Chords for Steve Ray Vaughn interview
Tempo:
117.95 bpm
Chords used:
D
A
B
Gbm
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Right now we have Alan Green with Stevie Ray Vaughan.
[C]
[B] Hi, welcome to Just Passing Through here on Cleveland Rocks.
I'm Alan Green.
This week we're bringing you the second half of our conversation with the one and only [F] Stevie Ray Vaughan,
who's considered by many to be one of today's most outstanding blues guitarists.
Stevie Ray grew up in Dallas, Texas, but by the end of his high school years decided to move to Austin
where there was a thriving blues scene.
In 1981 he formed his current band, Double Trouble, and gained almost instant [A] recognition.
Now despite the fact that he recently [N] moved back to Dallas, he told me he still considers Austin his home base.
And so here I asked him if he still keeps in touch with the local Austin blues scene.
As much as possible, I live in Dallas now, have for a little over a year.
But what I remember about the scene there is when I first went down, Jimmy had already moved from Dallas to Austin.
And there had been a blues and jazz scene and a country scene, but the blues and jazz was a lot bigger during the, say, the 50s.
As far as I know anyway, B.B. King, Freddie King, Albert Collins, Albert King, all these people coming through all the time.
And there were a lot of local musicians that were really good, that were doing backup bands.
And a lot of times the musician would just come in by himself and have this hot band from there, or picking shoes from several, which is what basically Antones does now.
Right.
Okay?
That's kind of a legendary blues club there, isn't it?
But when I moved down there in 72, like I said, Jimmy was already there and the scene was already happening.
And it was basically a deal where there were some bands that, as this whole scene started getting really cooking, there was some bands that had already kind of settled into their form.
But as a rule, most of the bands would change members every, there was like a cycle of a three-month cycle, there was a six-month cycle and a nine-month cycle.
And everybody would just change musicians.
If it got stagnant, the first sign of that, everybody would just kind of all break up and they would all start just reforming until they finally got to where there were several more bands that had decided that's who they wanted to play with.
Like Thunderbirds had been together for about 15 years.
And Double Trouble for, God, nearly 10.
So there was that kind of thing that went on.
And with all of that switching around and working with each other, there's bound to be a lot learned in it, a lot of growth.
It's a pretty tight camaraderie, right?
Yeah.
And everybody, or not everybody, because that just can't happen, but 90% of them, of all of us, are still real good friends and pushing for each other and pulling for each other whenever we get the chance.
That's what's so fun about Antones, you know, is that you go down there and there's a house band, but the house band is really, could do three different bands or four bands at once if they wanted.
And in fact, right now, the Antones house band is on the road.
And I just got to see them on Texas Independence Day in New York.
They were at the Lone Star.
Yeah.
What's their name?
They're just called the Antones.
The Antones.
And it was, when I saw them in New York, it was Angela Strayley, Lou Anne Barton, Sarah Brown, Marsha Ball, Dr.
John, George Raines, Denny Freeman, Derek O'Brien, three sax players, Albert Collins.
Well, one of the sax players, the one that I knew from that night was Kaz Kavanaugh.
And let's see, who else?
Hubert Sumlin and myself.
And that was who played.
You know, and it's nothing unusual to walk in and see Buddy Guy and Albert Collins and Albert King and Mel Brown and Dr.
John and all these people at the same time.
You know, they just all come in.
You know, it's nothing outlandish to see that at Antones.
And what they do is at the end of the night when the drinking time is over, they just take all the drinks up and leave the doors open and you play till three or four or five o'clock in the morning.
Yeah, and just have a blast.
Let's talk quickly about, like, when you do, when you and the fabulous Thunderbirds appear together, oftentimes you guys do an encore together where you and Jimmy come out and both play the same guitar at the same time.
I've seen it.
And does that go a long way back?
I guess the idea probably does, but we've been doing it off and on for a few years.
But lately we've been doing it where he plays six-string bass and I play regular guitar.
And it's mainly because we get tired of playing the same songs, you know.
But it's always a pleasure to play with Jimmy.
Lately he's getting more and more killer on steel guitar.
And we're looking forward to doing some recording with that thing going on, you know.
