Editing Stevie Ray Vaughan (section)

== Music career ==

=== Early years ===
In May 1969, after leaving the Brooklyn Underground, Vaughan joined a band called the Southern Distributor.<ref>{{harvnb|Hopkins|2010|p=19}}</ref> He had learned [[the Yardbirds]]' "Jeff's Boogie" and played the song at the band audition. Mike Steinbach, the group's drummer, commented: "The kid was fourteen. We auditioned him on 'Jeff's Boogie,' really fast instrumental guitar, and he played it note for note."<ref name="Hopkins 2010 22">{{harvnb|Hopkins|2010|p=22}}</ref> Although they played [[pop rock]] covers, Vaughan conveyed his interest in the addition of blues songs to the group's repertoire; he was told that he wouldn't earn a living playing blues music and he and the band parted ways.<ref>{{harvnb|Hopkins|2010|p=21}}: Vaughan being told that there was no money in blues; {{harvnb|Hopkins|2010|p=22}}: break-up of the Southern Distributor.</ref> Later that year, bassist [[Tommy Shannon]] walked into a Dallas club and heard Vaughan playing guitar. Fascinated by the skillful playing, which he described as "incredible even then", Shannon borrowed a bass guitar and the two [[Jam session|jammed]].<ref name="Hopkins 2010 23">{{harvnb|Hopkins|2010|p=23}}</ref>{{refn|group=nb|In 1969, Shannon, who had parted ways with musician [[Johnny Winter]] after performing at [[Woodstock]], moved back to Dallas and first met Vaughan at a club called the Fog, which was coincidentally the same place where he had met Winter.<ref name="Hopkins 2010 23" />}} Within a few years, they began performing together in a band called Krackerjack.<ref>{{harvnb|Patoski|Crawford|1993|p=62}}</ref>

In February 1970, Vaughan joined a band called Liberation, which was a nine-piece group with a horn section. Having spent the past month briefly playing bass with Jimmie in Texas Storm, he had originally auditioned as bassist. Impressed by Vaughan's guitar playing, Scott Phares, the group's original guitarist, modestly became the bassist.<ref>{{harvnb|Hopkins|2010|p=27}}</ref> In mid-1970, they performed at the [[Adolphus Hotel]] in downtown Dallas, where [[ZZ Top]] asked them to perform. During Liberation's break, Vaughan jammed with ZZ Top on the Nightcaps song "Thunderbird". Phares later described the performance: "they tore the house down. It was awesome. It was one of those magical evenings. Stevie fit in like a glove on a hand."<ref>{{harvnb|Hopkins|2010|p=31}}</ref>

Attending [[Justin F. Kimball High School]] during the early 1970s, Vaughan's late-night shows contributed to his neglect of his studies, including music theory; he would often sleep during class.<ref>{{harvnb|Patoski|Crawford|1993|p=40}}</ref> His pursuit of a musical career was disapproved of by many of the school's administrators but he was also encouraged by many people, including his art teacher, to strive for a career in art.<ref name="Patoski Crawford 41">{{harvnb|Patoski|Crawford|1993|p=41}}</ref>{{refn|group=nb|Some of Vaughan's cartoons were published in his high school's newspaper.<ref name="Patoski Crawford 41" />}} In his second year, he attended an evening class for experimental art at [[Southern Methodist University]], but left when it conflicted with rehearsal.<ref name="Patoski Crawford 41" /> Vaughan later spoke of his dislike of the school and recalled having  received daily notes from the principal about his grooming.<ref>{{harvnb|Hopkins|2010|p=24}}</ref>

=== First recordings ===
In September 1970, Vaughan made his first studio recordings with the band Cast of Thousands, which included future actor [[Stephen Tobolowsky]]. They recorded two songs, "Red, White and Blue" and "I Heard a Voice Last Night", for a compilation album, ''A New Hi'', that featured various teenage bands from Dallas.<ref>{{harvnb|Hopkins|2010|pp=36–38}}</ref> In late January 1971, feeling confined by playing pop hits with Liberation, Vaughan formed his own band, Blackbird. After growing tired of the Dallas music scene, he dropped out of school and moved with the band to [[Austin, Texas]], which had more liberal and tolerant audiences. There, Vaughan initially took residence at the Rolling Hills Club, a local blues venue that would later become the Soap Creek Saloon. Blackbird played at several clubs in Austin and opened shows for bands such as [[Sugarloaf (band)|Sugarloaf]], [[Wishbone Ash]], and [[Zephyr (band)|Zephyr]], but could not maintain a consistent lineup.<ref>{{harvnb|Hopkins|2010|p=61}}: Blackbird opening for Zephyr; {{harvnb|Hopkins|2010|p=63}}: Blackbird opening for Sugarloaf; {{harvnb|Hopkins|2010|p=65}}: Blackbird opening for Wishbone Ash; {{harvnb|Gill|2010}}: Blackbird's inconsistent lineup.</ref> In early December 1972, Vaughan left Blackbird and joined Krackerjack; he performed with them for less than three months.<ref>{{harvnb|Hopkins|2010|pp=67–70}}: "December 2 is the last entry for Blackbird in Charlie Hatchett's booking records until December 30–31. It would not be surprising if the band had broken up early in the month but had the 30th and New Year's Eve gigs planned well in advance. Stevie probably moved into Krackerjack at this time."</ref>

