{"id":55277,"date":"2022-08-11T10:52:48","date_gmt":"2022-08-11T15:52:48","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=55277"},"modified":"2022-08-11T12:07:33","modified_gmt":"2022-08-11T17:07:33","slug":"stevie-ray-vaughan","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/stevie-ray-vaughan\/","title":{"rendered":"Stevie Ray Vaughan &#8211; Artists Who Changed Music"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-3725853745\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-6352019010670-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-6352019010670-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-6352019010670-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-6352019010670-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-6352019010670-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGVkQwVDYtYnRnakElMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text]\n<p class=\"p1\">For several nights at the end of August, 1990, Stevie Ray Vaughan and his band Double Trouble were the support act for Eric Clapton at the Alpine Valley Music Theatre in East Troy, Wisconsin.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Clapton recalled that when he watched Vaughan play, \u201cHe had all of us standing there with our jaws dropped. I mean, Robert Cray and Jimmie Vaughan and Buddy Guy and I were just watching in awe. There was NO ONE better than him on this planet. Really unbelievable.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Half an hour after the concert finished, Stevie Ray Vaughan was dead. The helicopter that took him to his hotel in Chicago crashed minutes after take-off. Vaughan\u2019s passing deeply shocked the music world.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">During his seven years at the top, Stevie Ray Vaughan had lit up the world of music with his version of the blues, which had been in danger of becoming a forgotten genre by the early eighties, when Michael Jackson, Madonna, synth pop, and MTV ruled.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Stevie Ray Vaughan was instrumental in making blues and blues guitar relevant again. When he was inducted into the Rock and Roll Hall of Fame in 2015, his contribution was lauded as \u201cthe second coming of the blues,\u201d and he was called \u201cthe messiah, shredding with B.B. King\u2019s blessing.\u201d Star guitarist John Mayer presented the induction speech, and called Vaughan, \u201cthe ultimate guitar hero.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\"><strong>INSPIRATION<\/strong><\/p>\n<p class=\"p1\">So who was Stevie Ray Vaughan and what made him such a great guitarist that he is to this day regularly included in the top 10 of lists of best guitarists of all time?<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Stevie Ray Vaughan\u2019s roots are in Texas, where he was born in Dallas, on October 3, 1954. His older brother, Jimmie, was born in 1951. Jimmie became a proficient guitarist, and Stevie tried to imitate him. Jimmie naturally was strongly inspired by Texas blues, which incorporates elements of jazz and swing, while Texan blues players like T-Bone Walker, Goree Carter, Albert Collins, Freddie King and Johnny Winter pioneered electric blues.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Jimmie often brought records home and Stevie closely analysed the playing of guitarists like Jimi Hendrix, Albert King, Lonnie Mack, Freddie King, Buddy Guy, Muddy Waters, B.B. King, and many others, often learning to play their solos note for note. Vaughan was also strongly influenced by British blues guitarists, like Peter Green, Jeff Beck and, most of all, Eric Clapton.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">By 1965, when Vaughan was still only 11, he joined a band called The Chantones. Soon afterwards, he played in a band called Brooklyn Underground, which performed professionally in local venues. During the seventies, Stevie cut his teeth playing in a variety of bands, and in 1977, formed his own band: Triple Threat Revue.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">After some personnel changes the band name was changed to Double Trouble, after an Otis Rush song. Two years later the classic line-up of Double Trouble was established, with Chris Layton on drums and Tommy Shannon on bass. Around the same time, Vaughan\u2019s problems with substance abuse came to light, as he was arrested for cocaine use. It led to a sentence of two years\u2019 probation.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\"><strong>UPWARD TURN<\/strong><\/p>\n<p class=\"p1\">By 1980, Double Trouble had become one of the most popular live acts in Texas, but still failed to gain much attention outside of the state. This changed after famous record producer Jerry Wrexler heard the band play. He called Vaughan \u201ca jewel, one of those rarities who comes along once in a lifetime.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Wrexler recommended Double Trouble to Claude Nobs of the Montreux Festival. They played at the festival\u2019s blues night on July 17<span class=\"s1\"><sup>th<\/sup><\/span>, 1982. David Bowie watched him in action. The evening after the Montreux Festival concert, Double Trouble played at the Montreux Casino, where another famous artist was in the audience, Jackson Browne.