Blues. Stevie Ray Vaughan. Стиви Рей Вон - Мужчина с большим «Стратом»

А как поклонники "Битлз" "воспринимают" кавер SRV "Taxman"?

john lee hooker***
Отлично воспринимают, равно как и всего SRV ;)

Вот тут, давеча, в гостях был. Хозяева смотрели родригесовский "От заката до рассвета"...Опять позабавил момент, когда супер-пупер инфернальный "Дьявольский оркестрик" в баре "Сиськи-кувырком" "зажигают" под "У Мэри был барашек" и "Вилли -барыга" SRV & DT. Причём, что показательно: "брутальный" Тинто со своими тарантулами , упорно проталкивающий свой авторский материал, не стал переигрывать за Стиви, а, просто, старательно лабают под "фанеру" Воэна...Получилося смешно...

Действительно смешно

А энта фотка на радость поклонникам усика-пусика...Надеюсь, знатоки творчества Паши узнают "мужика со стаканОм"

SRV не гнушался и смешными "фанерными рикенбеккерами"
с Х.Самлиным

"фклад в изобразительно-прикладное исскуство"
тату на туловище фана...

...и в монументальное
(бюст работы Danielle Anjou)

Мне раньше очень казалось что на SRV внешне похож Владимир Кузьмин.
Я уже об этом и забыл, но вот фотка с Х.Самлиным мне это снова напомнила :-)
И на самом деле, ведь что-то есть.
Как вы думаете?

Кстати, кто этот мужик со стаканОм

Кстати и на Высоцкого похож.А Самлин на Юрия Николаева:-)).

Привет, Эликастр :)
Мужыкъ-со-стаканОм -- большой поклонник Чэта Эткинса и SRV еще худенький Робби МакИнтош.
2 papan - ага, и идут съемки передачи "Утренняя почта" в гостях у Э.Рязанова("Кинопанорама" ин зе миднайт ауэр) :-)
Хотя, оправа у Хумберта прям, як у Зорина...Наверное, все-таки "в эфире "Международная панорама"

а, ващета, SRV с "риккеном" вылитый Ю.Никулин из фильма "Девушка с гитарой" 58-го гэ. Помните, фейверк устраивал горе-изобретатель перед Высокой комиссией?

шоб не быть голословным: 5 минут с "фотошопом" и Юрий Никулин в образе последнего гитарного героя

вот такие пироги

Друзья, кто-нить посмотрел уже ди-ви-ди "Live at Montreux"?
Поделитеся фпечатлениями.

Кстати, попал в руки ыщо один видеораритет: любительская запись на видео где-то в Техасщине SRV/DT + старшенький + L.A.Barton + Джефф Бэк.
Бедный оператор ползал у рампы туда-сюда, не зная кого снимать. Када двигался на четвереньках, опирался на камеру, сволыч, поэтому налицо "синдром дергунчика-чайника-оператора"...Но несмотря на плохое кач-во, как фсегда энергетика Стиви и Ко на 5 с +

2john lee hooker:

>Друзья, кто-нить посмотрел уже ди-ви-ди "Live
>at Montreux"?
>Поделитеся фпечатлениями.
В ожидании комментариеф :-)))
SRV Talks About Montreux


"Things are starting to happen. What will come out of all this is yet to be seen, but we're gonna push for whatever we can get. I feel we can do something on our own in Europe. We've just worked really hard, and we're breaking out of the United States, is what we're trying to do. I figure we're just going to watch everything start to gel, but I can't say what'll
come out of it, and I wouldn't even try. We'll see. We'll just have to wait and see." Dallas Times Herald June 17, 1982. Bruce Nixon (one month prior to Montreux show)

"Jackson Browne has probably been the most important thing in all this [Montreux/ Bowie tour]. He saw us at Montreux and we jammed and everything for about eight hours at this club. We took one break for about 20 minutes.
We were having fun, needless to say. After the night was over, he offered us his studio for free - the use of his equipment, his engineers, his, you know, everything. And not long afterwards [November '82] we took him up on it and
we were supposed to pay for the tape and he ended up givin' us the tape, too. But he's incredible. All he wanted was to see us do what we wanted to do. We just did it ourselves." Music (Florida Edition) Sept. 8, 1983, Eric Snider

"We weren't sure how we'd be accepted. As soon as we were finished, someone came backstage to meet us. [David Bowie and I went] to the musicians' bar at the casino, where we talked for hours. [Double Trouble] ended up playing at the bar for several nights and Jackson Browne came in and jammed with us." Guitar World, Sept. '83, Frank Joseph

"[Jerry Wexler] helped us get onto that show, which started a whole chain of events. That's where David Bowie heard us. It's not just a jazz show anymore - they have a blues night and a country night - Bow Wow Wow played there, Laurie Anderson, too, okay. Then around November or so, he called while we were doing our album and asked me to play on his record. The rest is, ahh, history." Sounds, Sept. 24, 1983, Sandy Robert

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"After seeing the band at a show in Austin Texas, famed record legend Jerry Wexler helped to arrange our appearance at Montreux. Having never traveled a lot, a trip to Switzerland itself seemed exciting. The show in '82 was mostly dedicated to acoustic blues artists - with the exception being us."

