SRV FAQ

2.1 SRV's MUSICAL INFLUENCES

Perhaps the only person who could write this section is Stevie himself. Listed below are exerpts from radio interviews in his own words.

ROCK STARS - STEVIE RAY VAUGHAN
Air Date: March 12 - 25, 1990
Hosted by John Sebastian (from The Lovin' Spoonful)

JS: Yeah. Well, I was having a conversation with a friend the other day, and I think it started as a result of listening to "Voodoo Chile" of yours. And he was saying "Boy, you know, isn't this exciting how this guy is so influenced by Jimi Hendrix", and I was saying "Well, I don't know if this guy is all that influenced by Jimi Hendrix or whether he and Jimi Hendrix just had the same heroes."

SRV: It's a lot of both.
SRV: Hendrix, of course, is a big influence on me...uh, musically, and of my life--still is, always probably will be.

JS: Let's name a few of these people, just because it's interesting. Albert King

SRV: Yeah, Albert Collins, Albert King, B. B. King, Buddy Guy, Hubert Sumlin, Wolf, uh, Muddy Waters, um, Guitar Slim, Johnny Copeland later on I guess, course Hendrix, Clapton, Beck, um, The Beatles, you know, Little Richard--everybody that was um, pullin' from rhythm & blues, blues, rock 'n' roll, old style rock 'n' roll, rockabilly, ah, and then a lot of my brother, because not only did he familiarize me with all this music, and all these people that play this music as well, but he was able to emulate a lot of their styles, but then, he was already developing his own. I've still never heard anybody play quite like Jimmie. So, as a result, I have to say Jimmie Vaughan is probably my biggest influence.


STEVIE RAY VAUGHAN - UP CLOSE
Air Date: August 19 - 25, 1996

Announcer: Welcome back to "Up Close"'s special tribute to Stevie Ray Vaughan. Here's the man himself discussing one of his major influences, James Marshall Hendrix.

Stevie Ray: He just kind of...ripped it wide open, (laughs) you know? And...where his ideas came from, I don't really know. He played the whole instrument, it wasn't just notes anymore. And he didn't necessarily stick to making your guitar have anything to do with a guitar, with the way he played it. In a very, in a very melodic way, and musical way, he seemed to ignore frets and things like that, you know (laughs) and uh, it turned, I don't know, he just turned it into something else.

2.2 HIS OWN ARTISTIC EVOLUTION

A full write up on this topic is forthcoming.

2.3 SRV's CHART POSITIONS, UNIT SALES, AND AWARDS

2.3.1 GRAMMY AWARD NOMINATIONS FOR STEVIE RAY VAUGHAN (AND DOUBLE TROUBLE),
        AND HOW MANY THEY WON

1983 -- Grammy nominations: "Rude Mood," track from TEXAS FLOOD," as "Best Rock Instrumental"; TEXAS FLOOD (from the live Blues Explosion Montreaux `82 compilation album released by Atlantic records), as "Best Traditional Blues Recording."

1984 -- Grammy Award: "Flood Down In Texas," live track from Atlantic LP "Blues Explosion," as "Best Traditional Blues Recording." Stevie played with George Thorogood at the presentations (television broadcast) in a tribute to Chuck Berry.

Grammy nomination: "Voodoo Chile (Slight Return)," track from COULDN'T STAND THE WEATHER" as "Best Rock Instrumental."

1985 -- Grammy nomination: "Say What!", track from SOUL TO SOUL, as "Best Rock Instrumental."

1987-- Grammy nomination: "Pipeline," duet with Dick Dale from Columbia soundtrack LP BACK TO THE BEACH, as "Best Rock Instrumental."

Grammy Award: "Say What!", track from LIVE ALIVE, as "Best Rock Instrumental."

1990 -- Grammy Award: IN STEP, as "Best Contemporary Blues Recording."

1991 -- Grammy Awards: FAMILY STYLE, as "Best Contemporary Blues Recording"; and "D/FW," track from FAMILY STYLE, as "Best Rock Instrumental."