We're looking forward to doing an album together, but that's one thing that we want to include for sure is him playing steel because he can get it.
That was one of the questions I was going to ask you if you had anything in the works between the two of you.
It's got to do with scheduling, you know.
And as soon as possible, what's happened so far lately is every time we both want to do it,
either they're fixing to go make a record and we're fixing to hit the road or we just got back and they took off, you know.
So as soon as possible we'll get to do it.
That's great news.
I hope so.
Blues is obviously a very expressive form of music, very emotional.
Do you ever have those nights when you just don't feel it?
Yeah, and I hate them.
But, you know, I figure if I stop and just let it [D] happen on those kind of nights,
that maybe it's just that I'm not seeing exactly what gets [A] across anyway, you know.
[D] I can't [Ab] always hog the feeling for myself.
Maybe it goes to somebody else when I don't get it.
[Gbm] I hope it does anyway.
Now, during the course [N] of your success, you probably had the opportunity to jam with a lot of your own idols, I would expect.
Who's been the biggest kick to play with for you?
[G] God, that's a
[Gbm] I don't know how to answer that because there's Jimmy, [D] Jimmy Lee, Vaughn,
who's always a gas to play with, Buddy Guy's always a gas to play with, Albert King, BB King.
Hubert Sumlin's always great.
[Gm] Otis Rush is just a killer.
[Ebm] Denny Freeman's [D] knocked out.
[Ab] Albert Collins is
I mean, every one of them, it's just, you know, it's always rise to the occasion, you know.
[D]
It's always rise to the occasion and just get it, you know.
And with all of them, and [N] there's
I don't think there's a best musician.
[Em] There's just a best [Gbm] at what they do.
[B] Our special thanks to Stevie Ray Vaughn, along [A] with Charles Comer, Skip Rickhardt and Epic Records.
Coming your way next is [B] Stevie Ray's latest [Bb] video, Superstition.
I'm Alan [A] Green, just passing through here on Cleveland Rocks.
See you next time.
[C]
[B] Hi, welcome to Just Passing Through here on Cleveland Rocks.
I'm Alan Green.
This week we're bringing you the second half of our conversation with the one and only [F] Stevie Ray Vaughan,
who's considered by many to be one of today's most outstanding blues guitarists.
Stevie Ray grew up in Dallas, Texas, but by the end of his high school years decided to move to Austin
where there was a thriving blues scene.
In 1981 he formed his current band, Double Trouble, and gained almost instant [A] recognition.
Now despite the fact that he recently [N] moved back to Dallas, he told me he still considers Austin his home base.
And so here I asked him if he still keeps in touch with the local Austin blues scene.
As much as possible, I live in Dallas now, have for a little over a year.
But what I remember about the scene there is when I first went down, Jimmy had already moved from Dallas to Austin.
And there had been a blues and jazz scene and a country scene, but the blues and jazz was a lot bigger during the, say, the 50s.
As far as I know anyway, B.B. King, Freddie King, Albert Collins, Albert King, all these people coming through all the time.
And there were a lot of local musicians that were really good, that were doing backup bands.
And a lot of times the musician would just come in by himself and have this hot band from there, or picking shoes from several, which is what basically Antones does now.
Right.
Okay?
That's kind of a legendary blues club there, isn't it?
But when I moved down there in 72, like I said, Jimmy was already there and the scene was already happening.
And it was basically a deal where there were some bands that, as this whole scene started getting really cooking, there was some bands that had already kind of settled into their form.
But as a rule, most of the bands would change members every, there was like a cycle of a three-month cycle, there was a six-month cycle and a nine-month cycle.
And everybody would just change musicians.
If it got stagnant, the first sign of that, everybody would just kind of all break up and they would all start just reforming until they finally got to where there were several more bands that had decided that's who they wanted to play with.
Like Thunderbirds had been together for about 15 years.
And Double Trouble for, God, nearly 10.
So there was that kind of thing that went on.
And with all of that switching around and working with each other, there's bound to be a lot learned in it, a lot of growth.
It's a pretty tight camaraderie, right?
Yeah.
