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{{Infobox musical artist <!-- For individuals; see Wikipedia:WikiProject_Musicians -->
{{Infobox musical artist <!-- For individuals; see Wikipedia:WikiProject_Musicians -->
| Name = Stevie Ray Vaughan
| Name = Stevie Ray Vaughan A.K.A. SRV
| Img = Svaughan.jpg
| Img = Svaughan.jpg
| Img_capt = Stevie Ray Vaughan at [[Austin City Limits]] in 1989
| Img_capt = Stevie Ray Vaughan at [[Austin City Limits]] in 1989

Revision as of 16:31, 5 January 2011

Stevie Ray Vaughan

Stephen "Stevie" Ray Vaughan (October 3, 1954[2][3] – August 27, 1990[3]) was one of the most influential American guitarists of the late 20th century.[4] Born in Dallas, Vaughan moved to Austin at the age of 17.[5][6] He began his career there when in 1983, record producer John H. Hammond arranged him a deal with Epic Records.[7][8] Accompanied by bassist Tommy Shannon and drummer Chris Layton as Double Trouble, Vaughan was an important figure in Texas blues, a loud, swing-driven fusion of blues and rock.[9] He became the leading musician of the newly popular blues rock sound with a series of network television appearances and charting albums.[10] His energized interpretations of blues music and style made him hugely popular. Vaughan's debut Texas Flood, released in June 1983, became a double-platinum record.

Alcohol and drug abuse severely affected his health, though he became sober in late 1986.[11] After three years without a new album, he returned to the studio, which led to the release of In Step in 1989. The single "Crossfire," released in July 1989, was a number one hit.[12] In 1990, Vaughan performed a concert at Alpine Valley Music Theatre before an audience of approximately 25,000.[13] He died suddenly in a helicopter accident afterward, crashing into a nearby ski slope.[14][15]

Vaughan had unusually wide success encompassing several styles such as jazz[16] and ballads.[17] Nominated for 13 Grammys, he won four during his lifetime and posthumously.[18] He won two Blues Music Awards[19] and was inducted into the Blues Hall of Fame in 2000.[20]

History

Early years

Childhood in Dallas

Stephen Ray Vaughan was born on October 3, 1954, in Dallas, Texas to Martha Jean and Jimmie Lee "Big Jim" Vaughan. James Lawrence "Jimmie" Vaughan, his brother, was born three years before him. Vaughan had ancestors who played in bands with Glenn Miller and Tommy Dorsey, as well as Western swing groups around Dallas.[21] Big Jim was an asbestos worker, moving from one construction site to the next, and leaving the family filled with uncertainty.[22][23] Vaughan attended Lenore Kirk Hall Elementary,[24] where classmates remember him walking the halls and playing air guitar.[25] At age six, he started his addiction to alcohol when he went into his father's liquor cabinet and made himself a drink.[26] After watching Jimmie play the guitar, Vaughan soon started playing his brother's guitars.[27] He received a guitar of his own for his birthday, a toy from Sears made out of Masonite.[28][29][30][31][32] Among the first songs he learned were "Wine, Wine, Wine" and "Thunderbird" by a garage rock band from Dallas known as The Nightcaps.[28][32] He played along to the records that his brother brought home, including the likes of Muddy Waters, B.B. King, The Beatles, and Jimi Hendrix.[9][33] He purchased his first Lonnie Mack record The Wham of that Memphis Man in 1963,[27] playing it so many times that his father often smashed the record to pieces. Vaughan later recalled one instance where he borrowed a friend's Shure Vocal Master PA system, placed microphones in front of the speakers, and turned the volume up.[34][35][36]

Vaughan, who never received formal guitar lessons or learned to read music, studied and played by ear. He loved records by other blues artists such as Buddy Guy,[9][37] Freddie King,[9][38] Howlin' Wolf,[9][39] Albert Collins,[9][40] T-Bone Walker,[9] Elmore James, Otis Rush,[40] Johnny "Guitar" Watson, and Jimmy Reed.[32] He was influenced by rock groups like The Rolling Stones, John Mayall & the Bluesbreakers,[9] and The Yardbirds.[41] Stax recording artist Albert King, one of his favorites, was a significant influence on his style. He even saw King in a club, where the two met and shook hands.[42]

At age twelve, Vaughan had an after-school job as a dishwasher in a local restaurant.[43][44] It didn't last long, when he fell into a barrel of grease after cleaning out a garbage bin. Vaughan recalls:

One of my jobs was to clean out this trash bin next to a grease vat. Well, I was standing on the cover of that thing and it caved in. I fell in it and someone almost poured hot grease all over me by accident—I could have been killed.

Well, I told the woman I was working for about it and she just started telling me about how much it was gonna cost me to pay for that lid. She wouldn't even let me use the office phone. I walked through the restaurant to the pay phone, twelve years old, covered with grease, called my mom to come get me and told her the whole story so everybody in the restaurant could hear it. People started leaving—it was great!

— Stevie Ray Vaughan, [45]

During his years at Justin F. Kimball High School, Vaughan began to stand out from his classmates, dressing more like a musician and growing out his hair.[46] With the death of Jimi Hendrix, he went to the principal's office and asked that a memorial assembly be held in Hendrix's honor. The principal called Hendrix a "dope head" and refused Vaughan's idea.[25] He recorded for the high school band named Cast of Thousands for a compilation album named A New Hi.[47] He joined several groups such as the Epileptic Marshmallow, Liberation, and Storm.[48][6][44] He soon formed his own band called Blackbird.[35][49] Vaughan also met Cutter Brandenburg in 1970, who eventually became Vaughan's road manager for the next twelve years.[50]