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">As a result of his performances at Montreux, Stevie Ray Vaughan\u2019s career took a sharp upward turn. Browne had offered three days of free recording time at his Down Town studio in Los Angeles, and with one day used for setting up, engineer Richard Mullen recorded ten songs live in the studio in two days, without overdubs.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">A copy of the recordings made its way to Epic Records, and a contract was signed in March 1983, with an advance of $65,000 to mix and master the recordings. Meanwhile, David Bowie had called Vaughan during the sessions at Down Town, and asked him to play on his next album.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">The sessions for what was to become Bowie\u2019s famous <i>Let\u2019s Dance <\/i>album took place over three weeks in December 1982 at the Power Station in New York, with Nile Rodgers producing and playing rhythm guitar, and Bob Clearmountain at the desk.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">On March 14, 1983, the song \u201cLet\u2019s Dance,\u201d was released as the advance single of the album. The song went to number one in dozens of countries and ended up being one of the best-selling and most influential songs of all time.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">The album itself was released on April 1983. Featuring the same funk-rock-pop music as the title song, with Vaughan soloing on six of the tracks. It also was a major success, eventually selling more than 10 million copies worldwide.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\"><strong>WIDE RANGE<\/strong><\/p>\n<p class=\"p1\">Epic released Stevie Ray Vaughan and Double Trouble\u2019s debut album, <i>Texas Flood <\/i>on June 13<span class=\"s1\"><sup>th<\/sup><\/span>, 1983. The album sold well, helped by the fact that there was an audience hungry to hear more by the mysterious guitarist who had set Bowie\u2019s <i>Let\u2019s Dance <\/i>album alight. <i>Texas Flood <\/i>went double-platinum in the US, selling two million copies.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Two songs from <i>Texas Flood <\/i>were nominated for Grammy Awards. \u201cPride and Joy\u201d for the Best Traditional Blues Performance award, and \u201cRude Mood,\u201d for the Best Rock Instrumental Performance award. In 2021, the album was inducted into the Grammy Hall of Fame because of its \u201chistorical significance.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">In just a few months during 1983, Stevie Ray Vaughan had gone from unknown Texan guitarist\u2014playing in local bars and clubs\u2014to one of the most famous and talked-about guitarists in the world.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Vaughan\u2019s searing, incendiary guitar style had a feel that was a direct extension of Hendrix and Lonnie Mack. Vaughan\u2019s phrasing and choice of notes were strongly influenced by pretty much all blues guitarists that came before him.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Vaughan\u2019s playing also was founded in the directness and aggression of Texas blues, British blues, and rock. In addition, Vaughan was influenced by jazz guitarists like Django Reinhardt, Wes Montgomery, Kenny Burrell, and George Benson.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Vaughan was able to incorporate this wide range of influences into a style of guitar playing that was uniquely his own, and that also included a capacity to play outside the box, and come up with new licks, note choices, and techniques.<\/p>\n<p class=\"p1\"><strong>SOULFUL<\/strong><\/p>\n<p class=\"p1\">Vaughan\u2019s approach to the guitar was characterized by a strong left-hand vibrato \u2013 parallel to the frets \u2013 that was at the root of the soulful, singing feel of his playing, and by a powerful, bright tone, with moderate distortion.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Vaughan\u2019s guitar tone was the result of many different factors. First of all, there was his love of Stratocasters, which he usually played through two black-face Fender Super Reverbs, with the Ibanez Tube Screamer and the Vox wah-wah as his main effects, even as he also experimented with others.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Vaughan\u2019s favourite guitar was a beaten-up Strat which he called \u201cNumber One,\u201d or \u201cmy first wife,\u201d and declared it to be from 1959. However, the various parts of the Strat were from different years, with the body from 1963, the neck from 1962, and the pickups from 1959. Fender created an Artist Signature SRV Stratocaster based on Number One. Vaughan named his second favourite guitar, a 1959 Stratocaster, \u201cLenny,\u201d after his wife Lenora.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">At the heart of Vaughan\u2019s tone were his large, powerful hands, which he used to hit heavy gauge strings very hard, using a pick of medium thickness, usually a Fender .73mm. His favoured string set-up was a composite of different sets, with thicknesses of 13, 15, 19 plain, 28, 38, and 58. It made the middle four strings easier to bend, allowing him to play with his characteristic up-and-down vibrato.<\/p>\n<p class=\"p1\">Moreover, Vaughan tended to tune his strings half a step lower, to Eb, which not only gave him a slightly deeper tone, but also reduced string tension; again, enabling strong bending and vibrato.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Finally, Vaughan\u2019s action was higher than usual, which meant that when he hit the strings hard with the thicker end of his picks, it would create a cleaner, bell-like tone with more sustain, which was ideally suited to the aggressive, rock-like feel of his playing.