In March 1973, Vaughan joined [[Marc Benno]]'s band, the Nightcrawlers, having met Benno at a jam session years before.<ref>{{harvnb|Hopkins|2010|p=23}}: Vaughan meets Marc Benno at a jam session; {{harvnb|Hopkins|2010|p=73}}: Vaughan joins Marc Benno's band, the Nightcrawlers.</ref> The band featured vocalist [[Doyle Bramhall]], who met Vaughan when he was twelve years old.<ref>{{harvnb|Patoski|Crawford|1993|p=21}}</ref> The next month, the Nightcrawlers recorded an album at [[Sunset Sound Recorders]] in [[Hollywood, Los Angeles|Hollywood]] for [[A&M Records]]. While the album was rejected by A&M, it included Vaughan's first songwriting efforts, "Dirty Pool" and "Crawlin'".<ref>{{harvnb|Hopkins|2010|p=74}}: Vaughan's first songwriting efforts; {{harvnb|Patoski|Crawford|1993|p=68}}: Nightcrawlers' rejection by A&M Records.</ref> Soon afterward, he and the Nightcrawlers traveled back to Austin without Benno.<ref>{{harvnb|Hopkins|2010|p=77}}</ref> In mid-1973, they signed a contract with [[Bill Ham]], manager for ZZ Top, and played various gigs across the Southern United States, although many of them were unsuccessful.<ref>{{harvnb|Hopkins|2010|p=80}}</ref> Ham left the band stranded in Mississippi without any way to make it back home and demanded reimbursement from Vaughan for equipment expenses; Ham was never reimbursed.<ref>{{harvnb|Hopkins|2010|p=84}}</ref>{{refn|group=nb|According to authors Joe Nick Patoski and Bill Crawford, Bill Ham had invested $11,000 for a [[U-Haul]] truck and backline equipment.<ref name="Hopkins 2010 23" />}}

In 1975, Vaughan joined a six-piece band called Paul Ray and the Cobras which included guitarist Denny Freeman and saxophonist Joe Sublett.<ref>{{harvnb|Patoski|Crawford|1993|p=83}}</ref> For the next two-and-a-half years, he earned a living performing weekly at a popular venue in town, the Soap Creek Saloon, and ultimately the newly opened Antone's, widely known as Austin's "home of the blues".<ref>{{harvnb|Hopkins|2010|pp=91–92}}</ref>{{refn|group=nb|Founded and opened by [[Clifford Antone]] on July 15, 1975, Antone's was managed by singer [[Angela Strehli]] and hired [[The Fabulous Thunderbirds]] as the unofficial house band.<ref>{{harvnb|Patoski|Crawford|1993|p=95}}</ref>}} In late 1976, Vaughan recorded a single with them, "Other Days" as the [[A-side]] and "Texas Clover" as the B-side. With Vaughan playing guitar on both tracks, the single was released on February 7, 1977.<ref>{{harvnb|Hopkins|2010|p=99}}</ref> In March, readers of the ''[[Austin Sun]]'' voted them as Band of the Year.<ref>{{harvnb|Hopkins|2010|p=103}}</ref> In addition to playing with the Cobras, Vaughan jammed with many of his influences at Antone's, including [[Buddy Guy]], [[Hubert Sumlin]], [[Jimmy Rogers]], [[Lightnin' Hopkins]], and [[Albert King]].<ref>{{harvnb|''Request''|1989}} (primary source); {{harvnb|Hopkins|2010|p=92}} (secondary source)</ref>

Vaughan toured with the Cobras during much of 1977, but near the end of September, when they decided to strive for a mainstream musical direction, he left the band and formed Triple Threat Revue, which included singer [[Lou Ann Barton]], bassist [[W. C. Clark]], and drummer Fredde "Pharaoh" Walden.<ref>{{harvnb|Hopkins|2010|p=109}}</ref> In January 1978, they recorded four songs in Austin, including Vaughan's composition "I'm Cryin'". The thirty-minute audio recording marks the only known studio recording of the band.<ref name="Hopkins 2010 117">{{harvnb|Hopkins|2010|p=117}}</ref>

=== Double Trouble ===
[[File:Stevie Ray Vaughan and Double Trouble (1983 publicity photo by Don Hunstein).jpg|thumb|left|alt=A black and white photograph of three men, one is wearing a wide-brimmed black hat.|Double Trouble in 1983. From left to right: [[Chris Layton]], Vaughan and [[Tommy Shannon]].]]

In mid-May 1978, Clark left to form his own group and Vaughan renamed the band [[Double Trouble (band)|Double Trouble]], taken from the title of an [[Double Trouble (Otis Rush song)|Otis Rush song]].<ref>{{harvnb|Patoski|Crawford|1993|p=111}}</ref> Following the recruitment of bassist Jackie Newhouse, Walden quit in July, and was briefly replaced by Jack Moore, who had moved to Texas from [[Boston]]; he performed with the band for about two months.<ref>{{harvnb|Hopkins|2010|p=127}}</ref> Vaughan then began looking for a drummer and soon after, he met [[Chris Layton]] through Sublett, who was his roommate. Layton, who had recently parted ways with [[Greezy Wheels]], was taught by Vaughan to play a [[Swing (jazz performance style)|shuffle rhythm]]. When Vaughan offered Layton the position, he agreed.<ref>{{harvnb|Patoski|Crawford|1993|p=114}}</ref> In early July, Vaughan befriended Lenora Bailey, known as "Lenny", who became his girlfriend, and ultimately his wife. The marriage was to last for six and a half years.<ref name="Hopkins 2010 127">{{harvnb|Hopkins|2010|p=127}}: Vaughan befriends Lenny; {{harvnb|Hopkins|2010|p=152}}: marriage to Lenny; {{harvnb|Hopkins|2011|p=136}}: separation from Lenny.</ref>{{refn|group=nb|Vaughan and Lenny married on December 23, 1979, at the Rome Inn, after he had a dream that Lenny was sitting on [[Howlin' Wolf]]'s knee.<ref>{{harvnb|Patoski|Crawford|1993|p=130}}</ref>}}

