Originally released in February 1974, Saints & Sinners was re-issued on February 27, 1996 with the previously unreleased song “Dirty,” a Winter original, added. The slide guitar-and-flute track is not consistent with the rest of the album, but it is interesting to hear.

LP: CBS S 65842 (Recorded: 1974)

The album “Sainta and Sinners” has also been released as a Quadraphonic LP

Producer: Rick Derringer

The Johnny Winters record: “Saints and Sinners” scores #42 on 23 Feb 1974 in the Billboard charts.


  • Stone county – also available as a single on Play Back Records
  • Blinded by love
  • Thirty days
  • Stray cat blues
  • Bad luck situation
  • Rollin’ cross the country
  • Riot in cell block #9
  • Hurtin so bad
  • Boney moroney
  • Feedback on highway 101 (an unreleased Van Morrison song)

Jetzt ist wieder Johnny dran

Von dem ‘Trio’ gibt’s immer Neues zu berichten, von Johnny Winter, seinem Bruder Edgar und von ihrem Freund, musikalischen Mitstreiter und meistens auch Produzenten Rick Derringer. Rick (Ex-McCoy), er ist auf vielen Alben von Edgar & Johnny zu horen, spielte lange live mit Edgar, hat mit “All American Boy” sein erstes Solo-Album vor kurzem veroffentlicht und in diesen Tagen seine Single-Auskopplung “Teenage Love Affair”. Edgar kommt gerade mit seiner neuen LP “Shock Treatment” auf den Markt (Rick wie immer dabei).

Johnny endlich bringt eine Single heraus, die auf seinem jungsten Long-player schon drauf ist, entstanden, wen wundert’s noch, unter Assistenz der beiden anderen Rock-Kumpane. Auf seine Biografie sollte man kurz zuruckblenden Als er 1962 auf der Chicagoer Musikszene auftauchte, schrieben Kritiker aber ihn, er sei der “einzig legitime Nachfolger von Jimi Hendrix”.

Den aus Beaumont, Texas, stammenden klapperdarren Albino mit dem Silberblick zog’s ins Blues-Mekka. Nachdem er zunachst mit Bruder Edgar als “It And Them” (spater in “Johnny Winter And The Black Plague” umbenannt) aufgetreten war, gastierte er kurze Zeit spater in Mike Bloomfield’s Fickle Pickle. Im Dezember 1968 brachte ein Rolling Stone-Artikel alles ins Rollen. Tiny Tim-Entdecker Steve Paul holte ihn nach New York. An einem Morgen, um 2.00 Uhr, lief im Fillmore East ein Supersession mit Hendrix, Stills, Bloomfield und Winter. Billboard schrieb danach: “Johnny ist das heiBeste Rock-Phanomen seit Bob Dylan.

Das bereitwillige Publikum wird formlich zur kompletten Kapitulation getrieben, wenn der weiBe Blues-Satan seine betaubende, hinreissende Show abzieht”. Der weiB blonde Magier sorgte nicht nur far Explosion auf der Bahne, sein erstes Album “Johnny Winter” (eine Art Sammlung von Delta-Blues-Stucken) bewies das. Nach “Second Winter” (ein Doppelalbum, von dem kurioserweise eine Seite leer blieb) erschien “Johnny Winter And”, eine Aufnahme, die Johnny mit den Ex-McCoys (“Hang on Sloopy”…) einspielte und seine Entwicklung vom Blues zum Rock beschleunigte.

Der Konzert-Mitschnitt “Johnny Winter Live” war der nachste Plattentreffer. Nach seiner Deutschlandtournee im Fruhjahr 1971 wurde es etwas still um den Albino-Gitarristen. Zwei Jahre muBte er wegen einer Entziehungskur pausieren. Dann konstatierte der Titel des neuen Albums Johnny’s regenerierten Zustand: “Still Alive And Well”. Sein jUngstes Opus, aus dem auch die jetzt ausgekoppelte Single “Boney Moroney” stammt, ist “Saints And Sinners”, das der Pop-Presse Uberschwengliche Rezensionen entlockte. So schrieb SOUNDS: “Er weiB nicht nur, was Rock & Roll ist, er lebt ihn, erlebt ihn, lebt ihn aus denk’ ich an seine nachste LP, lacht mir das Herz im Leibe”.