And everybody, or not everybody, because that just can't happen, but 90% of them, of all of us, are still real good friends and pushing for each other and pulling for each other whenever we get the chance.
That's what's so fun about Antones, you know, is that you go down there and there's a house band, but the house band is really, could do three different bands or four bands at once if they wanted.
And in fact, right now, the Antones house band is on the road.
And I just got to see them on Texas Independence Day in New York.
They were at the Lone Star.
Yeah.
What's their name?
They're just called the Antones.
The Antones.
And it was, when I saw them in New York, it was Angela Strayley, Lou Anne Barton, Sarah Brown, Marsha Ball, Dr.
John, George Raines, Denny Freeman, Derek O'Brien, three sax players, Albert Collins.
Well, one of the sax players, the one that I knew from that night was Kaz Kavanaugh.
And let's see, who else?
Hubert Sumlin and myself.
And that was who played.
You know, and it's nothing unusual to walk in and see Buddy Guy and Albert Collins and Albert King and Mel Brown and Dr.
John and all these people at the same time.
You know, they just all come in.
You know, it's nothing outlandish to see that at Antones.
And what they do is at the end of the night when the drinking time is over, they just take all the drinks up and leave the doors open and you play till three or four or five o'clock in the morning.
Yeah, and just have a blast.
Let's talk quickly about, like, when you do, when you and the fabulous Thunderbirds appear together, oftentimes you guys do an encore together where you and Jimmy come out and both play the same guitar at the same time.
I've seen it.
And does that go a long way back?
I guess the idea probably does, but we've been doing it off and on for a few years.
But lately we've been doing it where he plays six-string bass and I play regular guitar.
And it's mainly because we get tired of playing the same songs, you know.
But it's always a pleasure to play with Jimmy.
Lately he's getting more and more killer on steel guitar.
And we're looking forward to doing some recording with that thing going on, you know.
We're looking forward to doing an album together, but that's one thing that we want to include for sure is him playing steel because he can get it.
That was one of the questions I was going to ask you if you had anything in the works between the two of you.
It's got to do with scheduling, you know.
And as soon as possible, what's happened so far lately is every time we both want to do it,
either they're fixing to go make a record and we're fixing to hit the road or we just got back and they took off, you know.
So as soon as possible we'll get to do it.
That's great news.
I hope so.
Blues is obviously a very expressive form of music, very emotional.
Do you ever have those nights when you just don't feel it?
Yeah, and I hate them.
But, you know, I figure if I stop and just let it [D] happen on those kind of nights,
that maybe it's just that I'm not seeing exactly what gets [A] across anyway, you know.
[D] I can't [Ab] always hog the feeling for myself.
Maybe it goes to somebody else when I don't get it.
[Gbm] I hope it does anyway.
Now, during the course [N] of your success, you probably had the opportunity to jam with a lot of your own idols, I would expect.
Who's been the biggest kick to play with for you?
[G] God, that's a
[Gbm] I don't know how to answer that because there's Jimmy, [D] Jimmy Lee, Vaughn,
who's always a gas to play with, Buddy Guy's always a gas to play with, Albert King, BB King.
Hubert Sumlin's always great.
[Gm] Otis Rush is just a killer.
[Ebm] Denny Freeman's [D] knocked out.
[Ab] Albert Collins is
I mean, every one of them, it's just, you know, it's always rise to the occasion, you know.
[D]
It's always rise to the occasion and just get it, you know.
And with all of them, and [N] there's
I don't think there's a best musician.
[Em] There's just a best [Gbm] at what they do.
[B] Our special thanks to Stevie Ray Vaughn, along [A] with Charles Comer, Skip Rickhardt and Epic Records.
Coming your way next is [B] Stevie Ray's latest [Bb] video, Superstition.
I'm Alan [A] Green, just passing through here on Cleveland Rocks.
See you next time.
Key:
D
A
B
Gbm
Ab
D
A
B
Right now we have Alan Green with Stevie Ray Vaughan. _ _
[C] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[B] _ Hi, welcome to Just Passing Through here on Cleveland Rocks.
I'm Alan Green.