"We hit the stage in standard tear-down-the-house fashion. Our performance was soon met with a number of "boos" from the audience. This made it difficult but we didn't let up. However, after the show we felt heartbroken and bewildered. Was this meant to be?"

"That same night we met David Bowie, who was in the audience. We talked for a while that night and later Stevie came to play on his Let's Dance record and almost did his world tour. The next night we played the musician's bar,
downstairs from the stage we had played the night before. At the end of his performance, Jackson Browne and his band came down and we all proceeded to jam until the sun came up. Jackson offered his studio to us if we ever wanted to use it while in Los Angeles - free of charge! After all was said and done this trip proved to be a moving experience in many ways."

"Little did we know, however, that the first trip would lead to recording the tapes at Jackson Browne's studio that would become Texas Flood or that Stevie would do the work he did with a guy named David Bowie or that we would receive our first GRAMMY for the Atlantic album Blues Explosion: Live From Montreux '82."

"The trip back in '85 was different. The people were there to hear us. The place was packed and we were still ready to tear the house down."
Chris Layton
August, 2001


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континиум
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"I'll never forget that night in 1982 when we played the Montreux Jazz Festival. We were all very excited, especially Stevie. This was the largest show that we would have played together. With the exception of ourselves, all the other acts were mostly acoustic. So when we hit the stage, we were very loud and powerful. The show did not go over well, the response was mediocre, and there were several people who actually booed us. I'll never forget how Stevie kept playing his heart out, in spite of the response. We were all broken hearted. That was also the same trip that we met Jackson Browne and David Bowie. There was a jam session in the bar downstairs and we all played until the sun came up. As a result of this night, we got to make our first record, Texas Flood, and Stevie played on David Bowie's record. Ironically enough, we won our first Grammy for our performance that night. When we returned in 1985, we played to a sold-out crowd and the response was incredible."

"Sometimes what appear as failures, are really successes in disguise."

Tommy Shannon
August, 2001


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I'm finding writing on an acquaintance who has passed on is not a little daunting. Memory recall is inevitably spotted with "If only" and "What ifs". My association with Stevie ran a short course of only a few months, our relationship only a few weeks, so my anecdotal resources are limited to just a couple of stories.

Claude Nobs had for many years run the Montreux Jazz Festival in Switzerland. As I was living in a small village close to Montreux, the festival was an annual must. One night in 1982 Claude phoned me and told me of a new act he was putting on in a day or so. He knew that I was a big R&B and blues fan and thought I might enjoy this new kid. Come the show, blasting through a short but riveting set, SRV completely floored me. I probably hadn't been so gung-ho about a guitar player since seeing Jeff Beck in the early 60's with his band the Tridents at Eel Pie Island, London. He was so complete, so vital and inventive with the form.

Stevie and I had drinks after the show and we talked quite a bit about his influences and American music in general. We got on immediately as we shared a love for the playing of Albert King amongst others and in my enthusiasm I gave him a full run down of my 45 and 78 record collection which spanned from early Red Prysock, Louis Jordan and the Alan Freed Rock and Roll band through Broonzy, Hooker and Howlin' Wolf to British Old School like Bond, Mayall and Alexis Korner. I was deeply impressed with Stevie's knowledge of and interest in British artists like John Renborn and Davy Graham, musicians that I would never have guessed from his playing that he would have had any interest in. I was also hugely flattered when he brought up my own albums Heroes and Scary Monsters, asking how it was working with Robert Fripp and Pete Townshend.

At the end of the evening I took my courage in my hands and asked him if he would have any interest in working with me on my next album which was due to start at the end of the year. Although I had had a big hit in the States with "Fame" a few years previously I was not exactly a household name and was more regarded as an Alternative artist who got lucky. In fact albums like Low, Heroes and Scary Monsters had indeed put me back on a kind of fringe.

And as Stevie's music was such hard core blues I expected and would have understood a polite "thanks but no thanks". You can't imagine how delighted I was when he accepted the offer on the spot and said he'd love to try out a new kind of record just for the experience. When I asked if touring could also be a possibility he again replied in the affirmative, "'Hell, yea", he said, "I tour real good".
David Bowie
August, 2001