1993 -- Grammy Awards: "Little Wing", as Best Blues Instrumental; and "The Sky Is Crying", as Best Contemporary Blues Recording. This brought the grand total to seven Grammies that Stevie won.

2.3.2 OTHER AWARDS STEVIE RAY VAUGHAN RECEIVED

1983 -- TEXAS FLOOD voted Best Guitar Album in the Guitar Player's magazine Reader's Poll. Also, Stevie named winner of the Best Electric Blues Player category (beating out no less than Eric Clapton) and Best New Talent, making him the first triple crown champ since Jeff Beck collected three prizes in 1976.

1984 -- Fifth Annual W. C. Handy Awards (Blues Foundation) - Stevie was named Entertainer of the Year and Blues Instrumentalist of the Year (it was the first time in the history of the event that a white person had won either category). Also named Best Electric Blues Player by Guitar Player magazine. COULDN'T STAND THE WEATHER was named as Best Guitar Album by Guitar Player.

1985 -- Once again, named as Best Electric Blues Player by Guitar Player (third year in a row).

1986 - Once again, named as Best Electric Blues Player by Guitar Player (fourth year in a row)

1987 -- Received one-year chip from the Aquarius group in Dallas marking one full year of sobriety (this chip meant more to Stevie than all the gold and platinum discs he received from the record industry). Selling a million albums was easier than surviving 8,760 hours since his last drink. Also was named as Rhythm and Blues Act of the Year by Performance Magazine.

1988 -- Once again, named as Best Electric Blues Player by Guitar Player magazine.

1989 -- Named as a permanent member of Guitar Player's "Gallery of the Greats."

1990 -- Eighth Annual Austin Music Awards: IN STEP, as "Record of the Year"; "Crossfire",
as "Single of the Year"; TEXAS FLOOD, as "Record of the Decade"; Musician of the Year and
Musician of the Decade (1980's).

1991 -- Stevie's birthday (October 3, 1954) was proclaimed "Stevie Ray Vaughan Day" in Texas by Governor Ann Richards.

2.3.3 NUMBER OF ALBUMS STEVIE RAY VAUGHAN SOLD AND WHERE THEY PEAKED ON THE BILLBOARD CHARTS

TEXAS FLOOD, 1983, Epic, FET/EK 38734 - reached number 38 on Billboard Pop Albums, certified gold (over 500,000).

COULDN'T STAND THE WEATHER, 1984, Epic, FET/EK 39304 (with Jimmie Vaughan) - reached number 31 on Billboard Pop Albums, certified platinum (over 1,000,000). Stayed on Top 200 for 38 weeks.

SOUL TO SOUL, 1985, Epic, FET/EK 40036 - reached number 34 on Billboard Pop Albums, certified gold (over 500,000).

LIVE ALIVE!, 1986, Epic, EGK/EGT 40511 (with Jimmie Vaughan) - reached number 52 on Billboard Pop Albums, certified gold (over 500,000) in 1990.

IN STEP, 1989, Epic, OET/EK 45024 - reached number 33 on Billboard Pop Albums, certified gold and platinum simultaneously on November 19, 1990.

THE SKY IS CRYING, 1991, Epic, EK/ET 47390 - reached number 10 on Billboard Pop Albums, certified platinum on January 24, 1992.

IN THE BEGINNING, 1992, Epic, EK/ET 53168 (with Jack Newhouse on bass) - did not chart.

GREATEST HITS, 1995 - Reached Number 1 on Billboard Top Blues Albums in March 1996.

--(Major contributor: Dan High)

2.4 A BEGINNER'S INTRODUCTION TO HIS COMMERCIAL MATERIAL

Included below are short reviews of Stevie Ray Vaughan's commercial audio and video releases.

2.4.1 COMMERCIAL AUDIO RELEASES

TEXAS FLOOD 1983, Epic Records
Often claimed his best recording, this album was recorded in Jackson Browne's studio in Los Angeles, California. "Love Struck Baby," "Pride And Joy," and the title track opened the hearts and souls of listeners.

