Stevie Ray had been in numerous bands before joining blues rock combo Stevie Ray Vaughan and Double Trouble in the late 1970's.
Stevie Ray Vaughan and Double Trouble's debut album was released in 1983. The critically acclaimed Texas Flood (1983) featured the top-20 hit Pride and Joy and sold well in both blues and rock circles.
Stevie Ray Vaughan died August 27th, 1990 when his helicopter crashed into the Alpine Valley ski hill. He was on his way back from playing a guest appearance at an Eric Clapton concert at Alpine Valley Music Theatre in East Troy, Wisconsin.
Adult life and career
Vaughan's first recording band was called Paul Ray and the Cobras. They played at clubs and bars in Austin during the mid-1970s, and released one single.[2] Vaughan later recorded two other singles under the band name The Cobras.[3] Stevie left the Cobras, leaving Denny Freeman still in his role of original lead guitarist, and formed Triple Threat in late 1975, which included bassist Jackie Newhouse, drummer Chris Layton, vocalist Lou Ann Barton, and sax player Johnny Reno. Barton left the band in 1978 to pursue a solo career, followed by Reno in 1979. The three remaining members started performing under the name Double Trouble, inspired by an Otis Rush song of the same name. Vaughan became the band's lead singer.
Tommy Shannon, the bass player on Johnny Winter's early albums, replaced Newhouse in 1981. A popular Austin act, Vaughan soon attracted the attention of musicians David Bowie and Jackson Browne. Both Browne and Bowie first caught Vaughan at the 1982 Montreux Jazz Festival, where some members of the audience booed the band because they disliked Double Trouble's hard blues sound; the crowd response was quite different when they were subsequently invited to headline "Blues Night" at the festival in 1985.
In November, 1982, Vaughan recorded in Jackson Browne's studio in downtown Los Angeles. The recordings were brought to the attention of A&R man John Hammond and became Double Trouble's critically acclaimed first album, Texas Flood (1983), produced by Hammond; it featured the Top 20 hit "Pride and Joy" and sold 500,000 copies, earning the band a gold record. The album was nominated for a Grammy Award, and its song "Rude Mood" was nominated for "Best Rock Instrumental". Vaughan won three categories in Guitar Player's readers poll: "Best New Talent", "Best Blues Album", and "Best Electric Blues Guitarist". He became the second guitarist to win three Guitar Player awards in one year (the first is Jeff Beck). Vaughan won the "Best Electric Blues Guitarist" award every year until 1991.
Also in 1983 Bowie featured Vaughan on his 1983 album Let's Dance.[4] Vaughan was asked to go on tour with Bowie, but declined so he could continue to play with Double Trouble. Reportedly, Vaughan, who was still driving a delivery truck to support himself, was furious when he saw Bowie pantomiming over Vaughan's guitar solo in the video for "Let's Dance".
The band's next album, Couldn't Stand the Weather, was recorded in January 1984. During mid-1984 Vaughan and Double Trouble made numerous TV appearances, performing on Rockpalast, MuchMusic, and Solid Gold.
During the Grammy Awards of 1984, Vaughan and George Thorogood presented Chuck Berry with a lifetime achievement award. "Voodoo Child (Slight Return)" from Couldn't Stand The Weather was nominated for "Best Rock Instrumental Performance".
The band played Carnegie Hall in New York City on October 4, 1984. The show featured one Double Trouble set, and a second with guests Dr. John on keyboards, George Rains on drums, Jimmie Vaughan on guitar, Roomful of Blues Horns, and singer Angela Strehli. The group rehearsed in September 1984 at the Caravan of Dreams in Fort Worth, Texas.
In November, Vaughan won two W.C. Handy National Blues Awards: "Entertainer of the Year" and "Blues Instrumentalist of the Year". It was the first time a white person won either award. During this time, he also began recording with one of his earliest idols, blues-rock guitar pioneer Lonnie Mack, to produce the album Strike Like Lightning on the Alligator label.
In late January 1985, the band went on a six-night Japanese tour with various interviews and performances. In March, the band started to produce their third album Soul to Soul. Reese Wynans, a former keyboardist with Captain Beyond and Delbert McClinton's band, was added to the band not long after. The album's production lasted for two months. On April 10 Vaughan played "The Star Spangled Banner" for opening day of the National League baseball season at the Houston Astrodome (supposedly he didn't get a good audience response from that crowd; he did, at least, get to meet former New York Yankee great Mickey Mantle afterwards). Soul to Soul was released on September 30, 1985; Vaughan received his fifth Grammy nomination: "Best Rock Instrumental Performance" for one of its songs, "Say What!".
