By 1983, with the musical world in flux, independent labels were providing a training ground for the stars of the ‘90s. College radio was making great inroads at breaking unknown “alternative” artists who played almost exclusively on a club level. Major labels had all but abdicated any effort at finding and signing original artists of any merit. It was into this vacuum that A & R great John Hammond stepped, unearthing one last musical jewel in what was already a lengthy and legendary career. Hammond had always loved the blues, and it was he who was to discover and bring to the world at large a young guitar wizard that had already created a buzz in his hometown of Austin, Texas: Stevie Ray Vaughan.
Vaughan was quite a find, a master technician who was capable of tearing down the boundaries between rock and the blues with some ease. He was a charismatic performer who, at his best, could mesmerize audiences as he brought his guitar to life on stage. Subsequent recordings could only attempt to capture the raw, primal energy and incredible talent that Stevie Ray brought to his art. Vaughan popularized the blues to a rock audience unlike any artist since his professed idol, Jimi Hendrix. Like Hendrix, Vaughan was a casualty of rock ‘n’ roll, dying in a fatal helicopter crash after a memorable performance alongside greats like Buddy Guy, Robert Cray, Eric Clapton, and his brother Jimmie.
During his brief six year career, Stevie Ray, and his Double Trouble band released only a single live and four studio albums. It is a tribute to Vaughan, the artist, that the quality of his work was so high that this handful of albums has yielded so many memorable moments. As documented by the long-awaited Greatest Hits album, Stevie Ray was a true meat and potatoes artist, pouring every ounce of his talent into every performance. Choosing from so many Vaughan classics would be a daunting task for any producer, but Greatest Hits compiler Tony Martell does an admirable job, filling the disc with Vaughan standards like “Texas Flood,” “Pride and Joy,” and “Couldn’t Stand the Weather.” Lesser known cuts like “Life Without You” or “Crossfire,” or covers like the Hendrix classic “Little Wing” or the Beatles’ “Taxman,” the collection”s lone unreleased cut. Personally, I would have liked to have seen more unreleased material; maybe on a second volume, eh?
The first time that I ever heard of Stevie Ray was from his brother Jimmie, a talented axeman in his own right. Hanging out backstage after a Fabulous Thunderbirds performance in Nashville, I complimented the older Vaughan on his skills with a six string. He replied with something along the lines of “hell, you think that I”m good, you should see my brother Stevie.” A couple of months later, I did get to see Stevie Ray play, shortly after the release of Texas Flood, his debut. A rowdy audience in the auditorium was silenced by the artist’s quiet dignity and enormous talent as Stevie Ray came out and played like the hellhounds of Robert Johnson’s nightmares were on his tail. Greatest Hits only reinforces this lasting impression I have of Vaughan, a great artist who conquered his own demons of addiction to forever influence the future of rock ‘n’ roll. It’s been five years since his death, and his absence is still strongly felt. No one will ever fill his shoes... (Epic Records, released 1996)
Review originally published by R.A.D! Review and Discussion of Rock ‘n’ Roll zine
Buy the CD from Amazon: Stevie Ray Vaughan & Double Trouble’s Greatest Hits
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