Stevie Ray Vaughan, a name synonymous with electrifying blues guitar, hailed from Dallas, Texas, and left an indelible mark on music history. As the frontman and guitar virtuoso of “Stevie Ray Vaughan and Double Trouble” from 1978 until his untimely death in 1990, Vaughan spearheaded the blues revival of the 1980s. His unique blend of blues rock captivated audiences worldwide and solidified his place as a key figure in guitar music, eventually earning him a spot among Rolling Stone’s Top 100 Guitar Players. Tragically, his life was cut short at the age of 35 in a helicopter accident, but his recordings continue to inspire and influence musicians across blues, rock, and alternative genres.
Born in 1954, Stevie Ray Vaughan’s early life in Dallas, Texas, was shaped by his family and environment. His father, Jimmie Lee “Big Jim” Vaughan, a World War II Navy veteran, and his mother Martha Cook, provided a home life that, while complex, nurtured his early musical inclinations. His paternal lineage included sharecroppers Thomas Lee Vaughan and Laura Belle LaRue, with Laura’s amateur piano and singing adding a musical thread to his family history.
However, Vaughan’s childhood was also marked by challenges. His father’s struggle with alcohol abuse and violent temper created a difficult home environment. Despite these hardships, Vaughan found inspiration in his older brother, Jimmie Vaughan (born 1951), an aspiring musician himself. Jimmie’s musical pursuits ignited a similar passion in Stevie, who initially experimented with drums and saxophone before finding his true calling in the guitar.
In 1961, a toy “Wyatt Earp” guitar, a Western-themed model from Jefferson Manufacturing, became the catalyst for Vaughan’s guitar journey. Learning by ear, he immersed himself in the music of the Nightcaps, a local Dallas blues band, emulating their tunes and developing his innate musicality. He soon expanded his influences, delving into the recordings of blues guitar titans like Albert King, Otis Rush, and Muddy Waters, alongside rock icons Jimi Hendrix, Lonnie Mack, and jazz guitarist Kenny Burrell. By meticulously studying and practicing their styles, Vaughan honed his skills and began to forge his own distinctive voice on the instrument, a voice that would later resonate with millions and earn him accolades, including recognition in Rolling Stone’s Top 100 Guitar Players list.
Stevie Ray Vaughan, renowned for his electrifying blues guitar skills, performing live with Double Trouble, showcasing his signature Fender Stratocaster.
1963 marked another significant milestone when Vaughan received a hand-me-down electric guitar from Jimmie, a Gibson ES-125T. By 1965, his burgeoning talent led him to join his first band, the Chantones. Despite an unsuccessful talent show performance attempting a Jimmy Reed song, this early experience fueled his determination.
During his early teens, Vaughan’s dedication to music saw him performing professionally in local bars and clubs with the Brooklyn Underground. This path, however, met with disapproval from his parents, adding to the growing unhappiness at home. In 1969, an audition for the pop-rock band Southern Distributor proved successful after he impressed them with a flawless rendition of “Jeff’s Boogie” by the Yardbirds. However, the band’s aversion to blues, which they deemed commercially unviable, clashed with Vaughan’s deepening passion for the genre, ultimately leading to the band’s dissolution.
Later in 1969, a pivotal jam session with experienced bassist Tommy Shannon laid the foundation for a future collaboration. Their musical connection was immediate, leading to occasional performances together. February 1970 saw Vaughan become the lead guitarist for Liberation, replacing Scott Phares, who recognized Vaughan’s superior guitar prowess. Liberation shared stages with fellow Texas band ZZ Top, further immersing Vaughan in the vibrant Texas music scene.
September 1970 marked Vaughan’s first foray into studio recording with Cast of Thousands, contributing to a compilation album. By January 1971, Vaughan’s ambition led him to leave Liberation and form his own band, Blackbird. Seeking a more receptive audience, Vaughan dropped out of high school and relocated to Austin, Texas, with his bandmates. Austin’s more liberal atmosphere contrasted sharply with the conservative culture of Dallas, offering a more fertile ground for his musical aspirations.
Austin’s Rolling Hills Club became Vaughan and Blackbird’s base, opening for acts like Sugarloaf, Wishbone Ash, and Zephyr. Despite sharing stages with established bands, success remained elusive, and Blackbird underwent frequent lineup changes. Vaughan himself departed in December 1972, briefly joining Krackerjack for three months.
March 1973 saw Vaughan join the Nightcrawlers, reuniting with familiar faces. They recorded an album in Hollywood’s Sunset Sound Recorders, but it faced rejection from record labels. This period, however, yielded Vaughan’s first songwriting efforts, “Dirty Pool” and “Crawlin'”. A contract with impresario Bill Ham followed, leading to gigs across the Southern United States. Disappointingly, audience interest remained low, and Ham abandoned the band in Mississippi, even seeking reimbursement for expenses.
1975 marked Vaughan’s entry into “Paul Ray and the Cobras,” where he began weekly performances in Austin clubs. Late 1976 saw the band record their debut single, released in February 1977 to positive local press reviews. The Cobras topped the “Austin Sun” newspaper’s poll as band of the year, and Vaughan toured with them, building his local reputation.
Discontent arose in autumn 1977 when the Cobras aimed for a “mainstream” musical shift. Vaughan’s commitment to blues led him to leave and form Triple Threat Revue. January 1978 saw them record four songs, their only recordings before disbanding for unknown reasons. Vaughan’s songwriting continued, contributing lyrics to one of their tracks.