Teenage life in Austin

In 1972, after failing music theory, Vaughan dropped out of high school and moved to Austin with Blackbird.[6][46][51] After first arriving in Austin, he rented a home with five of his friends for $30 a month.[52] He was often broke, sleeping on couches and pool tables in different nightclubs. He even collected Coke bottles and would see many of his favorite performers.[52] Vaughan soon joined a seminal hard rock dance band called Krackerjack, replacing John Christian Staehely, who had left to play with his brother Al, in Spirit.[citation needed] At the time Krackerjack featured pianist Mike Kindred, drummer Uncle John Turner, and bassist Tommy Shannon. Shannon, who played with Johnny Winter at Woodstock in 1969,[53][54] first heard Vaughan play at a Dallas club called The Fog when he was fourteen.[55][56] Vaughan soon quit when the group proposed the idea of wearing makeup on stage.[42] In March 1973, he was asked to be a part of Marc Benno's band called The Nightcrawlers.[57] The lineup featured drummer Doyle Bramhall,[42][58] who is sometimes credited with teaching Vaughan how to sing[57], but that honor actually belongs to Shirley (Dimmick) Ratisseau, a white blues singer that backed a lot of the early recording adventures that Vaughan and others, including Jimmie, would indulge in their early years.[citation needed] Bramhall and Vaughan would collaborate as songwriters in the future.[59] They flew to Los Angeles to record a new album for A&M Records. A&M catered to the band and put them up in a good hotel, though the record label refused to release the album. Leaving Benno in Los Angeles, the Nightcrawlers returned to Austin and continued to perform.[60] They attracted the attention of Bill Ham, who was the manager of Texan rock group ZZ Top. Ham arranged the Nightcrawlers bookings throughout the South. The band soon started showing up to gigs that either never existed or were canceled without notice. With the series of bookings ending in Jackson, Mississippi, Ham grew frustrated, demanding that the band reimburse him for any of their expenses.[60][61]

Shortly after leaving the Nightcrawlers, Vaughan went to a music store in South Austin known as Ray Hennig's Heart of Texas Music. Owner Ray Hennig recalls when Vaughan made a trade to acquire a battered Fender Stratocaster, giving the guitar names like "Number One" and "First Wife." The guitar belonged to San Antonio musician Christopher Cross[61] and would remain his favorite guitar ever since:

He'd spend all day long on all these guitars, feeling them. I said, 'What do you want with that old piece of junk?' I said, 'I have never traded for such piece of junk in my life, look at it. It's really beat up.'

— Ray Hennig, [62]

In December 1974, Vaughan joined guitarist Denny Freeman in the popular Austin group Paul Ray & the Cobras. With this band, he started developing his vocals, singing with a scratchy, coarse style.[63][64] While playing at an Austin club called La Cucaracha with the Cobras,[65][66] Vaughan met Lenora "Lenny" Bailey, with whom he would eventually marry four years later.

A man named Clifford Antone, who was an aspiring bassist with a passion for blues music, owned an import clothing store and desired for a facility in which he could have jam sessions with friends. He cleaned out a back room of the store and converted it into a club. Both Vaughan and his brother often visited and jammed with Antone for hours.[64][67] Antone opened the club and appropriately named it Antone's in July 1975.[67] Blues guitarist Albert King was booked at the club and Vaughan was determined to jam with King. After pestering from Antone, King finally agreed to let Vaughan play on stage with him.[68] King was impressed with his playing and let him stay on stage. King was soon convinced that he shared the stage with one of the greatest white blues musicians he ever encountered.[69]

The Cobras recorded a single, though it never attracted attention from major record labels.[63] The band decided to change their music, making it more "mainstream."[61] Discouraged, Vaughan left The Cobras and formed his own group, with vocalist Lou Ann Barton, bassist W. C. Clark, drummer Freddie Pharoah, and keyboardist Mike Kindred. Vaughan named the band Triple Threat Revue.[70][71]

Double Trouble

Within a year, Clark, Pharoah, and Kindred left Triple Threat, which left Vaughan and Barton to form another group called Double Trouble, naming it after an Otis Rush song. The lineup featured bassist Jackie Newhouse, saxophonist Johnny Reno, and drummer Chris Layton.[70][71]

More than four years since they first met, Vaughan ran into Lenny Bailey at a Mexican restaurant in downtown Austin, and asked if he would move in with her.[65] On the same night, he wrote the song "Love Struck Baby," which was later featured on his debut album.[72] They were married on December 23, 1979. The ceremony took place in the offices of the Rome Inn club in Austin, shortly before performing with Double Trouble. In front of family and friends, their rings were supposedly fashioned from pieces of metal found on the floor.[66][73]

Departure of Lou Ann Barton

Cleve Hattersley, ex-frontman for a local Austin band Greezy Wheels, booked Double Trouble at the Lone Star Cafe in New York City. According to Hattersley, Barton "was real drunk" after the show and "threw beer glasses at the waitresses."[71][74] The next day, Barton left Double Trouble to sing for Roomful of Blues.[74] With Barton's departure, Vaughan became the frontman. The band also hired Chesley Millikin as their manager, who had worked with The Rolling Stones, Grateful Dead, and Jackson Browne.[75]

On April 1, 1980, the band recorded a show at the Steamboat 1874 club in Austin. The recordings were later released as In the Beginning in 1992.[74][76] At a pawnshop in Austin, Vaughan spotted a used Fender Stratocaster that cost $350, though he couldn't afford the guitar. According to his wife, she found seven people with $50 and purchased the guitar. Presented to him for his birthday at Steamboat Springs in Austin, the guitar was affectionately named "Lenny."[65] The next year, Jackie Newhouse was replaced with Tommy Shannon, who saw the band at Rockefeller's in Houston.[75] Vaughan also started using his full name, Stevie "Ray" Vaughan. Millikin proposed the idea of merging "Stevie Ray Vaughan" with "Double Trouble," and all band members agreed.[71] Vaughan also started ordering his trademark hats from Texas Hatters in Buda, along with many accessories.[77]