This week we're bringing you the second half of our conversation with the one and only [F] Stevie Ray Vaughan,
who's considered by many to be one of today's most outstanding blues guitarists.
Stevie Ray grew up in Dallas, Texas, but by the end of his high school years decided to move to Austin
where there was a thriving blues scene.
In 1981 he formed his current band, Double Trouble, and gained almost instant [A] recognition.
Now despite the fact that he recently [N] moved back to Dallas, he told me he still considers Austin his home base.
And so here I asked him if he still keeps in touch with the local Austin blues scene.
As much as possible, I live in Dallas now, _ have for a little over a year. _
But _ _ what I remember about the scene there is when I first went down, Jimmy had already moved from Dallas to Austin.
_ _ And there had been a blues and jazz scene and a country scene, but the blues and jazz was a lot bigger during the, say, the 50s.
_ _ As far as I know anyway, B.B. King, Freddie King, Albert Collins, Albert King, all these people coming through all the time.
And there were a lot of local musicians that were really good, that were doing backup bands.
And a lot of times the musician would just come in by himself and have this hot band from there, or picking shoes from several, which is what basically Antones does now.
Right.
Okay?
That's kind of a legendary blues club there, isn't it?
But when I moved down there in 72, _ _ _ like I said, Jimmy was already there and the scene was already happening.
_ And it was basically a deal where _ there were some bands that, as this whole scene started getting really cooking, there was some bands that had already kind of settled into their form.
But as a rule, most of the bands would change members every, there was like a cycle of a three-month cycle, there was a six-month cycle and a nine-month cycle.
And everybody would just change musicians.
If it got stagnant, the first sign of that, everybody would just kind of all break up and they would all start just reforming until they finally got to where there were several more bands that had decided that's who they wanted to play with.
Like Thunderbirds had been together for about 15 years.
_ _ And Double Trouble for, God, _ _ nearly 10. _
_ So there was that kind of thing that went on.
And with all of that switching around and working with each other, there's bound to be a lot learned in it, a lot of growth.
It's a pretty tight camaraderie, right?
Yeah.
And everybody, or not everybody, because that just can't happen, but 90% of them, of all of us, are still real good friends and pushing for each other and pulling for each other whenever we get the chance.
That's what's so fun about Antones, you know, is that you go down there and there's _ a house band, but the house band is really, could do three different bands or four bands at once if they wanted.
And _ in fact, right now, the Antones house band is on the road.
_ And I just got to see them on Texas Independence Day in New York.
They were at the Lone Star.
Yeah.
What's their name?
They're just called the Antones.
_ The Antones.
And it was, when I saw them in New York, it was Angela Strayley, Lou Anne Barton, Sarah Brown, _ _ _ _ Marsha Ball, _ Dr.
John, _ _ _ George Raines, Denny Freeman, Derek O'Brien, three sax players, Albert Collins.
Well, one of the sax players, the one that I knew from that night was Kaz Kavanaugh.
_ And let's see, who else?
Hubert Sumlin and myself.
And that was who played.
_ You know, and it's nothing unusual to walk in and see Buddy Guy and Albert Collins and Albert King and Mel Brown and Dr.
John and all these people at the same time.
You know, they just all come in.
You know, it's nothing _ _ outlandish to see that at Antones.
And what they do is at the end of the night when the drinking time is over, they just take all the drinks up and leave the doors open and you play till three or four or five o'clock in the morning.
Yeah, and just have a blast.
Let's talk quickly about, like, when you do, when you and the fabulous Thunderbirds appear together, oftentimes you guys do an encore together where you and Jimmy _ come out and both play the same guitar at the same time.
I've seen it. _
And does that go a long way back? _ _ _
I guess the idea probably does, but _ we've been doing it off and on for a few years.
But _ lately we've been doing it where he plays six-string bass and I play regular guitar.
And it's mainly because we get tired of playing the same songs, you know.
But it's always a pleasure to play with Jimmy. _
_ _ _ _ Lately he's getting more and more _ killer on steel guitar. _
And we're looking forward to doing some recording with that thing going on, you know.
We're looking forward to doing an album together, but that's one thing that we want to include for sure is him playing steel because he can get it.
