21 of 22 people found the following review helpful:
1.0 out of 5 stars
Misleading, December 23, 2007
This review is from: Roadhouse Blues: Stevie Ray Vaughan and Texas R&B (Paperback)
I don't see how SRV can be credited as an author of this book. The author listed in the book is Hugh Gregory. If you want to learn about SRV, who he was and where he came from, do not buy this book. The Patoski and Crawford SRV bio and the Keri Leigh SRV bio are much more informative and much better books. The Antone's Home of the Blues DVD would also do a lot to help someone understand SRV's music.
The author's view of music itself is diametrically opposed to that of SRV. Gregory gives us the well known SRV quote about how when he (SRV) plays from his gut he is OK, but when he plays from his head, that's where he gets into trouble. Gregory doesn't like this, and has to respond with a statement that playing from your gut limits a performer. Gregory lauds a number of Jazz fusion-like artists in this book as if they have something to do with SRV, reflecting an obvious bias towards whatthe author considers as "intellectual" forms of music.
My intellectual training is in science, where elegance, not sophistication, is the intellectual goal. Thus I suppose I go more for simple, powerful music (elegance by definition) over sophisticated powerless music, regardless of the intellectual wizardry the music may represent. Thus I am an SRV fan! ..and I don't think much of Gregory's writing! Any musical artist who cannot take the basic form and make something meaningful (to others) of it simply isn't any good, let alone in the league of someone like SRV, who could create masterpieces in both his original compositions and his covers of other works (like Little Wing, for example).
I should have seen the misleding nature of this book in it's title, Roadhouse Blues. The Blues of SRV is more accurately described as Juke Joint Blues, and comes from the Delta and Chicago. Many of the artists to whom SRV's music is associated with in this book have little to nothing to do with SRV, and probably reflect the author's own tastes. Many artists whose works were fundamental to the development of SRVs music are discussed very little, or not at all, like Hubert Sumlin and Jimmy Rogers. Gregory refers to the Muddy Waters classic "Honey Bee" as an SRV composition that he (SRV) "unearthed from the Mississippi mud."! Partially accurate, I guess!
Through understanding SRVs music, many of us came to understand Delta Blues and related art forms quite well, much to our enrichment, and so will anyone who listens to SRVs music. An enduring legacy for which I am very grateful! This book doesn't cover this aspect of SRV at all.
This book is an interesting read for me as an example of how the authors of history distort history to suit their own biases. I suspect that this author knew next to nothing of SRV prior to authoring this book. His analysis of the 1982 Montreaux conceret really shows his lack of knowledge of SRV, where Gregory claims the crowd started out booing, but really got into SRV during the concert, flies in the face of the evidence on the DVD of the event, where the booing increases as the concert goes on, and they are loudly booed at the end.
This book reads much like a textbook, and could be a Guiness Book of World Records candidate for names dropped per unit of prose. In any event, one thing for certain, this book will do next to nothing to educate you on who SRV was and where he and his music came from.
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