In July 1981, the band played a festival at Manor Downs in Manor, Texas. A film from the performance was given to Rolling Stones frontman Mick Jagger by manager Chesley Millikin.[78] Millikin received a call from drummer Charlie Watts, arranging a private party in New York City at a club known as Danceteria. The band was booked to only play 35 minutes, though they ended up performing for over two hours.[52] With photos and an article about the occasion in Rolling Stone,[52] rumors spread that Vaughan and Double Trouble were going to sign a deal with Rolling Stones Records. Jagger declined, however, saying that "the blues just doesn't sell."[75]

Commercial breakout

Montreux Jazz Festival, David Bowie and Texas Flood

In early 1982, Vaughan and Double Trouble played a record release party for Lou Ann Barton at the Continental Club in Austin. Impressed by the band's performance, legendary music producer Jerry Wexler recommended that they play the Montreux Jazz Festival in Switzerland, arranging a booking for July 17, 1982 with founder Claude Nobs.[78][54][79][80] They were the first unsigned act to perform at the festival's Montreux Casino. The band borrowed $15,000 from Millikin to pay for travel expenses.[81] Backstage, the band ran into Larry Graham, bassist for Sly and the Family Stone. He asked them if they could play together during the encore of their performance, though it never happened.[81] The lineup featured primarily acoustic acts, while Vaughan and Double Trouble went on stage highly amplified, and several audience members started to boo.[81] After the show, Millikin booked the band in the bar at the Montreux Casino, jamming with musicians Bob Glaub and Jackson Browne. Browne offered them three days of free use at his own studio in downtown Los Angeles. Unable to afford the expense of travel to Los Angeles, the band booked a small tour in venues across Texas. Shortly after the Montreux performance, Cutter Brandenburg parted ways with the band, caring for his wife Peggy Sue and young son.[50] They hired Byron Barr as their roadie, who worked with the band for the next three years.[82] During Thanksgiving weekend, they traveled to Jackson Browne's studio and recorded a demo in two days.[79][78][83][84]

While staying at a nearby hotel, Vaughan received a call from pop star David Bowie, who saw him at Montreux, and wanted him to play on his next album Let's Dance. With the success of hits like "Let's Dance," "Modern Love," and "China Girl," Bowie asked Vaughan to be a part of his band on the Serious Moonlight Tour, commencing in Belgium. In March 1983, rehearsals for the tour took place in the Studios at Las Colinas.[85] Growing irritated by the presence of Vaughan's wife Lenny, she was banned from rehearsals by Bowie, who offered Vaughan and Double Trouble to be the opening act.[86] Manager Chesley Millikin took advantage of the European appearances by booking the band on a German television program called Musikladen,[85] though Bowie ordered Millikin to be ceased from managing Vaughan while on tour. In turn, Millikin demanded an increase in Vaughan's compensation, which was reportedly $300–$400 per show.[7][85] The contract was reviewed by show business attorney Lee Eastman, who supposedly denied all knowledge of the agreement.[87] Vaughan opted out of the tour.

Millikin sent copies of the band's demo, recorded at Jackson Browne's studio, to various figures of the music industry around New York City. One of the tapes was heard by music producer Hank O'Neal. O'Neal worked for John H. Hammond, who discovered the likes of Aretha Franklin, Bob Dylan, and Bruce Springsteen.[7][88] The demo was brought to Hammond's attention and liked what he heard. He took the demo to Greg Geller, head of A&R at Epic Records.[89] Millikin arranged a deal with Epic, demanding that two music videos be made and the album be promoted for six months instead of the proposed six weeks. In turn, Epic gave the band a $65,000 advance to finance the recordings.[88][90][91] John Hammond was hired as executive producer.[90] While remixing at Media Sound Studios in New York City,[88] Vaughan and Double Trouble played a showcase for CBS Records executives at the Bottom Line in Manhattan on May 9, 1983.[87][92] Even though he was nervous, Vaughan fascinated an audience filled with musicians like Mick Jagger, Johnny Winter, and Billy Gibbons of ZZ Top.[88]

Epic released Texas Flood on June 13, named after a song included on the album that was written by blues musician Larry Davis.[72] The album showcased Vaughan's thick-toned shuffles, with rhythmic guitar riffs and solos filled with intensity.[93] The album yielded ten songs, most of which had been a part of Vaughan's stage repertoire for years. There were six originals, featuring covers of Howlin' Wolf, The Isley Brothers, and Buddy Guy. Texas Flood peaked at #38 on the Billboard 200 chart[94] and sold more than 500,000 copies.[7][95] The band went on tour, playing a sold-out show at The Palace in Hollywood and opening for The Moody Blues.[96] In December, Vaughan appeared with Albert King for a Canadian television show called In Session. Recorded at CHCH studios in Hamilton, Ontario, In Session displayed both guitarists' respect and admiration for each other.[97] A CD from the program was released in 1999.

Vaughan and Double Trouble made an appearance for the television show Austin City Limits on December 13.[91] His performance, in the studios of KLRU, was later released as Live from Austin, Texas. By the end of the year, Texas Flood was certified gold by the RIAA. Vaughan received Grammy nominations for Best Rock Instrumental Performance and Best Traditional Blues Performance.[91][98] In addition, he won polls for Guitar Player magazine including Best Blues Guitarist, Best New Talent, and Best Blues Album.[91]

Couldn't Stand the Weather and Carnegie Hall

In January 1984, Vaughan and Double Trouble started recording a new album at the Power Station in Manhattan.[99] Within an hour of setting up equipment in the studio, the band was asked by their recording engineer, Richard Mullen, to "play something" for peak-reading.[100] With tape rolling, they played a blues cover named "Tin Pan Alley." When the song was finished, executive producer John Hammond said into the talkback microphone, "That's the best you'll ever get that song. That sounded wonderful."[100] After recording more takes of the song, drummer Chris Layton recalls that it "never sounded better than that."[101] With the recordings finished, the band performed at Volunteer Jam X, a concert first organized by the Charlie Daniels Band in 1974.[102] Vaughan appeared with musician George Thorogood at the 26th Grammy Awards to present Chuck Berry with the Grammy Lifetime Achievement Award.

