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)
Manic Depression
Stevie Ray Vaughan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I know what I want, but I just don't know
How to go about gettin' it
Feeling sweat, feeling
Drops from my fingers, fingers
Manic depression is catching my soul
Woman so weary, the sweet cause in vain
It's all the same
When it's, when it's over mama
Music, sweet music
I wish I could caress, caress, caress
Manic depression is a frustrating mess
Well, I think I'll go turn myself off
And go on down
All the way down
Really ain't no use in me hanging around
In your kinda scene
Music, sweet music
I wish I could caress, caress, caress
Manic depression is a frustrating mess
The song Manic Depression by Stevie Ray Vaughan and Double Trouble is about the experience of living with bipolar disorder, a condition characterized by extreme shifts in mood and energy levels. The lyrics describe the manic phase of the disorder, where the individual feels a surge of energy and creativity, but is also plagued by restlessness, anxiety, and an inability to focus. The line "Manic depression is touching my soul" expresses the all-encompassing nature of the disorder and how it affects every aspect of the person's being. The singer knows what they want, but can't figure out how to get it, which speaks to the impulsivity and disorganization that often comes with mania.
The next verse shifts perspective to a woman who is exhausted by the ups and downs of love. The singer recognizes the tragedy of feeling everything so intensely, but being unable to control it. The repetition of the word "caress" suggests a longing for comfort and stability in the midst of chaos. The chorus reiterates the frustration and confusion of manic depression, with the singer envisioning turning off their own mind in order to escape the discomfort.
Overall, Manic Depression is a powerful song that captures the emotional intensity of living with bipolar disorder. It speaks to the isolation and disorientation that can come with the disorder, but also conveys a sense of hope through the music. As a blues musician, Stevie Ray Vaughan is uniquely equipped to convey the deep emotions and raw energy of mania through his guitar playing, which is on full display in this song.
Line by Line Meaning
Manic depression is touching my soul
I'm feeling the intense highs and lows of bipolar disorder affecting me deeply
I know what I want, but I just don't know
How to go about gettin' it
I have clear desires and goals, but don't have the energy, motivation or clarity to pursue them
Feeling sweat, feeling
Drops from my fingers, fingers
Manic depression is catching my soul
My physical and emotional states are linked and both are being affected by bipolar disorder
Woman so weary, the sweet cause in vain
You make love, you break love
It's all the same
When it's, when it's over mama
I'm tired of meaningless relationships that ultimately end in heartbreak, leaving me feeling unsatisfied
Music, sweet music
I wish I could caress, caress, caress
Manic depression is a frustrating mess
The only comfort I find is in music, but otherwise bipolar disorder is a constant struggle
Well, I think I'll go turn myself off
And go on down
All the way down
Really ain't no use in me hanging around
In your kinda scene
I'm considering withdrawing and isolating myself to avoid the triggers of the environment around me
Music, sweet music
I wish I could caress, caress, caress
Manic depression is a frustrating mess
Music is my only solace in the midst of the chaos and challenges of bipolar disorder
Contributed by Colin H. Suggest a correction in the comments below.
@SRV4evr
Thank you so much for posting this. Stevie was (and still is) the only one with the voice and guitar chops to play Hendrix the way it's supposed to be played. Jimi would be very pleased to know his music was in Stevie's hands. Stevie's Little Wing is another gorgeous Hendrix piece that he only improves upon. Beautiful!
@TraderJack641
I assume you omit the great Roy Buchanan only because he didn't like to sing/have a decent voice. He could sure play Jimi note for note and then some, sort of like Shawn Lane, except with a lot more feeling. However, I agree that artists can't and shouldn't be compared in terms of "best" or "greatest". It is totally subjective.
@freddygauna7759
One big difference, Jimi innovated and made original music from his influence,s....
@jackparry6983
Hello
@1skyofrog
Stevie took Little Wing and made it his own. He did a much better job than Clapton.
@cattleprods911
Got plastered with my friends in 1988 and we went to Dallas to see Stevie play. He played so well it sobered me up. If Jesus needs a blues band, he's got Jimmy and Stevie to back him.
@spinblackcircles
Shoutout to Chris Layton on this one he absolutely nailed the drums
@bluesoddity2094
Damn right, Tommy and Whipper don't get enough credit man. Stevie Ray is obviously amazing but just like Jimi, he had 2 key dudes that held down the end.
@davegrisoff6359
The truly greatest ones always die too early.....just got to be happy to be alive after the fact to enjoy their gifts to us . Thank you , music gods.
@sibsbubbles
Really a shame this was dropped from their repitoire over time. Pretty sweet cover and mixture of tone he had to achieve something like he has here.