WEBVTT

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Hey, this is Patreon mixtaper David Lee Smith

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here, and you are listening to My Weekly Mixtape

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with your host, Brian Colburn. It's badass. Welcome

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to My Weekly Mixtape, a podcast that takes the

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classic mixtape approach to building a modern

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playlist. I'm your host, Brian Colburn. Today,

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I'm excited to welcome to the program our first

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Patreon mixtaper as a guest, and that would be

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the legendary David Lee Smith, who some of you

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might be familiar with as he was a guest several

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times over on Playlist Wars. David, thank you

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so much for joining me here on my weekly mixtape.

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And thank you, Brian, for having me on your show

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to talk music with you again. It's been over

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a year since we did that Playlist Wars thing.

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You doing all right, man? I'm doing great and

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I hope you're doing the same. I appreciate you

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joining me here. And David, I'm going to start

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the show the way I start every episode and ask

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you the question, what does the word mixtape

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mean to you? You know, the word mixtape can really

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go a lot of ways because, you know, when people

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make a mixtape, it can be just a collection of

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just any songs you like or songs of a particular

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genre or a particular topic or songs that you

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want to try to. put together for a special someone

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or songs that mean a lot to particular people,

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like, like songs that mean a lot to me or that

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mean a lot to you, or, you know, it can be, that

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can really go a lot of ways in my humble opinion,

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because, uh, to be honest with you, um, I've

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never really made a lot of mixed. I mean, I'm

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not from the whole, uh, cassette generate, well,

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maybe VHS cassette tapes, but I'm not from the

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music cassette generation. Cause I'm from the,

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I'm, I'm a millennial here and, uh, I'm one of

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the members of the younger generation here. And,

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uh, I honestly didn't have a lot of music friends

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throughout school or I guess music nerds. I guess

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the closest music nerds I had were my posse of

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friends that we had, I guess more or less our

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Guitar Hero posse because I'm a huge fan of Guitar

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Hero and I give it credit for helping me embrace.

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rock and roll particularly, but I didn't have

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a lot of music friends. So I didn't really make

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a lot of mixtapes, but in this current age of

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streaming and putting together, being able to

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do that, to put playlists or mixtapes and all

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that stuff together. So the word mixtape can

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really go a lot of ways in my opinion. Awesome.

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Well, I for one am extremely excited because

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tonight I know we are talking about someone who

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is near and dear to your heart. because we had

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an entire Playlist Wars episode dedicated to

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just one of the albums in his discography, and

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that would be the late, great Stevie Ray Vaughan.

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And we talked about In Step. That's right. That's

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actually a spoiler alert. That is actually my

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favorite album of all time. That's why I requested

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to do that particular episode. And I don't mean

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to brag, but this particular legendary person

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that's speaking right now, I'm... Not legendary

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at all, but I happen to have won that little

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poll. My first time out, I won. But what really

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matters, it was nice to be on your show. It really

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was a pleasure. Likewise, dude. And I think that

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that win was what gave you the legendary status.

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At least in Playlist Wars lore, it did. Being

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that In Step is your favorite album, tonight

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you've had to... Use your love of that album

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as well as the rest of Stevie Ray Vaughan's catalog

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to put together a bank of songs to bring to the

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table tonight that we will hopefully build the

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ultimate Stevie Ray Vaughan playlist. So, David,

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how tough was it for you to pare down your list

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of songs to bring to the table this evening?

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four studio albums and a posthumous release that

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we'll get to here when we talk about the song.

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So we're talking maybe 40, 50 songs, I want to

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say. So our selections are somewhat limited,

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not really, but somewhat. But I mean, obviously

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we have more than enough to fill in the 20 songs,

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what we've got here. But other than that, I mean,

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you know, since I'm such a diehard fan of SRV

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and Double Trouble, I could have went with any

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song and, you know, I've been like, you know,

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I wouldn't have a problem with it, but obviously

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you want to go into more like the songs that

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describe his career the best or just huge highlights

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or sort of like a best of kind of thing or our

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own greatest hits kind of mixtape in a way. But

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somewhat tough, somewhat not so tough. Take it

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or leave it. That makes a lot of sense. And outside

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of the four albums like you talked about and

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the posthumous release of The Sky is Crying,

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He also had the family style album that he did

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with his brother, Jimmy. And he is a musical

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chameleon because throughout the 80s, his guitar

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work was featured on songs like David Bowie's

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Let's Dance, James Brown's Living in America,

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and Stevie Wonder's Come Let Me Make Your Love

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Come Down, amongst many others. So while we'll

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likely be focusing on the blues aspect of his

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playing. He was a hot guitarist of the 80s decade,

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and a lot of musicians wanted him to play on

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their releases because of his unique approach

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to his instrument. You're not wrong. I think

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I'm not alone whenever I was shocked. I can't

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remember if it was my mom or my dad. I want to

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say it was my mom saying, hey, you know who's

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playing the guitar on Let's Dance by David Bowie?

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And I was like, she's like, that's Stevie Ray.

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And I was like, hmm. I know I'm not alone in

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that because I'm sure a lot of people were like,

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you know, whenever they first heard that, I'm

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sure they were like, who is this guy? Because

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he's the guy that led the charge of the blues

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revival in the 1980s. I completely agree. When

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you have people like Albert King bringing him

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on his albums and live shows for the In Session

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album that took place in the 80s, you're getting

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a nod from one of the greatest blues players

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ever. And to me, that. in session was very much

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a passing of the torch from one generation to

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the next in modern blues rock music. And I feel

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like that is what Stevie Ray Vaughan embodied

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in the 80s and is going to be kind of the core

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of the music we're talking about tonight. Oh,

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no doubt. I mean, he led that charge and that's

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what made him made him so special. Well, let's

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get down to business tonight. As I mentioned

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earlier, David and I will be curating the ultimate

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Stevie Ray Vaughan playlist, and we're going

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to use the old cassette deck approach, meaning

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our mixtape will be broken up into two sides,

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side A and side B. David, as my special guest,

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will begin side A with his first song choice,

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and then I'll add a song that I feel best follows

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up that choice. We'll then flip -flop choosing

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songs until we've mapped out 10 songs for side

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A. Then we'll give our mixtape a proverbial flip

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and we'll map outside, be only this time I'll

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kick the side off with David choosing second.

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Our overall goal for this episode is to craft

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the best Stevie Ray Vaughan mixtape possible

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through only 20 songs. At the end of the show,

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you can take our conversation to the next level

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by visiting the episode page at myweeklymixtape

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.com to give our final mixtape a listen. via

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the embedded playlist. And finally, if you like

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what you're hearing on the show, please consider

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becoming a Patreon mixtaper at patreon .com forward

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slash myweeklymixtape. Now, before we hit the

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record button on this mixtape, some of the fellow

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mixtapers chimed in with songs they feel would

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best kick things off. And with that, I want to

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share some of those. So, David, you and I have

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some food for thought going into this. Go ahead.

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Patreon mixtaper Kevin Seeker chimed in with

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the house is rocking off of In Step. And Cactus

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Pete, which I simply have to read his chime in

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verbatim here. Crossfire. Tightrope. Tightrope.

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Crossfur. Finkel and Einhorn. Einhorn and Finkel.

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Ugh. Crossfire. Just a bit more energy, but I

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love them both. I love that kind of a chime in.

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Right. Elsewhere on the socials, folks who follow

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me at My Weekly Mixtape on Facebook, Instagram,

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Twitter, TikTok, and Spoutable also chimed in.

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And I want to give a quick shout out to a few

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of those. Kelly Bogus chimed in with Love Struck

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Baby. Chael chimed in with Hard To Be from that

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Vaughn Brothers album we talked about. CP7NY

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chimed in with Life Without You. Both Bruno Ravioli

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and Nick Bambich chimed in with The House Is

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Rockin'. Tim O'Sullivan chimed in with Couldn't

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Stand the Weather. John Farrell chimed in with

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Tightrope. Zach Deuce chimed in with his live

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cover of Stevie Wonder's Superstition. And Movie

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Psycho chimed in with Any. They're all great.

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Which is a sentiment that I safely could say

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neither one of us here would argue with. Nope.

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He's not wrong. So with so many great songs to

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choose from, David, I'm going to officially press

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the record button on this mixtape and turn the

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mic over to you. David, what song are you choosing

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to kick off our ultimate Stevie Ray Vaughan mixtape

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with and why? OK, I had to really think about

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how I'm going to start this off here. But I'm

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going to start with the lead off track from In

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Step, like we did on the playlist for In Step.

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I'm going to kick things off with The House is

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Rockin'. It's one of his well -known songs, and

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it's a great song. I mean, we talked about this

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when we talked about In Step with the Playlist

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Wars. God, it's already been over a year since

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we did that. Man, time flies. His guitar tone

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is awesome. I love Reese Winans on the piano

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and not to mention Chris Slayton on drums and

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Tommy Shannon on the bass are no slouches either.

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And they had a really special chemistry with

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each other and it shows. And it's a great song.

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It's a great kickoff to that album. Steve Ray

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Vaughan's voice is excellent. And the reason

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why I had to choose this over another song, another

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song, excuse me, but it's because that. Excuse

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me if you're not a particular fan of this particular

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team I'm about to talk about here. But I'm a

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fan of the Dallas Stars, and we just recently

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had a decent run in the Stanley Cup this year.

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Unfortunately, it did not go out the way we wanted.

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But still, I give them credit for having such

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a good run in the Stanley Cup. And the reason

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why I picked Dallas is Rockin' is because the

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Dallas Stars play this song whenever they win

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a home game. And I was hoping that I would love

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to hear... then play this song at full blast

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whenever the Dallas stars win the Stanley cup.

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But there's always a next time, whenever that's

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going to happen, whenever we have another chance

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of that happening. So I have to give the stars

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credit for getting that far in the Stanley cup

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playoffs. So that's why I had to start off with

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the houses rocking. So it was a bit of a tough

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choice, but that's why I had to start off with

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that. Even though I'm a Rangers fan and still

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a little sad about their demise much earlier

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in the Stanley Cup playoffs, the house is a rock

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and though is what we're talking about here,

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not hockey. So I'm going to focus on that one.

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Could not have picked a better song to kick things

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off with. This is one that. is a crowd pleaser.

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It's one of his anthems. It's a song that has

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endured generations of love. It is a stadium

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anthem. Like you mentioned, it's been used in

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movies. I remember major league to use this song

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and it's been used in television shows. This

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is probably Stevie Ray Vaughan's most accessible

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song. Whereas the majority of people who are.

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maybe not thinking they're familiar with his

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music, hear this song and go, oh, that's him.

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OK, I know that one because the song is everywhere.

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And it's a perfect introduction to the kind of

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music we're going to be talking about tonight.

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This is probably one of his heavier blues rock

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songs, along with a few others we're going to

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talk about tonight, because, you know, I like

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to bring the heavy. But following up, the house

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is rocking. To me, there is only one song that

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could fit in that number two slot because the

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groove is literally the perfect second song of

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the night vibe. And I am going to go with the

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second song on In Step, Crossfire. This song

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is probably my favorite Stevie Ray Vaughan rock

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song. The groove they catch. It's just that get

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your head bobbing. You could have opened up Side

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A with anything. You could have started slow

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and bluesy. And then, boom, you pick up the step

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for Crossfire. You could start with something

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fast, like you did with The House is Rockin'.

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But, boom, you go into Crossfire. It's just that

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nice segue out of whatever you bring to the table.

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And I will say, as much as I love cover songs,

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the version that Reese Winan does on his solo

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album. Is absolutely incredible. I love that

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version as well. Not as good as the one on in

00:13:19.379 --> 00:13:22.320
step. But a mighty good version. And a little

00:13:22.320 --> 00:13:25.539
bit more open for soloing. Because you know Reese

00:13:25.539 --> 00:13:27.159
kind of opened up. And did his thing a little

00:13:27.159 --> 00:13:30.480
longer in that. Which I loved hearing. But regardless.

00:13:31.320 --> 00:13:35.649
Track two. Crossfire from in step. That's the

00:13:35.649 --> 00:13:37.789
song that I was debating on whether I would start

00:13:37.789 --> 00:13:40.230
off this playlist with either the house is rocking

00:13:40.230 --> 00:13:42.309
or crossfire. And I'm glad you did that because

00:13:42.309 --> 00:13:44.549
I know we kind of talked about this on playlist

00:13:44.549 --> 00:13:46.950
wars. You were debating whether if crossfire

00:13:46.950 --> 00:13:49.330
was a better album opening track, because I think

00:13:49.330 --> 00:13:50.730
it meant a little bit more to you than the house

00:13:50.730 --> 00:13:53.740
is rocking because that's what killed our. Bingo.