Released on May 15, 1984, Couldn't Stand the Weather went to #31 on the Billboard 200.[103] A cover of Jimi Hendrix's "Voodoo Chile (Slight Return)" was included on the album, which became a concert favorite in Vaughan's set list.[98] Music videos were made for "Couldn't Stand the Weather" and "Cold Shot," receiving moderate airplay on MTV.[98] In August, the band played at the Loreley Freilichtbühne in Sankt Goarshausen, Germany for the television series Rockpalast.[104] They performed at Alabamahalle in Munich, broadcast for the show Live aus dem Alabama.[105] They also appeared at the sixth-annual Delta Blues & Heritage Festival.[52][106]

On October 4, 1984, Vaughan and Double Trouble performed a sold-out concert at Carnegie Hall in New York City,[52] a benefit for the T. J. Martell Foundation.[107] In celebration of Vaughan's birthday the night before, the concert featured an expanded group of musicians, including his brother Jimmie on guitar, drummer George Rains, and Austin vocalist Angela Strehli.[102] Keyboardist Booker T. Jones and the Tower of Power horn section were originally included in the lineup,[108] though they were replaced by Dr. John and the Roomful of Blues horn section. The first set of the show featured only Vaughan and Double Trouble, and the second set included the special guests.The musicians wore custom-tailored velvet charro suits made by Nelda's Tailors in Austin.[109][110]

A special stage set was designed, complete with drum and horn risers.[107] It was built out of lumber and painted with lapis blue enamel with gold metallic striping.[109] They warmed up at the Caravan of Dreams in Fort Worth,[109][111] rehearsed the show at Third Coast Studios in Austin, performed a dress rehearsal at a warehouse in New York,[107][109] and did a soundcheck at Carnegie Hall on the afternoon of the show.[112] The show was to be filmed for future release, though it fell through due to budget and time constraints.[113]

The show started at 8 p.m. and Ken Dashow, DJ for WNEW-FM, welcomed the audience. He introduced John Hammond, who called Vaughan "one of the great guitar players of all time."[107] The band launched into "Scuttle Buttin'," the opening track on Couldn't Stand the Weather.[114] In the audience were Vaughan's wife Lenny and many friends. Martha and Big Jim were flown to New York City from Texas, though Big Jim was in a wheelchair. He had become ill from years of working in asbestos.[115]

Vaughan went on tour in Australia and New Zealand, where he played two sold-out shows at the Sydney Opera House.[115] In New Zealand, he received word that he won two W. C. Handy Awards for Blues Instrumentalist of the Year and Entertainer of the Year, the first white performer to receive either award.[19] He flew to Memphis for the ceremony at the Orpheum Theatre.[52] At its conclusion, he participated in an all-star jam to "Every Day I Have the Blues," made popular by B.B. King in 1955.[116][117]

Lonnie Mack, national anthem and Soul to Soul

In late 1984, Vaughan was asked to co-produce a new album with musician Lonnie Mack by Bruce Iglauer, founder of Alligator Records.[11] Taking place at Cedar Creek Studios in Austin,[118] he didn't get along well with Iglauer, who found Vaughan to be "distant" and "inconsistent" during the sessions. In later interviews, Iglauer said that he "wasn't used to seeing musicians being so flagrant in their drug and alcohol use."[119] Strike Like Lightning, Mack's first studio album in eight years, was released in 1985.[120] Even though all three weren't happy with the results, it didn't affect Vaughan's friendship with Mack since the late 1970s.[120][121] With lengthy absences on the road, his relationship with Lenny became tense, prompting them to take a vacation in Saint Croix on the Virgin Islands.[52] Upon their return, they moved to Volente, Texas, located on Lake Travis and about 30 miles outside of Austin.[122]

In January 1985, Vaughan and Double Trouble went on a mini tour of Japan.[115][122] The January 24 show, at Shiba Yubin Chokin Hall in Tokyo, was documented, with a CD and DVD released as Live in Tokyo in 2006 and 2007, respectively. On February 3, 1985, Vaughan's longtime friend Charley Wirz, owner of Charley's Guitar Shop in Dallas, died from a heart attack.[116] He wrote a song dedicated to Wirz titled "Life Without You."[123] In March, the band started recording a new album at the Dallas Sound Lab.[116][124] By this time, Vaughan and Shannon's problems with alcohol and cocaine escalated.[125] They would often play ping-pong and wait for their cocaine to arrive before recording.[126][127] The band would arrive in the studio at 10 p.m. and work throughout the night, finishing at 6 a.m.[128]

On April 10, Vaughan was asked to play "The Star Spangled Banner" at the Houston Astrodome for the Astros vs. Dodgers game. He was flown to Houston with Lenny, to whom he confessed that he wasn't certain of the melody to the national anthem and hummed it to him. Baseball legend Mickey Mantle was in attendance to throw the first ball and signed Vaughan's "Lenny" guitar.[65] He was directed to center field and recited the national anthem, playing it with a slide. His performance was followed by negative reviews, with one reporter commenting, "I was sure he'd be dead by the time he hit 30."[129]