In early October 1978, Vaughan and Double Trouble earned a frequent residency performing at one of Austin's most popular nightspots, the Rome Inn.<ref name="Hopkins 2010 136">{{harvnb|Hopkins|2010|p=136}}</ref> During a performance, Edi Johnson, an accountant at [[Manor Downs]], noticed Vaughan.<ref name="Hopkins 2010 136" /> She remembered: "I'm not an authority on music—it's whatever turned me on—but this did."<ref>{{harvnb|Patoski|Crawford|1993|p=134}}</ref> She recommended him to Manor Downs owner Frances Carr and general manager Chesley Millikin, who was interested in managing artists and saw Vaughan's musical potential. After Barton quit Double Trouble in mid-November 1979, Millikin signed Vaughan to a management contract.<ref>{{harvnb|Hopkins|2010|p=150}}: Barton leaves Double Trouble; {{harvnb|Hopkins|2010|p=160}}: Vaughan signs management contract with Millikin.</ref> Vaughan also hired Robert "Cutter" Brandenburg as road manager, whom he had met in 1969.<ref>{{harvnb|Patoski|Crawford|1993|p=136}}: Vaughan hires Cutter as road manager; {{harvnb|Hopkins|2010|p=23}}: Vaughan meets Cutter.</ref> Addressing him as "Stevie Ray", Brandenburg convinced Vaughan to use his middle name on stage.<ref>{{harvnb|Patoski|Crawford|1993|p=136}}</ref>

In October 1980, bassist [[Tommy Shannon]] attended a Double Trouble performance at Rockefeller's in [[Houston]]. Shannon, who was playing with [[Alan Haynes]] at the time, participated in a jam session with Vaughan and Layton halfway through their set. Shannon later commented: "I went down there that night, and I'll never forget this: it was like, when I walked in the door and I heard them playing, it was like a revelation. 'That's where I want to be; that's where I belong, right there.' During the break, I went up to Stevie and told him that. I didn't try to sneak around and hide it from the bass player [Jackie Newhouse]—I didn't know if he was listening or not. I just really wanted to be in that band. I sat in that night and it sounded great."<ref>{{harvnb|Hopkins|2010|p=164}}</ref> Almost three months later, when Vaughan offered Shannon the position, he readily accepted.<ref>{{harvnb|Hopkins|2010|p=167}}</ref>

==== Drug charge and trial ====
On December 5, 1979, while Vaughan was in a dressing room before a performance in Houston, an off-duty police officer arrested him after witnessing him using [[cocaine]] near an open window.{{sfn|Gregory|2003|p=67}} He was formally charged with cocaine possession and subsequently released on $1,000 bail.<ref>{{harvnb|Hopkins|2010|p=158}}; {{harvnb|Reid|2010|p=292}}</ref> Double Trouble was the opening act for [[Muddy Waters]], who said about Vaughan's drug abuse: "Stevie could perhaps be the greatest guitar player that ever lived, but he won't live to get 40 years old if he doesn't leave that white powder alone."{{sfn|Gregory|2003|p=66}} The following year, he was required to return on January 16 and February 29 for court appearances.<ref>{{harvnb|Hopkins|2011|pp=155–156}}</ref>

During the final court date on April 17, 1980, Vaughan was sentenced with two years' probation and was prohibited from leaving Texas.<ref name="Hopkins 2010 158">{{harvnb|Hopkins|2010|p=158}}</ref> Along with a stipulation of entering treatment for drug abuse, he was required to "avoid persons or places of known disreputable or harmful character"; he refused to comply with both of these orders.<ref>{{harvnb|Patoski|Crawford|1993|p=132}}</ref> After a lawyer was hired, his probation officer had the sentence revised to allow him to work outside the state.<ref name="Hopkins 2010 158" /> The incident later caused him to refuse maid service while staying in hotels during concert tours.<ref>{{harvnb|Patoski|Crawford|1993|p=169}}</ref>

==== Montreux Jazz Festival ====
Although popular in Texas at the time, Double Trouble failed to gain national attention. The group's visibility improved when record producer [[Jerry Wexler]] recommended them to [[Claude Nobs]], organizer of the [[Montreux Jazz Festival]]. He insisted the festival's blues night would be great with Vaughan, whom he called "a jewel, one of those rarities who comes along once in a lifetime", and Nobs agreed to book Double Trouble on July 17, 1982.<ref>{{harvnb|Patoski|Crawford|1993|p=145}}</ref>

Vaughan opened with a medley arrangement of [[Freddie King]]'s song "[[Hide Away (instrumental)|Hide Away]]" and his own fast instrumental composition, "[[Rude Mood]]". Double Trouble went on to perform renditions of [[Larry Davis (blues musician)|Larry Davis]]' "[[Texas Flood (song)|Texas Flood]]", [[Hound Dog Taylor]]'s "Give Me Back My Wig", and [[Albert Collins]]' "Collins Shuffle", as well as three original compositions: "[[Pride and Joy (Stevie Ray Vaughan song)|Pride and Joy]]", "[[Love Struck Baby]]", and "Dirty Pool". The set ended with boos from the audience.<ref name="Hopkins 2010 200">{{harvnb|Hopkins|2010|p=200}}</ref> [[People (magazine)|''People'']]'s [[James McBride (writer)|James McBride]] wrote:

