The blues-rock guitar hero's studio vaults were nearly empty when he died in an August 27, 1990, helicopter crash. This set unearths a 1978 Austin session track of "You Can Have My Husband" with Vaughan as second fiddle to his then girlfriend, singer Lou Ann Barton, but it's undistinguished compared to the previously unreleased live performances that compose this disc's heart. Vaughan contributes teeth-baring pentatonic solos to Lonnie Mack's "Oreo Cookie Blues" at Atlanta's Fox Theatre in 1986 and brings his bullish tone to the late blues piano stomper Katie Webster's "On the Run" at the 1988 New Orleans Jazz & Heritage Festival. Bonnie Raitt's distinctively keening slide adds elegance to a "Texas Flood" from Bumbershoot 1985 in Seattle, and when Stevie's older sibling Jimmie Vaughan stops by Saturday Night Live to play rhythm on a 1985 "Change It," li'l bro' squeezes out screaming fireworks. But the best cut's a breathtaking '88 Jazz Fest slugfest with Texas Telecaster blaster Albert Collins that's jammed with howling, shaken notes and machine-gun riffing. Both are in top form. The rest is culled from Vaughan's guest appearances on others' releases or previous retrospectives and include matches with blues godfathers B.B. King and Albert King, as well as Johnny Copeland and A.C. Reed, Jeff Beck, Austin barrelhouser Marcia Ball, surf guitar king Dick Dale, and David Bowie, whose "Let's Dance" introduced Vaughan to the mainstream in 1983. --Ted Drozdowski
Guitarist Stevie Ray Vaughan’s presence as a musician is so commanding it’s hard to imagine him so readily assuming the role of studio sideman or sharing the stage as he does on the fourteen tracks that comprise this CD. But it was his very love to play that allowed him to collaborate with virtually as much passion in these varied accompanying roles as when he led his own band, Double
Trouble. It’s a testament to the late bluesman’s musicianly savvy that he neither tries to outplay peers like Jeff Beck or Lonnie Mack; the collaboration with the latter on “Oreo Cookie Blues,” while somewhat tongue in cheek, is nevertheless deeply passionate, grounded in the gritty bond between the two guitarists. The live performance of “Going Down,” performed with Beck at a record company convention (or is it the performance from their co-headlining tour as noted on the previously-released box?: these credits contradict) remains a highlight on its own terms and in the context of this
album. The same is true of the original extended version of “Let’s Dance,” by David Bowie. Hearing the extended version of this 1983 track in retrospect, it becomes clear why Vaughan chose to pursue his own direction and why it might not have been to the Briton’s benefit to have the Texas firebrand on stage with him, as SRV would’ve all-too-often stolen the
spotlight. Articulate liner notes from Guitar World Magazine’s Andy Aledort provide continuity from previous archive titles, as does the fulsome sound sculpted by producer Bob Irwin and mastering tech Vic Anesi. Certainly the most superficially interesting cuts here are those where Vaughan interacts with guitar counterparts, but he exhibits an unusual understatement when accompanying singers as well. Playing alongside fellow Texas natives Marcia Ball (”Soulful Dress”) and Lou Ann Barton (“You Can Have My Husband,”), Vaughan frames their vocals with equal parts taste and
restraint. Stevie Ray Vaughan was always very conscious of the blues heritage he inherited and to which he subsequently contributed so much. It’s not a surprise, therefore, that Solos, Sessions and Encores functions well as a primer of the genre, as well as an illustration of his own singular gifts. The introductory cut, “The Sky Is Crying,” with B.B. King, Albert King and Paul Butterfield, makes clear that Vaughan's influence on contemporary blues matches up to
theirs. Additional tracks that have already seen the light of day, such as Vaughan’s recording of Dick Dale’s “Pipeline,” deserve the additional exposure. This one in particular is far more than novelty, even if you regard surf music as contemporary kitsch: SRV used to perform it with his brother
Jimmie. Yet with half the content here unreleased, Solos, Sessions and Encores is a godsend for SRV fans and aficionados of blues guitar alike. It constitutes an important recognition of the late blues man's broad musicianly persona, and a worthwhile introduction to novice fans of the blues genre.