Discouraged by the lack of progress in the studio recordings, Vaughan wanted to expand the band by adding a keyboard player. He chose session musician Reese Wynans, who performed with the likes of Delbert McClinton and Jerry Jeff Walker.[116][122][124] Following a McClinton show in Dallas, drummer Chris Layton approached Wynans and invited him to play piano on "Look at Little Sister," a song written by Hank Ballard.[127] Liking the results, Wynans was hired as the band's full-time keyboardist.[128] After two months of recording, the band went on tour and performed at many festivals including the Chicago Blues Festival,[130] Stockholm Jazz Festival,[131] Pori Jazz,[132] North Sea Jazz Festival,[133] Umbria Jazz Festival,[134] and Bumbershoot.[135] They also performed at the Montreux Jazz Festival for the second time.[52] Soul to Soul was released on September 30, 1985, which peaked at #34 on the Billboard 200.[136] While Couldn't Stand the Weather sold over a million copies, Soul to Soul sold half a million, with Rolling Stone suggesting that they've possibly "run out of gas."[137][138]

Vaughan and Double Trouble went on a tour of Australia and New Zealand with his brother Jimmie Vaughan's band The Fabulous Thunderbirds in March 1986. While in Auckland, Vaughan met 17-year-old Janna Lapidus,[139] who had a successful modeling career during high school.[140] Immediately falling in love with each other, he took Lapidus with him when moving on to Australia. When Vaughan returned home to Austin, he found the house padlocked, electricity shut off, and Lenny nowhere to be found.[141] According to authors Joe Nick Patoski and Bill Crawford, Lenny spent Vaughan's tour earnings on drugs while running around with other men.[141]

Live Alive and father's death

On July 4, 1986, the band performed at the second annual Farm Aid in Manor Downs, which was broadcast live on VH1.[142] Two weeks later, they recorded shows at the Austin Opera House and Dallas Starfest for their first live album, though the recordings were filled with technical flaws.[141] The recordings were later released on the album Live Alive in November. During the show in Dallas, Vaughan spotted Lenny standing backstage shouting at him. Ignoring her, she started to walk on stage and was dragged off by security guards.[143] She told the guards that a party was being thrown at the Stoneleigh Hotel in Vaughan's honor by Isaac Tigrett, founder of the Hard Rock Cafe. According to Lenny, Tigrett wanted to present Vaughan with one of Jimi Hendrix's Gibson Flying V guitars.[143] Following the show, Vaughan visited with family members to be told that his father's condition was worsening, leaving for the hotel afterwards with his cousin Connie.[144] After playing Hendrix's Flying V for a few minutes, Vaughan started to leave with the guitar when he was stopped by Tigrett. Realizing that Tigrett just wanted him to autograph the guitar, Vaughan left the hotel in a rage.[144]

In August, the band hired Alex Hodges, from International Creative Management, to be their full-time manager, splitting with Chesley Millikin.[145][146] On August 26, Vaughan and Double Trouble performed a taping of a television pilot for a series called American Caravan, hosted by musician Lonnie Mack at the Orpheum Theatre in Memphis.[119] Filmed for broadcast on PBS, American Caravan was Mack's attempt to host a program similar to Austin City Limits, though the series never went into syndication.[121] Before the show began, Vaughan received a phone call from his mother Martha, who told him that his father was in the hospital and losing his battle with Parkinson's disease.[119] The next day, he visited his father in Medical City Hospital, who was on a life support machine and appeared frail.[121] Vaughan sat at his bedside with his mother and Jimmie. Assured by doctors that his condition was not getting better, Martha gave her approval to turn off the machines.[121] He attended his father's funeral and was laid to rest in Dallas' Laurel Land Memorial Park.[147]

Following the funeral, Vaughan was scheduled to play at the Miller Musicfest in Canada.[148][149] He boarded a Learjet to Montreal,[121] where he was rushed by a limo from Dorval International Airport to the festival site in Jarry Park.[148] Upon arrival, Vaughan discovered that $20,000 in musical equipment had been stolen. This caused the band to take the stage at 11pm, a three hour delay from their original agreement.[148] At Albany International Airport,[150] a man claiming to be the band's manager made a telephone call to US Airways and said that when Vaughan's equipment arrived at the airport, it would be transported to his performance in Montreal. Airport employees packed nine road cases into a rented U-Haul truck, where two men disappeared with the equipment. Among the stolen equipment were custom-made effects, amplifiers, Fender Stratocasters, and a Vox wah-wah pedal that belonged to Jimi Hendrix.[148]

European tour and rehabilitation

After weeks of mixing the Live Alive album in Los Angeles, Vaughan and Double Trouble went on tour in Europe, where they were scheduled to play 28 shows.[149] On September 26, the band shared the bill with ZZ Top at the Circus Krone Building in Munich.[149] Bill Ham, aware of his addiction to drugs, pulled Vaughan aside after the show and warned him that he was "killing himself." He also said that "whoever was responsible for Stevie's life and career had not intervened to rescue this talented young man from what appeared to be a downward spiral."[149]

Following a show in Ludwigshafen, Vaughan and Chris Layton were on the street looking for a liquor store that was open, though they were all closed. While walking, Vaughan would stop and vomit blood, a result from years of dissolving cocaine into whisky.[151] Returning to their hotel, he settled into his bed when he started vomiting more blood. Layton called an ambulance and the paramedics injected Vaughan with saline solution.[152] Laying on the hospital bed, he was shaking, sweating, and turning pale.[153] Paramedics determined that he had suffered near death dehydration. After performing in Zurich the next night, Vaughan was admitted to a hospital in London. He went under the care of Dr. Victor Bloom, who helped Eric Clapton and Pete Townshend kick their addiction to heroine.[151][154] Dr. Bloom told Vaughan that the massive amounts of cocaine and whisky consumed had developed a gastric ulcer in his stomach. He also said that the cocaine was crystallizing and eating into his intestines.[125] He explained that if the habit continued, Vaughan would be a month away from death.[151] Vaughan made a call to his mother and girlfriend Janna Lapidus, the model he had met in New Zealand months before:

As soon as I got into the hospital, I called my mother up and said, 'I don't know if you knew this was coming or not, but I am in the hospital and this is what happened.' 'Where are you?' she said. I told her and she was there the next day. I called my girlfriend, who was gonna try to meet up on my birthday. She hadn't seen me in six months because I had been on a tear, didn't know how to act or what to be. She was there in two days.