COULDN'T STAND THE WEATHER 1984, Epic Records
Favorites such as "Tin Pan Alley," "Cold Shot," and "Voodoo Chile (Slight Return)" originally appeared on this.

SOUL TO SOUL 1985, Epic Records
"Life Without You," "Look At Little Sister," and "Say What!".

LIVE ALIVE! 1986, Epic Records
While Stevie was in rehab, SRV & DT's only live album was released. It is a compilation that includes "I'm Leaving You (Commit A Crime)" and "Willie the Wimp." Although this was supposed to be a live album, basically done to fulfill a recording obligation, in reality it was heavily overdubbed in the studio to make up for the poor performances due to heavy substance abuse. Also, that the vinyl album has "Life Without You" while the "Live Alive" CD does not. The tune was pulled from the CD version reportedly because the post-rehab SRV found this rendition of the song embarrassing.

IN STEP 1989, Epic Records
Stevie's last album recorded with Double Trouble. The title, IN STEP, refers to the 12-step program from Alcoholics Anonymous, and Tommy Shannon and Stevie Ray's deep belief in this program is reflected in songs such as "Tightrope," "Wall of Denial," and "Crossfire". "Riviera Paradise" illustrates the sympathy Stevie feels for people who are still living the life of addiction and pain.

FAMILY STYLE (with Jimmie Vaughan) 1990, Epic Records
Stevie and his big brother Jimmie finally recorded an album together showcasing the Vaughan talent. Released shortly after Stevie's death, The Vaughan Brothers' have a blast on songs like "Tick Tock," "Telephone Song," and "Baboom/Mama Said." For the non-Texan fan, the title "D/FW" means Dallas/Fort Worth, neighboring metropolises who share an international airport.

THE SKY IS CRYING 1991, Epic Records
Jimmie Vaughan compiled this album from previously unreleased studio material. Songs such as "The Sky Is Crying," "Little Wing," and "Life By The Drop" are from this posthumous release.

IN THE BEGINNING 1992, Epic Records
Another posthumous release, this one a live album recorded with Jackie Newhouse on bass in 1980. These recordings originate from Steamboat 1874 in Austin. Originally aired on KLBJ, "They Call Me Guitar Hurricane" and a nine minute "Tin Pan Alley" highlight this album. "Slide Thing" showcases Stevie's mastery of the slide.

GREATEST HITS 1995, Epic Records
Five years after his death, Stevie's Greatest Hits were compiled onto one disk. The only previously unreleased music on this album is the Beatles' classic, "Taxman," done with a decidedly Texan twist! Other songs include "The House is Rockin'," "Change It," and "Texas Flood."

LIVE AT CARNEGIE HALL 1997, Epic Records
Live at Carnegie Hall documents a special moment in the life and career of Stevie Ray Vaughan, who had turned 30 years old the night before and - as the last notes of "Rude Mood" rang in the air - called this celebratory performance "my best birthday ever ... forever."

In addition, here is what David McGee writes in the (1992) ROLLING STONE ALBUM GUIDE, p. 736.
New York: Random House:

================ begin quoted passage================

*** TEXAS FLOOD
*** COULDN'T STAND THE WEATHER
**** SOUL TO SOUL
**** LIVE ALIVE
*** IN STEP
**** THE SKY IS CRYING

Among the generation of blues guitarists who came of age in the early '80s, only Robert Cray approaches Stevie Ray Vaughan's skill and influence, with Vaughan's brother Jimmie probably sneaking in there as well on the strength of his powerful work with the Fabulous Thunderbirds. To be sure, though, Vaughan kicked the latest blues revival into high gear with his first two albums, TEXAS FLOOD and COULDN'T STAND THE WEATHER, which came out of nowhere to become best-sellers in the midst of a rock world being consumed by techno-pop.

TEXAS FLOOD pays its debts to traditional Texas blues and R&B, sounding a tad muddy, the better to experience the slice-and-dice solos Vaughan delivers. Stylistically, Vaughan was a true eclectic whose hard-driving, steely sound achieved individuality while incorporating quotes from Herbert Sumlin, Buddy Guy, T-Bone Walker, Lonnie Mack, Albert Collins, B.B. King and Jimi Hendrix.
That's a broad palette, but it also shows how Vaughan built on the best influences to express the emotional extremes of his songs.