In the following months of 1986, Vaughan and Double Trouble went on tour in New Zealand. It was around this time that he met Janna Lapidus, a touring model in New Zealand.
In mid-1986, the band was considering ideas of a new album, particularly a live album. Shows were set up at the Austin Opera House and at the Dallas Starfest. Audiences saw Vaughan struggle through these shows, as some of the original recordings were filled with technical difficulties.
On August 27, 1986, the Vaughan brothers' father, Big Jim, passed away of heart failure. A funeral was arranged two days later. The boys rushed home to comfort their mother, yet had little time to mourn. After the funeral was finished, a jet rushed Vaughan to Montreal, Quebec, where he played the "Labatt Blues Fest" (in Quebec, so named for their flagship beer "Labatt Blue"), known elsewhere as the "Miller Beer Festival" in Jarry Park.
The recordings in both Dallas and Austin, as well as the Montreux Jazz Festival, were edited and later released on Live Alive in November 1986.
Studio Albums:
Texas Flood (1983)
Couldn't Stand the Weather (1984)
Soul to Soul (1985)
In Step (1989)
Family Style (with Brother Jimmie Vaughan as "The Vaughan Brothers", 1990)
The Sky Is Crying (posthumous release) (1991)
Official live audio releases:
In the Beginning (Live, recorded 1980)
In Session (Live, with Albert King, recorded 1983)
Live at Carnegie Hall (Live, recorded 1984)
Live Alive (Live, recorded 1986)
Live At Montreux 1982 & 1985' (Live, recorded 1982 & 1985)
Wolfgang's Vault releases: http://www.wolfgangsvault.com/stevie-ray-vaughan
Compilations:
Greatest Hits (1995)
The Essential Stevie Ray Vaughan and Double Trouble (1995)
The Real Deal: Greatest Hits Volume 2 (1999)
Blues at Sunrise (2000)
SRV (box set, with early recordings, rarities, hits, and live material) (2000)
Let's Dance
Stevie Ray Vaughan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Let's dance
Let's dance
Let's dance
Put on your red shoes and dance the blues
Let's dance
To the song they're playing on the radio
While color lights up your face
Let's sway
Sway through the crowd to an empty space
If you say run, I'll run with you
If you say hide, we'll hide
Because my love for you
would break my heart in two
If you should fall into my arms
And tremble like a flower
Let's dance
Let's dance
Let's dance
For fear your grace should fall
Let's dance
For fear tonight is all
Let's sway you could look into my eyes
Let's sway
Under the moonlight this serious moonlight
And if you say run, I'll run with you
And if you say hide, we'll hide
Because my love for you
would break my heart in two
If you should fall into my arms
And tremble like a flower
Let's dance
Let's dance
Let's dance
Put on your red shoes and dance the blues
Let's dance
To the song they're playin'
Let's sway
Let's sway
Under the moonlight, this serious moonlight
Let's dance
Let's
Let's
Let's
Let's dance
Let's dance
Let's dance, let's dance, let's dance, let's dance, let's dance
Let's dance
Let's dance
Let's dance
Let's dance, let's dance, let's dance, let's dance, let's dance
Let's dance
Let's dance
Let's dance
Stevie Ray Vaughan's song "Let's Dance" is a rhythmic and joyful invitation to dance. It starts with the repetitive "ah" that denotes a sense of enthusiasm and readiness that one might feel before a night out dancing. The "Let's dance" repetition in the chorus stresses the desire for movement and emphasizes the joy that comes with dancing.
The opening verse "Put on your red shoes and dance the blues" can be interpreted in different ways. The phrase "dance the blues" could mean either dancing to blues music to alleviate sadness or express it through dance, or it could mean dancing because of the blues, creating a sense of liberation through movement. The mention of red shoes might refer to the power and magic of shoes when it comes to dancing. The image of color lightening up the face highlights the transformative potential of music when combined with dancing.
The second verse is characterized by a romantic tone. The singer's love for the partner is so vast that it would break their heart in two. The willingness to run and hide together shows the depth of their connection and their mutual protection. The image of trembling like a flower emphasizes vulnerability and tenderness. The repetition of "let's sway" creates an intimate atmosphere of being lost in each other's arms. The phrase "this serious moonlight" refers to the sense of importance and sincerity of the moment.