Track listing: The Sky is Crying; Soulful Dress; Don’t Stop by the Creek, Son; Miami Strut; Na-na-Ne-Na-Nay; Goin’ Down; Oreo Cookie Blues; On the Run; Albert’s Shuffle; Change It; You Can Have My Husband; Texas Flood; Pipeline; Let’s
Dance. Personnel: Stevie Ray Vaughan: guitar, vocals; Albert King: guitar, vocals; Johnny Copeland: guitar, vocals; Jeff Beck: guitar, vocals; B.B. King: guitar; Bill Carter: guitar; Lonnie Mack: guitar; Albert Collins: guitar; Jimmie Vaughan: guitar; Bonnie Raitt: guitar; Dick Dale: guitar; Paul Butterfield: harmonica; A.C. Reed: tenor saxophone; Katie Webster: piano, vocals; Marcia Ball: vocals; Lou Ann Barton: vocals; David Bowie: vocals; others. By
Doug Collette
The latest posthumous release in the Stevie Ray Vaughan catalog is Solos, Sessions & Encores, a collection that features him mostly in a supporting role. Throughout the ‘80s, the Austin guitar slinger melded blues and rock and he always paid tribute to those that came before him. On this CD, Vaughan joins many artists with the fourteen tracks split between the studio and onstage, six of which are previously unreleased.
The opening track is taken from a performance during the recording of the concert video B.B. King & Friends – A Night Of Blistering Blues. B.B. introduces the audience to “some new blood with the blues” as Vaughan trades vocals and leads with Albert King and harmonica player Paul Butterfield on Elmore James “The Sky Is Crying.” B.B. and Lucille are called to join in.
The next four tracks find Vaughan as a session man. Marcia Ball sings “Soulful Dress,” the title track from her 1984 release. Vaughan’s guitar is recognizable, but it’s the sax that takes the lead until Vaughan cuts loose on the second bridge. Next up is Johnny Copeland’s “Don’t Stop By The Creek, Son,” a swamp blues boogie that shuffles along at quick pace. Vaughan easily shifts between blending in and taking the lead on saxophonist A.C. Reed’s funky instrumental “Miami Strut.” On Bill Carter’s “Na-Na-Ne-Na-Ney,” Vaughan returns to his familiar sound backed by a great horn section.
The album then focuses on live performances. Off 2000’s SRV box set is the rare treat of Vaughan and Jeff Beck trading licks on the latter’s “Goin’ Down” from the 1984 CBS Records Convention. It’s the most dynamic track as you can tell they are pushing each other to great heights.
The remaining live tracks are being released for the first time. Vaughan credited Lonnie Mack as a large influence on his playing. He co-produced and played on Mack’s “Strike Like Lightning.” A live version of “Oreo Cookie Blues” is the poorest sounding recording on the album, but even the “less than crystal clear” sound can’t hamper Vaughan’s brilliance from this 1986 New Year’s Eve show in Atlanta and you can hear the crowd eating it up.
Vaughan made his way to the 1988 New Orleans Jazz Festival and played with “swamp boogie queen” pianist Katie Webster on the song “On The Run” and traded some hot licks with Albert Collins on a fantastic instrumental jam called “Albert’s Shuffle.”
On Saturday Night Live in 1985, Jerry Hall and Mick Jagger introduced Vaughan, his brother Jimmy, and Double Trouble for a cover of Doyle Bramhall’s “Change It.” It’s Vaughan at his purest on this album, growling the lyrics and creating such a beautiful sound, a sad reminder of what we’ve lost.
The oldest track in the collection is Lou Ann Barton’s “You Can Have My Husband.” Vaughan was working in Nashville in 1978 and with Barton and W.C. Clark they were known as Triple Threat Revue. Vaughan’s sound is instantly recognizable and sounds so good it makes the listener what took so long to get the man a record deal.
The album closes out with Vaughan working with three legends. Bonnie Raitt sounds great playing slide guitar on “Texas Flood” at the 1985 Bumbershoot Festival. Vaughan duets with Dick Dale, the king of the surf guitar, on Dale’s “Pipeline” for the movie “Back to the Beach” although they recorded separately. The final track was Vaughan’s first introduction to the majority of the general public, David Bowie’s “Let’s Dance.”
