Does anyone still recall the buzz when this skinny albino guitar sliger came out of Texas? He signed a huge deal with Columbia Records and was highly touted as the next big thing. "It really was a 'rags to riches' story," describes bassist Tommy Shannon (who would later play with Stevie Ray Vaughn and Double Trouble). "We went from sleeping on floors one night to living in a mansion the next, playing gigs for $5000 a night," adds drummer John Turner.

The year was 1969 when Johnny Winter went into the studio with blues legends Willie Dixon and Walter "Shakey" Horton. Producer Eddie Kramer was behind the controls, but it was the Johnny Winter sound that he captured on tape! I recall hearing this album for the first time. My brother brought it home from the record store where he worked. "Listen to this!" he challenged. I was a bit of a blues snob by then, having discovered Robert Johnson and Bukka White the year earlier. "Harrumph!" was, I believe, my response. The years have mellowed me considerably!

The album begins with a bass guitar, laying down a riff, then Winter's guitar, followed by his raw, high-pitched vocals on "I'm Yours and I'm Hers." Sounds a bit like Robert Johnson on steroids. This was not the sound I was looking for in 1969, but 35 years later I'm enjoying what's happening here. Geez, can this guy play. There's a fluidity and ease to the way he plays the guitar. The drums and bass are simple, not fancy, but the guitar work is impressive. "Be Careful With A Fool" is a slow blues workout, standard twelve bar with lots of solo work over top. Then "Dallas" starts with Johnny's National bottleneck guitar, precision slide. Gruff growly vocals, acoustic blues. Much more authentic than I credited it way back when.

"Mean Mistreater" is the track with Willie Dixon and "Shakey" Horton. Dixon's acoustic bass provides the bottom and Horton's harp floats along the top. The rest of the track is Johnny -- well, apart from the drums which sound like someone beating on a cardboard box. The album features a few other guest musicians, playing saxes, and adding backing vocals. The only name I recognize is Johnny's brother Edgar who plays piano and alto sax.

"Leland Mississippi Blues" is standard blues, another excuse for Johnny to play the guitar. His version of "Good Morning Little Schoolgirl" showcases the horn section, and a voice that should keep little schoolgirls at a distance! The National reappears on "When You Got A Good Friend," which almost sounds like an archival recording.

The three bonus tracks include the shuffle "Country Girl," which fairly rocks. Winter's tone is remarkable, just clean enough to grab you, just dirty enough to mess you up. He re-does "Dallas" with the band. Well, that's what the liner notes say but the National starts it off and the band doesn't make a big impression . . . a little bass, and I assume that's Johnny on overdubbed harp. The album concludes with "Two Steps From the Blues" a horn drenched R&B tune. Interesting, but it doesn't really belong here.

There you have it. It's taken me thirty-five years to fully appreciate this album, Johnny Winter's first. There was a major career to come. It's a public service for labels like Legacy to re-issue these classic albums and I for one commend them for their good work.