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17 of 17 people found the following review helpful:
5.0 out of 5 stars
Hugely Underated CD Don't think about it...just buy it!!!, October 20, 2001
This CD, and the tour that resulted from it, took me by surprise. Jimmie Vaughan's band is amazingly tight, his vocals are much better than expected. The songs are from a far better musical era. They are reminiscent of something that came from Memphis in the 60's. He uses no bass player. The organist uses bass pedals to round out the bottom of the sound. Austin guitar legend Denny Freeman plays both rhythm guitar & piano and is equally deft at either instrument. The doo wop singers he brought out on tour (after they blew him away in the studio)were a great compliment to his sound. I loved this CD. A tip for guitar players trying to cop his sound: Many people have written in articles that he has gone to an open tuning, with a capo. I was able to talk with him and found that he tunes conventionally, but uses the capo on the proper fret for the key of the song he is playing. This allows him to pull off the strings from any position to get a note which is in key with the song. It is like playing every song in the key of E. This makes his sliding/pulloff licks work. He was not using an open tuning as many people believe. Anyway, buy the CD and good luck playing his chops. Remember, SRV looked up to him. That is a reccomendation.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
Kick-ass record from Jimmie Lee Vaughan!, August 4, 2004
This is Jimmie Vaughan's first solo record, and it was released four years after brother Stevie's tragic death. Here he gives us a great slab of electric blues. Of course, his laid-back jam-back-at-the-house kind of a feel is much different than Stevie's impassioned, lets-go-kick-ass style. However, Jimmie and Stevie are similar in the fact that they both make music that goes down nice and easy. Even when Stevie plays a loud, piercing solo it still is so fluid and so perfectly played that it is easy on the ears. I like so call this the "Vaughan sound". Just very Texas blues. Jimmie also has that instantly recognizable tone. Everyone knows who it is when they hear it. Okay, now back to the record. Jimmie plays superbly on this cd. He rocks it up with Boom-Bapa-Boom, which was featured in Major League II, Don't Cha Know, and Hey Yeah. He also slows it down a little bit with songs like Sweet Soul Vibe. And then there is the highlight of the disc, Six Strings Down, his tribute to Stevie. With just an accoustic guitar and a couple of backup singers, he gives the best tribute to Stevie that anyone could. The first time I heard it, I cried. Because you could tell from listening to him that he was dealing with the pain very well but he still was hurting inside. This is one of the best blues songs ever put to tape.
Overall, this is Jimmie's best cd so far. I don't personally think he will ever take over the world with his music, because he doesn't draw attention to himself. But that doesn't stop him. He is as big a legend to me as Stevie is. Not just because he is Stevie's brother, but because he is a fantastic guitar player, and one of the most underrated guitar players of all-time. It's a damn shame. And another thing, Jimmie is also a great singer for the music he does. He hardly gets any credit for that, so I am giving him that now. I am glad that Stevie got you to sing on Family Style, for that was the start of something great. Stevie is my all-time favorite, but if anyone says that Jimmie isn't very good, they should be shot. Rock on, JLV!
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6 of 6 people found the following review helpful:
4.0 out of 5 stars
Strange Pleasure it is!, September 2, 1998
Fans of Jimmie Vaughan's razor sharp blues playing with the Fabulous Thunderbirds will be somewhat puzzled by his post Thunderbirds departures on Strange Pleasure. Here Vaughan's post-modern twist on blues seems to rely less on adherence to form and more on capturing an almost intangible blues "feel". Vaughan's chunky, economical guitar playing has become much more unpredictable, riskier, even abstract. The band seems to kick out funky grooves with such understated cool that some critics, apparently Emaps Phil Sutcliff among them, seem to miss the point entirely: the album is an exercise in stripped down, sympathetic, give and take ensemble work (dig that Hammond B3!), layered with well-designed parts and rock-solid architecture that simmers beneath a laid back surface. But Strange Pleasure goes beyond craft. Every song on the album seems to have a sense of not-quite-right weirdness, seems to be hiding something subversive just out of sight. Ever wonder how David Lynch might have turned out had he played the guitar? Here is my best guess.
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