Stevie Ray Vaughan and Double Trouble
Rating: 8
Blues At Sunset (Epic/Legacy)
Sting had it all wrong. Stevie Ray Vaughan was the real King of Pain.
The evidence has been lovingly remastered from the original source
tapes and released as "Blues At Sunrise", a scorching
compilation of all slow blues by the legendary Texan who died ten
years ago, at age 35, in a Wisconsin helicopter crash.
Consider yourself warned; over 70 minutes of slow blues makes for a
very intense, relentless trip. This is not the "quiet storm."
Total devastation of the heart's terrain overwhelms the senses -- just
like the mighty rains do in SRV's signature piece, "Texas Flood."
("Well the water just keeps on a-rollin' / Man, it's about to drive
poor Stevie Ray insane!").
The version of "Texas Flood" included here comes from the
video "Live At The El Mocambo", and appears on CD for the
first time. If you haven't seen it, a killer 1983 show in a tiny Toronto
club, you'd never guess that most of Vaughan's final chorus is played
behind his back, ala Hendrix. The cat never misses a beat.
Speaking of Hendrix, Vaughan had that same elusive vintage Strat tone
and wang bar voodoo thang down cold. He possessed the same depth and
danger. Then he stirred it in with his own blend of classic Texas and
Chicago guitar styles. When you mix all of that together -- along with
Vaughan's rock and roll swagger and deep soul -- well, let's just say
that the result is a gumbo of the highest order.
Of course it doesn't hurt that, in original drummer Chris Layton and
bass player Tommy Shannon, SRV had a rhythm section to die for. Later
day edition, keyboardist Reese Wynans, enhances the music with his
gospel flavored Hammond B3. These fresh digital mixes really highlight
the deadly smack of Layton's snare and his swinging cymbal work.
Shannon's bass guitar provides the foundation upon which the whole
thing rests.
Another live rarity on "Blues At Sunrise" is an 11 minute
performance at the 1985 Montreux Jazz Festival of "Tin Pan Alley,"
featuring another great Texas blues man, the late Johnny Copeland. This spine
tingling tale of the "roughest place in town" is replete
with crap games, .44 pistols, and characters who are "livin' for
their whiskey, wine, and gin."
It is the one tune apiece from among Vaughan's four studio albums,
however, that still carry the most weight -- especially the original
"Ain't Gone N Give Up On Love" from 1985's "Soul To Soul"
and Buddy Guy's "Leave My Girl Alone" from his last and best
album, 1989's "In Step." On Guitar Slim's "The Things (That) I Used To Do,"
from 1984, Vaughan lets his tendency towards excess get the better of
him and steps all over the groove during his solo.
The four year gap between SRV's third and final studio discs represent
a difficult period of grief and recovery. Grief over the death of
original producer and mentor, John Hammond Sr. And recovery from a
lifetime of booze and dope. His vocals and playing on "Leave My Girl Alone"
sustain a focus and fury that transcends everything else on "Blues At Sunset."
In fact, if you're new to Vaughan, I would start with "In Step."
It's a far better representation of his versatility than the all slow
format of "Sunset" and includes rambunctious rock, sexually
charged mid-tempo shuffles, James Brown inspired funk, and the gorgeous
, mellow instrumental, "Riviera Paradise."
But regardless of where you start,
"Blues At Sunset" is a potent and poignant reminder of the
loss the music world suffered when Stevie Ray fell to earth a decade
ago.
- Mike Britten
your
shot
Think you can do better? Email us your pithy comments on the
cd's and shows we
review, and the lists and essays we write.
We'll publish excerpts in future editions...