00:13:53.740 --> 00:13:58.179
I still blame you for that, Brian. Sorry. No,

00:13:58.259 --> 00:14:00.159
no, no, no. It's all right. I take the blame

00:14:00.159 --> 00:14:01.960
for that too, because I screwed up a bingo when

00:14:01.960 --> 00:14:04.159
we did that battle of ZZ Top. So I'm partial

00:14:04.159 --> 00:14:08.820
to blame for that too. But yeah, I'm glad you

00:14:08.820 --> 00:14:11.679
mentioned Crossfire. Like you, yeah, the Reece

00:14:11.679 --> 00:14:14.750
Winans version we talked about as well. I love

00:14:14.750 --> 00:14:16.710
that version. It's a really, really great version

00:14:16.710 --> 00:14:19.049
with Kenny Wayne Shepard and Rhys Williams, like

00:14:19.049 --> 00:14:21.629
I said, is a monster keyboard player. I read

00:14:21.629 --> 00:14:24.929
an interview with Chris Layton saying that they

00:14:24.929 --> 00:14:28.830
were, I think it was Sony Music, the company,

00:14:28.889 --> 00:14:31.509
were trying to cut the solo out. So it'll be

00:14:31.509 --> 00:14:34.889
a try to get the song Crossfire on contemporary

00:14:34.889 --> 00:14:38.149
music charts. So I'm glad they won the argument

00:14:38.149 --> 00:14:40.419
because getting rid of those solos just. That

00:14:40.419 --> 00:14:42.200
would have been a crime in of itself right there.

00:14:42.320 --> 00:14:44.419
And I'm glad they won the argument because, hey,

00:14:44.440 --> 00:14:46.580
it went to number one on the mainstream chart.

00:14:46.659 --> 00:14:48.960
So I'm glad that happened. Could not agree more.

00:14:49.580 --> 00:14:52.200
So now are we going to follow it up with a third

00:14:52.200 --> 00:14:56.779
in -step song? No. Another thing I wanted to

00:14:56.779 --> 00:14:59.179
point out, I forgot to do at the top of the episode,

00:14:59.240 --> 00:15:02.259
is that I want to at least try to pick two songs

00:15:02.259 --> 00:15:05.019
from every album, four studio albums, maybe eight.

00:15:05.320 --> 00:15:07.779
extra cut but we'll do that as we go along here

00:15:07.779 --> 00:15:09.620
but no we're not going to follow up with another

00:15:09.620 --> 00:15:13.399
in step song i think i'm going to go with the

00:15:13.399 --> 00:15:17.059
title track off of their second album couldn't

00:15:17.059 --> 00:15:20.360
stand the weather as their third song here it's

00:15:20.360 --> 00:15:23.159
my third favorite stevie ray vaughn song the

00:15:23.159 --> 00:15:25.679
cool opening with jimmy vaughn playing those

00:15:25.679 --> 00:15:28.159
little chords and stevie's mini solos and man

00:15:28.159 --> 00:15:31.940
what a groove does it go into and i love the

00:15:31.940 --> 00:15:34.559
uh like i said we talked about his vocals before

00:15:34.559 --> 00:15:38.220
it's excellent and his solos my goodness one

00:15:38.220 --> 00:15:41.240
of my favorites srv solos i mean just it's always

00:15:41.240 --> 00:15:44.419
been a favorite of mine of his catalog and i

00:15:44.419 --> 00:15:47.419
grew up with that song too and the video we didn't

00:15:47.419 --> 00:15:48.919
really point out the videos here but the house

00:15:48.919 --> 00:15:51.659
is rocking is you know playing in a house and

00:15:51.659 --> 00:15:54.440
it's partying so you know it's fun crossfire

00:15:54.440 --> 00:15:57.830
is um it's not a funny video but it's um It's

00:15:57.830 --> 00:16:00.230
cool to watch him do his thing along with the

00:16:00.230 --> 00:16:03.129
horns and all that. But Couldn't Stand the Weather,

00:16:03.230 --> 00:16:05.870
I think, was pretty silly because the band are

00:16:05.870 --> 00:16:10.789
getting water sprayed all over them. And some

00:16:10.789 --> 00:16:12.509
of the people were getting blown away by it.

00:16:12.669 --> 00:16:15.490
And no, it's just complete cool all the way around.

00:16:15.669 --> 00:16:17.210
And I've always loved Couldn't Stand the Weather,

00:16:17.269 --> 00:16:20.429
the title track to their second album. So that's

00:16:20.429 --> 00:16:22.809
going to be the third song for this little mixtape

00:16:22.809 --> 00:16:26.909
here. Well, I have that on my bucket list. So

00:16:26.909 --> 00:16:29.470
you scooped me on the track, but I will tell

00:16:29.470 --> 00:16:32.789
you this next to each song. I like to put a word

00:16:32.789 --> 00:16:36.789
that kind of gives me an idea for when I'm looking

00:16:36.789 --> 00:16:39.950
for kind of how to bounce off of what you've

00:16:39.950 --> 00:16:43.330
chosen. And I had one word written next to couldn't

00:16:43.330 --> 00:16:47.730
stand the weather. And that word is groove. You

00:16:47.730 --> 00:16:52.039
nailed it. This song has such. An undeniable

00:16:52.039 --> 00:16:55.860
groove. Even the start and stops in the riff

00:16:55.860 --> 00:16:58.820
itself, where the whole band just stops and picks

00:16:58.820 --> 00:17:02.799
it back up on the offbeat. It really grooves.

00:17:03.240 --> 00:17:07.359
And it's a style of blues playing that was different

00:17:07.359 --> 00:17:10.759
than your typical blues rock that you would hear

00:17:10.759 --> 00:17:14.380
in the 70s. This had a, dare I say, a danceable

00:17:14.380 --> 00:17:18.430
aspect to it, which was not. a part of blues

00:17:18.430 --> 00:17:21.569
music per se. And this groove is something that

00:17:21.569 --> 00:17:25.490
really goes throughout a lot of the songs in

00:17:25.490 --> 00:17:27.650
his catalog. So I'm so glad you brought that

00:17:27.650 --> 00:17:32.250
up. And I am going to follow that groove up with

00:17:32.250 --> 00:17:37.029
a cover song because I love my covers. And this

00:17:37.029 --> 00:17:40.690
cover is a song that was originally recorded

00:17:40.690 --> 00:17:45.509
by writer unknown. It is literally written that

00:17:45.509 --> 00:17:49.839
way. on the base of The Sky is Crying from 1991.

00:17:50.299 --> 00:17:55.220
But I'm going to assume that the vibe that Stevie

00:17:55.220 --> 00:17:57.519
Ray Vaughan was going for on this song was that

00:17:57.519 --> 00:18:01.960
of the amazing Johnny Winters version. And this

00:18:01.960 --> 00:18:05.259
is the opening track on The Sky is Crying, Boot

00:18:05.259 --> 00:18:12.359
Hill. This song is a blazing blues rocker that

00:18:12.359 --> 00:18:17.359
really showcases How incredible Double Trouble

00:18:17.359 --> 00:18:21.980
and Stevie Ray are as a unit. Because this song,

00:18:21.980 --> 00:18:26.079
again, has this undeniable blues groove. But

00:18:26.079 --> 00:18:29.200
it is heavy. The tone that Stevie Ray is pulling

00:18:29.200 --> 00:18:32.799
off in this song is unbelievable. And it's such

00:18:32.799 --> 00:18:37.880
a fantastic way to open up an album. Especially

00:18:37.880 --> 00:18:44.019
because this was kind of marketed as his last...

00:18:44.400 --> 00:18:47.519
hurrah so to speak obviously there were deluxe

00:18:47.519 --> 00:18:51.279
editions and box sets that came but at the time

00:18:51.279 --> 00:18:54.779
this was kind of put out there as his final musical

00:18:54.779 --> 00:18:57.980
statement and i bought it the day it came out

00:18:57.980 --> 00:19:01.619
and it has always resonated with me kind of at

00:19:01.619 --> 00:19:03.920
the same level of instep because instep was his

00:19:03.920 --> 00:19:07.839
final official album and this was kind of the

00:19:07.839 --> 00:19:11.750
one right after so it's almost like the end of

00:19:11.750 --> 00:19:14.430
the set and the encore, these two albums together

00:19:14.430 --> 00:19:17.549
for me. So that is what I am going with. Following

00:19:17.549 --> 00:19:19.490
up. Couldn't stand the weather with boot Hill

00:19:19.490 --> 00:19:22.250
from the sky is crying. That's a great choice,

00:19:22.329 --> 00:19:24.589
man. And I, yeah, you're, you're not wrong about

00:19:24.589 --> 00:19:28.029
the chemistry of Stevie Ray and double trouble,

00:19:28.109 --> 00:19:30.869
or I guess, I guess triple trouble since they

00:19:30.869 --> 00:19:33.049
added Reese Winans, but they kept it with double

00:19:33.049 --> 00:19:35.859
trouble, but. I hate feeling like I'm leaving

00:19:35.859 --> 00:19:37.480
out Reese Winans because even though they brought

00:19:37.480 --> 00:19:40.059
in Reese Winans with the Soul to Soul album,

00:19:40.160 --> 00:19:41.839
that's when he made his debut with the band.

00:19:42.259 --> 00:19:44.640
But yeah, it's definitely a heavy blues. But

00:19:44.640 --> 00:19:47.740
then again, it's very like whenever you hear

00:19:47.740 --> 00:19:50.740
that guitar tone, it's completely. distinctive

00:19:50.740 --> 00:19:52.640
and whenever you hear that guitar tone you know

00:19:52.640 --> 00:19:55.900
that's SRV and then he does things like a playing

00:19:55.900 --> 00:19:59.259
style and you'd say yep that's him but like any

00:19:59.259 --> 00:20:01.619
other great guitar player they're very distinctive

00:20:01.619 --> 00:20:03.880
to point out it's like whenever you hear stuff

00:20:03.880 --> 00:20:06.400
you'd say like oh that's Eddie Van Halen oh that's

00:20:06.400 --> 00:20:09.420
Stevie Ray Vaughan oh that's this person but

00:20:09.420 --> 00:20:13.000
yeah it's definitely heavy groove so very good

00:20:13.000 --> 00:20:15.279
choice as a matter of fact I uh re -listened

00:20:15.279 --> 00:20:18.029
to Couldn't Stand the Weather uh last month because

00:20:18.029 --> 00:20:19.829
it was recently the anniversary of that album

00:20:19.829 --> 00:20:22.250
and i listened to the deluxe edition that had

00:20:22.250 --> 00:20:24.509
that because some of the uh tracks that were

00:20:24.509 --> 00:20:27.130
on uh this guy's crying and some other like archive

00:20:27.130 --> 00:20:29.609
albums were on like expanded editions of certain

00:20:29.609 --> 00:20:31.710
albums and boot hell was on there i don't know

00:20:31.710 --> 00:20:33.569
if it was a different take done in a different

00:20:33.569 --> 00:20:35.410
year because sometimes some of these songs were

00:20:35.410 --> 00:20:39.190
done in different album sessions so i think there's

00:20:39.190 --> 00:20:40.910
like a couple versions of boot hill and a couple

00:20:40.910 --> 00:20:43.230
of other uh songs that we might point out here

00:20:43.230 --> 00:20:47.390
but yeah definitely a great choice for sure How

00:20:47.390 --> 00:20:51.710
do I want to follow that? Oh, boy. I think we'll

00:20:51.710 --> 00:20:56.529
go to Texas Flood. We got to bring in what's

00:20:56.529 --> 00:21:00.210
one of his most recognizable songs. I think we'll

00:21:00.210 --> 00:21:02.710
go with Pride and Joy because obviously Pride

00:21:02.710 --> 00:21:05.150
and Joy is one of his staples. Like everybody.

00:21:05.369 --> 00:21:07.430
Well, I don't think I want to say everybody,

00:21:07.470 --> 00:21:10.690
but I want to say most. rock fans or at least

00:21:10.690 --> 00:21:12.789
most music fans are aware of pride and joy i

00:21:12.789 --> 00:21:17.769
mean because it has that playing style that that's

00:21:17.769 --> 00:21:20.410
a part of his style and uh i'm kind of taken

00:21:20.410 --> 00:21:22.390
off of what aaron from ridiculous rock record

00:21:22.390 --> 00:21:24.630
review said because he talked about texas flood

00:21:24.630 --> 00:21:28.569
before and he said if you hear that that's stevie

00:21:28.569 --> 00:21:31.049
ray for sure and he does do that a couple of

00:21:31.049 --> 00:21:33.289
his songs but pride and joy is no exception i

00:21:33.289 --> 00:21:36.109
mean what can be said it's a great a great riff

00:21:36.539 --> 00:21:39.319
great solo one of his most recognizable songs

00:21:39.319 --> 00:21:42.019
it's a radio staple i mean what can be said about

00:21:42.019 --> 00:21:44.460
that it's just uh when we talked about groove

00:21:44.460 --> 00:21:47.500
and yeah i mean because a lot of texas blues

00:21:47.500 --> 00:21:51.019
especially texas blues rock they're very groovy

00:21:51.019 --> 00:21:53.140
bands like zz top obviously fits in with that

00:21:53.140 --> 00:21:55.420
description as well because they're like masters

00:21:55.420 --> 00:21:58.559
of the boogie rock music and You know, listening

00:21:58.559 --> 00:22:01.079
to them and ZZ Top made me really appreciate

00:22:01.079 --> 00:22:03.680
Boogie Rock. You know, just awesome guitar music

00:22:03.680 --> 00:22:06.819
that makes you strut your hips or whatever you

00:22:06.819 --> 00:22:08.640
want to do. You know, kind of headbang a little

00:22:08.640 --> 00:22:11.660
bit. But no doubt about it, Pride and Joy makes

00:22:11.660 --> 00:22:13.359
you do that a little bit. So it's a classic.