{{blockquote|He seemed to come out of nowhere, a Zorro-type figure in a riverboat gambler's hat, roaring into the '82 Montreux festival with a '59 Stratocaster at his hip and two flame-throwing sidekicks he called Double Trouble. He had no album, no record contract, no name, but he reduced the stage to a pile of smoking cinders and, afterward, everyone wanted to know who he was."{{sfn|McBride|1985}}{{refn|group=nb|According to authors Joe Nick Patoski and Bill Crawford, "like the audiences' adverse reaction to Muddy Waters' debut in England in 1958 as recorded by blues scholar Paul Oliver, Stevie's full-volume electric blues experience was 'meat that proved too strong for many stomachs.' The Europeans, accustomed to a quieter, folk blues style, cringed at the sheer volume level emitted by the Texas trio."<ref>{{harvnb|Patoski|Crawford|1993|p=148}}</ref> Biographer Craig Hopkins wrote: "the two nights in Montreux became the single most important gigs in Stevie's career."<ref>{{harvnb|Hopkins|2010|p=205}}</ref>}}}}

According to road manager Don Opperman: "the way I remember it, the 'ooos' and the 'boos' were mixed together, but Stevie was pretty disappointed. Stevie [had] just handed me his guitar and walked off stage, and I'm like, 'are you coming back?' There was a doorway back there; the audience couldn't see the guys, but I could. He went back to the dressing room with his head in his hands. I went back there finally, and that was the end of the show."<ref name="Hopkins 2010 200" /> According to Vaughan: "it wasn't the whole crowd [that booed]. It was just a few people sitting right up front. The room there was built for acoustic jazz. When five or six people boo, wow, it sounds like the whole world hates you. They thought we were too loud, but shoot, I had four army blankets folded over my amp, and the volume level was on 2. I'm used to playin' on 10!"<ref>{{harvnb|Santelli|1985}} (primary source); {{harvnb|Hopkins|2010|p=200}} (secondary source)</ref> The performance was filmed and later [[Live at Montreux 1982 & 1985|released on DVD]] in September 2004.<ref>{{Cite web|url=https://srvarchive.com/videography|title="Official Videography."|website=Srvarchive.com|access-date=February 2, 2022}}</ref>

On the following night, Double Trouble was booked in the lounge of the [[Montreux Casino]], with [[Jackson Browne]] in attendance. Browne jammed with Double Trouble until the early morning hours and offered them free use of his personal recording studio in downtown Los Angeles. In late November the band accepted his offer and recorded ten songs in two days.<ref>{{harvnb|Patoski|Crawford|1993|p=149}}</ref> While they were in the studio, Vaughan received a telephone call from [[David Bowie]], who had met him after the Montreux performance, and he invited him to participate in a recording session for his next studio album, ''[[Let's Dance (David Bowie album)|Let's Dance]]''.<ref>{{harvnb|Patoski|Crawford|1993|p=150}}</ref> In January 1983, Vaughan recorded guitar on six of the album's eight songs, including [[Let's Dance (David Bowie song)|the title track]] and "[[China Girl (song)|China Girl]]".<ref>{{harvnb|Patoski|Crawford|1993|p=152}}: Bowie songs that included Vaughan; {{harvnb|Hopkins|2011|p=3}}: recording sessions with Bowie.</ref> The album was released on April 14, 1983, and sold over three times as many copies as Bowie's previous album.<ref>{{harvnb|Hopkins|2011|p=12}}</ref>

==== National success ====
In mid-March 1983, Gregg Geller, vice president of [[A&R]] at [[Epic Records]], signed Double Trouble to the label at the recommendation of record producer [[John Hammond (producer)|John Hammond]].<ref>{{harvnb|Patoski|Crawford|1993|pp=157–158}}</ref> Soon afterward, Epic financed a music video for "Love Struck Baby", which was filmed at the Cherry Tavern in New York City. Vaughan recalled: "we changed the name of the place in the video. Four years ago I got married in a club where we used to play all the time called the Rome Inn. When they closed it down, the owner gave me the sign, so in the video we put that up behind me on the stage."<ref>{{harvnb|Hopkins|2011|p=11}}</ref>

With the success of ''Let's Dance'', Bowie requested Vaughan as the featured instrumentalist for the upcoming [[Serious Moonlight Tour]], realizing that he was an essential aspect of the album's groundbreaking success.<ref>{{harvnb|Patoski|Crawford|1993|p=152}}</ref> In late April, Vaughan began rehearsals for the tour in [[Las Colinas, Texas]].<ref>{{harvnb|Hopkins|2011|p=14}}</ref> When contract renegotiations for his performance fee failed, Vaughan abandoned the tour days before its opening date, and he was replaced by [[Earl Slick]].<ref>{{harvnb|Patoski|Crawford|1993|pp=154–155}}: Vaughan's contract renegotiations for Serious Moonlight tour; {{harvnb|Hopkins|2010|p=16}}: Vaughan quits the Serious Moonlight tour.</ref> Vaughan commented: "I couldn't gear everything on something I didn't really care a whole lot about. It was kind of risky, but I really didn't need all the headaches."<ref>{{harvnb|Patoski|Crawford|1993|p=155}}</ref> Although contributing factors were widely disputed, Vaughan soon gained major publicity for quitting the tour.<ref>{{harvnb|Hopkins|2010|pp=16–17}}</ref>

