I Can See You - by Paddy Summerfield c. 1986
Showing posts with label Stevie Ray Vaughan. Show all posts
Showing posts with label Stevie Ray Vaughan. Show all posts

Friday, September 11, 2026

Stevie Ray Vaughan on how to play with 13s (it’s a string thing!) | Guitar


 

 With the incorporation of more Jimi Hendrix songs into his set, Stevie Ray Vaughan decided to tune his guitar down a half step all of the time, just as Hendrix had done. Detuning the instrument facilitated the move to even heavier string gauges, all the way to .013s, several steps thicker than the norm. Detuning serves to decrease the tension and make the heavy strings easier to bend while yielding a better tone and a meatier sound. Playing them required enormous hand and arm strength and a level of sacrifice in terms of ripping up his fingertips that few would be willing to embrace.

Doyle Bramhall II: He paid a price for being as committed as he was to the kind of string bending he was known for. He had a “callus kit” to make new calluses on the spot: a wallet with compartments for nail files, manicure scissors, super glue, and baking soda. He often had massive holes, like a quarter-inch deep, in his fingertips. Before shows, he would fill the holes with baking soda and put super glue over it and stick it to the other palm of his hand let it dry and rip a new piece of skin off to form the new callus. Then he’d file it down smooth so it wouldn’t catch on the strings. He was very ingenious and inventive.
Source: Texas Flood: The Inside Story of Stevie Ray Vaughan by Alan Paul & Andy Aledort

Wednesday, April 15, 2026

Stevie Ray Vaughan, B B King, Albert King, Paul Butterfield - The Sky Is Crying - American Blues Scene Magazine

 American Blues Scene Magazine

Stevie Ray Vaughan, B B King, Albert King, Paul Butterfield - The Sky Is Crying


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Sunday, December 14, 2025

Stevie Ray Vaughan - his National Steel Duolian | Don's Tunes


Stevie Ray Vaughan believed that his 1930s National Duolian guitar was once owned by Blind Boy Fuller. The guitar was given to him by a roadie, Byron Barr, who bought it in 1981. 
SRV claimed the guitar was a 1928 dobro, but the supposed serial number (C704) indicates it’s actually a Duolian—a model that wasn't manufactured until 1930.
  
Regardless, the guitar was said to be a favorite of SRV and a prized possession. He was known to take the guitar with him on tour, regularly playing it backstage and in his free time. 
He can be seen holding this guitar on the cover “In Step” album. 
The only "known" recording of SRV using this guitar was on "Oreo Cookie Blues" on Lonnie Mack's "Strike Like Lightning" CD. 


Photo by Stephanie Chernikowski

Wednesday, October 08, 2025

Stevie Ray Vaughan - 1984-1985-1986 - Transmission Impossible : COMPLETE | Heavybootz

 

Stevie Ray Vaughan - 1984-1985-1986 - Transmission Impossible


 

Stevie Ray Vaughan
The Spectrum, Montreal, Canada
1984-08-17 (early Show)
&
Chicago Blues Festival, Chicago, IL
1985-06-07
&
The Fox Theatre, Atlanta, GA
1986-12-31 (complete New Years Eve show)

fm
mp3 @ 320 [506 mb]
sq: A+

Transmission Impossible  (Eat To The Beat ETTB061) - 2015


CD1
__Montreal 1984-08-17__
01 Scuttle Buttin'
02 Testify 
03 Voodoo Child (Slight Return) 
04 The Things (That) I Used To Do
05 Couldn’t Stand The Weather
06 Cold Shot
07 Pride And Joy
08 Tin Pan Alley
09 Love Struck Baby
10 Texas Flood
11 Band Introductions
12 Lenny
13 Rude Mood

tt: 1:22:12

Stevie Ray Vaughan - guitar, vocals
Chris Layton - drums
Tommy Shannon - bass

CD2
__Chicago 1985-06-07__
01 Scuttle Buttin'
02 Say What
03 Ain’t Gone ‘N’ Give Up On Love
04 Voodoo Chile (Slight Return)
05 Mary Had A Little Lamb
06 Texas Flood
07 Come On (Part III)
08 Testify
09 Say What
10 Change It
11 The Sky Is Crying

tt: 1:04:35

Stevie Ray Vaughan - guitar, vocals
Tommy Shannon - bass
Chris Layton - drums
Reese Wynans - keyboards

CD3
__Atlanta 1986-12-31__
01 Lookin’ Out The Window
02 Look At Little Sister
03 Mary Had A Little Lamb
04 Superstition
05 Willie The Wimp
06 Cold Shot
07 Couldn’t Stand The Weather
08 Introduction Jam
09 Life Without You
10 Rude Mood
11 Oreo Cookie Blues (w/ Lonnie Mack)

tt: 1:13:45

Stevie Ray Vaughan - guitar, vocals
Tommy Shannon - bass
Chris Layton - drums
Reese Wynans - keyboards



Total Time: 3:40:32

heavybootz

Now again we have posted  three tracks from jt1674 from the Transmission Impossible sets before but I don’t think anyone has listed all three full albums together the selection from the mid-eighties is Stevie Ray in his absolute prime and well worth collecting here

