1.

Scuttle Buttin’
2. Couldn’t Stand The Weather
3. The Things (That) I Used To Do
4. Voodoo Chile (Slight Return)
5. Cold Shot
6. Tin Pan Alley
(aka Roughest Place In Town)
7. Honey Bee
8. Stang’s Swang

G0100029315115
 We had heard the hype about this Texas Ray played with a rare blend of scorching
Tornado, about how he had been killing intensity and blues-drenched authority.
There was a galvanizing moment audiences down in Austin for years with He delved down deep into himself to pull
his fretboard pyrotechnics and heroic, up those toe-curling blue notes, rocking
in 1983 at the Beacon Theater in Albert King-inspired string bending back on the heels of his cowboy boots
prowess. That was indeed no lie. We had as he muscled those strings, grimacing
New York when Stevie Ray Vaughan checked out Texas Flood and knew the as he squeezed all the juice out of each
made believers out of us all. guy could burn. Every guitar player from note while projecting out to the back row
Texas could burn. But there was an aura of a concert hall with hurricane force.
of mystique surrounding SRV that set He mesmerized audiences with his own
him apart from all the other ferocious take on Albert
hotshot six-stringers who King’s blues power.
came down the pike.
On this autumn evening
On the surface was his at the Beacon Theater, we
tough Texas demeanor: the were swept away by his
cowboy boots, the plume volatile and flamboyant
in his black Palladin hat, presence. No guitarist
the steely-eyed scowl and had generated this kind
gunslinger machismo of sheer electricity, this
captured in Brad Holland’s combination of flash
cover illustration for and substance, in a long,
Texas Flood. There was his long time.
indelible tie to Jimi Hendrix,
the Sixties guitar god to I had the chance to talk

photo by Stephanie Chernikowski

whom Stevie Ray invariably with Stevie Ray Vaughan
paid tribute in concert aboard his cramped band
through his passionate bus, just prior to that
reading of “Voodoo Chile memorable show in the fall
(Slight Return).” For a of 1983. He was polite
generation too young to though not exactly
have caught Hendrix’s forthcoming: a bit shy and
cathartic act, SRV was the unassuming at first,
living embodiment of that offering little eye contact
fabled legacy. There was also the audacity and speaking in soft, guarded tones. (I think
of him blowing off David Bowie’s Let’s he even called me “sir” at the outset, even
Dance tour of 1983 in order to pursue though he was born just one week after me,
his own thing with Double Trouble. This on October 3, 1954.) The ice was suddenly
defiant, stick-to-your-guns stance made broken when into the bus climbed John
Stevie Ray a hero in his hometown. Hammond Sr., the venerable and legendary

photo by Robert Matheu

talent scout whose discoveries over the
But beneath the surface of this myth-in- years had ranged from Billie Holiday and
the-making beat the heart of a bluesman: Charlie Christian to Aretha Franklin, Bob
the real deal, the authentic article. On Dylan and Bruce Springsteen—and who had
record and particularly in concert, Stevie landed SRV his contract with Epic.
Hammond acknowledged the interview A few months after that gig, I wrote in On the mournful minor-key blues standard
taking place, flashed a paternal smile at Guitar World: “In an age where musical “Tin Pan Alley (aka Roughest Place In
Stevie Ray and offered a brief testimonial tastes are being shaped by technological Town),” he pulls out all the stops with an
before leaving: “What he’s doing is innovations, where sensibilities are being emotionally charged, bravado performance
phenomenal. The first Texas blues guitar assaulted by arsenals of Linn drums and that would send chills up the spine of
player I ever saw in the flesh was T-Bone Fairlights and Mini Moogs; it’s downright even the most hardened blues enthusiast.
Walker back in 1936, and he’s in that refreshing to see someone playing straight His own boogie blues, “Honey Bee,” is
great tradition. It’s a wonderful tradition. from the gut again. With his stripped- rough and upbeat, while the instrumental
T-Bone used to do what Stevie does—play down attack and electrifying prowess, “Stang’s Swang”—an homage to Grant
the guitar behind his neck and everything Stevie Ray Vaughan has refocused Green augmented by Stan Harrison’s gutsy
else. What a showman! Nice guy too, just attention back to the bare essentials— tenor sax playing—closes out the album in
like Stevie Ray.” guitar, bass and drums in a basic 12-bar swinging, understated fashion.
format. He is the hottest thing to come
During our interview, Vaughan gradually out of Dallas since J.R. Ewing.” Released in May 1984, Couldn’t Stand The
loosened up and began talking about his Weather would reach #31 among Billboard Thanks to: Charley’s Guitar Shop, Tommy’s
memories of early gigs in Austin, about the The following summer saw the release of pop albums by the end of the year; it was Drum Shop, and Ray Hennig’s Heart of
inspiration he had gotten from players like Stevie Ray’s eagerly anticipated follow-up certified gold in late 1985, and today is Texas Music
Lonnie Mack, Albert King, Freddie King and album, Couldn’t Stand The Weather. By double platinum. Stevie Ray would earn his Much Love and Special Thanks to: Byron Barr,
particularly Jimi Hendrix. He mentioned this time, the coronation was complete: second Grammy Award nomination for this “Lonesome” Jim Capfer and to
his fondness for jazz guitar greats Django A blues messiah had arrived. With a sophomore outing, when “Voodoo Chile Jimmie Vaughan
Reinhardt and Kenny Burrell; and for relentless touring schedule and a slick (Slight Return)” was cited in the Best Rock Cover Design: Holland MacDonald
Hammond B-3 organ greats Jimmy McGriff new video for the title track airing on Instrumental category. His meteoric rise to Photography: Benno Friedman
and Richard “Groove” Holmes. He touched fledgling MTV, Stevie Ray Vaughan had fame had begun, and a lifetime of triumph Weather Photography: Shostal Associates
on his aspirations (“I lay in bed at night and become something of a force unto himself lay ahead of him.
hear big bands...sounds funny but it’s true”) in the industry, touching off a mid-’80s Reissue Information
and he offered one fantasy (“I’d like to jam blues revival that recalled the mid-’60s And yet the soft-spoken young Texan’s Executive Producer: Tony Martell
with Jimi Hendrix and an organ player”). He blues boom. His playing on Couldn’t Stand goals remained simple and clear. “We’re
also spoke with a kind of awe about his older The Weather, meanwhile, was even more going to keep playing our hearts out,” Stevie Reissue Produced by Bob Irwin
brother Jimmie, whom he called “my very authoritative than on Texas Flood. Ray Vaughan told Down Beat on the eve of Mastered by Vic Anesini at Sony Music
favorite guitar player.” this album’s release. “We hope we can get Studios, NYC
He comes out of the chute with his wheels a lot of people to listen but if they don’t— Research Assistance: George Deahl,
Later that night, Stevie Ray proceeded to screeching on “Scuttle Buttin’,” the well, we’re still going to go all-out anyway. Al Quaglieri, Matthew Kelly, Jon Naatjes
slay an excitable New York crowd with his scorching instrumental that became a You know, I just love to play the blues. What Art Direction: Josh Cheuse
sheer command of his ‘59 Stratocaster and concert favorite that summer of ’84. The else is there?”
his undeniable charisma, working his way title track, fueled by SRV’s slinky rhythm Editorial Direction: Andy Schwartz
through blistering renditions of “Rude guitar work and featuring brother Jimmie —Bill Milkowski Originally issued as Epic album 39304
Mood,” “Love Struck Baby,” “Texas Flood” and on second guitar, shows allusions to
Buddy Guy’s “Mary Had A Little Lamb” with Hendrix; the cover of “Voodoo Chile (Slight Bill Milkowski is a regular contributor to Jazz Times
magazine. He is the author of JACO: THE
steamroller momentum. His inevitable and Return)” makes the connection more EXTRAORDINARY AND TRAGIC LIFE OF JACO