May 1978 marked the birth of Double Trouble, co-founded by Vaughan with singer Lou Ann Barton and drummer Fredde “Pharaoh” Walden. Named after an Otis Rush song, the band quickly evolved. Walden’s departure in July led to Jack Moore’s brief stint, replaced by Chris Layton by September 1978. The Vaughan-Layton partnership became the bedrock of Double Trouble until 1990.
Close-up of Stevie Ray Vaughan’s iconic Stratocaster, showcasing the wear and tear from years of passionate playing, a testament to his dedication to his craft.
Vaughan’s personal life intertwined with his musical journey in the summer of 1978 when he met Lenora “Lenny” Bailey. Their relationship quickly blossomed, culminating in marriage in December 1979. Lenny became Vaughan’s only wife and longest romantic partner, though their marriage ended in divorce in 1988.
October 1978 saw Double Trouble become the resident band at the Rome Inn, a popular Austin music venue. November 1979 brought a management contract with Chesley Millikin, manager of Manor Downs. Tommy Shannon rejoined Vaughan in early 1981, solidifying the classic Double Trouble lineup.
July 1982 marked a turning point at the Montreux Jazz Festival. Initial audience boos contrasted with impressed music aficionados. A subsequent lounge performance at the Montreux Casino and an offer to use Jackson Browne’s studio in Los Angeles followed. Ten songs were recorded in two days, showcasing their raw talent.
Los Angeles brought a pivotal encounter with David Bowie, who was impressed by Vaughan’s Montreux performance. Bowie invited Vaughan to play on his album “Let’s Dance.” Vaughan accepted, contributing to six of the album’s eight tracks in January 1983, including a rendition of “China Girl.” Released in April 1983, “Let’s Dance” became a massive commercial success, Bowie’s best-selling album and EMI’s fastest-selling record since The Beatles.
March 1983 saw Double Trouble sign with Epic Records, then a rising label. Epic financed their first music video, “Love Struck Baby.” Initially agreeing to tour with Bowie for the Serious Moonlight Tour, Vaughan withdrew days before its May 1983 start due to contract renegotiation failures. Despite disappointment, the publicity surrounding his departure elevated his profile. In early May 1983, Double Trouble opened for Bryan Adams in New York City, with critics noting Vaughan outshone the headliner.
June 1983 witnessed the release of Vaughan’s debut album, “Texas Flood.” Despite some press criticism regarding originality, it reached number 38 on the Billboard 200 and earned two Grammy nominations. A celebratory performance at Tango nightclub in Dallas drew industry attention. “Texas Flood”‘s success led to a two-month tour opening for The Moody Blues, exposing Double Trouble to arena-sized audiences.
January 1984 saw the recording of their second album, “Couldn’t Stand the Weather,” featuring Jimmie Vaughan. Released in May 1984, it quickly surpassed its predecessor, reaching number 31 and charting for 38 weeks. This album solidified Vaughan’s position as a blues revival leader, showcasing his consistent style and talent, further cementing his legacy as a guitar icon worthy of being named among Rolling Stone’s Top 100 Guitar Players.
October 1984 saw Vaughan headline Carnegie Hall, featuring guest musicians including Angela Strehli. The performance was recorded and released as a live LP. Tours of Australia, New Zealand, and Japan followed, expanding their global reach.
March 1985 marked the recording of “Soul to Soul.” Troubled sessions plagued by creative blocks and Vaughan’s substance abuse issues hindered progress. An unsteady performance of “The Star-Spangled Banner” at the Houston Astrodome in April reflected his struggles.
Despite production difficulties, “Soul to Soul” was released in September 1985 to commercial success, reaching number 34 on the Billboard 200. However, sales declined compared to previous albums, and press hinted at creative fatigue. Extensive touring in 1985 and 1986 left little time for studio work, but contractual obligations prompted the live album “Live Alive.” Compiled from three live performances, “Live Alive,” released in November 1986, peaked at 52 on the Billboard 200. Critics noted “uneven playing,” and Vaughan later described the recordings as reflecting his compromised state.
September 1986 marked a critical turning point when Vaughan collapsed after a performance in Germany due to near-fatal dehydration, a consequence of his substance abuse. This scare prompted him to seek rehabilitation. Months in rehab clinics in London, Atlanta, and Austin followed. Emerging in November 1986, he cautiously resumed touring.
January 1987 brought divorce proceedings from Lenny, restricting new music projects for nearly two years. His bandmates composed “Crossfire” without him, but Vaughan continued to tour. A European tour in 1988 culminated in Finland.
1988 saw his divorce finalized and the recording of their fourth and final studio album, “In Step.” The album reflected Vaughan’s journey through addiction and recovery, referencing the twelve-step program. Released in June 1989, “In Step” reached 33 on the Billboard 200 and charted for 47 weeks. Critics lauded its “startling emotional honesty” and improved songwriting, marking a powerful comeback and reinforcing his status as one of the Rolling Stone Top 100 Guitar Players.
The Stevie Ray Vaughan memorial statue in Austin, Texas, a lasting tribute to his musical genius and enduring influence on the city’s vibrant music scene.
On August 27, 1990, Vaughan performed at the Alpine Valley Music Theatre in East Troy, Wisconsin, alongside Eric Clapton’s touring group. Departing by helicopter due to traffic congestion, the Bell 206B crashed into a ski hill shortly after takeoff in foggy conditions. Vaughan, along with the pilot and three others, perished. He was 35 years old. Pilot error due to lack of instrument flying qualifications in helicopters was cited as a contributing factor. 3,000 mourners attended his burial at Laurel Land Cemetery in Dallas, Texas. In 1993, a memorial statue was erected in Austin, ensuring his legacy as a guitar legend and a member of Rolling Stone’s Top 100 Guitar Players would live on.
