| | Bluegrass Interpretations Of Stevie Ray Vaughan CD
Recording information: Grandma's Warehouse, Los Angeles, CA; Sidekick Sound Studios.
Personnel: Kenny Blackwell (guitar, mandolin, percussion); Mark Thornton (guitar); Pat McGrath (acoustic guitar, electric guitar); Dennis "Cannonball" Caplinger (nylon-string guitar); Lee Hanover (dobro); Gabe Witcher, Michael Witcher, Tim Crouch (fiddle); David McKelvy (harmonica); Dennis Crouch (upright bass).
Audio Mixers: Kenny Blackwell; Andrew Bush; Thomas Johnson.
Bluegrass Interpretations Of Stevie Ray Vaughan Music Bluegrass Interpretations Of Stevie Ray Vaughan Songs | 1. | Couldn't Stand the Weather - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 2. | Superstition - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 3. | Cold Shot - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 4. | Pride and Joy - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 5. | Scuttle Buttin' - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 6. | Sky Is Crying, The - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 7. | Rude Mood - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 8. | Life by the Drop - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 9. | Love Struck Baby - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 10. | Things That I Used to Do - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 11. | Tight Rope - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
| 12. | Lenny - David McKelvy/Kenny Blackwell/Dennis Caplinger/Pat McGrath/Earl Palmer/David Talbot/Gabe Witcher/Lee Hanover/Tim Crouch/Bill Bryson |
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Bluegrass Interpretations Of Stevie Ray Vaughan Review
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This 1999 reissue contains five bonus tracks not on the original release.
Digitally remastered by Vic Anesini (Sony Music Studios, New York, New York).
The irony of 1989's IN STEP lay in the fact that after rebounding from a terrible drug problem, Stevie Ray Vaughan had his new lease on life cut short by a helicopter crash the following year. The record itself features some of Vaughan's most inspired playing and Double Trouble has rarely sounded better. Songs such as "Crossfire," "Wall Of Denial" and "Tightrope" alluded to Vaughan's personal problems with just the right amount of optimism and scathing guitar thrown in for good measure. Blues influences abound whether it's a rollicking cover of Willie Dixon's "Let Me Love You Baby," a smoldering reading of Buddy Guy's "Leave My Girl Alone" or an upbeat take on Howlin' Wolf's "Love Me Darlin'."
For all his skill as an interpreter of other people's songs, Stevie Ray Vaughan's originals are just as solid. Of particular note here are the instrumentals "Travis Walk" and "Riviera Paradise." Paced by Chris Layton's militaristic time-keeping, the former finds Vaughan trading solos with Reese Wynan's pounding piano. The latter is a number that dates back to 1980 and shimmers with the same kind of gentle aura found in some of Carlos Santana's more introspective playing.
Stevie Ray Vaughan had always been a phenomenal guitarist, but prior to In Step, his songwriting was hit or miss. Even when he wrote a classic modern blues song, it was firmly within the genre's conventions; only on Soul to Soul's exquisite soul-blues "Life Without You" did he attempt to stretch the boundaries of the form. As it turns out, that was ...
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