On May 9, the band performed at [[The Bottom Line (venue)|The Bottom Line]] in New York City, where they opened for [[Bryan Adams]], with Hammond, [[Mick Jagger]], [[John McEnroe]], [[Rick Nielsen]], [[Billy Gibbons]], and [[Johnny Winter]] in attendance.<ref>{{harvnb|Hopkins|2011|p=16}} (primary source); {{harvnb|Patoski|Crawford|1993|p=160}} (secondary source)</ref> Brandenburg described the performance as "ungodly": "I think Stevie played every lick as loud and as hard and with as much intensity as I've ever heard him."<ref name="Patoski Crawford 160">{{harvnb|Patoski|Crawford|1993|p=160}}</ref> The performance earned Vaughan a positive review published in the ''[[New York Post]]'', asserting that Double Trouble outperformed Adams.<ref>{{harvnb|Hopkins|2011|p=16}}</ref> "Fortunately, Bryan Adams, the Canadian rocker who is opening arena dates for Journey, doesn't headline too often", wrote Martin Porter, who claimed that after the band's performance, the stage had been "rendered to cinders by the most explosively original showmanship to grace the New York stage in some time."<ref name="Patoski Crawford 160" />

==== ''Texas Flood'' ====
{{Main|Texas Flood}}
After acquiring the recordings from Browne's studio, Double Trouble began assembling the material for a full-length LP. The album, ''[[Texas Flood]]'', opens with the track "Love Struck Baby", which was written for Lenny on their "love-struck day".<ref name="Hopkins 2010 127" /> He composed "Pride and Joy" and "I'm Cryin{{'"}} for one of his former girlfriends, Lindi Bethel. Although both are musically similar, their lyrics are two different perspectives of the relationship.<ref>{{harvnb|Hopkins|2010|p=117}}: "Now that he is part of the quintuple-headed vox machine known merely as ''Triple'' Threat, Stevie begins to write, starting with 'Pride and Joy' and 'I'm Cryin′' for his girlfriend, Lindi Bethel ... of course, the two songs are musical twins, but the lyrics reveal opposite perspectives of their rollercoaster relationship."</ref> Along with covers of Howlin' Wolf, [[the Isley Brothers]], and [[Buddy Guy]], the album included Vaughan's cover of Larry Davis' "[[Texas Flood (song)|Texas Flood]]", a song that he became strongly associated with.<ref>{{harvnb|Hopkins|2010|p=111}}</ref> "[[Lenny (instrumental)|Lenny]]" served as a tribute to his wife, which he composed at the end of their bed.<ref>{{harvnb|Patoski|Crawford|1993|p=143}}</ref>

''Texas Flood'' featured cover art by illustrator [[Brad Holland (artist)|Brad Holland]], who is known for his artwork for ''[[Playboy]]'' and ''[[The New York Times]]''.{{sfn|Hopkins|2011|p=21}} Originally envisioned with Vaughan sitting on a horse depicting a promotable resemblance, Holland painted an image of him leaning against a wall with a guitar, using a photograph as a reference.{{sfn|Patoski|Crawford|1993|p=159}} Released on June 13, 1983, ''Texas Flood'' peaked at number 38 and ultimately sold half a million copies.{{sfn|Hopkins|2011|p=21}} While ''Rolling Stone'' editor [[Kurt Loder]] asserted that Vaughan did not possess a distinctive voice, according to [[AllMusic]] senior editor [[Stephen Thomas Erlewine]], the release was a "monumental impact".<ref>{{cite web|title=Texas Flood – Stevie Ray Vaughan: Review by Stephen Thomas Erlewine |url=https://www.allmusic.com/album/texas-flood-mw0000090316 |website=AllMusic|access-date=April 13, 2014}}</ref> ''[[Billboard (magazine)|Billboard]]'' described it as "a guitar boogie lovers delight".{{sfn|''Billboard''|1983}} Agent Alex Hodges commented: "No one knew how big that record would be, because guitar players weren't necessarily in vogue, except for some that were so established they were undeniable&nbsp;... he was one of the few artists that was recouped on every record in a short period of time."{{sfn|Hopkins|2011|p=24}}

On June 16, Vaughan gave a performance at Tango nightclub in Dallas, which celebrated the album's release. Assorted [[VIPs]] attended the performance, including [[Ted Nugent]], [[Sammy Hagar]], and members of [[The Kinks]] and [[Uriah Heep (band)|Uriah Heep]].<ref name="Hopkins 2011 22">{{harvnb|Hopkins|2011|p=22}}</ref> Jack Chase, vice president of marketing for Epic, recalled: "the coming-out party at Tango was very important; it was absolutely huge. All the radio station personalities, DJs, program directors, all the retail record store owners and the important managers, press, all the executives from New York came down—about seven hundred people. We attacked in Dallas first with [[KDGE|Q102-FM]] and [DJ] Redbeard. We had the Tango party—it was hot. It was ''the'' ticket."<ref name="Hopkins 2011 22" /> ''[[The Dallas Morning News]]'' reviewed the performance, starting with the rhetorical question; "what if Stevie Ray Vaughan had an album release party and everybody came? It happened Thursday night at Tango.&nbsp;... The adrenaline must have been gushing through the musicians' veins as they performed with rare finesse and skill."<ref name="Hopkins 2011 22" />

Following a brief tour in Europe, Hodges arranged an engagement for Double Trouble as [[The Moody Blues]]' opening act during a two-month tour of North America.{{refn|group=nb|Double Trouble received $5,000 in compensation for each show, as well as a $1,000–$2,000 bonus for successful ticket sales.<ref name="Hopkins 2011 39" />}} Hodges stated that many people disliked the idea of Double Trouble opening for The Moody Blues, but asserted that a common thread that both bands shared was "[[album-oriented rock]]".<ref name="Hopkins 2011 39">{{harvnb|Hopkins|2011|p=39}}</ref> Tommy Shannon described the tour as "glorious": "Our record hadn't become that successful yet, but we were playing in front of coliseums full of people. We just went out and played, and it fit like a glove. The sound rang through those big coliseums like a monster. People were going crazy, and they had no idea who we were!"<ref name="Hopkins 2011 39" /> After appearing on the television series ''[[Austin City Limits]]'', the band played a sold-out concert at New York City's [[Beacon Theatre (New York City)|Beacon Theatre]]. ''[[Variety (magazine)|Variety]]'' wrote that their ninety-minute set at the Beacon "left no doubt that this young Texas musician is indeed the 'guitar hero of the present era.{{'"}}<ref>{{harvnb|Hopkins|2011|pp=43–44}}</ref>

