Album Remarks & Appraisals:
"Couldn't Stand the Weather, pretty much did everything a second album should do: it confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan's status as a giant of modern blues... it's a pretty enjoyable one, since Vaughan and Double Trouble play spiritedly throughout the record. With its swaggering, stuttering riff, the title track ranks as one of Vaughan's classics, and thanks to a nuanced vocal, he makes W.C. Clark's "Cold Shot" his own." -All Music Guide
Entertainment Weekly (4/2/99, p.95) - "The late Texas guitarist was a fiercely distinctive blues-rock phenom whose sensitivity and imagination justified his rapid rise to prominence..."
Q (5/95, p.138) - 4 Stars - Excellent - "...Vaughan's post-Hendrix Stratocasting still sparkles....a reminder of the wit that often informed his phrasing and his willingness to torch them boundaries..."
Down Beat (p.76) - 4 stars out of 5 -- "In studio and onstage, he morphs pitch-bending into a visceral art form....This roadhouse veteran sings quite well."
Record Collector (magazine) (p.97) - 3 stars out of 5 -- "[L]istening to him shred strings in front of an audience reminds us why he's so sorely missed."
Master Sound releases are 24-karat gold CDs remastered from first generation masters. This process utilizes 20-bit technology and Sony's "Super Bit Mapping" system.
Personnel: Stevie Ray Vaughan (guitar, vocals); Jimmie Vaughan (guitar); Stan Harrison (tenor saxophone); Tommy Shannon (bass); Chris "Whipper" Layton, Fran Christina (drums).
Producers: Chris Layton, Stevie Ray Vaughan, Tommy Shannon, Richard Mullen, Jim Capfer.
Personnel: Stevie Ray Vaughan (vocals, guitar); Stan Harrison (tenor saxophone); Chris Layton (drums).
Stevie Ray was already the hottest act in Austin, Texas, way before David Bowie used his guitar on "Let's Dance." Vaughan's 1983 debut album, TEXAS FLOOD, had alerted the world to a new guitar phenomenon who combined the blues power of Freddie and Albert King with the inspired ferocity of Jimi Hendrix. He made the Hendrix connection plain with his take on "Voodoo Chile (Slight Return)," which rapidly became a concert highlight. At the other extreme was "Tin Pan Alley," a slow blues made famous by Jimmy Wilson but now associated with the Texas hotshot. This was the time when Stevie Ray's celebrity and status among his peers was at least the equal of Eric Clapton. The pitfalls were beckoning.
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