00:22:13.599 --> 00:22:15.779
You nailed it on the last word. It's an absolute

00:22:15.779 --> 00:22:19.420
classic. It's that walking style, that chugging

00:22:19.420 --> 00:22:23.220
guitar that demands your attention. Because it

00:22:23.220 --> 00:22:27.099
was, again, unlike the other... bluesy rock songs

00:22:27.099 --> 00:22:29.079
that were on the radio at the time. If you think

00:22:29.079 --> 00:22:32.019
about the bluesy rock of, let's say, Keep Your

00:22:32.019 --> 00:22:34.380
Hands to Yourself by the Georgia Satellites,

00:22:34.480 --> 00:22:39.000
that was a little bit more pop -leaning and pop

00:22:39.000 --> 00:22:42.119
-friendly where this one's leaning into the blues

00:22:42.119 --> 00:22:45.059
aspect of things and kind of staying away from

00:22:45.059 --> 00:22:49.480
the pop side, even though lyrically and vocally

00:22:49.480 --> 00:22:53.940
it's a song that's easy to sing along with. Musically,

00:22:54.490 --> 00:22:57.269
It leaned more towards of what George Thorogood

00:22:57.269 --> 00:23:00.150
was doing than more of the poppier aspect of,

00:23:00.190 --> 00:23:02.170
let's say, like I mentioned, Keep Your Hands

00:23:02.170 --> 00:23:05.029
to Yourself. But I love that song, and I'm glad

00:23:05.029 --> 00:23:07.269
that that's included tonight. I had two versions

00:23:07.269 --> 00:23:11.890
of the song in my list. I had Texas Flood's 1983

00:23:11.890 --> 00:23:15.910
version as well as the in -session version with

00:23:15.910 --> 00:23:18.720
Albert King. because that version was a little

00:23:18.720 --> 00:23:21.500
bit more extended and you got one of the greats

00:23:21.500 --> 00:23:24.200
of blues guitar playing on it as well. So that

00:23:24.200 --> 00:23:30.160
added this extra layer of legendary to the song.

00:23:30.339 --> 00:23:33.359
And I love that aspect about it. But following

00:23:33.359 --> 00:23:37.839
it up, that's actually tough. And I want to pick

00:23:37.839 --> 00:23:40.339
up the energy a little bit because Pride and

00:23:40.339 --> 00:23:43.079
Joy is a great song, but it's a little bit more

00:23:43.079 --> 00:23:45.890
mid -tempo. And I want to crank up with a little

00:23:45.890 --> 00:23:47.930
bit more energy. So I'm going to jump up a couple

00:23:47.930 --> 00:23:51.329
of years and I'm going to go to 1985's Soul to

00:23:51.329 --> 00:23:55.690
Soul. And I am going to go with the cover of

00:23:55.690 --> 00:23:59.210
Hank Ballard's Look at Little Sister, which was

00:23:59.210 --> 00:24:04.210
a single from the album. And this song just slays.

00:24:04.210 --> 00:24:08.250
This song is heavy. This song demands you stop

00:24:08.250 --> 00:24:12.089
what you're doing and you listen to. the awesomeness

00:24:12.089 --> 00:24:14.349
that's coming out of your stereo system. And

00:24:14.349 --> 00:24:18.549
it was this bombastic statement of a song that

00:24:18.549 --> 00:24:22.869
really, truly stood out to me on an otherwise

00:24:22.869 --> 00:24:26.970
fantastic soul -to -soul album. This one was

00:24:26.970 --> 00:24:29.490
the one song on the album that I had to go back

00:24:29.490 --> 00:24:32.329
and listen to immediately upon finishing the

00:24:32.329 --> 00:24:34.730
album for the first time because it was the song

00:24:34.730 --> 00:24:36.509
that jumped out at me at the most and arguably

00:24:36.509 --> 00:24:39.480
the reason why they chose it for a single. So

00:24:39.480 --> 00:24:41.700
following you up with pride and joy, I'm going

00:24:41.700 --> 00:24:45.920
to soul to soul and look at little sister. Ooh,

00:24:46.099 --> 00:24:48.700
brilliant choice there, man. I mean, especially

00:24:48.700 --> 00:24:50.720
with the addition of Reese Winans, like we talked

00:24:50.720 --> 00:24:52.740
about, this is his first appearance with double

00:24:52.740 --> 00:24:55.759
trouble, a soul to soul album and look a little

00:24:55.759 --> 00:24:59.039
sister. And wow. I mean, especially with the

00:24:59.039 --> 00:25:01.259
addition of Joseph blood on, on the saxophone.

00:25:01.259 --> 00:25:05.779
Cause Oh, that's sacks. It was sexy. say i was

00:25:05.779 --> 00:25:09.480
about to say that sex sexy dad jokes here as

00:25:09.480 --> 00:25:12.059
well yeah he finally i was i was hoping you would

00:25:12.059 --> 00:25:14.279
bring in one of those stupid dad jokes i can't

00:25:14.279 --> 00:25:17.819
go wrong with them but yeah i mean the addition

00:25:17.819 --> 00:25:21.220
of joseph bled on sax who joseph bled was actually

00:25:21.220 --> 00:25:23.799
a chris layton's roommate because there is a

00:25:23.799 --> 00:25:26.940
uh a little podcast that i listened to that talked

00:25:26.940 --> 00:25:29.920
about the uh um like her research into Stevie

00:25:29.920 --> 00:25:32.319
Ray Vaughan and double trouble. And she had interviewed

00:25:32.319 --> 00:25:34.799
Tommy Shannon and Chris Layton and Chris Layton

00:25:34.799 --> 00:25:37.519
talked about his time with Joseph blood and they

00:25:37.519 --> 00:25:40.420
knew each other, but Joseph blood also was on

00:25:40.420 --> 00:25:43.799
the. horns for Crossfire. But yeah, Look at Little

00:25:43.799 --> 00:25:45.740
Sister is obviously one of the best known songs

00:25:45.740 --> 00:25:47.640
from Soul to Soul. It's another song I grew up

00:25:47.640 --> 00:25:51.160
with. And there's a I don't know if you've seen

00:25:51.160 --> 00:25:53.380
this, but there is this little video of Muppets

00:25:53.380 --> 00:25:55.500
playing Look at Little Sister. I don't know if

00:25:55.500 --> 00:25:57.460
you've seen that. Of course, it's the Muppets,

00:25:57.460 --> 00:26:04.019
man. Oh, man, they did an impressive job. Hats

00:26:04.019 --> 00:26:06.759
off to Zoot and the rest of the electric man

00:26:06.759 --> 00:26:10.319
for tackling such a challenging tune. Oh, no

00:26:10.319 --> 00:26:13.480
doubt about that. I mean, man. And also, Look

00:26:13.480 --> 00:26:16.359
A Little Sister is obviously known for, if you

00:26:16.359 --> 00:26:19.319
guys are familiar with the Austin City 11s in

00:26:19.319 --> 00:26:23.960
1989, this is a song where Stevie Ray broke the

00:26:23.960 --> 00:26:26.559
guitar string. But you know what? Guitar string,

00:26:26.740 --> 00:26:29.700
no problem. He plays things how he feels. He

00:26:29.700 --> 00:26:31.819
doesn't try to play it exactly off the album.

00:26:31.880 --> 00:26:34.220
He just plays whatever his soul tells him to.

00:26:34.380 --> 00:26:37.039
And there are many ways for it to sound good.

00:26:37.140 --> 00:26:39.099
And it still sounded great despite the broken

00:26:39.099 --> 00:26:42.859
string. And he switched the guitars without even

00:26:42.859 --> 00:26:46.980
missing a beat. And that's just legendary in

00:26:46.980 --> 00:26:49.000
and of itself right there with that guitar switch.

00:26:49.440 --> 00:26:52.259
Definitely check that out. But other than that,

00:26:52.279 --> 00:26:53.579
it's a great performance of the song. It's a

00:26:53.579 --> 00:26:57.599
great song too. How am I going to follow this?

00:26:58.829 --> 00:27:02.630
I think I'll go with a cover myself. I'm going

00:27:02.630 --> 00:27:05.630
to go from one of the archives, but it's on The

00:27:05.630 --> 00:27:08.670
Sky is Crying, too. One of my favorite cover

00:27:08.670 --> 00:27:11.329
songs of all time, I think. Stevie Ray Vaughan

00:27:11.329 --> 00:27:13.829
and Double Trouble cover Jimi Hendrix so well.

00:27:14.430 --> 00:27:17.730
And obviously, there are two songs that they

00:27:17.730 --> 00:27:20.349
recorded that were originally done by Hendrix.

00:27:20.950 --> 00:27:23.589
But I think I'll go and start off with that's

00:27:23.589 --> 00:27:25.970
on The Sky is Crying here. And that is their

00:27:25.970 --> 00:27:30.700
version of Little Wing. Yes. What can be said

00:27:30.700 --> 00:27:34.200
about that version, man? I mean, obviously Hendrix

00:27:34.200 --> 00:27:37.160
sang on his original version from Axis Bold as

00:27:37.160 --> 00:27:40.880
Love, which is a fantastic album. But I think

00:27:40.880 --> 00:27:43.480
he would have, I mean, he was a great singer

00:27:43.480 --> 00:27:46.400
and both him and Hendrix knew how to sell their

00:27:46.400 --> 00:27:48.380
lyrics, even though they didn't have the greatest

00:27:48.380 --> 00:27:50.880
of voices. But they knew how to sell their lyrics

00:27:50.880 --> 00:27:52.400
and really communicate with what they're talking

00:27:52.400 --> 00:27:55.880
about here. It's unfortunate that he didn't sing

00:27:55.880 --> 00:27:57.640
on Little Wing. I'm very curious what he would

00:27:57.640 --> 00:28:00.119
sound like. But then again, I'm also happy that

00:28:00.119 --> 00:28:02.900
he kind of took it further than what Hendrix

00:28:02.900 --> 00:28:04.740
did on Axis Bold as Love, because unfortunately,

00:28:04.799 --> 00:28:07.519
the Hendrix version is only a little over two

00:28:07.519 --> 00:28:09.420
minutes, which is a shame because I would love

00:28:09.420 --> 00:28:11.640
to. I think anybody who's anybody who is a big

00:28:11.640 --> 00:28:13.859
Hendrix fan like myself would have loved to have

00:28:13.859 --> 00:28:15.519
seen how far they would have stretched it out,

00:28:15.579 --> 00:28:17.339
especially on Bold as Love, since it was so short.

00:28:17.819 --> 00:28:19.920
But I'm happy that it's been stretched out to

00:28:19.920 --> 00:28:23.130
over six and a half minutes here. It's completely

00:28:23.130 --> 00:28:25.910
instrumental, but what can be said? He played

00:28:25.910 --> 00:28:28.650
Hendrix so well, and he did his own stamp on

00:28:28.650 --> 00:28:32.089
it without stepping on the master's toes, but

00:28:32.089 --> 00:28:38.369
just breathtaking. Absolutely breathtaking. Tackling

00:28:38.369 --> 00:28:44.410
Jimi Hendrix in any aspect is a challenge of

00:28:44.410 --> 00:28:47.349
gargantuan proportions here. You are tackling

00:28:47.349 --> 00:28:51.019
one of the best guitarists ever. In the history

00:28:51.019 --> 00:28:54.799
of guitar playing and to be able to do it with

00:28:54.799 --> 00:28:58.140
the authority that Stevie Ray Vaughan pulled

00:28:58.140 --> 00:29:01.299
off in Little Wing and to make the guitar become

00:29:01.299 --> 00:29:05.500
the voice of the song versus the lyrics that

00:29:05.500 --> 00:29:08.920
are on the original. So you're taking a song

00:29:08.920 --> 00:29:11.599
that is well known lyrically and just stripping

00:29:11.599 --> 00:29:15.660
that from the song and trying to pull off the

00:29:15.660 --> 00:29:19.099
song similar to what Jimi Hendrix himself did.