Solos, Sessions & Encores provides a great mix of styles and artists Vaughan worked with over the years. Some fans will be disappointed that only half of the material is new and Vaughan isn’t the focus, especially considering the hefty $19 retail price. However, throughout his career Vaughan always honored his influences and other performers, so it is easy to believe he would have released an album just like this to help bring attention to others. For those that already own some of these tracks, waiting until the new material appears on iTunes or a similar service would be a good decision. Otherwise, you can’t go wrong adding this disc to your collection. Written by
El Bicho Published December 10, 2007.Info
14 TRACKS, RECORDED 1978-1988 – SEVEN OF THEM LIVE – SIX PREVIOUSLY UNRELEASED
SRV CLASSICS: “THE SKY IS CRYING” WITH ALBERT KING, B.B. KING AND PAUL BUTTERFIELD; “ TEXAS FLOOD” WITH BONNIE RAITT; “CHANGE IT” WITH JIMMIE VAUGHAN (ON SATURDAY NIGHT LIVE)
GREAT COVERS: “GOIN’ DOWN” WITH JEFF BECK; “PIPELINE” WITH DICK DALE; “OREO COOKIE BLUES” WITH LONNIE MACK, & MORE!
Two SRV packages – SOLOS, SESSIONS & ENCORES and updated, expanded PRIDE AND JOY DVD – arrived in stores November 6, 2007, on Epic/Legacy
“When Stevie is playing his best, it’s almost like a religious experience. The audience can tell when someone is communicating on a special wavelength, and Stevie hits that wavelength. They can’t help but feel the inspiration, because it’s real.”
– Jimmie Vaughan, as told to Andy Aledort, from his liner notes to SOLOS, SESSIONS & ENCORES
Like the greatest 20th century blues and rock guitarists who preceded him, many of whom were primal influences on his journeyman lifestyle and unpredictable musical outlook, Stevie Ray Vaughan (1954-1990) was always ready, willing and able to jam. Whether it was a rhythm section backup assignment in the recording studio for another singer or instrumentalist, or a live drop-in onstage at a nightclub or festival, his presence enhanced every session he made, and left some unforgettable music in its wake.
For the first time, an entire album collection is devoted to this side of Stevie Ray Vaughan’s career. SOLOS, SESSIONS & ENCORES gathers 14 varied performances – half of them live, including the near-mythic 1984 jam with Jeff Beck at the CBS Records Convention in Honolulu . With one 1978 exception, the album spans five of his years as an Epic Records artist, from 1983 to 1988. There are album session tracks with Albert King, B.B. King, Paul Butterfield, Marcia Ball, Johnny Copeland, A.C. Reed, Bill Carter, Dick Dale, and David Bowie’s “Let’s Dance” (the worldwide #1 chart smash that ignited Stevie Ray’s stardom in 1983) – plus six previously unreleased tracks (five of them live) with Lonnie Mack, Katie Webster, Albert Collins, Jimmie Vaughan, Lou Ann Barton, and Bonnie Raitt.
SOLOS, SESSIONS & ENCORES will arrive in stores November 6th on Epic/Legacy, a division of SONY BMG MUSIC ENTERTAINMENT. The same date marks the arrival of the first DVD edition of PRIDE AND JOY, the updated and expanded version of the 1990 video collection, which now more than doubles its original VHS length and contents. The new DVD reprises the original eight segments (six promo video clips shot for four of Stevie Ray Vaughan and Double Trouble’s studio albums, plus two live numbers) and now adds a bonus promo video clip, three MTV “Unplugged” acoustic numbers, two television commercials, and performances with Stevie Ray’s older brother Jimmie in the Vaughan Brothers (along with the EPK created for that band).