— Stevie Ray Vaughan, [151]

Among other visitors included musicians Jackson Browne and Eric Clapton, who had dealt with his own battles of drug addiction.[155][156] Dr. Bloom suggested that Vaughan check in to Peachford Hospital in Atlanta.[157] The band agreed to one last London concert before returning to the United States, performing at the Hammersmith Palais. Though he started drinking again, his mother and Lapidus were in the audience for moral support.[125] Wearing a war bonnet, Vaughan walked off stage with the band at the show's conclusion when the lights were shut off. He attempted to walk backstage across a plank and tripped, with cuts and scrapes on his legs.[158][157] The other 12 tour dates were canceled. After five more days in London,[157] Vaughan flew to Atlanta and entered Peachford Hospital, prompting Shannon to check into a rehab clinic in Austin.[154] Vaughan stayed in Peachford for three-and-a-half weeks.[159] Many of the band's crew members also went sober. Vaughan asked Lenny if she could visit him and work out their marriage, though she refused. He filed a divorce for "conflict of interest," a charge Lenny defended because of their seven years together, and she charged Vaughan with adultery.[160]

Comeback

Return to touring

After spending two months in treatment, Vaughan and Shannon went back on the road with Double Trouble, playing their first sober show at the Towson Center in Maryland. They would often attend Alcoholics Anonymous meetings while on the road.[161] The tour took the band to Radio City Music Hall and Fox Theatre in Atlanta for a New Year's Eve show with Lonnie Mack.[162] In January 1987, they played at the Fair Park Coliseum,[163] which was Vaughan's first sober performance in his hometown.[164] The band appeared with The Fabulous Thunderbirds in a Mardi Gras television special on MTV.[165] Vaughan and his brother hosted the show with VJ Mark Goodman from a French Quarter balcony before performing on the President steamboat.[166] The band also performed at the Ocean Center in Daytona Beach, Florida for a spring break special, broadcast on National College Television.[167]

In April, Vaughan made a guest appearance on a Cinemax television special called B.B. King & Friends: A Night of Red Hot Blues. Filmed at the Ebony Showcase Theatre in Los Angeles as a tribute to B.B. King, the special featured musicians Eric Clapton, Phil Collins, Dr. John, and Albert King, as well as vocalists Etta James, Chaka Khan, Gladys Knight, and Billy Ocean. Vocalist and harmonica player Paul Butterfield was also included, though he died less than a month later due to an overdose on drugs.[163][164] Vaughan made several cameos, including an appearance with surf rock guitarist Dick Dale in the 1987 movie Back to the Beach. They both played "Pipeline," which was a major hit for The Chantays in 1963.[163] He was featured in the music video for "First We Take Manhattan" sung by Jennifer Warnes. On June 30, the band headlined a show opened by Gregg Allman at the Mann Center for the Performing Arts in Philadelphia.[168] The band was also part of a sold-out Volunteer Jam XIII at the Starwood Amphitheatre in Nashville, which was broadcast as part of the Jerry Lewis MDA Telethon. It was also where Lynyrd Skynyrd performed together for the first time in ten years due to Ronnie Van Zandt's death.[169]

In 1988, Vaughan and Double Trouble performed at the New Orleans Jazz & Heritage Festival, inviting B.B. King, Albert Collins, and pianist Katie Webster on stage.[170] Vaughan was a part of a Stevie Wonder television special on MTV titled Characters. Wonder, who heard his version of "Superstition" from Live Alive, included Vaughan on the Characters album the previous year. They duetted on "Come Let Me Make Your Love Come Down," as well as performing with Jody Watley and Salt-n-Pepa on "Superstition."[171] He played guitar on a commercial for the Europa oil company with New Zealand blues guitarist Midge Marsden, who met Vaughan in Dallas and the two became friends. They went on tour together and he lived in Vaughan's home at various times.[172] Since CBS Records, parent company of Epic, was sold to Sony Music Entertainment in 1987, the band's manager, Alex Hodges, worked out a deal with Sony. Despite Vaughan's past, Hodges cited his achievements thus far.[173] For Vaughan and Lenny's divorce, they couldn't reach a settlement, leaving the court to decide that he pay her a lump sum of $50,000,[160] with an additional $130,000 in fees for lawyers.[163] She also received 25% of all future royalties on his four albums.[163] In May, Vaughan and Double Trouble opened for Led Zeppelin frontman Robert Plant for a series of dates.[174] They went on a European tour during the summer, playing at festivals like the Midtfyns Festival, Pistoia Blues Festival, and Ruisrock.[175]

In Step and tour with Jeff Beck

After completing a series of North American tour dates, Sony made the decision to renew the band's contract and gave them three months to record a new album.[176] With John Hammond's death in 1987, they chose producer Jim Gaines, who worked as an engineer with the Steve Miller Band, Huey Lewis and the News, Bruce Hornsby, and Van Morrison.[176] In early 1989, they started recording at Kiva Studios in Memphis, as well as Sound Castle and Summa Studios in Los Angeles.[176] The band also performed at the inaugural of George H. W. Bush with Jimmie and Albert Collins.[177]

In Step was released in June, peaking at #33 on the Billboard 200[178] and won a Grammy for Best Contemporary Blues Album.[179] The band appeared on The Arsenio Hall Show soon after the album's release. They, along with The Fabulous Thunderbirds, opened for The Who on their reunion tour dates at the Houston Astrodome and Cotton Bowl.[180] Vaughan appeared on various television shows like the Late Show with David Letterman, Today, Night Music, and MuchMusic. The band also performed on Austin City Limits for the second time, as part of musician W. C. Clark's 50th birthday celebration. Special guest appearances included Jimmie Vaughan and Kim Wilson from The Fabulous Thunderbirds; vocalists Lou Ann Barton and Angela Strehli, as well as guitarists Denny Freeman and Will Sexton, brother of Charlie Sexton.[181]