00:29:19.789 --> 00:29:23.849
When he covered Born Under a Bad Sign, which

00:29:23.849 --> 00:29:26.609
ended up on his blues compilation that came out

00:29:26.609 --> 00:29:28.930
in the 90s. You're taking a song with lyrics

00:29:28.930 --> 00:29:31.849
that you know. When Cream did Born Under a Bad

00:29:31.849 --> 00:29:34.309
Sign, there are lyrics to this song. But Jimi

00:29:34.309 --> 00:29:36.950
Hendrix took it and made it eight minutes of

00:29:36.950 --> 00:29:39.230
just his guitar doing the talking. And I love

00:29:39.230 --> 00:29:42.009
the fact that Stevie Ray did that with this version

00:29:42.009 --> 00:29:45.750
of Little Wing because the guitar told all that

00:29:45.750 --> 00:29:50.720
needed to be said. So coming out of that is a

00:29:50.720 --> 00:29:53.539
tough challenge, but I think I've got the perfect

00:29:53.539 --> 00:29:59.980
song to do it. And that is a song that was originally

00:29:59.980 --> 00:30:04.200
recorded by Robert Giddens. And it's the slow

00:30:04.200 --> 00:30:09.720
burn of Tin Pan Alley, a .k .a. Roughest Place

00:30:09.720 --> 00:30:13.519
in Town from Couldn't Stand the Weather. Nine

00:30:13.519 --> 00:30:18.960
minutes and ten seconds. Of tension. That you

00:30:18.960 --> 00:30:23.299
could feel. Throughout the song. It's slow. It's

00:30:23.299 --> 00:30:25.859
chill. But there's something about this song.

00:30:26.160 --> 00:30:28.980
That is just commanding your attention. I know

00:30:28.980 --> 00:30:30.859
there's some people that aren't into long songs.

00:30:31.140 --> 00:30:33.960
But this one. The tension continues to build.

00:30:34.180 --> 00:30:38.460
And the playing. Through the subtleness. Of the

00:30:38.460 --> 00:30:41.819
way he's delivering the guitar lines. Adds to

00:30:41.819 --> 00:30:46.089
this song. And it's just so well done. And it's

00:30:46.089 --> 00:30:49.150
such a great fit coming out of Little Wing because

00:30:49.150 --> 00:30:52.710
it kind of brings the vibe down a little bit

00:30:52.710 --> 00:30:56.309
coming out of Little Wing. But at the same time

00:30:56.309 --> 00:31:01.630
is really expanding upon the overall skill set

00:31:01.630 --> 00:31:04.150
that Stevie Ray Vaughan and Double Trouble have

00:31:04.150 --> 00:31:07.710
because it is very easy to make nine minutes

00:31:07.710 --> 00:31:10.809
boring. And that never happens in this version.

00:31:11.180 --> 00:31:12.839
When the song's over, you feel like it could

00:31:12.839 --> 00:31:15.200
have went on much longer. So following up Little

00:31:15.200 --> 00:31:18.079
Wing, I'm going with Tin Pan Alley, a .k .a.

00:31:18.660 --> 00:31:22.019
Roughest Place in Town. Yeah, over nine minutes,

00:31:22.140 --> 00:31:25.779
never boring. Excellent, excellent, pure blues

00:31:25.779 --> 00:31:28.319
right there. And when I talked about Couldn't

00:31:28.319 --> 00:31:30.859
Stand the Weather on R4, I did research, obviously.

00:31:31.400 --> 00:31:34.819
And their manager at the time, who was John Hammond,

00:31:34.900 --> 00:31:37.660
I believe that he stated that that was actually

00:31:37.660 --> 00:31:41.210
a... a one take solo and he told stevie that

00:31:41.210 --> 00:31:43.930
he couldn't do a better job than that so it's

00:31:43.930 --> 00:31:45.910
always fascinating to hear like a one take story

00:31:45.910 --> 00:31:48.690
from any musician it's always fascinating to

00:31:48.690 --> 00:31:52.390
hear that but yeah absolutely brilliant and there's

00:31:52.390 --> 00:31:55.450
also a very good version of him playing that

00:31:55.450 --> 00:31:58.069
with another well -known blues legend who goes

00:31:58.069 --> 00:32:01.089
by the name of johnny copeland it's also on the

00:32:01.089 --> 00:32:04.210
uh live in Montreux because Stevie and Double

00:32:04.210 --> 00:32:06.089
Trouble played at the Montreux Jazz Festival

00:32:06.089 --> 00:32:08.529
twice. They're both on live albums. Well, they're

00:32:08.529 --> 00:32:11.329
both on the same little live album set, but they're

00:32:11.329 --> 00:32:14.029
two CDs. The first performance was done in 1982.

00:32:14.329 --> 00:32:16.309
That was when they got their big break where

00:32:16.309 --> 00:32:19.410
they met Jackson Brown and David Bowie. and they

00:32:19.410 --> 00:32:22.609
also played it again in 1985 and they played

00:32:22.609 --> 00:32:24.750
that with johnny copeland they also did play

00:32:24.750 --> 00:32:26.349
a couple more songs with johnny copeland which

00:32:26.349 --> 00:32:28.509
i think are really cool but unfortunately they

00:32:28.509 --> 00:32:31.430
were cut off which is a bit of a shame but nonetheless

00:32:31.430 --> 00:32:33.930
that song is just absolutely brilliant just pure

00:32:33.930 --> 00:32:37.130
blues all the way through not boring even for

00:32:37.130 --> 00:32:43.230
a second oh okay i think i'll go with my pick

00:32:43.230 --> 00:32:47.359
from soul to soul i think i'll go with One of

00:32:47.359 --> 00:32:50.339
the more well -known songs from that album, I'm

00:32:50.339 --> 00:32:54.099
going to go with Change It. That's another childhood

00:32:54.099 --> 00:32:55.819
favorite of mine right there because it was,

00:32:55.980 --> 00:32:58.680
I don't know if it was a single or not, but it

00:32:58.680 --> 00:33:01.859
did have a video where it had Stevie walking

00:33:01.859 --> 00:33:04.740
into a barn and somewhere out in the desert somewhere

00:33:04.740 --> 00:33:09.079
and just pure cool from him. And it's an excellent

00:33:09.079 --> 00:33:12.559
song. I remember growing up with the song a lot

00:33:12.559 --> 00:33:15.480
and it never gets old for me. Still kind of has

00:33:15.480 --> 00:33:17.500
a bit of a mid tempo kind of groove, even though

00:33:17.500 --> 00:33:19.299
we're still kind of picking things up a little

00:33:19.299 --> 00:33:22.019
bit after the cool down of Tin Pan Alley. But

00:33:22.019 --> 00:33:25.000
I still still it's a well known song in the canon

00:33:25.000 --> 00:33:28.519
of Double Trouble. And it's another very, very

00:33:28.519 --> 00:33:32.099
good groove, especially his vocals like we talked

00:33:32.099 --> 00:33:35.839
about earlier. And I hate to feel like I'm kind

00:33:35.839 --> 00:33:37.720
of burning on Soul to Soul here a little bit,

00:33:37.759 --> 00:33:39.460
but even though it's my least favorite album

00:33:39.460 --> 00:33:41.859
of their catalog, but I still love Soul to Soul,

00:33:41.940 --> 00:33:46.700
no question. But that was when Stevie was at

00:33:46.700 --> 00:33:48.559
his lowest point in his life because he was dealing

00:33:48.559 --> 00:33:52.180
with his addiction and his personal life was

00:33:52.180 --> 00:33:56.240
just not so good. There's this VH1 Legends documentary

00:33:56.240 --> 00:33:59.640
about Stevie when they talked about how Soul

00:33:59.640 --> 00:34:01.960
to Soul kind of lacked the fire and bite of the

00:34:01.960 --> 00:34:03.599
first two albums, Texas Flood and Couldn't Stand

00:34:03.599 --> 00:34:06.039
the Weather. Even though it's still, I kind of

00:34:06.039 --> 00:34:08.039
see that because it did take a long time for

00:34:08.039 --> 00:34:09.860
them to record the album. But still, I think

00:34:09.860 --> 00:34:11.880
it's a really, really good album, no doubt about

00:34:11.880 --> 00:34:13.860
it. But I just wanted to pick, I think, one of

00:34:13.860 --> 00:34:15.719
the better songs off of that album, which was

00:34:15.719 --> 00:34:18.420
Change It. So it means a lot to me for sure.

00:34:19.000 --> 00:34:21.239
Well, I'm glad you did that because that is another

00:34:21.239 --> 00:34:23.579
one of the songs I had on my list from soul to

00:34:23.579 --> 00:34:25.500
soul. So that makes my life just a little bit

00:34:25.500 --> 00:34:27.920
easier. Great song. I think you said everything

00:34:27.920 --> 00:34:32.119
that needs to be said about it. It was a low

00:34:32.119 --> 00:34:36.579
point in Stevie Ray Vaughan's life and it kind

00:34:36.579 --> 00:34:39.900
of came out in the music. Whereas songs that

00:34:39.900 --> 00:34:43.280
were more sad and heart wrenching from that album,

00:34:43.340 --> 00:34:46.380
like Ain't Gone Give Up On Love, that really.

00:34:47.050 --> 00:34:50.010
Speaks volumes on that album because of what

00:34:50.010 --> 00:34:52.730
he was going through at the time. But the more

00:34:52.730 --> 00:34:56.349
upbeat fare on that album didn't pay off like

00:34:56.349 --> 00:34:59.170
it did on other albums, except I think Change

00:34:59.170 --> 00:35:01.489
It. Again, that's a little more mid tempo. But

00:35:01.489 --> 00:35:04.190
Change It is one of the songs that did pay off

00:35:04.190 --> 00:35:07.750
from this album. And obviously, low point aside,

00:35:07.909 --> 00:35:11.309
what he's going to come back from that with moving

00:35:11.309 --> 00:35:16.739
forward is obviously or. Probably his best album

00:35:16.739 --> 00:35:19.059
ever, which was 89's In Step by the time they

00:35:19.059 --> 00:35:23.579
got to it. So love the pick. And now we get to

00:35:23.579 --> 00:35:27.519
close out this amazing side. And one part of

00:35:27.519 --> 00:35:30.159
Stevie Ray Vaughan's music that we have not talked

00:35:30.159 --> 00:35:35.940
about tonight so far is the way that Stevie Ray

00:35:35.940 --> 00:35:39.900
Vaughan can handle jazz music. Stevie Ray Vaughan

00:35:39.900 --> 00:35:44.000
is the person that introduced me to jazz music.

00:35:44.679 --> 00:35:48.579
And there's something about when Stevie Ray Vaughan

00:35:48.579 --> 00:35:53.000
plays jazz that it just takes the room over.

00:35:53.219 --> 00:35:56.480
And he speaks to you through his guitar in a

00:35:56.480 --> 00:36:01.159
way that not many guitarists have ever done.

00:36:01.320 --> 00:36:05.380
And because one of Stevie Ray Vaughan's jazz

00:36:05.380 --> 00:36:09.079
influences is Kenny Burrell, I hear elements

00:36:09.079 --> 00:36:11.679
of Kenny Burrell in this song. And this song

00:36:11.679 --> 00:36:16.380
closes. a Stevie Ray Vaughan record, which I

00:36:16.380 --> 00:36:18.639
think is amazing. So the song that I am going

00:36:18.639 --> 00:36:22.059
to choose to close out Side A is the beautiful

00:36:22.059 --> 00:36:26.500
jazz stylings of Lenny from Texas Flood, a song

00:36:26.500 --> 00:36:32.210
named after his guitar. Oh, just. Pure beauty

00:36:32.210 --> 00:36:35.289
from start to finish. Yeah. Not only the jazz

00:36:35.289 --> 00:36:36.969
influence, like Kenny Burrell, like you said,

00:36:37.030 --> 00:36:40.369
he also did that with a staying swing from couldn't

00:36:40.369 --> 00:36:42.190
stand the weather, but that's pure jazz swing.

00:36:42.389 --> 00:36:44.969
Yes. Which is a very, very cool tune in of itself.

00:36:45.010 --> 00:36:47.610
But yeah, Lenny, you can hear like a bit of Hendrix

00:36:47.610 --> 00:36:49.909
in there as well. You can hear many influences

00:36:49.909 --> 00:36:52.329
in Lenny. Like obviously he's not just a blues

00:36:52.329 --> 00:36:54.489
player. He's a well -versed in the rock. He's

00:36:54.489 --> 00:36:56.690
well -versed in the jazz. Like you said, like

00:36:56.690 --> 00:36:59.500
Kenny Burrell. Which I'm yet to dive into. I

00:36:59.500 --> 00:37:02.039
mean, I still have a lot more to dive into. But

00:37:02.039 --> 00:37:05.000
yeah, I have that in my head for sure. If you're

00:37:05.000 --> 00:37:08.840
going to dive into Kenny Burrell, Midnight Blue.

