Texas Flood [Remaster]

Performer: Stevie Ray Vaughan and Double Trouble
Engineer: James Geddes; Lincoln Clapp; Richard Mullen; Vic Anesini
Distributor: Sony Music Distribution (

Notes: This 1999 reissue contains five bonus tracks not on the original release. Personnel: Stevie Ray Vaughan (vocals, guitar); Tommy Shannon (bass); Chris Layton (drums). Producers: Richard Mullen, Stevie Ray Vaughan, Double Trouble. Principally recorded at Down Town Studio, Los Angeles, California and Riverside Sound, Austin, Texas. Live tracks recorded at The Palace, Hollywood, California on September 23, 1983. Originally released on Epic (38734). Includes liner notes by Michael Ventura. This is a Super Audio CD playable only on Super Audio CD players. This 1999 reissue contains five bonus tracks not on the original release. Personnel: Stevie Ray Vaughan (vocals, guitar); Tommy Shannon (bass); Chris Layton (drums). Producers: Richard Mullen, Stevie Ray Vaughan, Double Trouble. Principally recorded at Down Town Studio, Los Angeles, California and Riverside Sound, Austin, Texas. Live tracks recorded at The Palace, Hollywood, California on September 23, 1983. Originally released on Epic (38734). Includes liner notes by Michael Ventura. Personnel: Stevie Ray Vaughan (vocals, guitar); Chris Layton (drums). Audio Mixers: Danny Kadar ; Don Wershba; Harry Spiridakis; Lincoln Clapp. Liner Note Author: Michael Ventura. Recording information: Down Town Studio, Los Angeles, CA (11/22/1982-10/??/1989); Media Sound, Copenhagen, Denmark (11/22/1982-10/??/1989); Riverside Sound Studios, Austin, TX (11/22/1982-10/??/1989); Riverside Sound, Austin, TX (11/22/1982-10/??/1989); Sound On Sound Studios, NY (11/22/1982-10/??/1989); The Palace, Hollywood, CA (11/22/1982-10/??/1989). Author: Tim White . Photographers: Don Hunstein; Don Hunstein. It's hard to overestimate the impact Stevie Ray Vaughan's debut, Texas Flood, had upon its release in 1983. At that point, blues was no longer hip, the way it was in the '60s. Texas Flood changed all that, climbing into the Top 40 and spending over half a year on the charts, which was practically unheard of for a blues recording. Vaughan became a genuine star and, in doing so, sparked a revitalization of the blues. This was a monumental impact, but his critics claimed that, no matter how prodigious Vaughan's instrumental talents were, he didn't forge a distinctive voice; instead, he wore his influences on his sleeve, whether it was Albert King's pinched yet muscular soloing or Larry Davis' emotive singing. There's a certain element of truth in that, but that was sort of the point of Texas Flood. Vaughan didn't hide his influences; he celebrated them, pumping fresh blood into a familiar genre. When Vaughan and Double Trouble cut the album over the course of three days in 1982, he had already played his set lists countless times; he knew how to turn this material inside out or goose it up for maximum impact. The album is paced like a club show, kicking off with Vaughan's two best self-penned songs, "Love Struck Baby" and "Pride and Joy," then settling into a pair of covers, the slow-burning title track and an exciting reading of Howlin' Wolf's "Tell Me," before building to the climax of "Dirty Pool" and "I'm Crying." Vaughan caps the entire thing with "Lenny," a lyrical, jazzy tribute to his wife. It becomes clear that Vaughan's true achievement was finding something personal and emotional by fusing different elements of his idols. Sometimes the borrowing was overt, and other times subtle, but it all blended together into a style that recalled the past while seizing the excitement and essence of the present. ~ Stephen Thomas Erlewine Quite possibly the only electric blues/rock guitarist to come near rivalling Jimi Hendrix, Vaughan, who, like Hendrix, died tragically, was so good he was ridiculous. He was lacking in really good material, and his own compositions were mainly guitar workouts, such as "Rude Mood," although he shows great feeling on the instrumental "Lenny." He is much more comfortable singing non-originals, and on this album he covers Buddy Guy's "Mary Had A Little Lamb" and Howlin Wolf's "Tell Me," but the listener is still waiting for the bit where the guitar solo comes in. Poor Double Trouble barely get a look in. Quite possibly the only electric blues/rock guitarist to come near rivalling Jimi Hendrix, Vaughan, who, like Hendrix, died tragically, was so good he was ridiculous. He was lacking in really good material, and his own compositions were mainly guitar workouts, such as "Rude Mood," although he shows great feeling on the instrumental "Lenny." He is much more comfortable singing non-originals, and on this album he covers Buddy Guy's "Mary Had A Little Lamb" and Howlin Wolf's "Tell Me," but the listener is still waiting for the bit where the guitar solo comes in. Poor Double Trouble barely get a look in.

Entertainment Weekly (4/2/99, p.95) - "The late Texas guitarist was a fiercely distinctive blues-rock phenom whose sensitivity and imagination justified his rapid rise to prominence..." Entertainment Weekly (4/2/99, p.95) - "The late Texas guitarist was a fiercely distinctive blues-rock phenom whose sensitivity and imagination justified his rapid rise to prominence..."

Click Here for Shipping Options and Policies

Shipping or Dimension weight in pounds: 0.25