Vaughan and Double Trouble went on a tour with Jeff Beck known as "The Fire Meets the Fury."[180] They rehearsed in Minneapolis before performing in the city's Northrop Memorial Auditorium for the first show of the tour.[182] They moved on to the UIC Pavilion in Chicago, jamming with Buddy Guy at his club named Legends after the show.[182] In November, Vaughan and Beck performed a sold-out show at Madison Square Garden.[183] They appeared at many other venues like the USF Sun Dome and the Public Auditorium in Cleveland.[183]

Final year and death

On January 30, 1990, Vaughan performed "Pride and Joy", "Testify," and "Rude Mood" for MTV Unplugged on an acoustic twelve-string guitar. In the spring, Stevie and brother Jimmie recorded Family Style, which was released on September 25, 1990. By August 13, all five of Vaughan's and Double Trouble's albums were certified gold, each selling over 500,000 units.

On August 26, 1990, a sold out concert of 30,000 at Alpine Valley Music Theatre in East Troy, Wisconsin, featured an encore jam with Vaughan, Eric Clapton, Buddy Guy, Jimmie Vaughan and Robert Cray. On August 27, shortly before 1 a.m., a helicopter carrying Vaughan on route to Chicago crashed within seconds after takeoff.[184] There were no survivors. Vaughan died four years to the day after his father.

Four days later, funeral services were held at Laurel Land Memorial Park in the Oak Cliff area of Dallas, Texas, with over 1,500 people attending and 3,000 more outside the chapel.[185] Brother Jimmie, mother Martha, and girlfriend Janna Lapidus were in attendance. Among the mourners were Stevie Wonder, Buddy Guy, Dr. John, ZZ Top, Eric Clapton, Bonnie Raitt, Jackson Browne and Nile Rodgers.[186]

Legacy

The 1991 album The Sky Is Crying was the first of several posthumous Vaughan releases to achieve chart success. It entered the US album charts at #7, won a Grammy, and went platinum.[185] Jimmie Vaughan later co-wrote and recorded a song in tribute to his brother and other deceased blues guitarists, titled "Six Strings Down". Bonnie Raitt's 1991 album Luck of the Draw was dedicated to him. Many other artists recorded songs in remembrance of Vaughan, including Eric Johnson ("SRV," on the album Venus Isle), Tommy Emmanuel ("Stevie's Blues"), Buddy Guy, Steve Vai ("Jibboom," on the album The Ultra Zone), and Wayne Perkins ("Big Stratocaster," on the album Rambling Heart). Stevie Wonder, whose "Superstition" Vaughan covered (recorded live on Live Alive), honored him with "Stevie Ray Blues" on his 1995 live album Natural Wonder.

Musicians such as Joe Bonamassa, John Mayer, Robert Randolph, Kenny Wayne Shepherd, Mark Tremonti, Colin James, Jonny Lang, Los Lonely Boys, Mike McCready, Eric Johnson, Orianthi, John Petrucci, and Doyle Bramhall II have cited Vaughan as an influence.

In 1991, Texas governor Ann Richards proclaimed October 3, Vaughan's birthday, to be "Stevie Ray Vaughan Day." An annual motorcycle ride and concert in Central Texas benefits the Stevie Ray Vaughan Memorial Scholarship Fund.[187]

In 1992, the Fender Musical Instruments Corporation released the Stevie Ray Vaughan Signature Stratocaster, which Vaughan had helped design. As of 2010, the model is still in production. In 2004, Fender released a limited edition exact replica of "Number One".[188] The last guitar that Vaughan played before his death is on display in the Hard Rock Cafe in Gatlinburg, Tennessee.

In 1994, the city of Austin erected the Stevie Ray Vaughan Memorial Statue at Auditorium Shores on Lady Bird Lake, the site of a number of Vaughan's concerts. It has become one of the city's most popular tourist attractions.[189]

Since 1998, St. Louis has hosted an annual Stevie Ray Vaughan Tribute Concert around Thanksgiving featuring local musicians.[190]

In 2000, Stevie Ray Vaughan was inducted into the Blues Hall of Fame. Stevie Ray Vaughan became eligible for the Rock and Roll Hall of Fame in 2008.[191]

In November 2007, Fender Musical Instruments Corporation released a second tribute to Vaughan, an exact replica of his second beloved guitar, Lenny. This guitar was given to him by his wife Lenora ("Lenny") on his 26th birthday. According to Fender, the original Lenny was a 1965 Strat that he saw in the window of a pawn shop that he was unable to afford. The guitar is sold with a strap, a case with Vaughan's name embroidered in the fabric lining, a number of brochures and memorabilia and a leather bound certificate of authenticity.

In 2008, residents voted to rename Dallas' Industrial Boulevard, with Vaughan's name being one of the finalists alongside Stanley Marcus, Eddie Bernice Johnson, and César Chávez.[192]

Influences and style

Vaughan's guitar style was influenced by many blues guitarists, foremost among them Albert King. Other influences included Otis Rush, Eric Clapton, Buddy Guy, and Jimi Hendrix. He was also strongly influenced by fast-picking early blues-rock guitarist Lonnie Mack, who, according to Vaughan, "really taught me to play guitar from the heart".[193] Vaughan, who had been inspired by Mack—the first record he bought was Mack's "Wham" (1963)-- [194] produced and played on Mack's 1985 Alligator Records album Strike Like Lightning[195] and covered "Wham!". Vaughan's older brother Jimmie Vaughan has stated that Johnny "Guitar" Watson was the guitarist he and Vaughan studied the most. Vaughan also cited his brother as an influence.

