Stevie ray vaughan interview professional#
He was patient, professional – and every bit as intimidating as I could have imagined, which somehow made me happy. Leaning close, he smiled, flashing two gold front teeth, and told me to commence my questioning.įor 45 minutes, Albert answered my questions, though when he considered something foolish or misguided, he shot me a look that could freeze a volcano. Albert leaned forward and extended his long arm directly over my shoulder to get at some popcorn. I have never felt younger, whiter, shorter, or more insignificant. As we began to talk, he turned to the others and shouted, “Be quiet! I’m doing an interview.” Silence fell over the room and all eyes and ears turned to me. King shook my hand and pointed to a seat next to him. I was brought to a small dressing room, crowded with band members and their lady friends. Following his performance, I arrived backstage at my appointed hour, praying that I would be granted an audience with the King. King on a spinning theater in the round, and I fidgeted throughout his set. Albert was playing with Bobby “Blue” Bland and B.B. It started to snow, first lightly, then heavily, and I drove to the theater through a pelting blizzard. I spent the day at my cousin Stephen’s house in Cleveland, preparing for the interview and growing increasingly edgy. “Hopefully he’ll remember and feel like doing it.” I called his manager just before I left for the airport to verify our arrangements. I once saw him fire a sax player on the bandstand – surely he’d cancel an interview without a second thought. I desperately wanted to do a great job and he had a reputat ion as a tough, mean old man. After a bit of back and forth, the job was mine.Īs the day grew near, I became increasingly nervous. When the offer didn’t come, I piped up that King was my favorite guitarist and I would be honored to take the assignment. I shifted my weight, cleared my throat and waited for them to ask if I was interested. They couldn’t think of anyone up to the task of interviewing the great and ornery bluesman. Just days after I became the Guitar World Managing Editor in February, 1991, I sat at my desk listening two of my colleagues (“bosses” would have been the word I used at the time) discussing an interview with Albert King, scheduled for the following week in Clevelan d. See many more great rock, blues and country photographs at * I wrote the intro a few years ago when the piece ran in Hittin’ the Note.
Stevie ray vaughan interview full#
GM: There is a brass sound on the record too, making for a nice full and fun sound.Let’s take another look at this old story, one of the highlights of my years at Guitar World. When we play as a trio, Mike plays bass too. That is what we used to listen to when I was a teenager, which was really popular in the early 1960s. Since I was a teenager I listened to those organ trios, Jimmy Smith, Jack McDuff, Jimmy McGriff, all those guys, who also played bass with their feet and left hand on the instrument. He was a music fan as a teenager like me, so he started playing the B3 in just the last few years, as he is a guitar player. Mike’s sister played the Hammond B3 organ in church, so he was around that sound a lot. His father was in the military and his family moved around a lot. JV: He’s another Texan, from the Denton area. GM: I enjoy the organ sounds of Mike Flanigin on the album. I have been playing in clubs since I was young, growing up in Dallas. It is a lot of fun to just play, so we take the trio over there and perform. We did 120 dates in 2019, all around the country, but when you come home you don’t want to stop playing because you want to keep your hands limber. We did it right at C-Boys Heart and Soul in Austin, a place where we still play. You feel like you are right there in a club. GM: The live sound of the instrumental “Hold It” is fun.
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