Johnny Winter And, 1971
This balls-out set belongs in the company of the Allman Brothers’ Live at the Fillmore East and the Who’s Live at Leeds. Definitive hard rocking covers of “Jumpin’ Jack Flash” and “Johnny B. Goode”—not to mention an adrenalin-laced “Rock & Roll Medley” (“Great Balls of Fire”/“Long Tall Sally”/“Whole Lotta Shakin’”)—are only eclipsed by the 11-minute slow blues opus “It’s My Own Fault’.”

Captured Live!, 1976
Recorded at the peak of Winter’s popularity, this album follows basically the same format of the previous live release with oldies and other covers—all enhanced by an updated, phase-shifted sound. Included is the epic, open-D slide guitar extravaganza perpetrated on Dylan’s “Highway 61 Revisited” that accelerates Mike Bloomfield’s original licks to light speed.

Live in NYC ’97, 1997
Winter polled his fan club for song suggestions, and ended up with some sensational covers that he plays to this day, including “Hide Away,” “Blackjack,” “She Likes to Boogie Real Low,” and “Johnny Guitar.” His emotionally devastating version of Elmore James’ “The Sky Is Crying” confirms his status as reigning king of the electric slide.

Johnny Winter, 1969
“Nothing but the blues with a trio” announced the Columbia debut of an authentic Texas blues blaster. The avalanche of notes on B.B. King’s “Be Careful with a Fool” must have served notice—especially in England—that the guitar bar had been raised considerably. Winter’s own “Dallas”—played on a National Steel—is a mini-tutorial on country-blues slide.

Still Alive and Well, 1973
Perhaps the quintessential Winter studio recording. Incendiary lead-guitar-and-trio comping, sizzling electric slide (the Stones’ “Let It Bleed” in open E and “Silver Train” in open G, and Winter’s “Rock and Roll” in open A) and National Steel slide (“Too Much Seconal” in open G). Thrilling, straight-into-the–tube amp tones throughout.

Nothin’ But the Blues, 1977
Winter’s first all-blues effort in a decade did not disappoint—in part due to backing by the Muddy Waters band, featuring the man himself and Steady Rollin’ Bob Margolin. The original songs are full of fresh ideas as Winters romps on his National with delight on “TV Mama” and “Bladie Mae” (both in open Bb), offers restrained but expressive electric slide in open D on “Sweet Love and Evil Women,” and plays his tastiest electric leads in years on “Everybody’s Blues.”

Guitar Slinger, 1984
A label change to the “houserockin’ music” at Alligator Records supplied a jolt of energy to Winter’s spirit, and he responded with steamy slide hot enough to warm a Chicago winter on “It’s My Life, Baby” in open G, “Iodine in My Coffee” in open A, and “My Soul” in open E. He damn near melts the frets off his Lazer guitar on “Boot Hill.”

John Dawson Winter III, 1974
Winter’s first Blue Sky recording represented his management being commercially overzealous, as horns and an emphasis on mediocre pop rock (such as “Raised on Rock,” which Helen Reddy also covered) detract from his vaunted technique. Some fans consider it an underappreciated gem, but the album remains unreleased on CD in the U.S.

The Winter of ’88, 1988
The open-D slide playing on “Stranger,” “Lightning,” and “Show Me” is worthwhile, but the pop rock of “Rain” and “Anything for Love” is a turn off.

Blues to the Bone, 1995
These previously unreleased tracks recorded in 1967, with Dallas homey Calvin “Loudmouth” Johnson, are unfocused and erratic jams best left untouched.