photo by Robert Matheu

chilling rendition of “Voodoo Chile (Slight obvious. Stevie Ray delivers Guitar Slim’s PASTORIUS (Miller Freeman Books) and ROCKERS,
Return)” brought the Beacon audience to its slow blues classic, “The Things (That) I JAZZBOS & VISIONARIES (Billboard Books).
feet, straining to get a glimpse of Used To Do,” in convincing fashion and
the tough young Texan writhing and cranks out the catchy Texas shuffle “Cold
wailing on his Strat with reckless abandon. Shot” with a touch of sly swagger.
1. Scuttle Buttin’ Stevie Ray Vaughan: vocals, guitars
–S.R. Vaughan– Tommy Shannon: bass
2. Couldn’t Stand The Weather Chris “Whipper” Layton: drums
–S.R. Vaughan– Additional Musicians:
3. The Things (That) I Used To Do Jimmie Vaughan: 2nd guitar on “Couldn’t Stand The
–E. Jones–
Weather” and “The Things (That) I Used To Do”
4. Voodoo Chile (Slight Return) Fran Christina: drums on “Stang’s Swang”
–J. Hendrix–
Stan Harrison : tenor saxophone
5. Cold Shot
–M. Kindred–W.C. Clark–
Also Available on Epic:
6. Tin Pan Alley (aka Roughest Place In Town)
–R. Geddins– on CD and Cassette
7. Honey Bee Greatest Hits (66217)
–S.R. Vaughan– Greatest Hits 2 (65873)
8. Stang’s Swang Texas Flood (65870)
–S.R. Vaughan– Soul to Soul (65872)
In Step (65874)
The Sky Is Crying (47390)
Live Alive (40511)
In The Beginning (53168)
Live At Carnegie Hall (68163)
A Tribute To Stevie Ray Vaughan (67599)
Family Style (46225)
on Video
Pride and Joy (49069)
Live At The El Macambo (49111)
Live From Austin Texas (50130)
A Tribute To Stevie Ray Vaughan (50144)

For more information, go to the following web addresses:

sonymusic.com (keyword:SRV) or srvdoubletrouble.com
For information regarding Stevie Ray Vaughan and
Double Trouble merchandise, go online: ssi.sony.com

This Compact Disc was manufactured to meet critical quality standards. If you believe the disc
has a manufacturing defect, please call our Quality Management Department at 1-800-255-7514.
New Jersey residents should call 609-722-8224.

All transfers and conversions from DSD masters created at Battery Studios, New York

Executive Producer: John Hammond

photo by Robert Matheu

Produced by: Stevie Ray Vaughan, Chris Layton,
Tommy Shannon, Richard Mullen, and Jim Capfer 훿 1999 Sony Music Entertainment Inc./ 1984 Sony Music Entertainment Inc./Manufactured by Epic,
Engineer: Richard Mullen A Division of Sony Music/550 Madison Avenue, New York, NY 10022-3211/ “Epic,” “Legacy” and l
Reg. U.S. Pat. & Tm. Off. Marca Registrada./ is a trademark of Sony Music Entertainment Inc./
Assistant Engineer: Rob “Ace” Eaton WARNING: All Rights Reserved. Unauthorized duplication is a violation of applicable laws.