While PRIDE AND JOY digs into the history of Stevie Ray Vaughan and Double Trouble, SOLOS, SESSIONS & ENCORES focuses on the versatile sideman talents of one of the greatest guitar players who ever lived. “Stevie had great reverence for his favorite musicians, and great respect for the friendship he shared with them,” writes Andy Aledort, Associate Editor, Guitar World magazine, in his 1,300-word liner notes essay. Aledort previously scribed liner notes for the SRV box set (2000), The Essential Stevie Ray Vaughan (2002), and The Real Deal: Greatest Hits, Vol. 1 (2006). “The warm, personal bond Stevie had forged with all of the guest artists presented here is a quality that is audible in each and every track.”
SOLOS, SESSIONS & ENCORES pays homage out-of-the-box to Stevie Ray in the company of three blues masters – guitarists B.B. King and the late Albert King, and the late blues harmonica great Paul Butterfield, on “The Sky Is Crying,” the Elmore James classic that became a Double Trouble signature. The song was recorded live at the Ebony Showcase Theater in Los Angeles in 1987, for the long-form home video, B.B. King & Friends - A Night Of Blistering Blues.
Three more blues masters, who have all passed on, called up Stevie Ray: fellow Texan-turned New Yorker Johnny Copeland with “Don’t Stop By The Creek, Son,” from his 1983 album, Texas Twister; Chicago tenor saxophonist A.C. Reed, who played alongside Albert Collins for years, with the instrumental “Miami Strut,” from 1987’s I’m In The Wrong Business; and the Iceman himself, guitarist Albert Collins, is heard with Stevie on the previously unreleased live version “Albert’s Shuffle,” from the New Orleans Jazz & Heritage Festival in 1988.
Also at the New Orleans Jazz & Heritage Festival in 1988, local Crescent City pianist/vocalist Katie Webster brought Stevie onstage for the previously unreleased live version of “On The Run,” whose original studio version featured Bonnie Raitt on guitar (from Katie’s album released that year, Swamp Boogie Queen). As for Bonnie, Stevie Ray caught up with her in 1985, at the Bumbershoot Fest in Washington state, for the previously unreleased live version of “Texas Flood,” the Larry Davis blues that became another Double Trouble signature (and album title tune).
Two equally distinctive Texas-bred female rockers are heard with Stevie Ray: the title track of blues pianist/vocalist Marcia Ball’s 1984 album Soulful Dress gets a blistering solo from the guitarist; and from the previously unreleased Triple Threat Revue 1978 sessions in Nashville with singer Lou Ann Barton and bassist/vocalist W.C. Clark, comes their take on the Irma Thomas novelty, “You Can Have My Husband.”
Two major 1960s-era electric guitar innovators whom Stevie Ray idolized were Lonnie Mack (of “ Memphis ” fame) and surf-rock honcho Dick Dale. Mack’s 1985 album, Strike Like Lightning, was produced by Stevie Ray and featured him on several tracks, one of which, “Oreo Cookie Blues,” is heard here in a previously unreleased live version recorded on New Year’s Eve 1986 at the Fox Theater in Atlanta .
The following year, on the Columbia soundtrack album Back To The Beach, Stevie Ray realized another lifelong ambition when he recorded a duet with Dick Dale on the Chantays’ instrumental workout “Pipeline” – which Stevie and brother Jimmie used to perform together simultaneously on the same doubleneck guitar back in the day. As for Jimmie, he joined Double Trouble for one night in 1985 on NBC’s Saturday Night Live, when they were promoting their new Epic album, Soul To Soul. They performed two songs, one of which was this previously unreleased live version of Doyle Bramhall’s “Change It.”
SOLOS, SESSIONS & ENCORES comes full circle with its closing track, David Bowie’s “Let’s Dance,” heard here in its full-length seven and a half-minute album version. In his 2004 liner notes essay for the Stevie Ray Vaughan and Double Trouble two-disc DVD chronicle, Live At Montreux 1982 & 1985, Bowie wrote: “Come the show, blasting through a short but riveting set, SRV completely floored me. I probably hadn’t been so gung-ho about a guitar player since seeing Jeff Beck in the early ’60s with his band the Tridents at Eel Pie Island , London . He was so complete, so vital and inventive with the
form.”
Stevie Ray Vaughan - Pride and Joy - Live at Montreux