00:37:09.360 --> 00:37:12.300
It has Chitlin's Concarne on it, which Stevie

00:37:12.300 --> 00:37:15.019
Ray Vaughan covered on The Sky is Crying. And

00:37:15.019 --> 00:37:17.699
to me, that is the perfect introduction to his

00:37:17.699 --> 00:37:20.659
music. And I think if you're a fan of the style

00:37:20.659 --> 00:37:23.920
like Lenny and Chitlin's Concarne, that's a perfect

00:37:23.920 --> 00:37:26.960
place to start. Gotcha. Cause I, I'm, I'm obviously

00:37:26.960 --> 00:37:28.719
familiar with his version of Chitlin's con carne

00:37:28.719 --> 00:37:31.820
as well. Cause, um, so yeah, he's definitely

00:37:31.820 --> 00:37:33.460
in my head for sure. I just haven't gotten around

00:37:33.460 --> 00:37:35.719
to him yet, but it will happen. It will happen.

00:37:35.920 --> 00:37:39.000
But yeah, another fun fact is that, um, his first

00:37:39.000 --> 00:37:41.679
wife. Legendarily, he called his first wife his

00:37:41.679 --> 00:37:44.860
first guitar, but his actual first wife was a

00:37:44.860 --> 00:37:47.480
woman who went by the name of Lenny Bailey. Unfortunately,

00:37:47.699 --> 00:37:49.659
the marriage didn't end very well because they

00:37:49.659 --> 00:37:52.099
were fighting and all that because of his Stevie

00:37:52.099 --> 00:37:54.840
success. Lenny felt that she was being pushed

00:37:54.840 --> 00:37:58.699
to the sidelines and it was a very, very bitter

00:37:58.699 --> 00:38:01.099
ending to their marriage. And if you want to

00:38:01.099 --> 00:38:03.639
know more, you can just watch that VH1 Legend

00:38:03.639 --> 00:38:05.420
documentary, which is a very good documentary.

00:38:05.980 --> 00:38:08.480
But yeah, absolutely. Lenny is a very beautiful

00:38:08.480 --> 00:38:11.860
song and one of the beautiful ballads that he

00:38:11.860 --> 00:38:14.599
did. And I love his ballads, especially if they

00:38:14.599 --> 00:38:16.960
were just instrumental ballads. But we'll get

00:38:16.960 --> 00:38:19.460
to that at some point. No doubt about that. I

00:38:19.460 --> 00:38:22.739
have a feeling we will. And that mixtapers concludes

00:38:22.739 --> 00:38:26.880
side A of our ultimate Stevie Ray Vaughan playlist,

00:38:27.219 --> 00:38:30.199
which consists of The House is Rockin' from In

00:38:30.199 --> 00:38:34.030
Step, Crossfire from In Step. Couldn't Stand

00:38:34.030 --> 00:38:35.869
the Weather from the album of the same name,

00:38:36.070 --> 00:38:39.570
Boot Hill from The Sky is Crying, Pride and Joy

00:38:39.570 --> 00:38:42.510
from Texas Flood, Look at Little Sister from

00:38:42.510 --> 00:38:46.030
Soul to Soul, Little Wing from The Sky is Crying,

00:38:46.130 --> 00:38:49.909
Tin Pan Alley, aka Roughest Place in Town from

00:38:49.909 --> 00:38:52.550
Couldn't Stand the Weather, Change It from Soul

00:38:52.550 --> 00:38:57.179
to Soul, and Lenny from Texas. You can always

00:38:57.179 --> 00:38:59.780
head to myweeklymixtape .com to hear all the

00:38:59.780 --> 00:39:02.599
songs we've discussed in this mix through the

00:39:02.599 --> 00:39:06.320
playlist embedded on the episode page. So, David,

00:39:06.440 --> 00:39:08.380
while I'm flipping the tape over and getting

00:39:08.380 --> 00:39:11.900
ready for side B, what are your thoughts on side

00:39:11.900 --> 00:39:15.659
A thus far? Do you think we're hitting the right

00:39:15.659 --> 00:39:19.820
notes so far? I was hoping you were going to

00:39:19.820 --> 00:39:22.300
ask, are we in step with our picks? But without

00:39:22.300 --> 00:39:24.820
a doubt, we are on point like a number two pencil,

00:39:24.900 --> 00:39:27.460
man. And that number two pencil, I think, is

00:39:27.460 --> 00:39:30.679
very, very sharp and fine right now so far. All

00:39:30.679 --> 00:39:32.760
right. Well, I'm going to put that pencil to

00:39:32.760 --> 00:39:36.239
paper right now with my first pick for side B.

00:39:36.719 --> 00:39:39.900
And that one, if it wasn't sharp enough, this

00:39:39.900 --> 00:39:42.719
will be the final push that it needs because

00:39:42.719 --> 00:39:45.840
Stevie Ray Vaughan's guitar is never sharper.

00:39:46.539 --> 00:39:48.980
Then the opening of Couldn't Stand the Weather

00:39:48.980 --> 00:39:53.559
and the instrumental lightning fury of Scuttlebutton.

00:39:53.639 --> 00:39:59.119
One of my favorite heavy blues rock jams. This

00:39:59.119 --> 00:40:03.579
song is under two minutes. This song is literally

00:40:03.579 --> 00:40:08.460
lightning in a bottle musically. It is. Full

00:40:08.460 --> 00:40:11.000
speed ahead. Now that I have your attention,

00:40:11.199 --> 00:40:13.900
let's get this show on the road. And if I'm kicking

00:40:13.900 --> 00:40:17.940
off any side of a Stevie Ray Vaughan mixtape

00:40:17.940 --> 00:40:20.559
or playlist, this is a song that kicks it off

00:40:20.559 --> 00:40:23.199
for me. However, I love the house is rocking

00:40:23.199 --> 00:40:26.780
for Side A. So I feel like this complements that

00:40:26.780 --> 00:40:29.280
exact same vibe that you're opened up Side A

00:40:29.280 --> 00:40:31.940
with only this time in instrumental fashion.

00:40:32.119 --> 00:40:34.960
So track one, Scuttlebutton from Couldn't Stand

00:40:34.960 --> 00:40:37.019
the Weather. Man, if you want to know how to

00:40:37.019 --> 00:40:39.219
kick off a ball game, Scuttlebutton from Couldn't

00:40:39.219 --> 00:40:41.860
Stand the Weather does the job well. And we already

00:40:41.860 --> 00:40:45.639
kind of gave you a little whiff of Stevie Ray's

00:40:45.639 --> 00:40:48.320
instrumental prowess. And not to mention, we

00:40:48.320 --> 00:40:50.320
talked about Little Wing. That's a pure instrumental

00:40:50.320 --> 00:40:54.019
version of the song. But his instrumental prowess,

00:40:54.019 --> 00:40:56.780
like I said, is just outstanding. And it makes

00:40:56.780 --> 00:41:00.460
you like Scuttlebutton is just pure fast pace.

00:41:00.500 --> 00:41:03.380
Just mind blowing. I mean. That's how you kick

00:41:03.380 --> 00:41:06.039
off a follow -up album to Texas flood. And it's

00:41:06.039 --> 00:41:08.260
just a, yeah, that's how you kick off a ball

00:41:08.260 --> 00:41:13.780
game right there. Just wow. Amazing. Wow. How

00:41:13.780 --> 00:41:16.820
am I going to follow skull button? Well, I've

00:41:16.820 --> 00:41:18.239
already picked the title track. I couldn't stand

00:41:18.239 --> 00:41:20.480
the weather because that does follow up scuttle

00:41:20.480 --> 00:41:27.960
button, but what can I do here? I think I'll

00:41:27.960 --> 00:41:33.369
go to Texas flood. with the title track Texas

00:41:33.369 --> 00:41:37.670
Flood originally done by Larry Davis and as if

00:41:37.670 --> 00:41:39.690
we weren't complimenting Stevie's guitar enough

00:41:39.690 --> 00:41:42.849
his guitar obviously is the star in the song

00:41:42.849 --> 00:41:46.150
and uh I just have nothing to say I mean I just

00:41:46.150 --> 00:41:47.750
want to leave it with nothing to say I mean because

00:41:47.750 --> 00:41:50.150
what can be said about his fantastic guitar playing

00:41:50.150 --> 00:41:53.210
I mean in a lot of these songs but man he's like

00:41:53.579 --> 00:41:56.119
a lot of other bluesmen and they do a lot of

00:41:56.119 --> 00:41:58.239
great cover songs and they did them justice.

00:41:58.420 --> 00:42:00.960
And actually there is a version of Texas flood

00:42:00.960 --> 00:42:05.179
with Larry Davis as guest vocalist on YouTube.

00:42:05.239 --> 00:42:07.320
And I think it's, I think it's really cool, especially

00:42:07.320 --> 00:42:11.219
when he was able to collaborate with older blues

00:42:11.219 --> 00:42:13.900
artists like Albert King and, you know, a lot

00:42:13.900 --> 00:42:16.760
of other people from that old era, but just the

00:42:16.760 --> 00:42:19.679
fantastic soloing his vocals obviously are well

00:42:19.679 --> 00:42:24.000
done once again, just man. Wow. That's all I

00:42:24.000 --> 00:42:26.760
got to say about that. Well, I think you nailed

00:42:26.760 --> 00:42:29.739
it. What else can be said about Texas flood?

00:42:29.800 --> 00:42:35.760
It truly introduced the next generation of blues

00:42:35.760 --> 00:42:40.000
rock to the world in 1983, because that song

00:42:40.000 --> 00:42:45.280
is your slow blues rock staple. And that is a

00:42:45.280 --> 00:42:48.860
core part of every blue show. And if you can't

00:42:48.860 --> 00:42:51.179
capture the audience's attention with a slow

00:42:51.179 --> 00:42:54.150
blues groove, You're not going to make it in

00:42:54.150 --> 00:42:56.289
blues music. And Texas Flood showed that not

00:42:56.289 --> 00:42:59.630
only does he get your attention with the song,

00:42:59.809 --> 00:43:03.829
he commands it through the entire song with some

00:43:03.829 --> 00:43:06.869
of the best playing on that entire album. I absolutely

00:43:06.869 --> 00:43:11.369
love the pick. And I am going to follow that

00:43:11.369 --> 00:43:16.969
up with my first deep cut of the night. This

00:43:16.969 --> 00:43:23.929
cut is not on a Stevie Ray Vaughan album. Instead,

00:43:23.929 --> 00:43:27.250
it's on a movie soundtrack. And that movie is

00:43:27.250 --> 00:43:31.409
1987's Back to the Beach. Most people remember

00:43:31.409 --> 00:43:34.469
that movie as the one that Pee Wee Herman sang

00:43:34.469 --> 00:43:37.210
Surfing Bird in. And you are absolutely correct.

00:43:37.329 --> 00:43:42.010
I had that Surfing Bird on 45. As well as when

00:43:42.010 --> 00:43:44.150
I finally got the full length soundtrack. And

00:43:44.150 --> 00:43:46.889
when I got the full length soundtrack, I discovered

00:43:46.889 --> 00:43:49.190
a Stevie Ray Vaughan song that blew my mind.

00:43:49.769 --> 00:43:51.949
Because I wasn't the biggest fan of surf rock,

00:43:52.030 --> 00:43:56.070
but I knew that Dick Dale was surf rock. And

00:43:56.070 --> 00:43:59.190
on the Back to the Beach soundtrack, Dick Dale

00:43:59.190 --> 00:44:02.429
and Stevie Ray Vaughan throw down on a cover

00:44:02.429 --> 00:44:07.150
of the Shantae's Pipeline. And it shows a side

00:44:07.150 --> 00:44:09.510
of Stevie Ray Vaughan that you don't hear anywhere

00:44:09.510 --> 00:44:13.530
else on his catalog. So not only is he the blues

00:44:13.530 --> 00:44:16.050
guitar maestro that you know from songs like

00:44:16.050 --> 00:44:21.409
Texas Flood, player like you hear in Lenny off

00:44:21.409 --> 00:44:25.190
Texas flood as well, or the rocking player like

00:44:25.190 --> 00:44:27.989
scuttle button or the house is rocking. He could

00:44:27.989 --> 00:44:32.130
play surf rock with the best in the business.

