8 Great Stevie Ray Vaughan Guitar Moments

Despite only spending a mere seven and a half years as a guitar player on the world stage, Texas guitar maven Stevie Ray Vaughan left quite the mark.

In that relative blink of an eye, Vaughan unleashed four incomparable studio albums that changed the trajectory of modern blues guitar forever. Rising to fame amid the posturing, glittery rock of the MTV era, Vaughan was a classic guitar-slinger for the new age.

As we mark the anniversary of his death in a freak helicopter accident on August 27, 1990, let’s go through just a few of Vaughan’s unparalleled guitar moments.

1. “Testify” (From Texas Flood, 1983)

The wailing guitarist on the Isley Brothers’ original version of “Testify” was none other than Vaughan’s biggest hero, Jimi Hendrix. So the decision for Vaughan’s power trio, Double Trouble, to add this song to their playbook is only natural.

More than a tip of the hat than a cover, Vaughan plays Hendrix’s opening riff before doing a 180 into unexplored avenues. Vaughan carved out a total of seven electrifying solos across the track, each more intense than the one before.

2.  “Couldn’t Stand the Weather” (Capitol Theatre, 1985)

Couldn’t Stand the Weather, Vaughan’s 1984 sophomore album, confirmed that Vaughan and Double Trouble weren’t mere happenstance—he could deliver impressive guitar work time and time again.

When looking at the album, one can help but notice the eight-song collection contains a sizable portion of Vaughan’s most essential recordings. These include “Voodoo Chile (Slight Return),” “Cold Shot,” “Tin Pan Alley” and the title track. Watch one of the most inspiring performances of the title track from a September 1985 performance at New Jersey’s Capitol Theatre below.

3. “Riviera Paradise” (In Step, 1989)

Vaughan called it “The King Tone”—the crystalline timbre of a Fender Strat played clean—and he put it to extraordinary use on In Step‘s ‘Riviera Paradise.” The track is one of his rare yet unforgettable forays into the world of Wes Montgomery-inspired jazz.

4. “Rude Mood” (From Texas Flood, 1983)

“Rude Mood” is one of three instrumental tracks on Vaughan’s debut release—along with “Testify” and “Lenny.”

Written by Vaughan and inspired by the Lightening Hopkins song, “Hopkin’s Sky Hop,” this track serves as a display of the many techniques Vaughan mastered. Whether it’s fast alternate picking, complex sections of finger-plus-pick techniques, or hard-driving rhythm—it’s all there.

5. “Lenny” (From Live at the El Mocambo, 1991)

Another instrumental, “Lenny” is a loving ode to his Lenora. Stylistically, the song is very similar to Jimi Hendrix’s classic “Angel.” For this El Mocambo performance, Vaughan chose to play the guitar gifted by his wife in the early ’80s—also dubbed “Lenny.”

5. “Leave My Girl Alone” (From Austin City Limits, 1989; released on The Real Deal: Greatest Hits 2, 1999)

Towards the end of his life, Vaughan had shed his, and the rest of the band’s, coke-induced distractions and somehow had improved his playing (even though it seemed he couldn’t rise any higher). A perfect example of this is a 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the Austin City Limits TV show.

6. “Voodoo Chile (Slight Return)” (From Couldn’t Stand the Weather, 1984)

It’s a pretty ballsy move when any guitarist attempts to cover a Jimi Hendrix song but, Vaughan took it in his stride, delivering a masterpiece—twice over.

“I love Hendrix’s music,” Vaughan told Guitar World in 1985, “and I just feel it’s important for people to hear him. I know if I take care of his music that it will take care of me. I treat it with respect—not as a burden. See, I still listen to Hendrix all the time, and I doubt I’ll ever quit.”

7. “Pride and Joy” (From Texas Flood, 1983)

From the opening droning riff of “Pride and Joy,” you know you’re in for something special. Soon after the song transforms into a classic Texas shuffle with stirring solo moments scattered throughout. Written for his girlfriend at the time, Vaughan takes the classic shuffle and transforms it into something truly unique.

8. “Texas Flood” (From Texas Flood, 1983)

The last tune to be tracked for Double Trouble’s debut was “Texas Flood,” an obscure slow-blues gem from the late ’50s, originally recorded by Larry Davis. The track has long been a staple of Vaughan’s live shows before he ever stepped into the studio to work on the record.

Vaughan’s version was recorded in a single take, borrowing heavily from Davis’ arrangement but once again took it to new heights. It’s a stunning testament to Vaughan’s ability to build upon the groundwork laid by his influences.

Photo by Clayton Call/Redferns