==== ''Couldn't Stand the Weather'' ====
{{Main|Couldn't Stand the Weather}}
In January 1984, Double Trouble began recording their second studio album, ''[[Couldn't Stand the Weather]]'', at the [[Power Station (recording studio)|Power Station]], with John Hammond as executive producer and engineer Richard Mullen.<ref name="Hopkins 2011 46">{{harvnb|Hopkins|2011|p=46}}: "January: Studio sessions for ''Couldn't Stand the Weather'', nineteen days at New York City's Power Station."</ref> Layton later recalled working with Hammond: "he was kind of like a nice hand on your shoulder, as opposed to someone that jumped in and said, 'let's redo this, let's do that more.' He didn't get involved in that way at all. He was a feedback person."<ref name="Hopkins 2011 46" /> As the sessions began, Vaughan's cover of [[Bob Geddins]]' "Tin Pan Alley" was recorded while audio levels were being checked. Layton remembers the performance: "...&nbsp;we did probably the quietest version we ever did up 'til that point. We ended it and [Hammond] said; 'that's the best that song will ever sound,' and we went; 'we haven't even got sounds, have we?' He goes, 'that doesn't matter. That's the best you'll ever do that song.' We tried it again five, six, seven times – I can't even remember. But it never quite sounded like it did that first time."<ref>''In the Studio'', Album Network, 1993, Redbeard (primary source); {{harvnb|Hopkins|2011|p=46}} (secondary source)</ref>

During recording sessions, Vaughan began experimenting with other combinations of musicians, including [[Fran Christina]] and [[Stan Harrison]], who played drums and saxophone respectively on the jazz instrumental, "Stang's Swang".<ref name="Patoski Crawford 173">{{harvnb|Patoski|Crawford|1993|p=173}}</ref> Jimmie Vaughan played rhythm guitar on his cover of [[Guitar Slim]]'s "[[The Things That I Used to Do]]" and the title track, in the latter of which Vaughan carries a worldly message in his lyrics.<ref name="Patoski Crawford 176">{{harvnb|Patoski|Crawford|1993|p=176}}</ref> According to [[musicologist]] Andy Aledort, Vaughan's guitar playing throughout the song is marked by steady rhythmic strumming patterns and improvised lead lines, with a distinctive R&B and [[Soul music|soul]] single-note riff, doubled in octaves by guitar and bass.<ref name="Aledort CSTW">{{cite magazine|title=In Deep: Stevie Ray Vaughan's Playing on "Couldn't Stand the Weather"|url=http://www.guitarworld.com/deep-stevie-ray-vaughans-playing-couldnt-stand-weather|magazine=[[Guitar World]]|access-date=April 13, 2014}}</ref>

''Couldn't Stand the Weather'' was released on May 15, 1984, and two weeks later it had rapidly outpaced the sales of ''Texas Flood''.<ref>{{harvnb|Hopkins|2011|p=59}}</ref>{{refn|group=nb|Three weeks after its release, ''Couldn't Stand the Weather'' sold 242,000 copies and was ultimately certified platinum, selling over one million units by the end of the year.<ref name="Patoski Crawford 176" />}} It peaked at number 31 and spent 38 weeks on the charts.<ref name="Patoski Crawford 176" /> The album includes Vaughan's cover of [[Jimi Hendrix]]'s song, "[[Voodoo Child (Slight Return)]]", which provoked inevitable comparisons to Hendrix.<ref>{{harvnb|Patoski|Crawford|1993|p=174}}</ref> According to AllMusic editor Stephen Thomas Erlewine, ''Couldn't Stand the Weather'' "confirmed that the acclaimed debut was no fluke, while matching, if not bettering, the sales of its predecessor, thereby cementing Vaughan's status as a giant of modern blues."<ref>{{cite web|title=Couldn't Stand the Weather – Stevie Ray Vaughan: Review by Stephen Thomas Erlewine|url=http://www.allmusic.com/album/couldnt-stand-the-weather-mw0000196175 |website=AllMusic |access-date=April 13, 2014}}</ref> According to authors Joe Nick Patoski and Bill Crawford, the album "was a major turning point in Stevie Ray Vaughan's development" and Vaughan's singing improved.<ref name="Patoski Crawford 173" />

