Don't even try to defend Stevie Ray Vaughan, ILM -- tear his oeuvre/legacy apart and throw it to the dogs

SRV was in a poor position to preach, even though the message might
have been worthy. The stewbum axe savant was the image his he,
his record company and the media played up to market him. When
it became an embarrassing liability he was already a star.

The rocker as power drunk has always been a valuable commodity in
the marketing.

Take Ozzy -- the most perfect practitioner of the craft. Then he
complains that television appearances portray him as a doddering,
near paralytic old man enfeebled by neuro-degenerative disease
accelerated by a lifelong affair with strong drink.

I don't mind the rest of his stuff, but don't love it. I have no problem with good background filler for large gatherings (ie bars) in Texas. It's inoffensive, it's kind of fun when you're drunk, and everyone knows it.

The Double Trouble album with a rotating cast of guest singers/guitarists (Jimmy Vaughan, Jonny Lang, Susan Tedeschi) is unbelievably bad.

I agree that it would be interesting to discuss his individual style, but although you've described a little about what he sounds like, you haven't said anything about what makes him individual. Instead you've talked about what makes him the SAME to other people (Buddy Guy, Edgar Winter, etc). Is that clearer?

The point is that SRV thinks in math where Hendrix thought in sound.

My main criticism with SRV is that he gave his band no space with which to do anything. The house can't really get rockin' without the bass and the drums doing something to get it that way. I forgot "Life By the Drop", which is actually pretty good, and also the exception that proves the rule.

The wham of the Memphis man, that always works. He probably gave Leslie West ideas.

OK, Tracer I see what you were asking (sorry it all came across as some kind of bizarre invective), "what would he have to be to count among my favorite players?" Well, again, I think I spelled it out above - I like him when he tackles slower, jazzier material. I mean, he provided evidence that he could play in that style, he just rarely indulged it. If he had had more of that, and less of the cops to a rock audience ("Superstition", "Voodoo Chile"), he would have been a more interesting figure to me.

He does seem quite lazy in that sense - all of that talent largely put in the service of the more uptempo numbers better suited to technical display. And even on slower 12-bar numbers like the version of "Things That I Used to Do", he just stomps all over it - takes this really emblematic blues standard and reduces it to a vehicle for hyper-note-spew. I can see where the tendency to call him "soulless" arises and I certainly wouldn't consider it one of his better performances.

It's a subjective thing, obv. My favorite blues is definitely the Chess sound and the Chicago west-side sound. But I also enjoy the cleaner, jazzier, more urbane post-Walker players like the Kings Freddie/Albert/B.B., and it seemed Vaughan's project was to marry that tradition to a more rock-derived sound, incorporating Hendrix's always-busy rhythm/lead style. I wish his records had less of the pyrotechnic displays, but ultimately I like the varied material on the two I have and I can enjoy him when I'm in the mood.

If somebody says they hate his album photo, never heard his music, that's their pregrogative... why not let them say it?

Again - not sure where I ever said people "couldn't" say whatever they want. I'm just saying that, as a listener, those criticisms aren't as interesting to me; they don't help me understand the music better as music, which is what I'm largely interested in. Actually one of my favorite books on the subject, Urban Blues neatly marries the sociological and musicological approach, which is why it is so informative.

erm, but I guess this really is turning into "guitar player" forum now..

The e-flat tuning goes a long way toward explaining that comparison, as well.

I have been playing electric guitar for 10 years now. I must say that it is one of the great
loves of my life. Sometimes when I play, I think no thoughts and the music flows so
purely that it becomes samadhi. Sometimes even when I just listen to Guitar music I
gain an understanding of Buddha Nature. (Best Example: Stevie Ray Vaughn's version
of "Little Wing" absoloutly stunning. It feels like pure compassion). The guitar to me
teaches Prajnaparamita.

Some people are afraid of death and the last attachment to be given up is that of
existing. My last attachment would be to my guitar (a 1972 Gibson SG delux if you are
wondering). I think that some day it will become my only obstacle. Or is it an obstacle
at all? How can I resolve this?

-Manjusri

(PS. Sometimes I like to call Jimi Hendrix the Bodhisattva of Experience. ;-) )

Please consult the Spring 2002 Registration Supplement or registrar’s webpage for ExCo CRNs.

ExCo instructors registering for credit, use the Exco-xxxc-01 section on PRESTO (C for instructor, right?)

Stevie Ray Vaughn 0-1 Credit

Jim Reynolds EXCO-408-01

The name says it all. This is an exco about Stevie Ray Vaughn. The class will meet once a week, TBA, and will focus on the music and life of Stevie Ray Vaughn. There will be an essay midterm and final. All are welcome.

Who let the machine in?

Comparisons to Hendrix are kind of lazy, despite the covers/well-known admiration. SRV is much more of a technician and didn't seem nearly as interested in exploring weird shit when he played. While I'm sure your average Pfork dropout could never understand how improvised music that isn't trying to be Coltrane could ever satisfy, there's as much subtlety and musicality in a song like "Cold Shot" as in any of Hendrix's playing.

(and I actually think it's Double Trouble who are the problem re: the rhythm section - they seem very very tired)

he's not using the 'Eighteen Cabinets of Giant Marshall Stack' sound.

This from someone whose posting style reflects the passion of a narcoleptic stamp collector.

passion is overrated.

http://www.satriani.com/G3/

(their show must be like dying and going to hell's own guitar store)