You would look around and see flight cases. ![]() "We ran through all the songs on Texas Flood about three times and took the best songs from the three run throughs. “We set up in the middle of the floor, like we were playing a gig inside a warehouse," said drummer Chris Layton. The set was made up of songs they had played night after night on the circuit, including Buddy Guy’s Mary Had A Little Lamb and Howlin’ Wolf’s Tell Me, as well as Vaughan’s originals, such as Love Struck Baby and the instrumental Lenny. ![]() Their first day in the studio was spent just setting up equipment, leaving them just the Saturday and Sunday to put the tracks down. Like most ‘overnight sensations’, Stevie Ray Vaughan and Double Trouble’s massive success when Texas Flood was released, on June 13, 1983, was a long time coming and not without a few technical hiccups along the way. Listen on Apple Music (opens in new tab)Įvery week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.After all, it’s been a long time, right?” “Stevie Ray does his thing well but, essentially, it’s somebody else’s thing,” said Loder, who concluded his review by adding: “ Texas Flood is well worth hearing, even if you have heard it all before. Kurt Loder in Rolling Stone said Vaughan’s singing was “genuinely generic” and that he couldn’t write lyrics, either. They would show Love Struck Baby fives times a day, which added more exposure to the band.”īut not everyone was impressed. We made a video and they played it all the time. “They would just keep showing the same videos over and over again. “They didn’t have enough videos to play 24 hours a day, seven days a week,” said drummer Chris Layton. The blues was officially back in business. The video for Love Struck Baby was regularly played on the fledgling MTV channel, along with George Thorogood and the Destroyers' Bad To The Bone. 1337, S.F.And, unlikely as it now seems, this battle-hardened combo even became pop stars. Just get past the first four lesser songs. A good LP for dim lights, smoke, tea, and, well, a kaleidoscope. And the modern production, instead of something backward-looking, is the right idea. Guitarist/writer Michael Padilla's vocals are still a bit sleepy, in the shoegaze style, but it fits this well-developed feedback guitar and spacey, mind-control organ stuff. Songs such as "Acceleration," the vintage organ-drenched "Satellite," the chimy "Suburban Girlfriend," and the sinister-hypnotic "Envy's Angel" (with unexpected contrary bridge) employ the sort of dizzy vibe and psychedelic/sci-fi sound effects that served the Rolling Stones so well on 1967's Their Satanic Majesties Request (think "She's a Rainbow," "Citadel," and Bill Wyman's "In Another Land") and a few of George Harrison and John Lennon's Revolver excursions. ![]() Like another San Francisco ex-shoegaze outfit, Brian Jonestown Massacre, only without the all-encompassing attitude/bluster/humor, Dora Flood have made a natural lateral move into the more '60s-trippy. But here they are at last, with the same lineup, and a new direction. records of that genre with 1995's 1301 EP - already a year late to get on that fine bandwagon - and were MIA, presumed dead since. Where does a former Californian dream pop band do now, five years after the movement has passed? Dora Flood released one of the ten best U.S.
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