COULDN'T STAND THE WEATHER finds Vaughan broadening out a bit beyond R&B to include a stirring rendition of Hendrix's "Voodoo Child" and a Charlie Christian-Kenny Burrell flavor on the jazz-tinged "Stang's Swang."

SOUL TO SOUL represents Vaughan's and Double Trouble's great leap forward. First the addition of keyboardist Reese Wynans expands the sound, adding textural possibilities. Wynans makes his presence felt most dramatically on a version of Hank Ballard's "Look at Little Sister." Vaughan shows more facility with melody in his song writing, producing his first outstanding ballad in "Life Without Love." Vaughan had a tender side that he could express effectively with either a delicate vocal or pained guitar solo.

LIVE ALIVE sums up the first part of Vaughan's career in a rousing live set recorded at the Montreux Jazz Festival and in Austin and Dallas. Of note is Jimmie Vaughan's special guest appearance on four tracks cut in Austin.

IN STEP, Vaughan's last studio album, collects more well-turned Vaughan originals, along with a tasty selection of Howlin' Wolf, Buddy Guy and Willie Dixon covers. Vaughan's "Crossfire" is one of his peak solo turns in a pure, gut-wrenching style.

The lovingly assembled posthumous album, THE SKY IS CRYING, contains ten studio performances recorded between 1984 and 1989, with only one track, "Empty Arms," having appeared on a previous Vaughan album (SOUL TO SOUL), and that in a different version. Whether by design or accident the tunes offer a good overview of Vaughan's stylistic range. Most pronounced are the nods to
Albert King, but there are also touches of Kenny Burrell (whose "Chitlins Con Carne" is covered), Hubert Sumlin, Lonnie Mack ("Wham," a Mack classic) and of course Hendrix ("Little Wing"). A somber note closes the album, "Life by the Drop," Vaughan's first recorded acoustic solo. It's a moment you don't want to end.

But it does.

================= end quote passage =================

2.4.1.1. RIVIERA PARADISE - "SACRED SOURCES"

Incidentally, statements by some of the performers involved claim there is no recording of Stevie Ray Vaughan's final performance. However, without a doubt Stevie's performance of "Riviera Paradise," available on the commercial SACRED SOURCES disk, is from the last show. All you need to do is listen to the boot of the show and then the SACRED SOURCES disk. The tip-off is the sounds and background noise before the song starts. Interestingly, the SACRED SOURCES version is as crystal clear as any boot recording you will ever hear, while the boot discs and tapes of the show are NOT so clear. Carlos Santana or Jimmie Lee Vaughan have a high-quality tape, no doubt about it, otherwise the song on Sacred Sources wouldn't have been available for release.

SACRED SOURCES can be purchased commercially. Look for it under CARLOS SANTANA or VARIOUS ARTISTS. If you cannot find it on the shelves, it can be ordered from most major music store chains. Ask the salesperson to look under CARLOS SANTANA. The full name of the CD is: "SACRED SOURCES 1 - LIVE FOREVER"

2.4.2 COMMERCIAL VIDEO RELEASES

When I told my girlfriend that I was writing a review of Stevie Ray Vaughan's commercially available video releases for the SRV FAQ, she stared at me for a moment and then rather abruptly asked, "Why? Just say that God decided to take the guise of the man-child Stevie Ray Vaughan on earth and play the guitar. Nuff said. You're done. Finished. Now go clean the bathroom."

This off-the-cuff remark actually sums up Stevie's playing ability rather well. A guitar God among men, Stevie burst onto the music scene with a fire and intensity unequaled among contemporaries and rarely seen since.

