, it was just a chunky, bluesy rhythm, and I surprised everyone all the time,
by playing so much more into it.
On the album, Jimi uses a very difficult chord progression, two middle open strings,
with two bass strings and two high strings, moving it up and down between two frets.
That's the ending of Castles Made of Sand, where he moved it up and down and all around,
which is how he did Little Wing when I saw him live.
At the end, those were the chords of the angel flying up into the sky.
In Little Wing, and you can debate the live and recorded and re-released key all you want,
and I think Florestan has a run-down motor, or dying battery, tape recorded version, somewhere,
but it only works as beginning with this G formation, because,
you're letting the D and G strings ring open from previous notage,
which could be starting to feed back,
keeping that ringing open while you position your fingers to play this.
Bass E string, 3rd fret,
A string, 3nd fret, suspending a G major chord,
D and G string, open,
B string, first fret, accenting the suspension,
and E string, third fret.
Not to be self-promotional, when I saw Jimi,
this is one thing I retained, as reaching for this chord,
and then sliding it way up and down the neck, as in Castles Made of Sand,
and,
except for me seeing Jimi do it, I'm the only other one.
I win bets in music stores, playing this.
Jimi chugs it up two frets, down two frets, up four frets, down two frets,
like wings beating up and down, getting higher up the neck,
and when you get it, it feels that way.
A YouTube video can be made upon request, using an acoustic guitar for emphasis.
If you can't sing it, you can't play it.
But you can say it without being able to play it.
as god said to Abraham, go play me a song,
Abraham looked for Jimi on highway 61.
Jimi Hendrix only released this Madison Square Gardens "New Years Eve Concert",
live cuts from two nights in a row, to end his American record contract.
He had been kidnapped at gunpoint, held in a cabin, and rescued by employees,
of his American record contract company, after a gun battle.
That's when he fled to Europe and was murdered.
Others were saying Jimi was burnt, he was so thin, looking emaciated,
and this album really isn't anything like his previous albums, the songs.
Mostly, it's just a droning bass playing the same thing, not even changing chords.
Jimi just comes in with the bass riff to be the start or ending.
It is tasty slow funk jamming, staying with the same effects and tone,
and it touches on Star Spangled Banner with the same war sounds.
However, at the time, it was the one Jimi album you could jam along to,
and hear him play lead guitar as a song, without all the overdubs.
I wasn't around the music scene to see Stevie Ray Vaughn,
but when others came up to me saying you should hear him, listen to "Little Wing",
for me, it was just a chunky, bluesy rhythm, and I surprised everyone all the time,
by playing so much more into it.
On the album, Jimi uses a very difficult chord progression, two middle open strings,
with two bass strings and two high strings, moving it up and down between two frets.
That's the ending of Castles Made of Sand, where he moved it up and down and all around,
which is how he did Little Wing when I saw him live.
At the end, those were the chords of the angel flying up into the sky.
In Little Wing, and you can debate the live and recorded and re-released key all you want,
and I think Florestan has a run-down motor, or dying battery, tape recorded version, somewhere,
but it only works as beginning with this G formation, because,
you're letting the D and G strings ring open from previous notage,
which could be starting to feed back,
keeping that ringing open while you position your fingers to play this.
Bass E string, 3rd fret,
A string, 3nd fret, suspending a G major chord,
D and G string, open,
B string, first fret, accenting the suspension,
and E string, third fret.
Not to be self-promotional, when I saw Jimi,
this is one thing I retained, as reaching for this chord,
and then sliding it way up and down the neck, as in Castles Made of Sand,
and,
except for me seeing Jimi do it, I'm the only other one.
I win bets in music stores, playing this.
Jimi chugs it up two frets, down two frets, up four frets, down two frets,
like wings beating up and down, getting higher up the neck,
and when you get it, it feels that way.
A YouTube video can be made upon request, using an acoustic guitar for emphasis.
If you can't sing it, you can't play it.
But you can say it without being able to play it.
as god said to Abraham, go play me a song,
Abraham looked for Jimi on highway 61.
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