That was one of the questions I was going to ask you if you had anything in the works between the two of you. _ _
It's got to do with scheduling, you know. _ _
And as soon as possible, what's happened so far lately is every time we both want to do it,
either they're fixing to go make a record and we're fixing to hit the road or we just got back and they took off, you know.
So as soon as possible we'll get to do it.
That's great news.
I hope so.
_ _ _ Blues is obviously a very expressive form of music, very emotional.
Do you ever have those nights when you just don't feel it? _
Yeah, and I hate them.
But, you know, I figure _ if I stop and just let it [D] happen on those kind of nights,
that _ _ maybe it's just that I'm not seeing exactly what gets [A] across anyway, you know.
[D] _ I can't [Ab] always hog the feeling for myself.
Maybe it goes to somebody else when I don't get it.
_ [Gbm] I hope it does anyway.
_ _ _ Now, during the course [N] of your success, you probably had the opportunity to jam with a lot of your own idols, I would _ expect.
Who's been the biggest kick to play with for you?
[G] God, that's a_
_ [Gbm] I don't know how to answer that because there's Jimmy, [D] Jimmy Lee, Vaughn,
who's always a gas to play with, Buddy Guy's always a gas to play with, Albert King, BB King.
_ Hubert Sumlin's always great.
[Gm] Otis Rush is just a killer.
_ _ [Ebm] _ Denny Freeman's [D] knocked out.
[Ab] _ Albert Collins is_
I mean, every one of them, it's just, you know, it's always rise to the occasion, you know.
[D]
It's always rise to the occasion and just get it, you know.
And with all of them, and [N] there's_
I don't think there's a best musician. _ _
[Em] There's just a best [Gbm] at what they do.
[B] Our special thanks to Stevie Ray Vaughn, along [A] with Charles Comer, Skip Rickhardt and Epic Records.
Coming your way next is [B] Stevie Ray's latest [Bb] video, Superstition.
I'm Alan [A] Green, just passing through here on Cleveland Rocks.
See you next time.
[C] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[B] _ Hi, welcome to Just Passing Through here on Cleveland Rocks.
I'm Alan Green.
This week we're bringing you the second half of our conversation with the one and only [F] Stevie Ray Vaughan,
who's considered by many to be one of today's most outstanding blues guitarists.
Stevie Ray grew up in Dallas, Texas, but by the end of his high school years decided to move to Austin
where there was a thriving blues scene.
In 1981 he formed his current band, Double Trouble, and gained almost instant [A] recognition.
Now despite the fact that he recently [N] moved back to Dallas, he told me he still considers Austin his home base.
And so here I asked him if he still keeps in touch with the local Austin blues scene.
As much as possible, I live in Dallas now, _ have for a little over a year. _
But _ _ what I remember about the scene there is when I first went down, Jimmy had already moved from Dallas to Austin.
_ _ And there had been a blues and jazz scene and a country scene, but the blues and jazz was a lot bigger during the, say, the 50s.
_ _ As far as I know anyway, B.B. King, Freddie King, Albert Collins, Albert King, all these people coming through all the time.
And there were a lot of local musicians that were really good, that were doing backup bands.
And a lot of times the musician would just come in by himself and have this hot band from there, or picking shoes from several, which is what basically Antones does now.
Right.
Okay?
That's kind of a legendary blues club there, isn't it?
But when I moved down there in 72, _ _ _ like I said, Jimmy was already there and the scene was already happening.
_ And it was basically a deal where _ there were some bands that, as this whole scene started getting really cooking, there was some bands that had already kind of settled into their form.
But as a rule, most of the bands would change members every, there was like a cycle of a three-month cycle, there was a six-month cycle and a nine-month cycle.
And everybody would just change musicians.
If it got stagnant, the first sign of that, everybody would just kind of all break up and they would all start just reforming until they finally got to where there were several more bands that had decided that's who they wanted to play with.
Like Thunderbirds had been together for about 15 years.
_ _ And Double Trouble for, God, _ _ nearly 10. _
_ So there was that kind of thing that went on.
And with all of that switching around and working with each other, there's bound to be a lot learned in it, a lot of growth.
It's a pretty tight camaraderie, right?