Saturday, October 04, 2025

Monday, September 08, 2025

Stevie Ray Vaughan - Guitar tech and strings n things . . . . Alan Paul and Andy Aledort [Texas Flood: The Inside Story] Don's Tunes

 May be a black-and-white image of 4 people

Stevie Ray Vaughan and Double Trouble (L-R Tommy Shannon, Reese Wynans, Chris 'Whipper' Layton and Stevie Ray Vaughan - seated) pose for a portrait in February, 1987 in Boston, Massachusetts.(Photo by the legendary David Gahr)

Stevie Ray Vaughan: I started getting into using different fret wire because I noticed that I had an easier time playing when I had a little bit more fret. With normal guitar frets, I was wearing them out so fast, and I found out that I could put bigger frets on the guitar, raise the action, and use bigger strings. For me, all that made it feel easier to play. This works better for me because I can play hard with both hands.

The gauges vary because it’s based on the shape my fingers are in. I go from an .011 to an .013 on the high E, which is the only one I lighten up on. As a rule, the others are .015, .019, .028, .038, .054 to .056 or even .058. The good thing about such heavy strings is that you can hit ’em hard and they don’t move—when you pop ’em, they stay there.
SHANNON: He would literally glue his fingers back together after burning them up. His method was very scientific. He would make this concoction of glue, put it on the end of the finger he wanted to fix, and the finger he was taking the skin off of, push the two fingertips together, and then slowly pull away the finger that he was grafting the skin from.
LAYTON: He would also add some skin oil to help the skin peel away, like peeling back a sticker real slow, so that it won’t rip while you’re pulling it off.
SHANNON: You’d be sitting there talking to him, and he’d suddenly rub his finger on your face to get some skin oil. This would last most of the gig, but by the end, he’d worn through it.
DONNIE OPPERMAN, guitar tech: Stevie was a brutally physical player. I sometimes changed his strings two or three times the same night! When I first met him, he would push extra high E and B strings through the bridge and he’d tape them to the face of his guitar. If he broke one of those strings, he’d just grab one of the new strings, pull it straight, and wind it himself onto the peg. He had this technique where he could bend the very end of the string down and then snap it off in one move before sticking it in the tuning peg. Super strength in his hands. I can’t do that, and I’ve tried hundreds of times.
- From Texas Flood: The Inside Story of Stevie Ray Vaughan By Alan Paul and Andy Aledort
Stevie breaks a string . . . . . .

Monday, August 04, 2025

Stevie Ray Vaughan - May I Have a Talk With You

 This  . . . . . . 

. . . . . . heck we miss him don’t we! Lets’ START THE WEEK AGAIN WITH THIS!

Stevie Ray Vaughan and Double Trouble - May I Have A Talk With You

Friday, May 23, 2025

Stevie Ray - "Tin Pan Alley” | Top Hat Crew's "Live Music Archives"

So we’ll sign off the day soon but firstly to set the mood there's this from Stevie Ray

Stevie Ray Vaughan "Tin Pan Alley" Live 1985

Well that’s about it!


Nuff said . . . . . .


Sunday, April 27, 2025

John French on Volume - (feat Stevie Ray Vaughan and Jeff Beck)

From John Drumbo French

Facebook page . . . . . 

The Drumbo Club

"My theory with guitar amps was to concentrate on hearing yourself onstage and nothing more. Basically, everyone ignored me for the most part. The Magic Band did one tour where we used tiny amps miked through the P.A. It saved a lot of backs. The guitars came through the monitors with as much volume as each person desired, and was blasted out to the crowd through the P.A. The drummer didn't have to pound to be heard, and the sound man, but increasing or decreasing the drummer's side wash could control a bit how loud the drummer had to play. It beats going deaf like Pete Townsend" John French




During his final years, Jeff Beck was on a mission to teach proper volume techniques. The legendary guitarist had his fill with massive ear-shattering volumes, which he used willingly and joyfully during his time with The Yardbirds and in his initial solo career. But as he aged, Beck became more interested in refining his technique and finding the perfect sound. It was then that he came to a revelation: you can still fill up a room without actually having to crank up amplifiers.

“By using the P.A. to act in the way it was designed – which is play at low level and use all the distortion and whatever else you need, but make sure you don’t come out louder than the side-fill monitors or the front wedges – you can blow the house down, and I’ve done it,” Beck told Guitar Player in 2010.

“I’ve done a whole tour with a Fender Twin when Stevie Ray Vaughan was going through about four billion watts with a rig that looked like an amp shop,” he added. “He asked me, ‘What the hell are you using? Are your amps under the stage?’ I said, ‘Nope, that’s it right there.’ [Laughs.] But we spent quite a lot of time dialing in the sound and getting rid of the squeaks and squeals. We’d raise the level and then tweak it a little bit, and then we’d raise it a little more. You can’t believe what you can get out of a little tenor 20-watt amp.”

“I played with this powerful band that had 18 pieces, and I thought I’d need a Marshall for it, but I didn’t; I needed a Pignose,” Beck observed. “Even though the trumpets and the horns were blasting away, the difference in character of the guitar with that concentrated trebly sound just cut right through.“  

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