00:44:32.449 --> 00:44:35.969
And that is what this song says. This shows just

00:44:35.969 --> 00:44:39.090
how much of a musical chameleon he is. So I am

00:44:39.090 --> 00:44:42.429
following up Texas flood with pipeline from the

00:44:42.429 --> 00:44:46.170
back to the beach soundtrack. Wow. I mean, like

00:44:46.170 --> 00:44:48.940
we talked about earlier, he had a lot of music

00:44:48.940 --> 00:44:51.099
influences in his playing and he could really,

00:44:51.159 --> 00:44:53.179
like you said, he was a true chameleon with his

00:44:53.179 --> 00:44:56.780
instrument. However, people should really check

00:44:56.780 --> 00:44:59.199
out the version that he did with his brother,

00:44:59.260 --> 00:45:00.880
Jimmy, when they were playing that double neck

00:45:00.880 --> 00:45:04.380
guitar, Stevie's playing the top half of the

00:45:04.380 --> 00:45:06.579
guitar, I believe. And Jimmy's playing as wrapping

00:45:06.579 --> 00:45:08.460
his arms around Stevie and he's playing the bottom

00:45:08.460 --> 00:45:11.239
half if I remember correctly, but yeah, very,

00:45:11.380 --> 00:45:16.760
very good pick for sure. Ooh, man. Covers galore

00:45:16.760 --> 00:45:21.099
here. I think I may as well go ahead and just

00:45:21.099 --> 00:45:24.039
get this out of the way. I'm going to go with

00:45:24.039 --> 00:45:27.239
the other song that they cover Jimi Hendrix with,

00:45:27.280 --> 00:45:29.199
and I'm just going to go ahead and pick their

00:45:29.199 --> 00:45:31.300
cover of Voodoo Child's Slight Return from Couldn't

00:45:31.300 --> 00:45:34.480
Stand the Weather. I'll be honest with you, this

00:45:34.480 --> 00:45:36.780
is my favorite song of all time. Not only is

00:45:36.780 --> 00:45:39.639
it my favorite Jimi Hendrix song, but it feels

00:45:39.639 --> 00:45:42.639
kind of sacrilege for me to... prefer this version

00:45:42.639 --> 00:45:45.219
over the hendrix original but don't get me wrong

00:45:45.219 --> 00:45:48.840
it's like 50 .1 stevie ray vaughn version for

00:45:48.840 --> 00:45:53.320
me and 49 .9 jimmy hendrix version because like

00:45:53.320 --> 00:45:56.500
i said that's my favorite hendrix tune but stevie

00:45:56.500 --> 00:45:58.039
ray vaughn is my all -time favorite musician

00:45:58.039 --> 00:46:02.179
and i uh personally take this version just barely

00:46:02.179 --> 00:46:07.280
by an inch over the hendrix original i mean like

00:46:07.280 --> 00:46:09.440
when we talked about little wing he covered hendrix

00:46:09.440 --> 00:46:11.829
and he's I want to say Stevie Ray Vaughan and

00:46:11.829 --> 00:46:14.369
double trouble are my favorite band to cover

00:46:14.369 --> 00:46:17.190
Jimi Hendrix. And they did it so well without

00:46:17.190 --> 00:46:20.429
stepping on Hendrix's toes and eight minutes,

00:46:20.449 --> 00:46:22.630
especially the live performances that he does

00:46:22.630 --> 00:46:26.550
is just absolutely electrifying. I could ramble

00:46:26.550 --> 00:46:29.550
on about this song if I wanted to, but just amazing

00:46:29.550 --> 00:46:34.690
straight front to back. I'll add a third version

00:46:34.690 --> 00:46:40.039
that competes for my. crown of the voodoo child

00:46:40.039 --> 00:46:43.360
so to speak and that is kenny wayne shepherd's

00:46:43.360 --> 00:46:48.219
studio version b -side from the blue on black

00:46:48.219 --> 00:46:51.679
cd single that came out in the 90s you can't

00:46:51.679 --> 00:46:54.219
find it on streaming but you can find it on youtube

00:46:54.219 --> 00:46:58.320
and kenny wayne shepherd makes a great case for

00:46:58.320 --> 00:47:04.460
why all three songs should be sitting at 33 .33333

00:47:04.460 --> 00:47:07.190
infinite To see which one is the best. Because

00:47:07.190 --> 00:47:09.449
to me they're all brilliant. All three versions.

00:47:09.769 --> 00:47:13.050
And I cannot choose between them. Kenny Wayne

00:47:13.050 --> 00:47:14.730
Shepard does it. He carries the Voodoo Child

00:47:14.730 --> 00:47:16.949
cyber return torch very well. And especially

00:47:16.949 --> 00:47:19.090
with Chris Layton in his bed. He carries that

00:47:19.090 --> 00:47:22.869
torch so well today. But following up Voodoo

00:47:22.869 --> 00:47:27.170
Child is a tough one. Because that's got a really

00:47:27.170 --> 00:47:30.309
defiant ending to the song. So I think what I'm

00:47:30.309 --> 00:47:33.429
going to do is flip the script musically a little

00:47:33.429 --> 00:47:36.469
bit. And I want to bring into the conversation

00:47:36.469 --> 00:47:38.349
tonight because we haven't talked about it yet.

00:47:38.789 --> 00:47:42.489
1990s family style. While it's not a Stevie Ray

00:47:42.489 --> 00:47:44.789
Vaughan and Double Trouble album, it's definitely

00:47:44.789 --> 00:47:48.989
an album that belongs in this conversation. Obviously,

00:47:49.030 --> 00:47:51.429
his brother still carries the torch for him to

00:47:51.429 --> 00:47:53.730
this day. But you go back to that album, there's

00:47:53.730 --> 00:47:56.289
a ton of incredible music on it. And the one

00:47:56.289 --> 00:47:58.710
that I'm going to pull is where the brothers

00:47:58.710 --> 00:48:02.849
talk to each other through their guitars. on

00:48:02.849 --> 00:48:07.050
an instrumental original with the same vibe again

00:48:07.050 --> 00:48:11.389
musical chameleon of booker t and the mg's green

00:48:11.389 --> 00:48:14.670
onions but this was their song their original

00:48:14.670 --> 00:48:18.570
and it came from that mindset and it's hillbillies

00:48:18.570 --> 00:48:24.750
from outer space just a fun groovy soulful tune

00:48:24.750 --> 00:48:26.989
where they talk to each other through the guitars

00:48:26.989 --> 00:48:30.079
and i absolutely love it And it kind of brings

00:48:30.079 --> 00:48:32.480
the brothers together for a song as part of this

00:48:32.480 --> 00:48:34.840
mixtape we're making tonight. So I'm following

00:48:34.840 --> 00:48:37.320
you up with Hillbillies from Outer Space from

00:48:37.320 --> 00:48:40.519
Family Style. Man, that album, I think, is very

00:48:40.519 --> 00:48:43.280
underrated. And like I said, I'm very happy that

00:48:43.280 --> 00:48:46.380
they did that album together. And Hillbillies

00:48:46.380 --> 00:48:48.159
from Outer Space is a very interesting choice

00:48:48.159 --> 00:48:51.440
because that's when Jimmy Vaughn kind of does

00:48:51.440 --> 00:48:54.500
his little more or less organ licks on the guitar,

00:48:54.679 --> 00:48:58.449
especially since he does like. He uses what's

00:48:58.449 --> 00:49:01.050
called a Leslie rotating speaker effect. He's

00:49:01.050 --> 00:49:03.909
one of those guys that loves to use the Leslie

00:49:03.909 --> 00:49:06.769
every now and then. But yeah, it's a very interesting

00:49:06.769 --> 00:49:11.150
tune. And it was a good way for him to go out,

00:49:11.190 --> 00:49:12.650
especially if you were to watch the video for

00:49:12.650 --> 00:49:16.010
the song TikTok. It's just so... I could only

00:49:16.010 --> 00:49:18.630
imagine what Jimmy was going through when he

00:49:18.630 --> 00:49:21.230
was making that video. And sure, Stevie sings

00:49:21.230 --> 00:49:24.829
on that song, but... There's and there's no Stevie

00:49:24.829 --> 00:49:26.630
on that video because that obviously that was

00:49:26.630 --> 00:49:30.070
done right after he passed. So I can't comment

00:49:30.070 --> 00:49:32.130
about how what Jimmy was going through at the

00:49:32.130 --> 00:49:35.550
time, but no doubt about it. It was just very

00:49:35.550 --> 00:49:37.789
bittersweet that we lost such a bright light

00:49:37.789 --> 00:49:39.829
in this world, such a bright light that Stevie

00:49:39.829 --> 00:49:43.210
was. But we'll get to the bright light bit here

00:49:43.210 --> 00:49:46.889
pretty soon here. But nonetheless, to follow

00:49:46.889 --> 00:49:53.920
that, I think I'll go. Hmm. Man, so many good

00:49:53.920 --> 00:49:57.199
ones. But I particularly love this version. This

00:49:57.199 --> 00:50:01.000
is another song that I grew up with a lot. And

00:50:01.000 --> 00:50:03.880
that is their cover of Stevie Wonder's Superstition.

00:50:04.260 --> 00:50:08.579
Yes. Yes. Yes, sir. Yeah, baby. Any blues artist

00:50:08.579 --> 00:50:11.619
worth their salt has to. A lot of blues artists

00:50:11.619 --> 00:50:15.119
do a lot of cover songs of older tunes. And man,

00:50:15.219 --> 00:50:17.739
does Stevie Ray Vaughan and Double Trouble, they

00:50:17.739 --> 00:50:20.739
nail yet another cover. And one of my favorite

00:50:20.739 --> 00:50:23.260
SRV covers, obviously the version of Superstition,

00:50:23.280 --> 00:50:26.199
which was actually from the Live Alive live album.

00:50:26.960 --> 00:50:29.659
But it was actually done, I believe it was done

00:50:29.659 --> 00:50:32.239
at Stevie Wonder's studio, if I remember correctly.

00:50:32.420 --> 00:50:34.480
I could be wrong about that. But if I remember

00:50:34.480 --> 00:50:36.239
correctly, I think it was done at his studio.

00:50:37.719 --> 00:50:42.960
The video man. Oh, my goodness. I loved his sense

00:50:42.960 --> 00:50:44.980
of humor, too, especially in some of his videos

00:50:44.980 --> 00:50:49.400
and how the black cat was getting in Stevie's

00:50:49.400 --> 00:50:51.380
path, especially when he when he woke Stevie

00:50:51.380 --> 00:50:52.960
up from his nap at the very beginning of the

00:50:52.960 --> 00:50:55.559
video and him throwing the boot and all that.

00:50:55.639 --> 00:50:59.500
And all the signs of bad luck just occur throughout

00:50:59.500 --> 00:51:01.900
the video. It's just all my it's just nonstop.

00:51:02.199 --> 00:51:04.579
It's cool and hilarious at the same time. But

00:51:04.579 --> 00:51:07.889
the song itself is yet another groove. yet another

00:51:07.889 --> 00:51:10.590
groove and yet another fantastic solo from stevie

00:51:10.590 --> 00:51:14.050
it's just man these guys really they really did

00:51:14.050 --> 00:51:16.590
faithful covers and they really had genuine love

00:51:16.590 --> 00:51:18.369
of these songs and you could tell they had genuine

00:51:18.369 --> 00:51:21.349
love especially for stevie's case they did these

00:51:21.349 --> 00:51:24.309
a lot of covers so well and stevie wonders superstition

00:51:24.309 --> 00:51:27.710
is obviously no exception it's another childhood

00:51:27.710 --> 00:51:31.210
favorite of mine just just amazing easily the

00:51:31.210 --> 00:51:35.469
best stevie Wonder cover ever, in my humble opinion,

00:51:35.590 --> 00:51:39.389
even more so than higher ground by the Red Hot

00:51:39.389 --> 00:51:42.949
Chili Peppers, which I also love. But Stevie

00:51:42.949 --> 00:51:46.050
Superstition, which other bands have done superstition

00:51:46.050 --> 00:51:49.969
in the past, never like this. This version is

00:51:49.969 --> 00:51:53.769
funky and bluesy simultaneously. It honors the

00:51:53.769 --> 00:51:56.369
original, but brings it to a new place. It's

00:51:56.369 --> 00:51:58.710
everything I love and adore about cover songs,

00:51:58.929 --> 00:52:02.710
all wrapped into one perfect. Live Alive album,

00:52:02.869 --> 00:52:06.429
which is a fantastic live offering. And the first

00:52:06.429 --> 00:52:08.570
one we've talked about tonight. So I'm really

00:52:08.570 --> 00:52:11.690
stoked to see that in there. And coming out of

00:52:11.690 --> 00:52:14.489
it, I want to stay with the funky a little bit.

00:52:14.670 --> 00:52:17.429
And I think I'm going to do that by bringing

00:52:17.429 --> 00:52:21.150
in Tightrope from 1989's In Step. Because I think

00:52:21.150 --> 00:52:23.510
coming out of Superstition, you want to go with

00:52:23.510 --> 00:52:27.570
one that's a certified classic of Stevie's originals.

00:52:27.949 --> 00:52:30.250
And this is certainly one of them. It's another

00:52:30.250 --> 00:52:34.369
one of the best songs on In Step, my favorite

00:52:34.369 --> 00:52:37.389
album of his. And I couldn't talk about this

00:52:37.389 --> 00:52:39.050
album enough tonight, so I wanted to make sure

00:52:39.050 --> 00:52:42.809
to bring it up again. And that would be Tightrope

00:52:42.809 --> 00:52:45.289
following up Superstition to keep that kind of

00:52:45.289 --> 00:52:48.250
funky groove going right now. And I'm very glad

00:52:48.250 --> 00:52:50.789
you did, because like when we talked about the

00:52:50.789 --> 00:52:53.309
Playlist Wars episode of In Step, Tightrope is

00:52:53.309 --> 00:52:55.010
yet another song that I grew up with, and it

00:52:55.010 --> 00:52:58.539
holds a special place for me. In Step is mainly

00:52:58.539 --> 00:53:01.619
about Stevie's addiction stories and how he battled

00:53:01.619 --> 00:53:04.280
his battles with addiction at that time and how

00:53:04.280 --> 00:53:06.840
he was able to overcome them. That's obviously

00:53:06.840 --> 00:53:09.719
what Tightrope is about. Some of the lines obviously

00:53:09.719 --> 00:53:11.719
are on the nose, like we talked about before.

