The set is divided between blues tunes and old-timey music, but it is the former that are more effective. Their live set, recorded in Berkeley in 1969, is a more sedate affair than Winter’s, but Kaukonen’s nimble acoustic picking is no less fluid or expressive. Hot Tuna, a side project for Jefferson Airplane’s Jorma Kaukonen and Jack Casady, sought to explore the acoustic side of the blues that Winter so frantically electrified. There is even an early, dangerous-sounding version of Derringer’s “Rock and Roll Hoochie Koo”, with Winter’s gravel-on-glass vocals instead of Derringer’s own (which would grace the 1974 hit version) and a conspicuous absence of backing harmonies. Winter and Derringer’s back-and-forth guitar assault is worth the price all by itself, and, with a frenetic version of Winter’s “Mean Town Blues” checking in at 18 minutes, the set does not want for extended workouts.
The rest of the setlist ranges from standards like “Good Morning Little Schoolgirl” and “Rollin’ and Tumblin’” to the raucous Bob Dylan cover “Highway 61 Revisited”. Then again, the jam is extended to 22 minutes, which equals four or five songs for most other bands. A bigger complaint is that there is only one slow-tempo blues number, the epic “It’s My Own Fault”. Bass and percussion tones are a little thin, but the vocals and guitars ring through loud and clear. The sound quality is excellent overall, especially for trebleheads. The Johnny Winter set, recorded at the Fillmore East in 1970 with sideman Rick Derringer, is a fiery blend of guitar-stomp blues and blues-rock originals. Collectors’ Choice seems to have taken this to heart, with an initial offering from four wildly disparate acts.
#JOHNNY WINTER HIGHWAY 61 LIVE SERIES#
Collectors’ Choice Music has decided to confront these dangers head-on with a series of live releases from classic artists-although “classic” remains a controversial term, and one fan’s must-have is another’s must-avoid. Studio overdubs are a temptation that many bands find impossible to resist, calling into question the integrity of the “live” tag. A great concert can make a lousy recording, or a band that performs well in the studio can come off flat onstage.
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