In general, "Let's Dance" showcases Vaughan's virtuosity as a guitarist, with tight rhythm arrangements, an explosive solo, and a driving tempo. The musical structure is simple but effective, giving priority to the rhythm section with Charlie Sexton's guitar providing a steady pulse in the background. The lyrics, written by David Bowie, also showcase the playful and romantic character of Vaughan as an artist.
Line by Line Meaning
Ah, ah, ah, ah
Some nonverbal sounds that might convey happiness, excitement, or simply a desire to move and groove.
Let's dance
An invitation to dance together, a way to share the rhythm and beat of the music and to express joy and connection through movement.
Put on your red shoes and dance the blues
A suggestion to use dancing as a way to cope with sadness, disappointment or loneliness, while also adding some style and flair to the moves.
To the song they're playing on the radio
An acknowledgement of the external source of music, letting it guide the dance steps and mood, and possibly providing a collective experience for listeners on airwaves or listeners in a shared environment.
Let's sway
Another invitation to move in a relaxed, flowing manner, letting the sound and rhythm of the music take us to a state of graceful abandon, perhaps a way of surrendering to the moment and letting go of our worries.
While color lights up your face
A recognition of the visual effects that light has on our appearance, creating certain moods, highlighting or masking certain emotions, and adding a layer of richness to our sensory experience.
Sway through the crowd to an empty space
A playful way of finding some breathing room in a crowded place, and also a metaphor for finding a sense of personal space, freedom, and individuality amidst social pressures and expectations.
If you say run, I'll run with you
A promise of loyalty, support, and shared adventure, even in the face of danger or uncertainty, emphasizing the importance of trust and mutual agreement in any relationship.
If you say hide, we'll hide
An extension of the previous promise, with a nod to the power of vulnerability and the need for safety and protection in intimate moments, while also suggesting that sometimes running from danger is not the only option one has.
Because my love for you would break my heart in two
An expression of deep passion, devotion, and emotional investment in the relationship, emphasizing the fragility of the heart and the need for reciprocity and balance.
If you should fall into my arms and tremble like a flower
A romantic scenario of tenderness, tenderness, and compassion, offering a safe refuge for someone in distress, and noting the delicate beauty of emotions that can be easily shaken by external factors.
For fear your grace should fall
A sense of protective care and admiration for the person being addressed, as well as a concern for their well-being and dignity, emphasizing the value of grace and elegance in human interactions.
For fear tonight is all
A reference to the fleeting nature of life and the importance of seizing the moment and making the most of it, while also acknowledging the inevitability of change and the fragility of our time together.
You could look into my eyes
An invitation to engage in a deeper level of connection and intimacy, sharing a gaze that can convey emotions, thoughts, and messages without words, allowing for a more profound understanding and empathy.
Under the moonlight, this serious moonlight
A poetic reference to the moon and its symbolism of mystery, romance, and wonder, while also acknowledging the seriousness and intensity of the situation at hand, creating a contrast between lightness and gravity.
Let's
A shorthand for 'let us,' indicating a collaborative, participatory approach to dancing and expressing oneself, suggesting that the act of dancing is more rewarding and meaningful when shared with others.
Lyrics © Universal Music Publishing Group
Written by: David Bowie
Lyrics Licensed & Provided by LyricFind
@coolmanjack1995
How did I never know this solo was played by SRV? It seems so obvious and unique in hindsight
@Antonio-bf2pc
I'm guessing for the same reason I missed it. Because it's David Bowie and SRV's playing was hidden behind the horns and the production. This isolated track sure does reveal what we missed. Pretty awesome easter egg.
@SelectCircle
It's not really his style. He's playing it Bowie's way and not his own. This is elementary-level playing for Stevie. If he'd done it his way - he'd have stolen the record.
@amyclaire100
I was thinking the same!
@carl5192
Inonly just found out too. You can especially tell with the bends.
@joshski85
Pretty deep in the mix compared to his other work. I didn't know either for the same reason I think.
@Isahiyella
Bowie wanted to take SRV on tour with him, chance of a lifetime for anyone in their right mind. SRV said 'no' because he didn't want to leave Double Trouble behind. What a great and humble man he was. There aren't many people in this world that would pass that up.
@marcelokalef
This reminds me when Deep Purple asked Joe Satriani to go in a world tour, after Richie Blackmore given up. Satch said no too.
@clettes
Rumor has it Stevie would receive chump change for his efforts.
@byebyejohnny6878
SRV actually signed on to tour with Bowie. https://www.guitarplayer.com/players/stevie-ray-vaughan-disses-david-bowie-in-1986-interview-just-a-lotta-bull-video