00:53:12.280 --> 00:53:15.780
And the In Step album was what really inspired

00:53:15.780 --> 00:53:18.579
me to make sure to not go down the alcoholic

00:53:18.579 --> 00:53:20.940
path, because if I remember correctly, I hate

00:53:20.940 --> 00:53:23.340
to kind of veer off a little bit because I. I've

00:53:23.340 --> 00:53:25.539
only done like very tiny sips of wine when I

00:53:25.539 --> 00:53:27.519
was a kid, but that was just a very, very tiny

00:53:27.519 --> 00:53:29.820
sips. But other than that, I never drank any

00:53:29.820 --> 00:53:31.880
alcohol to my knowledge. Anyway, I never done

00:53:31.880 --> 00:53:35.440
any smoking or any of that stuff. So I'm very

00:53:35.440 --> 00:53:37.300
happy that Stevie Ray changed my life. So that

00:53:37.300 --> 00:53:39.639
way I'll never be able to, uh, I'll never go

00:53:39.639 --> 00:53:42.019
down that path that he did. And it almost killed

00:53:42.019 --> 00:53:43.980
him as a result. So I'm happy he was able to

00:53:43.980 --> 00:53:47.099
live and make in step and, uh, very make an inspiring

00:53:47.099 --> 00:53:49.199
album like instead of, but yeah, I love the funky

00:53:49.199 --> 00:53:53.039
groove of tightrope his vocals again. and the

00:53:53.039 --> 00:53:55.340
solo obviously but what can be said about his

00:53:55.340 --> 00:53:59.619
solos because they're just so so tasty so soulful

00:53:59.619 --> 00:54:02.400
just able to wring the emotion and soul out of

00:54:02.400 --> 00:54:05.360
that fender stratocaster that he had just obviously

00:54:05.360 --> 00:54:07.239
what can be said about tightrope as well it's

00:54:07.239 --> 00:54:10.380
another well -known tune of his obviously hmm

00:54:10.380 --> 00:54:13.280
well we're already coming towards the end here

00:54:14.379 --> 00:54:17.000
And I want to kind of get a bit softer here.

00:54:17.079 --> 00:54:19.199
I mean, I know I would love to keep the momentum

00:54:19.199 --> 00:54:20.980
going, but I think we can kind of transition

00:54:20.980 --> 00:54:24.099
every now and then. Cause since we're, like I

00:54:24.099 --> 00:54:26.420
said, we're getting close to the end here. I

00:54:26.420 --> 00:54:30.039
think I'll go with soul to souls life without

00:54:30.039 --> 00:54:33.159
you. Cause it's a very, very beautiful song.

00:54:33.239 --> 00:54:35.820
And I know it's a very, very complete tone shift

00:54:35.820 --> 00:54:38.400
from tight rope. And there's a very somewhat

00:54:38.400 --> 00:54:41.900
energetic song, but now we're going into not

00:54:41.900 --> 00:54:44.099
so energetic, but. Like I said, we're getting

00:54:44.099 --> 00:54:46.619
towards the end here. And I want to kind of end

00:54:46.619 --> 00:54:49.000
on a very, very beautiful note as we kind of

00:54:49.000 --> 00:54:51.219
get towards the end here. Life Without You is

00:54:51.219 --> 00:54:54.380
obviously no exception. Like when we talked about

00:54:54.380 --> 00:54:57.019
Lenny, very beautiful ballads that he did. However,

00:54:57.139 --> 00:54:59.079
this is the only ballad, to my knowledge, unless

00:54:59.079 --> 00:55:01.699
you talk about Ain't Gonna Give Up On Love from

00:55:01.699 --> 00:55:04.980
Soul to Soul as well, is a ballad that he sang

00:55:04.980 --> 00:55:07.780
on. It's a song that he wrote as a tribute to

00:55:07.780 --> 00:55:09.500
a friend of his that passed away, if I remember

00:55:09.500 --> 00:55:12.010
correctly. I don't know. I forgot that person's

00:55:12.010 --> 00:55:14.829
name, but I think that was a tribute to his friend.

00:55:15.530 --> 00:55:19.730
So just beautiful. The way he sings it just softly.

00:55:20.130 --> 00:55:23.550
And one of the lines from that song is on Stevie

00:55:23.550 --> 00:55:25.670
Ray Vaughan's Gravestone. Thank you for all the

00:55:25.670 --> 00:55:27.730
love that you passed our way near the end of

00:55:27.730 --> 00:55:30.789
the song. And it was cool to actually go up to

00:55:30.789 --> 00:55:33.210
his gravestone back a couple years ago with my

00:55:33.210 --> 00:55:35.489
parents. Because when we went to this restaurant

00:55:35.489 --> 00:55:38.389
called Ojeda's, that's somewhere in Dallas, if

00:55:38.389 --> 00:55:40.409
I remember correctly. It's a Mexican food restaurant.

00:55:41.139 --> 00:55:43.940
You know, Texas loves our Mexican food, and I'm

00:55:43.940 --> 00:55:47.539
no exception to that. But after we ate at that

00:55:47.539 --> 00:55:50.019
Ojeda's restaurant, we went to Laurel and Memorial

00:55:50.019 --> 00:55:53.440
Park, which is where the Vaughn family is buried.

00:55:54.119 --> 00:55:56.139
We went up to Stevie Ray Vaughn's gravestone.

00:55:56.380 --> 00:56:01.599
It was just such a moment for me. And that's

00:56:01.599 --> 00:56:03.519
as close to Stevie as you're ever going to get

00:56:03.519 --> 00:56:07.579
in this context. Like I said, it's such a shame

00:56:07.579 --> 00:56:10.829
that he passed before I was born. I think anybody

00:56:10.829 --> 00:56:12.929
who's anybody would have loved to have the pleasure

00:56:12.929 --> 00:56:14.789
to have watched him. I know a lot of people have

00:56:14.789 --> 00:56:18.130
watched him live, but man, it's just such a beautiful

00:56:18.130 --> 00:56:20.250
song as we kind of wind things down here. Life

00:56:20.250 --> 00:56:23.909
without you. Love the pick. I think you, you

00:56:23.909 --> 00:56:26.989
sum the song up brilliantly. It is really the

00:56:26.989 --> 00:56:31.969
only true ballad because like Tin Pan Alley,

00:56:31.989 --> 00:56:35.769
AKA roughest place in town, which I use this

00:56:35.769 --> 00:56:39.119
track eight on side. A is a slow song. But make

00:56:39.119 --> 00:56:43.159
no mistake, Tin Pan Alley and Life Without You

00:56:43.159 --> 00:56:46.179
are two completely different types of slow songs.

00:56:46.639 --> 00:56:50.300
Life Without You is truly a ballad where Tin

00:56:50.300 --> 00:56:55.739
Pan Alley is a slow burn blues song. And there's

00:56:55.739 --> 00:56:59.179
a big difference in vibe there. So I think what

00:56:59.179 --> 00:57:01.900
you're saying with Life About You completely

00:57:01.900 --> 00:57:05.500
rings true. And there are only two songs left

00:57:05.500 --> 00:57:08.730
here. And I have my last pick of the night. And

00:57:08.730 --> 00:57:12.809
then you close things out. Now, I am going to

00:57:12.809 --> 00:57:16.269
gamble for a minute here. You and I, breaking

00:57:16.269 --> 00:57:18.849
the fourth wall here of the show a little bit,

00:57:18.969 --> 00:57:22.789
talked prior to this episode and talked about

00:57:22.789 --> 00:57:26.190
what our favorite Stevie Ray Vaughan song is.

00:57:26.389 --> 00:57:30.389
So I am going to gamble that you are going to

00:57:30.389 --> 00:57:33.869
pick that as your last song. And I am not going

00:57:33.869 --> 00:57:37.519
to take that moment away. By putting that song

00:57:37.519 --> 00:57:41.199
in the nine spot. Which to me is the wrong spot

00:57:41.199 --> 00:57:44.780
to put this song in. So I hope I'm both right

00:57:44.780 --> 00:57:47.679
with my gamble here. And maybe a little bit of

00:57:47.679 --> 00:57:50.320
predicting the future. But I am going to go with

00:57:50.320 --> 00:57:53.739
for track nine. An album we've talked about tonight

00:57:53.739 --> 00:57:56.900
but haven't represented. And that is the In Session

00:57:56.900 --> 00:58:00.900
album with Albert King. Albert King was 60 years

00:58:00.900 --> 00:58:03.880
old when this album was recorded. Stevie Ray

00:58:03.880 --> 00:58:07.179
Vaughan was... More than half his age, he was

00:58:07.179 --> 00:58:12.699
29 years old. And these two threw down for a

00:58:12.699 --> 00:58:17.199
concert that was two generations of blues. And

00:58:17.199 --> 00:58:20.159
what I feel is Albert King passing the torch.

00:58:20.679 --> 00:58:24.519
And the opening song on that CD is a cover of

00:58:24.519 --> 00:58:27.380
Aaron T. Bone Walker's Call It Stormy Monday

00:58:27.380 --> 00:58:30.119
or Stormy Monday. A lot of people know the Allman

00:58:30.119 --> 00:58:32.699
Brothers version of this song. It is a blues.

00:58:34.059 --> 00:58:38.880
staple a classic and albert king and stevie ray

00:58:38.880 --> 00:58:44.159
vaughn take it to the utmost heights for nine

00:58:44.159 --> 00:58:49.039
amazing minutes and this is where a legend of

00:58:49.039 --> 00:58:53.420
blues one of the kings of blues literally and

00:58:53.420 --> 00:58:56.480
figuratively because you think of blues you think

00:58:56.480 --> 00:59:00.219
of albert king you think of bb king and albert

00:59:00.219 --> 00:59:02.940
king Passed the torch to Stevie Ray Vaughan on

00:59:02.940 --> 00:59:05.880
the In Session album. And I feel this was a massive

00:59:05.880 --> 00:59:11.239
moment in blues music. And I wanted to represent

00:59:11.239 --> 00:59:14.159
what might have been a highlight for Stevie Ray

00:59:14.159 --> 00:59:18.519
playing with one of his idols on stage in what

00:59:18.519 --> 00:59:21.639
was just one of his most amazing concerts. And

00:59:21.639 --> 00:59:23.480
I know he's got a lot of great live albums out

00:59:23.480 --> 00:59:27.760
there, but man, when you've got Albert King throwing

00:59:27.760 --> 00:59:31.559
down with you, it's just other level. So closing

00:59:31.559 --> 00:59:33.880
out my portion of the evening, coming out of

00:59:33.880 --> 00:59:36.659
life without you with Call It Stormy Monday from

00:59:36.659 --> 00:59:39.659
In Session. Yeah, you're not wrong about that.

00:59:39.699 --> 00:59:41.800
Call It Stormy Monday is an absolute blues standard.

00:59:41.940 --> 00:59:45.940
For a young Stevie Ray Vaughan, when they were

00:59:45.940 --> 00:59:47.940
trying to revive the blues scene in Austin at

00:59:47.940 --> 00:59:51.460
a club called Antone's, and when the owner Clifford

00:59:51.460 --> 00:59:54.260
Antone was wanting to bring the old blues legends

00:59:54.260 --> 00:59:57.380
to come and play at that club, Albert King was

00:59:57.380 --> 01:00:00.260
no exception. And when Albert King played there

01:00:00.260 --> 01:00:05.960
one night, Stevie had the guts to sit in with

01:00:05.960 --> 01:00:09.360
Albert. And this is pretty known in Stevie Ray

01:00:09.360 --> 01:00:12.739
Vaughan lore. Jimmy Vaughan recalled that story

01:00:12.739 --> 01:00:17.219
when Stevie sat in with Albert. And it was very,

01:00:17.260 --> 01:00:22.519
very gutsy for a young Texan kid named Stevie

01:00:22.519 --> 01:00:27.380
Ray to talk to a blues legend in Albert King.

01:00:28.190 --> 01:00:30.769
that I could only imagine what kind of a moment

01:00:30.769 --> 01:00:34.210
that was for Stevie to sit in with one of the

01:00:34.210 --> 01:00:37.429
people that he emulates the most. That was Albert

01:00:37.429 --> 01:00:41.710
King. And then Stevie basically was under Albert

01:00:41.710 --> 01:00:44.269
King's wing when they did that In Session album.

01:00:44.489 --> 01:00:46.269
And it was like that they knew each other for

01:00:46.269 --> 01:00:47.670
a long time, even though they were generations

01:00:47.670 --> 01:00:52.630
apart. Man, just to experience two of the greatest

01:00:52.630 --> 01:00:54.889
in blues music right there, generations apart.

