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There are those people who are just so blessed – one person out of millions who can touch the instrument and have it sing for him. Everybody’s jaw dropped whenever he played. My brother Jimmie showed me some stuff, and then it was like the dam broke.’ He was just so shy and unassuming – until you put a guitar in his hands. He used to say to me: ‘I don’t know where it came from. But he didn’t carry any big pretence about it. There are very few people who have that much soul and that much power, who can command so much attention just by plugging in a guitar. Eddie Munoz, an old friend of Stevie’s and guitarist in the early 80s band The Plimsouls, recalled SRV’s uncanny ability to communicate directly through his instrument: “Stevie was a rarity. Old friends and colleagues showed up at Antone’s on Tuesday night to hug each other and help brush away the tears. How could this horrible thing happen? Why now, after Stevie Ray had cleaned up and got his life back together? And although the blues world was stunned, the people of Austin were positively crushed. By now every daily newspaper in the US had run some kind of front-page item about the tragic loss. The following day, still reeling from the news, the city of Austin tried to carry on. People are like that… it’s just born in ’em, you know?” And he could play as good then as he does now. “He was Little Stevie back then, just a kid. “I met Stevie when I was 22 and he was 17,” he sobbed to the cameras.
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A younger fan related, in still-awed tones, his excitement at witnessing a 1987 jam when Stevie Ray and brother Jimmie were joined on stage by U2’s The Edge and Bono.īy 9pm local TV stations began converging on Antone’s, their cameras capturing the testimony of an obviously shaken Clifford Antone, the club’s well-known owner. Another described the night he saw Little Stevie play with Albert King back in 1975.
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One fan fondly recalled the night in 1978 when Stevie Ray went toe-to-toe on stage at Antone’s with Otis Rush, the great left-handed bluesman who wrote Double Trouble, the tune after which SRV named his band. The sound of Stevie Ray’s stinging Strat pierced the air and went directly to the hearts of the huddled masses, offering bitter-sweet solace to the bereaved.Īs mourners gathered at Zilker Park, others instinctively headed to the club Antone’s, a focal point of the Austin blues scene throughout the mid-70s and a favourite hangout of the Vaughan brothers in their formative years. Young guitar slingers in the crowd caressed their Strats, Buddhists chanted and old friends wept openly as disc jockey Jody Denberg pumped a steady stream of SRV through a makeshift PA system in the park. His music united everyone, it seemed: tattooed Chicano bikers, besuited lawyers and crystal-carrying New Agers mourned in silence together. On that fateful day, though, fans began converging on Zilker Park, seated side-by-side in the darkness with candles 3,000 points of light flickering in a sea of sorrow.