Vaughan's sound and playing style, which often incorporated simultaneous lead and rhythm parts, drew comparisons to Hendrix. Vaughan covered several Hendrix tunes on his studio albums and in performance, such as "Little Wing", "Voodoo Child (Slight Return)", and "Third Stone from the Sun." He was also heavily influenced by Freddie King,[196] another Texas bluesman, mainly in the use of turnarounds. Another stylistic influence was Albert Collins.[197] Vaughan also took considerable influence from jazz guitarists such as Kenny Burrell.[198]

Musical equipment

Further information: Stevie Ray Vaughan's musical instruments

Guitars

His main guitar was a beat-up 1959 * Fender Stratocaster ("the most famous battered Strat in rock history"[199]) he dubbed Number One, which he referred to as a '59.[200] All of his other main guitars were vintage Strats or Strat-style guitars. He was also known to swap necks periodically. This was done when he felt the need for a specific tone, and also when he felt a particular neck wasn't behaving right. Stevie was prone to use bone nuts when he could because of their effect on the tone of the guitar. He also used all of the springs, tightened to the fullest because of his very heavy string gauge.
* (From an interview by Andy Aledort with Rene Martinez - Martinez states that the guitar had 1962 stamped on the neck and inside the body cavity, having seen this after he opened up the guitar. SRV saw 1959 on the back of one of the pick ups so he called it a 59'.)

Amplifiers

Vaughan favored Fender[201] and Marshall amplifiers.[199] Some of his main amp choices included: Fender Bassmans, Twin Reverbs, Soldano, Vibroluxes, Vibroverbs, Marshall Half-stacks and Howard Dumble Steel String Singer's. Vaughan also was partial to Vintage amps, and was known to go through many tubes. Rene Martinez , his tech, carried boxes of replacement tubes on the road to accommodate Stevie's usage of his amps. It is noted that amp technician Cezar Diaz worked on many of Vaughan's amplifiers; modifiying and maintaining so they would stand against his heavy style. His choice of high string action and heavy gauge strings also contributed to his amps being pushed extra hard.

He also used a Fender Vibratone cabinet to achieve parts of his signature sound.

Awards and honors

Grammy Awards and Nominations

Austin Music Awards

  • 1999-2000: Album of the Decade "In Step"[204]
  • 1999–2000: Single of the Decade "Crossfire (Stevie Ray Vaughan song)" [204]
  • 1990-1991: Musician of the Year (Stevie Ray Vaughan) [204]
  • 1989-1990: Best Musician of the Decade (Stevie Ray Vaughan) [204]
  • 1989-1990: Musician of the Year (Stevie Ray Vaughan) [204]
  • 1985-1986: Album of the Year "Soul To Soul" [204]
  • 1985-1986: Musician of the Year (Stevie Ray Vaughan) [204]
  • 1984-1985: Album of the Year for "Couldn't Stand the Weather" [204]
  • 1984-1985: Best Electric Guitar (Stevie Ray Vaughan) [204]
  • 1984-1985: Musician of the Year (Stevie Ray Vaughan) [204]
  • 1983-1984: Best Electric Guitar (Stevie Ray Vaughan) [204]
  • 1983-1984: Musician of the Year (Stevie Ray Vaughan) [204]
  • 1982-1983: Best Electric Guitar (Stevie Ray Vaughan) [204]
  • 1982-1983: Hall of Fame [204]

Radio/Print Awards

Other awards

  • 1981: Buddy Holly Award, Double Trouble, Critic’s Choice – Best Blues

Discography

Main article: Stevie Ray Vaughan discography

See also

References

Notes

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  6. ^ a b c Gregory, p. 48
  7. ^ a b c d Kornbluth, p. 64
  8. ^ Kitts, pp. 7-8
  9. ^ a b c d e f g h Govenar, p. 533
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  14. ^ Kitts, p. 70
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  30. ^ Dickerson, p. 7
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  32. ^ a b c Gill, p. 1
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  69. ^ Dickerson, p. 29
  70. ^ a b Dickerson, p. 30
  71. ^ a b c d Kitts, p. 6
  72. ^ a b Dickerson, p. 49
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  84. ^ Gregory, p. 74
  85. ^ a b c Gregory, p. 76
  86. ^ Dickerson, p. 44
  87. ^ a b Gregory, p. 77
  88. ^ a b c d Prial, p. 295
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  90. ^ a b Gregory, p. 78
  91. ^ a b c d Dickerson, p. 50
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  98. ^ a b c Kitts, p. 9
  99. ^ Dickerson, p. 53
  100. ^ a b Prial, p. 298
  101. ^ Prial, p. 299
  102. ^ a b Gregory, p. 87
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  116. ^ a b c d Dickerson, p. 65
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  121. ^ a b c d e Dickerson, p. 90
  122. ^ a b c Gregory, p. 89
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  125. ^ a b c Gregory, p. 102
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  128. ^ a b Dickerson, p. 66
  129. ^ Writer: Mark Rowland, Narrator: Tate Donovan, Producer: Dan Jackson, Executive producers: Gay Rosenthal, Bill Flanagan; Line producer: Nicholas Caprio, Editors: Todd Darling, Bill DeRonde (1997). "Legends: Stevie Ray Vaughan". Season 1. Episode 15. VH1. {{cite episode}}: External link in |transcripturl= (help); Missing or empty |series= (help); Unknown parameter |serieslink= ignored (|series-link= suggested) (help); Unknown parameter |transcripturl= ignored (|transcript-url= suggested) (help)
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  189. ^ Austin Art in Public Places Tour - Central.
  190. ^ SRV Tribute
  191. ^ Future Rock Hall entry for Stevie Ray Vaughan.
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Bibliography

  • Patoski, Joe Nick (1993). Stevie Ray Vaughan: Caught in the Crossfire. Little, Brown. ISBN 9780316160681. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
Wikiquote has quotations related to Stevie Ray Vaughan.
Wikimedia Commons has media related to Stevie Ray Vaughan.

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