01:00:56.090 --> 01:00:59.239
Hmm. Well, you said you're going to predict the

01:00:59.239 --> 01:01:00.900
future. I hope you got your crystal ball out.

01:01:00.940 --> 01:01:02.639
I can't see you, but I hope you got your crystal

01:01:02.639 --> 01:01:05.019
ball, imaginary crystal ball in front of you.

01:01:05.380 --> 01:01:09.179
Like kind of wave your hands a little bit. I'm

01:01:09.179 --> 01:01:11.079
waving them because if you don't pick the right

01:01:11.079 --> 01:01:14.719
song, I'm going to cry. Well, I'm just going

01:01:14.719 --> 01:01:16.920
to close out with another song. I'm just kidding.

01:01:17.780 --> 01:01:20.340
I'm breaking the future. That's breaking the

01:01:20.340 --> 01:01:23.519
future right there. For the record, we did agree

01:01:23.519 --> 01:01:25.659
on a song that we were definitely going to close

01:01:25.659 --> 01:01:28.000
out this mixtape. So we're compromising ourselves

01:01:28.000 --> 01:01:31.840
right here. I make the rules as we go along.

01:01:33.440 --> 01:01:35.480
We're kind of compromising ourselves here, folks.

01:01:35.559 --> 01:01:37.840
But we obviously agreed that we were going to

01:01:37.840 --> 01:01:41.760
close out this mixtape with the absolute final

01:01:41.760 --> 01:01:44.780
song that they did from In Step. And that is

01:01:44.780 --> 01:01:48.659
the beautiful Riviera Paradise. That obviously

01:01:48.659 --> 01:01:51.949
had to be the closer. for not only in step but

01:01:51.949 --> 01:01:55.849
for this mixtape what can be said about riviera

01:01:55.849 --> 01:01:59.489
paradise it's a fantastic over eight minutes

01:01:59.489 --> 01:02:01.789
long it i want to say it's kind of like lenny

01:02:01.789 --> 01:02:04.030
like when we talked about earlier it's obviously

01:02:04.030 --> 01:02:06.670
more of an emotional feel rather than timpan

01:02:06.670 --> 01:02:09.570
alley which is like a pure slow blues timpan

01:02:09.570 --> 01:02:11.650
alley is not really going for an emotional mood

01:02:11.650 --> 01:02:15.070
however riviera paradise is without a doubt emotional

01:02:15.070 --> 01:02:18.960
it makes me cry and the version that they did

01:02:18.960 --> 01:02:21.340
that Reese Winans did with Kenny Wayne Shepard

01:02:21.340 --> 01:02:23.820
is obviously a very beautiful tribute to him

01:02:23.820 --> 01:02:27.420
I don't know why I like when we talked about

01:02:27.420 --> 01:02:30.039
that Playlist Wars episode that the Reese Winans

01:02:30.039 --> 01:02:33.860
version with Kenny Wayne Shepard on guitar I

01:02:33.860 --> 01:02:36.840
don't know it just makes me feel like I cry a

01:02:36.840 --> 01:02:38.780
bit more whenever I listen to that version because

01:02:38.780 --> 01:02:40.639
obviously they're paying tribute to Stevie and

01:02:40.639 --> 01:02:44.599
it's so well done but Obviously, I cry at the

01:02:44.599 --> 01:02:48.239
originals sometimes, occasionally too, but just

01:02:48.239 --> 01:02:50.420
never gets old. And it's so fascinating that

01:02:50.420 --> 01:02:52.840
that was done in one take that the producer,

01:02:52.900 --> 01:02:56.440
Jim Gaines, who worked with Ronnie Montrose and

01:02:56.440 --> 01:03:01.519
Carlos Santana, he produced the album. And there

01:03:01.519 --> 01:03:04.739
is a story that the tape was about to run out.

01:03:04.840 --> 01:03:07.739
So he was trying to signal to Stevie that that

01:03:07.739 --> 01:03:11.000
was happening. So when they ended Riviera Paradise

01:03:11.000 --> 01:03:15.900
with the... water current fading out and if you

01:03:15.900 --> 01:03:17.820
were to listen to the version that they did on

01:03:17.820 --> 01:03:22.139
1989's performance of austin city limits just

01:03:22.139 --> 01:03:25.079
oh my you know i'm just gonna leave it there

01:03:25.079 --> 01:03:27.360
because i've got nothing to say just apps that's

01:03:27.360 --> 01:03:30.099
another song that's absolutely breathtaking and

01:03:30.099 --> 01:03:33.460
what a way to go out to uh as of like a last

01:03:33.460 --> 01:03:38.400
hurrah for his his band and for the loss of such

01:03:38.400 --> 01:03:40.260
a bright light in this world that we definitely

01:03:40.260 --> 01:03:43.780
need more people of. Just such a humble and modest

01:03:43.780 --> 01:03:47.139
soul like Stevie Ray Vaughan. Just beautiful

01:03:47.139 --> 01:03:50.670
way to go out. One hundred percent agree. I mean,

01:03:50.670 --> 01:03:53.269
look, you and I gushed over this song on the

01:03:53.269 --> 01:03:56.789
Playlist Wars episode at length. And that was

01:03:56.789 --> 01:04:00.090
when we decided to do this episode. I messaged

01:04:00.090 --> 01:04:01.969
you and said, you realize that no matter what,

01:04:02.050 --> 01:04:04.610
if we don't end with Riviera Paradise, we're

01:04:04.610 --> 01:04:07.829
doing this episode wrong. So I was hoping that

01:04:07.829 --> 01:04:10.969
you stuck with that discussion that we had, because

01:04:10.969 --> 01:04:13.010
if not, I would have cried because this really

01:04:13.010 --> 01:04:17.719
is the perfect way to sum up his. Entire legacy

01:04:17.719 --> 01:04:21.179
of music. And then I tried to tip my hat to it

01:04:21.179 --> 01:04:24.519
because Lenny off a Texas flood was from his

01:04:24.519 --> 01:04:27.960
first album, closing it beautifully and Riviera

01:04:27.960 --> 01:04:33.360
paradise closes out his last album before the

01:04:33.360 --> 01:04:36.000
sky is crying. Post -humous release, of course,

01:04:36.019 --> 01:04:38.880
but his last album living with Stevie Ray Vaughan

01:04:38.880 --> 01:04:40.960
and double trouble. I felt like that. It's a

01:04:40.960 --> 01:04:43.159
nice fitting to have each side. And with one

01:04:43.159 --> 01:04:46.900
of those bookends from his. first and last album.

01:04:46.980 --> 01:04:49.980
And then Lenny and Riviera Paradise mean the

01:04:49.980 --> 01:04:52.619
world to me. My wife and I had that playing as

01:04:52.619 --> 01:04:55.800
dinner music during our wedding, because to me,

01:04:55.800 --> 01:05:00.579
you don't get a more beautiful vibe song than

01:05:00.579 --> 01:05:04.840
those two. And Riviera Paradise is amazing as

01:05:04.840 --> 01:05:08.940
Lenny is, but double the length and just so much

01:05:08.940 --> 01:05:11.480
more going on when he's doing this stuff at the

01:05:11.480 --> 01:05:15.420
top of the guitar and making it musical. It's

01:05:15.420 --> 01:05:17.280
just unbelievable because that's kind of taking

01:05:17.280 --> 01:05:22.920
his rock persona and weaving it into this beautiful

01:05:22.920 --> 01:05:26.920
jazz tune. And I'll be honest, it was Riviera

01:05:26.920 --> 01:05:30.099
Paradise that got me into jazz music because

01:05:30.099 --> 01:05:34.159
Riviera Paradise made me appreciate his cover

01:05:34.159 --> 01:05:36.619
of Chitlin's Concarni from The Sky is Crying,

01:05:36.619 --> 01:05:39.360
which made me look into Kenny Burrell, which

01:05:39.360 --> 01:05:42.820
made me start going deeper and deeper into the

01:05:42.820 --> 01:05:46.280
bop jazz scene. So Stevie Ray Vaughan opened

01:05:46.280 --> 01:05:49.579
an entire genre of music to me through this song.

01:05:49.780 --> 01:05:52.199
The first time I heard it, I was driving in my

01:05:52.199 --> 01:05:55.199
car coming back from college and I literally

01:05:55.199 --> 01:05:58.320
had to pull the car over and sit on the side

01:05:58.320 --> 01:06:02.579
of the road and just finish the song. I was completely

01:06:02.579 --> 01:06:06.960
taken by this track and I ran out and grabbed

01:06:06.960 --> 01:06:11.210
in step on CD the very next day. And it is. Been

01:06:11.210 --> 01:06:13.650
a part of my life ever since the first time I

01:06:13.650 --> 01:06:17.230
heard it. It rocketed up to the top of my favorite

01:06:17.230 --> 01:06:20.469
songs of all time list. Probably my favorite

01:06:20.469 --> 01:06:24.110
instrumental of all time and easily my favorite

01:06:24.110 --> 01:06:27.809
Stevie Ray Vaughan song of all time. So hat tip

01:06:27.809 --> 01:06:31.730
to you, sir. A perfect way to close this Stevie

01:06:31.730 --> 01:06:35.130
Ray Vaughan side B mixtape, which started with

01:06:35.130 --> 01:06:37.530
Scuttlebutton from Couldn't Stand the Weather.

01:06:38.000 --> 01:06:40.500
Texas Flood from the album of the same name,

01:06:40.659 --> 01:06:43.380
Pipeline with the amazing Dick Dale from the

01:06:43.380 --> 01:06:46.440
Back to the Beach soundtrack, Voodoo Child's

01:06:46.440 --> 01:06:48.420
Slight Return from Couldn't Stand the Weather,

01:06:48.820 --> 01:06:51.500
Hillbillies from Outer Space from Family Style,

01:06:52.159 --> 01:06:55.760
Superstition from Live Alive, Tightrope from

01:06:55.760 --> 01:06:58.880
In Step, Life Without You from Soul to Soul,

01:06:59.340 --> 01:07:03.059
Call It Stormy Monday from In Session, and Riviera

01:07:03.059 --> 01:07:07.039
Paradise from In Step. You can always head to

01:07:07.039 --> 01:07:10.159
myweeklymixtape .com to hear all the songs we've

01:07:10.159 --> 01:07:13.360
discussed in this mix through the playlist embedded

01:07:13.360 --> 01:07:16.699
on the episode page. David Lee Smith, first,

01:07:16.780 --> 01:07:20.340
I want to thank you for being the first Patreon

01:07:20.340 --> 01:07:23.199
mixtaper as well as supporting the show since

01:07:23.199 --> 01:07:26.280
its launch. Honestly, it's support from people

01:07:26.280 --> 01:07:29.300
like you that make it possible for me to continue

01:07:29.300 --> 01:07:33.659
to do this show solo week after week. So from

01:07:33.659 --> 01:07:36.610
the bottom of my heart, Thank you for that. And

01:07:36.610 --> 01:07:39.210
also, thank you for being a guest on the show.

01:07:39.250 --> 01:07:41.730
I had a blast talking Stevie Ray Vaughan with

01:07:41.730 --> 01:07:43.289
you, and I look forward to having you back on

01:07:43.289 --> 01:07:47.570
very, very soon. Shucks, man. You're making me

01:07:47.570 --> 01:07:52.329
blush, man. No, obviously, I cannot thank you

01:07:52.329 --> 01:07:54.750
enough for guys like you doing a music podcast

01:07:54.750 --> 01:07:57.710
like this and having. allowing outside guests

01:07:57.710 --> 01:07:59.650
because it's always a pleasure to be able to

01:07:59.650 --> 01:08:02.949
talk on podcasts like yours to talk about passionate

01:08:02.949 --> 01:08:05.030
stuff and things that I'm very passionate about.

01:08:05.090 --> 01:08:08.230
And music is obviously one of them. And I appreciate

01:08:08.230 --> 01:08:10.769
you for doing this and as well as Playlist Wars

01:08:10.769 --> 01:08:13.190
with Gomez. And so I give Gomez credit as well.

01:08:13.329 --> 01:08:16.479
So it's been a pleasure. Likewise, man, likewise.

01:08:16.720 --> 01:08:18.720
And remember, you can find My Weekly Mixtape

01:08:18.720 --> 01:08:21.899
on Facebook, Twitter, Instagram, TikTok, and

01:08:21.899 --> 01:08:25.180
Spoutable at My Weekly Mixtape. You can also

01:08:25.180 --> 01:08:27.739
head to MyWeeklyMixtape .com to check out the

01:08:27.739 --> 01:08:31.220
full catalog of My Weekly Mixtape episodes. And

01:08:31.220 --> 01:08:33.380
if you want to support the show, please consider

01:08:33.380 --> 01:08:36.800
becoming a Patreon mixtaper at Patreon .com forward

01:08:36.800 --> 01:08:39.800
slash My Weekly Mixtape. That's all for this

01:08:39.800 --> 01:08:41.500
week. Thanks again for listening. Until next

01:08:41.500 --> 01:08:43.260
time, enjoy the tunes.