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\"><strong>JUGGERNAUT HALT<\/strong><\/p>\n<p class=\"p1\">All of these elements made Vaughan a consummate guitar player, who updated the blues for the late 20<span class=\"s1\"><sup>th<\/sup><\/span> century. The relentless intensity and creativity of his playing floored audiences wherever he performed during the seven years that he spent at the top. His studio albums also continued to be successful.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Building on the momentum of the releases of <i>Let\u2019s Dance <\/i>and <i>Texas Flood, <\/i>his second album, <i>Couldn\u2019t Stand the Weather, <\/i>was released in May 1984. It has been called \u201ca major turning point in Stevie Ray Vaughan&#8217;s development,\u201d because of his improved song writing and vocal skills. It has to date sold two million copies.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Stevie Ray Vaughan and Double Trouble\u2019s third studio album, <i>Soul to Soul<\/i> was recorded at the Dallas Sound Lab in the spring of 1985, with keyboardist Reese Wynans added to the band. Released in September 1985, <i>Soul to Soul <\/i>sold well enough, but by Vaughan\u2019s own admission, it suffered from a lack of focus and song writing inspiration, in part due to drugs and alcohol abuse.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">The same problems marred <i>Live Alive, <\/i>a record compiled from live performances in Montreux, Austin, and Dallas, and released in November 1986. Two months before the release, the Vaughan juggernaut came to a halt when he collapsed on tour in Germany. Vaughan spent time in a rehab clinic in Atlanta, and once more in Austin. He managed to kick his drugs and alcohol addictions.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\"><strong>LEADING LIGHT<\/strong><\/p>\n<p class=\"p1\">Vaughan was on the road again by November of 1986. Because of divorce proceedings from his wife Lenora \u2018Lenny\u2019 Bailey, he could not move forwards with his recording career for two years. His fourth studio album, released in June 1989, was called <i>In Step, <\/i>because, commented Vaughan, \u201cI\u2019m finally in step with life, in step with myself, in step with my music.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Critical reaction to the album was enthusiastic, with Allmusic calling it \u201ca triumph,\u201d adding, \u201cVaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">The song \u201cCrossfire\u201d went to number one in the US rock charts, and the album sold well over two million copies. It also earned Vaughan and Double Trouble a Grammy Award in the category Best Contemporary Blues Recording.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Vaughan continued with his relentless touring schedule, and in 1990 worked on an album with his brother Jimmie, called <i>Family Life. <\/i>It was produced by Nile Rodgers, and recorded at Ardent Studios in Memphis, The Dallas Sound Lab, and Skyline Studios in New York City.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Released at the end of September, <i>Family Life<\/i> reached number 7 in the US, and earned the Vaughan brothers two Grammy Awards: 1)Best Contemporary Blues Recording for the album, and 2)Best Rock Instrumental Performance for the track \u201cD\/FW.\u201d<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Stevie Ray Vaughan was no longer around to witness the acclaim for <i>Family Life. <\/i>His shocking death on August 27<span class=\"s1\"><sup>th<\/sup><\/span>, 1990, stopped the promise of much more to come in its tracks.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">Yet even as Vaughan ran out of time far too early, his victories live on. He remains as relevant a guitar player today as he was during his life. Countless guitarists have recorded songs in his memory, among them Eric Johnson, Tommy Emmanuel, Buddy Guy, and Steve Vai. Vaughan also has been a strong influence on an entire new generation of blues guitarists.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p class=\"p1\">John Mayer put Stevie Ray Vaughan\u2019s achievement very succinctly, \u201cHe took the spirit and style of every blues guitarist who ever lived and put it into one modern-day language.\u201d In so doing, Vaughan became, perhaps, not quite \u201cthe messiah,\u201d but certainly \u201cthe leading light in American blues.\u201d<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGVkQwVDYtYnRnakElMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text] For several nights at the end of August, 1990, Stevie Ray Vaughan and his band Double Trouble were the support act for Eric Clapton at the Alpine Valley Music Theatre in East Troy, Wisconsin.\u00a0 Clapton recalled that when he watched Vaughan play, \u201cHe had all of us standing there with our jaws dropped. I&hellip;<\/p>\n","protected":false},"author":25,"featured_media":55281,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[11375],"tags":[],"class_list":["post-55277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-songs-that-changed-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Stevie Ray Vaughan - Artists Who Changed Music - Produce Like A Pro<\/title>\n<meta name=\"description\" content=\"Bryan Adam\u2019s fourth album Reckless is several milestones rolled into one. 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