==== Carnegie Hall ====
On October 4, 1984, Vaughan headlined a performance at [[Carnegie Hall]] that included many guest musicians.<ref name="Hopkins 2011 72">{{harvnb|Hopkins|2011|p=72}}</ref> For the second half of the concert, he added Jimmie as rhythm guitarist, drummer George Rains, keyboardist [[Dr. John]], [[Roomful of Blues]] horn section, and featured vocalist [[Angela Strehli]].<ref name="Patoski Crawford 177">{{harvnb|Patoski|Crawford|1993|p=177}}</ref>{{refn|group=nb|Originally, the Carnegie Hall lineup included keyboardist [[Booker T. Jones]], [[Tower of Power]] horn section, and the Golden Echos, the latter of which was a teenage gospel trio from [[Boston]] that had never performed outside a church.<ref name="Carnegie Hall Ottawa Citizen">{{cite news|last=Erskine|first=Evelyn|title=Guitar ace loves to play music 'that has soul'|url=https://news.google.com/newspapers?nid=2194&dat=19840816&id=n9EyAAAAIBAJ&pg=1411,2830260|access-date=April 13, 2014|newspaper=[[Ottawa Citizen]]|date=August 16, 1984}}</ref>}} The ensemble rehearsed for less than two weeks before the performance, and despite the solid dynamics of Double Trouble for the first half of the performance, according to Patoski and Crawford, the big band concept never entirely took form.<ref name="Patoski Crawford 178">{{harvnb|Patoski|Crawford|1993|p=178}}</ref>{{refn|group=nb|In late September 1984, Double Trouble rehearsed for three days at a [[sound stage]] in Austin.{{sfn|Aledort|2000|p=156}} On September 29, the twelve-piece band performed two shows at the [[Caravan of Dreams]] in [[Fort Worth, Texas]], for a dress rehearsal.<ref>{{harvnb|Hopkins|2011|p=71}}</ref> On October 1–2, they rehearsed on a sound stage in New York before a quick run-through during [[soundcheck]] on the afternoon of the performance.<ref>{{harvnb|Hopkins|2011|pp=71–72}}</ref>}} Before arriving at the engagement, the venue sold out, which made Vaughan overexcited and nervous; he did not calm down until halfway through the third song.<ref name="Rhodes 1984a">{{harvnb|Rhodes October 11, 1984}}</ref> The benefit for the [[Tony Martell|T.J. Martell Foundation]]'s work in leukemia and cancer research was an important draw for the event.<ref>{{harvnb|Hopkins|2011|p=73}}</ref> As his scheduled time slot drew closer, he indicated that he preferred traveling to the venue by limousine to avoid being swarmed by fans on the street; the band took the stage around 8:00&nbsp;pm.<ref>{{harvnb|Rhodes October 11, 1984}}: Vaughan found taking a limousine to Carnegie Hall necessary; {{harvnb|Prial|2006|p=302}}: the band took the stage around 8:00&nbsp;pm</ref> The audience of 2,200 people, which included Vaughan's wife, family and friends, transformed the venue into what [[Stephen Holden]] of ''[[The New York Times]]'' described as "a whistling, stomping roadhouse".<ref name="Carnegie Hall New York Times">{{harvnb|Holden|1984}}</ref>

Introduced by Hammond as "one of the greatest guitar players of all time", Vaughan opened with "Scuttle Buttin'", wearing a custom-made [[mariachi]] suit he described as a "Mexican tuxedo".<ref>{{harvnb|Prial|2006|p=302}}: "one of the greatest guitar players of all time"; {{harvnb|Hopkins|2011|p=74}}: Carnegie Hall set list; {{harvnb|Rhodes October 11, 1984}}: "...&nbsp;wearing Mexican tuxedos&nbsp;..."</ref>{{refn|group=nb|Double Trouble wore mariachi-style suits fabricated by Nelda's Tailors in Austin.{{sfn|Aledort|2000|p=156}} They were made out of velvet and decorated with silver buttons, which were sewn by a tailor in [[Nuevo Laredo]].<ref name="Patoski Crawford 177" /> With Layton and Shannon in royal blue suits, Vaughan wore both a royal blue and ruby red suit, for each portion of the performance respectively.<ref>{{harvnb|Schwartz|1997}}: "...Chris and Tommy in royal blue, Stevie in ruby red.";{{harvnb|Hopkins|2011|p=75}}: "he wore the blue suit for one set and the red suit for the other set."</ref> An elaborate stage set was built from plywood, painted lapis blue enamel with metallic gold striping.{{sfn|Aledort|2000|p=156}}}} Double Trouble went on to perform renditions of the Isley Brothers' "[[Testify (The Isley Brothers song)|Testify]]", The Jimi Hendrix Experience's "Voodoo Child (Slight Return)", "Tin Pan Alley", [[Elmore James]]' "[[The Sky Is Crying (song)|The Sky Is Crying]]", and [[W. C. Clark]]'s "Cold Shot", along with four original compositions including "Love Struck Baby", "Honey Bee", "Couldn't Stand the Weather", and "Rude Mood". During the second half of the performance, Vaughan performed covers by Larry Davis, Buddy Guy, Guitar Slim, Albert King, [[Jackie Wilson]], and Albert Collins. The set ended with Vaughan performing solo renditions of "Lenny" and "Rude Mood".<ref>{{harvnb|Hopkins|2011|p=74}}</ref>

The ''Dallas Times-Herald'' wrote that the performance was "full of stomping feet and swaying bodies, kids in blue jeans hanging off the balconies, dancing bodies that clogged the aisles".{{sfn|Rhodes October 6, 1984}}{{refn|group=nb|According to Patoski and Crawford, some members of the audience were initially reserved during the performance, but a fan shouted, "Stand up. This isn't ''[[La traviata]]''."<ref name="Patoski Crawford 178" />}} ''The New York Times'' asserted that, despite the venue's "muddy" acoustics, the band's performance was "filled with verve", and Vaughan's playing was "handsomely displayed".<ref name="Carnegie Hall New York Times" /> Jimmie Vaughan later commented: "I was worried the crowd might be a little stiff. Turned out they're just like any other beer joint."<ref name="Rhodes 1984a" /> Vaughan commented: "We won't be limited to just the trio, although that doesn't mean we'll stop doing the trio. I'm planning on doing that too. I ain't gonna stay in one place. If I do, I'm stupid."<ref name="Rhodes 1984a" /> The performance was recorded, and in 1997 Epic Records released ''[[Live at Carnegie Hall (Stevie Ray Vaughan album)|Live at Carnegie Hall]]'', which was ultimately certified gold.<ref>{{harvnb|Hopkins|2011|pp=298, 305}}</ref>

