Texas Trouble

All-star jams can go two ways. They either turn out a muddled mess, or inspire everyone involved to new heights of musical synergy. Fortunately for blues, R&B, and soul fans, Triple Trouble belongs firmly in the latter category. It helps that Castro, Jones (guitar), and Hall (sax, harmonica) have different strengths, which complement one another nicely. It also helps having the renowned Double Trouble on board; one couldn't ask for a tighter, tastier backup band. Together, this group ranges all over the musical map, from traditionally-inflected blues ("Raised in the Country") to James Brown-style funk ("Cold Funk"). With Telarc Records clean, crisp production every note comes out clear, showcasing these three artists to their best advantage. They might not be superstars, but they've got their mojo workin'.

Electric blues, Texas style! Inspired by the greatest players, he sounds like a Freddie King/Johnny Winter blend. If you like extended guitar soloing on a good level, and Johnny Winter-like vocals, you will love Texas Slim! Texas is a big state and Texas blues is big blues - so a name like "Texas Slim" is not to be used lightly. John Lee Hooker got away with it on King Records back in 1949 as he was a long way from Texas and probably had little to do with it. Many years ago, Johnny Winter settled instead for "Texas Guitar Slim" - but both are relevant for our man here, as the first blues he recalls hearing was by John Lee Hooker, and as for Johnny Winter, well, let's hear from Slim himself: “Johnny Winter is certainly my favorite guitarist of all time! I liked him before I realized he WAS blues.

Stevie Ray Vaughan's second album, 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. So why does it feel like a letdown? Perhaps because it simply offers more of the same, all the while relying heavily on covers. Of the eight songs, half are covers, while two of his four originals are instrumentals – not necessarily a bad thing, but it gives the impression that Vaughan threw the album together in a rush, even if he didn't. Nevertheless, Couldn't Stand the Weather feels a bit like a holding pattern, since there's no elaboration on Double Trouble's core sound and no great strides forward, whether it's in Vaughan's songwriting or musicianship.

Stevie Nicks calls in a few friends on this one. Trouble in Shangri-La enlists some of music's most popular females, including Macy Gray, Sarah McLachlan, and Dixie Chick Natalie Maines. If Nicks hadn't been doing it for years, this might feel like a calculated attempt to follow the trend set by Santana's Supernatural. Her liner notes have always been star-studded. Over the years she's gotten help from the likes of Don Henley, Don Felder, Bruce Hornsby, Mike Campbell, and Tom Petty. Most prominent on this album is Sheryl Crow, who co-produced five of the album's 13 tracks. Her signature guitar sound shines through on many of the songs. Maines performs the album's only true duet on "Too Far From Texas."

Epic/Legacy expanded Stevie Ray Vaughan’s second album Couldn’t Stand the Weather in 1999, adding four outtakes and an interview excerpt to the eight-track original, but the 2010 Legacy Edition expands it further still, retaining those four cuts, adding four songs from the posthumous compilation The Sky Is Crying (“Empty Arms,” “Wham!,” “Close to You,” “Little Wing”) along with three previously unreleased alternate takes (“The Sky Is Crying,” “Stang’s Swang,” “Boot Hill”), and a full, unreleased concert SRV & Double Trouble gave at the Spectrum in Montreal on August 17, 1984. Apart from “Empty Arms” and “Stang’s Swang,” every studio outtake is a cover, underscoring how Vaughan spent much of Couldn’t Stand the Weather drawing from his influences and synthesizing them into his own voice, and their addition actually strengthens the album considerably. With that in mind, the lively concert on the second disc is a bonus treat, evidence that SRV & Double Trouble were flying very high during 1984 and one of the better complete live sets in Vaughan’s discography.

The concept behind Blues at Sunrise is a good one: collect ten of SRV's best slow blues numbers, primarily from the official studio albums but also a couple of unreleased cuts and rarities, and sequence them as if they were a lost studio album. It's a neat idea, especially when it's packaged in artwork that deliberately evokes memories of classic blues albums from the '60s (there's even a fake, faded record ring on the front and back covers), and it's hard to fault the music here. All the obvious selections are here – "Ain't Gone 'N' Give Up on Love," "The Things (That) I Used to Do," "Leave My Girl Alone."

Live at the El Mocambo is a live video by Stevie Ray Vaughan and Double Trouble. The film was recorded at the El Mocambo club in Toronto, Ontario during the band's Texas Flood Tour. It was also released as a DVD on December 21, 1999, with interviews from drummer Chris Layton and bassist Tommy Shannon.