Und Pop sekundiert: “Knall-harter, knochentrockener Rock!” MUSIK EXPRESS schlieBlich jubelt: “Nirgends ist die Platte langweilig, man kann nicht alle Tracks einzeln erwahnen. Wer Johnny mag, wird begeistert sein. So wie ich…. Wooooowww!!!” (Bewertung mit 4 Sternen = sehr gut) Ein heisser Winter

Sounds 2 Feb 1974


JOHNNY WINTER has just finished the final mixes of his new album and this white label copy arrived from the States hot of the press this week. It’s Johnny’s second comeback album and as such he has had full opportunity to take his time and show that he reallv is still alive and well, since the last album was something of a misnomer. fairly, disappointing from beginning to end. “Saints & Sinners” marks a reunion of musicians since Rick Derringer produced it, brother Edgar organises some lovely horn work and plays keyboards. Bobby Caldwell plays drums on a few cuts. Jon Smith and Dan Hartman.

Also sit in alongside John’s permanent sidemen Randy Jo Hobbs on bass and Richard Hughes on drums. The message is plain from the opening cut when Winter and Co. fairly tear into Richard Supa’s “Stone County” and never let up. And in a sense that’s the main’ criticism of this album and marks the tendency of Derringer to over-embellish in the studios. The whole album is too uptight and too upfront, as though Winter and Derringer between them are trying to contrive the excitement rather than let it flow naturally. Winter’s guitar sits well into the overall ensemble but rarely gets the chance to break out with that strident grace for which he is known.

As for the tracks, the promised David Bowie song hasn’t materialised but once again Johnny pays tribute to the Rolling Stones on “Stray Cat Blues” and Allen Toussaint with – ‘Blinded By Love” where he is happy to let his guitar rest behind Derringer’s. These are the two outstanding cuts and completely overshadow the older classics like Chuck Berry’s “Thirty Days’. Larry Williams’ “Boney Maroney’ and the Lieber-Stoller composition “Riot In Cell Block No. 9” which has just about been done to death. Johnny Winter still has a lot of playing in him, that much is for sure – but right now he needs Edgar or Rick or Steve Paul to point him in the direction in which he can work easily without trying to prove himself all over again. – J.G.

Disc Magazine 11 May 1974

JOHNNY WINTER “Saints & Sinners” (CBS-U.S. import £2.45).

A superior package and presentation to “Still Alive and Well”, this is the closest Winter has come to delivering the perfect vehicle-and vehicle is apt for a record that-trucks like an Inter-City express. December’s child and his aides (which include producer Rick Derringer, brother Edgar, Dan Hartman, Randy Hobbs and Jo Jo Gunne) could teach rock ‘n’ roll to the bulk of today’s hopefuls and a good percentage of the recognised greats, so advanced is their craftsman-ship.

The layers of wild guitar woven in tight rhythm stretch back into the mix with the depth of a 3D movie, always allowing space for Johnny’s own fiery lead work. Stone County is a ripping opener for straight rock ‘n’ roll fans, coupled with Chuck Berry’s Thirty Days and Larry Williams old Boney Moroney. Sore throat followers can go to town on blues with Riot In Cell Block 9 and Hurtin’ So Bad, while driving heavy rock predominates the other five cuts. Production by Rick D. is clear and punchy; organic direction is by manager Steve Paul – and that has to be defined to be believed! Cover photo looks like Kenny Everett used an electric razor in the bath.’*;


Sounds: 2 Feb 1974

The whole album is too uptight and too upfront, as though Winter and Derringer between them are trying to contrive the excitement rather than let it flow naturally. Winter’s guitar sits well into the overall ensemble but rarely gets the chance to break out with that strident grace for which he is known.