Yeah.
And everybody, or not everybody, because that just can't happen, but 90% of them, of all of us, are still real good friends and pushing for each other and pulling for each other whenever we get the chance.
That's what's so fun about Antones, you know, is that you go down there and there's _ a house band, but the house band is really, could do three different bands or four bands at once if they wanted.
And _ in fact, right now, the Antones house band is on the road.
_ And I just got to see them on Texas Independence Day in New York.
They were at the Lone Star.
Yeah.
What's their name?
They're just called the Antones.
_ The Antones.
And it was, when I saw them in New York, it was Angela Strayley, Lou Anne Barton, Sarah Brown, _ _ _ _ Marsha Ball, _ Dr.
John, _ _ _ George Raines, Denny Freeman, Derek O'Brien, three sax players, Albert Collins.
Well, one of the sax players, the one that I knew from that night was Kaz Kavanaugh.
_ And let's see, who else?
Hubert Sumlin and myself.
And that was who played.
_ You know, and it's nothing unusual to walk in and see Buddy Guy and Albert Collins and Albert King and Mel Brown and Dr.
John and all these people at the same time.
You know, they just all come in.
You know, it's nothing _ _ outlandish to see that at Antones.
And what they do is at the end of the night when the drinking time is over, they just take all the drinks up and leave the doors open and you play till three or four or five o'clock in the morning.
Yeah, and just have a blast.
Let's talk quickly about, like, when you do, when you and the fabulous Thunderbirds appear together, oftentimes you guys do an encore together where you and Jimmy _ come out and both play the same guitar at the same time.
I've seen it. _
And does that go a long way back? _ _ _
I guess the idea probably does, but _ we've been doing it off and on for a few years.
But _ lately we've been doing it where he plays six-string bass and I play regular guitar.
And it's mainly because we get tired of playing the same songs, you know.
But it's always a pleasure to play with Jimmy. _
_ _ _ _ Lately he's getting more and more _ killer on steel guitar. _
And we're looking forward to doing some recording with that thing going on, you know.
We're looking forward to doing an album together, but that's one thing that we want to include for sure is him playing steel because he can get it.
That was one of the questions I was going to ask you if you had anything in the works between the two of you. _ _
It's got to do with scheduling, you know. _ _
And as soon as possible, what's happened so far lately is every time we both want to do it,
either they're fixing to go make a record and we're fixing to hit the road or we just got back and they took off, you know.
So as soon as possible we'll get to do it.
That's great news.
I hope so.
_ _ _ Blues is obviously a very expressive form of music, very emotional.
Do you ever have those nights when you just don't feel it? _
Yeah, and I hate them.
But, you know, I figure _ if I stop and just let it [D] happen on those kind of nights,
that _ _ maybe it's just that I'm not seeing exactly what gets [A] across anyway, you know.
[D] _ I can't [Ab] always hog the feeling for myself.
Maybe it goes to somebody else when I don't get it.
_ [Gbm] I hope it does anyway.
_ _ _ Now, during the course [N] of your success, you probably had the opportunity to jam with a lot of your own idols, I would _ expect.
Who's been the biggest kick to play with for you?
[G] God, that's a_
_ [Gbm] I don't know how to answer that because there's Jimmy, [D] Jimmy Lee, Vaughn,
who's always a gas to play with, Buddy Guy's always a gas to play with, Albert King, BB King.
_ Hubert Sumlin's always great.
[Gm] Otis Rush is just a killer.
_ _ [Ebm] _ Denny Freeman's [D] knocked out.
[Ab] _ Albert Collins is_
I mean, every one of them, it's just, you know, it's always rise to the occasion, you know.
[D]
It's always rise to the occasion and just get it, you know.
And with all of them, and [N] there's_
I don't think there's a best musician. _ _
[Em] There's just a best [Gbm] at what they do.
[B] Our special thanks to Stevie Ray Vaughn, along [A] with Charles Comer, Skip Rickhardt and Epic Records.
Coming your way next is [B] Stevie Ray's latest [Bb] video, Superstition.
I'm Alan [A] Green, just passing through here on Cleveland Rocks.
See you next time.