![]() ![]() John’s soulful vocals and (of course) plenty of soloing on piano and guitar. The slow blues of “Love Life & Money” gives everyone involved a chance to stretch out the tune is primarily a showcase for Dr. At that point, it’s a free-for-all with Winter, Paris and Dr. The band boogies effectively here, and in fact it’s Winter who’s left with nothing much to do until the tune’s three-minute mark. Happily, the same isn’t true of Muddy Waters‘ “Sugar Sweet,” wherein Paris gets a chance to show off his blues harp skills (though he has to do so under Dr. John doing their thing, there’s quite little left for Paris and Compton to do other than chug alongside the runaway train. On the negative side, with Johnny and Dr. The good doctor’s vocals are a treat, though, with Winter occasionally shouting along enthusiastic encouragement. This being the 1980s and all, the piano he’s playing sounds suspiciously like a Yamaha CP-70, a notoriously metallic-sounding instrument that (unintentionally, to be sure) has a sound redolent of a tack piano. John (Mac Rebbenack) does indeed feature on this set, but it’s a good while before he makes his initial appearance, and when he does, he waits halfway into “You Lie Too Much” to take a solo. Bassist John Paris and drummer T om Compton hold down a rock-solid foundation, allowing Winter to spin out nearly endless soloing, with the occasional detour into a bit of lyrics here and there.ĭr. Eventually the tune segues into Winter’s own “Sound the Bell.” “Don’t Take Advantage of Me” quotes Cream‘s “Sunshine of Your Love” at last three times. Despite what the track listings note, the first minute and a half of the opening track sounds suspiciously like Stevie Ray Vaughan‘s 1984 tune “Scuttle Buttin'”. Winter and his rhythm section take a leaf from the jazz playbook and slyly insert licks (and sometimes more) from other tunes into their songs, providing a small but telling window into some of the influences that informed Winter’s playing in the late 1980s. The recording dates from near the end of Winter’s time on Alligator Records, a period in which (though he may still have been battling his own personal demons) he made some fine, genre-focused music. John – Live in Sweden has a number of things to recommend it. A new archival release, Johnny Winter with Dr. Other releases may have different listings.There are countless recordings of Johnny Winter live onstage they all exist at various points on the spectrum of legitimacy. Songwriters and track running times are taken from the original Blue Sky Records LP. It's no surprise that his biggest seller is a live album, and this one is another accomplished effort. ![]() Winter plays fast, filling up measures with torrents of notes that must impress any guitar fan, and he earns the big cheers heard in between numbers. He notes that Winter only wrote one of the songs and added:Īll the songs are basically vehicles for his guitar playing, sometimes performed in unison with Radford. In a review for AllMusic, William Ruhlmann gave the album three and a half out of five stars. The performances were recorded in 1975 at three California venues: Swing Auditorium, San Diego Sports Arena and Oakland Coliseum.Ĭritical reception Professional ratings Review scores September 20, 1975, Coliseum, Oakland, CaliforniaĬaptured Live! is a 1976 album by Johnny Winter.September 18, 1975, Sports Arena, San Diego, California.September 14, 1975, Swing Auditorium, San Bernardino, California. ![]()
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