MW 13 April 1974

Saints and Sinners. CBS 65842. Producer: Rick Derringer – Has been called the best white blues singer alive, inexplicably on the evidence of this motley collection, which includes songs by Chuck Berry, the Stones, Van Morrison and Lieber/Stoller, together with several self-penned tracks. In view of this variety, the monotony of the music is something of an achievement. Peppered with hackneyed 10-year old guitar riffs, as on the rock standard Boney Moroney, presumably in an attempt at nostaligic recreation. Only for the already converted.

MM 27 Apr 1974

JOHNNY WINTER: “Saints And Sinners” (CBS), Whilst English rock musicians have mostly got the bad taste field sewn up, an award of some sort should be made to the brothers Winter, who have long specialised in unpleasant noises. Edgar was all right once his solo “Entrance,” and the first White Trash album were very enjoyable, but Johnny, to me at least, has never seemed like anv more than a freaky looking, very ordinary-sounding gui­tarist, with a rasping, grating excuse for a voice. On ” Saints And Sinners, ” Johnny is slightly more adventurous than usual in choice of material.

He tackles Van Morrison’s “Feedback On Highway 101” and Jagger/Richard’s “Stray Cat Blues” with (just) tolerable results. And a slow blues, “HurLin’ So Bad works okay, within its own limita­tions. It’s the up-tempo ones that I can’t listen to at all. “Riot In Cell Block 9″ and ” Boney Moroney ” are both over-endowed with the Winter faster-than-the-speed­of-light guitar. It’s not an original line, but I’ll say it anyhow what’s Johnny going to do with all the time he saves by playing so fast? Of course, it’s the easiest thing in the world to dash off a negative album review; maybe this album represents hours of careful, dedicated work in the studios but somehow I don’t think so.

Still, if your idea of fun is being earbashed by an unre­lenting blur of high-pitched guitar then “Saints And Sinners” is just what you’ve been waiting for ever since the last ‘Ten Years dater record.

Johnny Winter – Saint or Sinner?

Johnny Winter-‘s sixth album, may prove to be his biggest seller and finally justify all the hoopla that surrounded his signing by Co1umbia.five years ago. At the time he was touted as the most fantastic white blues guitarist alive and given a large and’well-pub- licized advance.

Like _any hype, the expectations.created could never and Johnny won fame and fans, he never really attained that superstar status of a Jimi Hendrix or an Eric Clapton.

The pressures of constant touring hit him hard and threw Johnny into a battlewith drugs that finally caused him to drop out of the music scene ,for a year.

It was no accident that his first album after he emerged once again was called “Still Alive And Well;” Now almost a year later “Saints & Sinners” presents Johnny in a driving rock and roll setting. Certainly his guitar screams out bluesy strains and his throaty voice hollers out the lyrics with intensity, but the over-all sound is more varied thanks to Rick Derringer’s super production.

Johnny’s voice and guitar attack the Leiber and Stoller “Riot In Cell Block No. 9” with fire and Chuck Berry’s “Thirty Days” packs a hard driving punch enhanced by Edgar Winter’s tinkling tack piano. On “Blinded By Love,” written by Allen Toussaint, Johnny gets into a lowdown funky mood vocally and echoes that spirit in his guitar solos.

The material, which includes a new Van Morrison “Feedback On Highway 101,” shows Johnny off to his best advantage. Most important, “Saints Sinners” has the kind of ex- citement that will hook even those who haven’t previously ‘tuned into Johnny Winter.

An advertisement published in Billboard Magazine:

Johnny Winter Never Sounded Better. Saints & Sinners is Johnny Johnny Winter album with more Winter at his hard-driving rock and depth and range than ever before roll best ‘Saints & Sinners; including With new songs by Johnny, the new Johnny Winter single. Van Morrison, Allen Toussaint and ‘ Stone County’: , Edgar Winter/Dan Hartman. its a On Columbia Records Produced by Rick Derringer