by Thom JurekSony/BMG's Legacy imprint decided to commemorate the 40th anniversary of Woodstock by issuing a slew of double-disc deluxe packages by catalog artists who played the festival. Each slipcase contains the featured artist's entire performance at Woodstock and, as a bonus, an LP sleeve reproduction of a classic album issued near the time the festival occurred, as well as fine, individually,designed double-sided posters. Johnny Winter's volume in this series contains the remastered version of his self-titled debut album in a snazzy LP cover sleeve. It is one of, if not the greatest album in his entire catalog. More importantly, Johnny Winter's performance at Woodstock is, with the exception of one cut -- "Meantown Blues" -- the only one never to have been released in any form before now. This 64-minute, eight-song concert is an important historical document for numerous reasons, not the least of which is the absolutely killer show Winter and band put on. Winter appeared at the festival with his then-rhythm section of Tommy Shannon and "Uncle" John Turner (later to back Stevie Ray Vaughan in Double Trouble). Also appearing with the band on four cuts is Winter's brother Edgar on Hammond B-3. According to the liner notes what was to be played was unplanned, making for a stellar, unself-conscious public offering by an all but unknown artist to the Woodstock audience -- to be fair, there were two others at the time: Joe Cocker, and Crosby, Stills & Nash (with and without Neil Young). The set is divided between smoking originals -- an electric 12-string attack on "Meantown Blues" and a stomping "Leland Mississippi Blues," as well as well-chosen covers from his blues repertoire, including an electrifying version of J.B. Lenoir's "Mama, Talk to Your Daughter" to open the show. The version of B.B. King's "You Done Lost Your Good Thing" is the best cover version ever. The rhythm section here is so tight -- despite Winter's high-flying free-form improvisational attack. They are not only rocksteady, they help to control the dynamic and keep the show firmly on the ground. Of the material with Edgar, the reading of Bo Diddley's "I Can't Stand It," (which had recently been cut for Second Winter) is the most startling, though "Tobacco Road," with Edgar on vocals goes off in all sorts of intriguing directions without losing its country-blues flavor despite the electricity. Only the R&B standard "Tell the Truth" doesn't cut it. It's not because the band isn't tight -- it is and even goes into some popping jazz terrain, and Winter's solo is a buzz saw -- it's because the harmony vocals are terrible. The gig closes with what must have been his first recorded version of Chuck Berry's "Johnny B. Goode." While the vocals are a bit rough, the playing is anything but (even if Winter flubs a change on the turnaround in the middle). The rave-up on this tune is a showstopper, making this altogether an indispensable entry in Johnny Winter's catalog. This is guitar hero rock and blues with a vengeance.