And he put it to extraordinary use on In Step’s Riviera Paradise, one of his rare but unforgettable forays into the world of Wes Montgomery–inspired jazz blues.ĭone in one magic take, the recording session was the stuff of legends. Stevie called it “The King Tone” – the bell-like, crystalline timbre of a Fender Stratocaster played clean, warm and in the in-between (out-of-phase neck-middle and bridge-middle) pickup positions. This version also scores bonus points for its choreography! ( P.S.: I was in the audience that night! – Damian Fanelli) 8.
Srv macombo plus#
It’s all there: Vaughan’s power, intensity, focus and mammoth stage presence, plus a new-for-1985 breakdown section that gave keyboardist Reese Wynans a chance to shine. One of the most inspiring performances of the song – from September 1985 at New Jersey’s Capitol Theatre – can be found on YouTube, courtesy of the Music Vault. The song features several fine guitar parts, from its free-form intro to its funky figures to its Albert King–Jimi Hendrix stew of a solo. These include Voodoo Child (Slight Return), Cold Shot, Tin Pan Alley and the funky title track, which – contrary to the 'more of the same' criticism – finds Vaughan working hard to break out of the blues mold of Texas Flood. Almost forty years later, however, one can’t help but notice that Couldn’t Stand the Weather is where a Texas-sized portion of Vaughan’s most essential recordings live. With its combination of originals and covers and heavy reliance on the blues, the eight-song collection had a 'more of the same' feel about it. Still, many critics and fans at the time couldn’t help but notice that the album was something of a letdown. Couldn’t Stand the Weather, Vaughan’s 1984 sophomore album, featured impressive guitar work and sold well, two factors that confirmed SRV and Double Trouble weren’t a mere flash in the pan.
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