LIVE AT THE EL MOCAMBO (1983) The 1983 video release, "LIVE AT THE EL MOCAMBO," captures Stevie's fury and his passion. Donned in a purple kimono and his trademark black hat, Stevie steps onto the stage and without introductions or fanfare pounds out "Testify." A cigarette hangs on the guitar under the strings by the tuning pegs, a signal to all that the fireworks are about to begin. From "Testify," the band segues into "So Excited." The "Vaughan Face" contorts itself as Stevie moves deftly between the upper and lower registers.

After "So Excited," Stevie says, "Thank you so very much," and launches himself into his version of the Hendrix song "Voodoo Chile." This piece begins to showcase Vaughan's versatility as well as his throaty singing voice. Following "Voodoo Chile," Vaughan puts out an extended version of "Pride and Joy," which appeared on the band's first commercial release. This same song brought Stevie to the attention of the music world with his signature driving beat and stabbing of the high strings with a sharp attack on the upbeat. This creates a soulful rhythm in true Texas style. Stevie and the band then cover the playful Buddy Guy tune, "Mary had a Little Lamb."

All of this, however, is just a precursor to the torrential down pour of music that flows from "Texas Flood." For over nine minutes Stevie leads the band through a series of licks and changes in which the guitar is played forwards, backwards, sideways and behind the back. With sweat dripping off of every pore on his glistening face Stevie pays tribute to his blues fore fathers and gives everyone in the audience a lesson in the blues. If you only buy this release for one song, buy it for this one.

After the levee breaks, Stevie and the band do the uptempo blues rocker, "Love Struck Baby," which is followed by the commercially unavailable "Hug You Squeeze You."

Stevie follows this with another Hendrix tune, "Third Stone from the Sun." With this acrobatic song, Stevie pushes himself both sonically and physically. His beloved Number 1 Strat is plucked, shaken, slammed, jumped on, and literally wrestled on the ground with the tremlo bar. I sat there going, "this can't be good for it," yet Number 1 endures.

For the encore Stevie returns to do the lyrical instrumental "Lenny." A cigarette hangs from his mouth as he blows smoke around his head. "Lenny," written for his wife at the time showcases Stevie's softer side as well as his jazz based progressions. After retrieving Number 1 Stevie finishes with the Lonny Mack tune "Wham." Stevie steps up to the microphone and says he wants to go back to the first record "I had in my life."

LIVE AT THE EL MOCAMBO captures a truly great artist on one spectacular night. It provides a snap shot of his intensity and guitar playing brilliance that was in all respects, cut tragically short. If you're not a fan of Stevie's playing or have never seen a live show, get EL MOCAMBO. For the rest of us, we're still waiting for the second coming.

Stevie Ray Vaughan is backed by Tommy Shannon on the Fender bass and Chris Layton on drums. Picture quality is good, albeit with occasional lens flare from the regular stage lighting. Sound quality is excellent thanks to the musical direction of Stevie's brother, Jimmie Vaughan.

PRIDE AND JOY (1990)

Review forthcoming

LIVE FROM AUSTIN, TEXAS (1995)

LIVE FROM AUSTIN, TEXAS is the commercial release of the AUSTIN CITY LIMITS show entitled STEVIE RAY VAUGHAN: A RETROSPECTIVE. For a review of the show written by the good folks at Austin City Limits, go to:

http://www.klru.org/ACL/20ACL/2012.html

--(Major contributors: C. Michael Parma (audio), Robert Cole (audio), Steve Toney (final show), and Conor Buescher (video))

2.5 SRV's MUSICAL DISCIPLES
ERIC JOHNSON

From the little I knew him, he was a very sweet person, very lovable, loving and giving. He treated people really well. Kind, generous. He was a very powerful player, he had so much power. When he played, it was like a huge tidal wave, and he was a great singer, too. I love the way he sang. I think that he really got himself together a couple of years before he passed away. He had worked through a program and he was teaching people a way to be, a higher consciousness way to be that didn't involve drugs and substance abuse. I think he was turning into a very spiritual being.

He really carried on the blues tradition in a way that few did. He was one of the great innovators of modern blues music. He carried on a very special tradition.

A full write up on this topic is forthcoming. As a preview,
though, we'll mention Chris Duarte Group, Cory Stevens and Kenny Wayne Shepard.