After the concert, Vaughan attended a private party at a downtown club in New York, which was sponsored by [[MTV]], where he was greeted by an hour's worth of supporters.<ref>{{harvnb|Hopkins|2011|p=75}}: "After the show, MTV threw a private party for the band, record company and other VIPs."; {{harvnb|Patoski|Crawford|1993|p=178}}: "After the show MTV threw a party for him at a downtown club&nbsp;... Inside, Stevie glad-handed an hour's worth of well-wishers&nbsp;..."</ref> On the following day, Double Trouble made an appearance at a record store in [[Greenwich Village]], where they signed autographs for fans.<ref name="Hopkins 2011 76">{{harvnb|Hopkins|2011|p=76}}</ref>{{refn|group=nb|According to Hopkins, Double Trouble signed autographs for over 500 fans, an appearance which lasted for two and a half hours; the line of fans stretched out of the door onto [[Broadway (Manhattan)|Broadway]] and around the corner.<ref name="Hopkins 2011 76" />}} 

In late October 1984, the band toured Australia and New Zealand, which included one of their first appearances on Australian television—on ''[[Hey Hey It's Saturday]]''—where they performed "Texas Flood", and an interview on ''[[Sounds (Australian TV series)|Sounds]]''.<ref>{{harvnb|Hopkins|2011|pp=77–78}}</ref> On November 5 and 9, they played sold-out concerts at the [[Sydney Opera House]].<ref>{{harvnb|Hopkins|2011|p=78}} (primary source); {{harvnb|Patoski|Crawford|1993|p=180}} (secondary source)</ref> After returning to the U.S., Double Trouble went on a brief tour in California. Soon afterward, Vaughan and Lenny went to the island of [[Saint Croix]], part of the [[U.S. Virgin Islands]], where they had spent some time vacationing in December.<ref>{{harvnb|Hopkins|2011|pp=81, 83}}</ref> The next month, Double Trouble flew to Japan, where they appeared for five performances, including at [[Orix Theater|Kōsei Nenkin Kaikan]] in [[Osaka]].<ref>{{harvnb|Hopkins|2011|pp=85–88}}</ref>

==== ''Soul to Soul'' ====
{{Main|Soul to Soul (album)}}
In March 1985, recording for Double Trouble's third studio album, ''[[Soul to Soul (album)|Soul to Soul]]'', began at the Dallas Sound Lab.<ref>{{harvnb|Hopkins|2011|p=89}}</ref> As the sessions progressed, Vaughan became increasingly frustrated with his own lack of inspiration.<ref>{{harvnb|Patoski|Crawford|1993|p=192}}</ref> He was also allowed a relaxed pace of recording the album, which contributed to a lack of focus due to excesses in alcohol and other drugs.<ref>{{harvnb|Patoski|Crawford|1993|p=191}}; {{harvnb|Hopkins|2011|p=90}}</ref> Roadie Byron Barr later recalled: "the routine was to go to the studio, do dope, and play [[ping-pong]]."<ref>{{harvnb|Patoski|Crawford|1993|p=191}}</ref> Vaughan, who found it increasingly difficult to be able to play rhythm guitar parts and sing at the same time, wanted to add another dimension to the band, so he hired keyboardist [[Reese Wynans]] to record on the album; he joined the band soon thereafter.<ref>{{harvnb|Patoski|Crawford|1993|p=190}}: difficulty for Vaughan to play rhythm guitar and sing at the same time; {{harvnb|Hopkins|2011|p=89}}: Wynans added keyboards and soon joined the band.</ref>

During the album's production, Vaughan appeared at the Houston [[Astrodome]] on April 10, 1985, where he performed a [[slide guitar]] rendition of the U.S. national anthem, "[[The Star-Spangled Banner]]"; his performance was met with booing.<ref name="Patoski Crawford 194">{{harvnb|Patoski|Crawford|1993|p=194}}</ref> Upon leaving the stage, Vaughan acquired an autograph from former player for the [[New York Yankees]], [[Mickey Mantle]].{{sfn|Hopkins|2011|p=95}} Astrodome publicist Molly Glentzer wrote in the ''[[Houston Press]]'': "As Vaughan shuffled back behind home plate, he was only lucid enough to know that he wanted Mickey Mantle's autograph. Mantle obliged. 'I never signed a guitar before.' Nobody asked Vaughan for his autograph. I was sure he'd be dead before he hit 30."<ref name="Patoski Crawford 194" /> Critics associated his performance with Jimi Hendrix's rendition at Woodstock in 1969, yet Vaughan disliked this comparison: "I heard they even wrote about it in one of the music magazines and they tried to put the two versions side by side. I hate that stuff. His version was great."{{sfn|Nixon|1985}}

Released on September 30, 1985, ''Soul to Soul'' peaked at number 34 and remained on the [[Billboard 200]] through mid-1986, eventually certified gold.<ref>{{harvnb|Hopkins|2011|p=109}}: ''Soul to Soul'' released on September 30, 1985; {{harvnb|Patoski|Crawford|1993|p=197}}: ''Soul to Soul'' peaked at 34 and remained on the charts through mid-1986, eventually turning gold.</ref>{{refn|group=nb|The ''Soul to Soul'' album cover was taken at the Anderson Mill Garden Club in [[Volente, Texas]].<ref>{{harvnb|Hopkins|2011|p=110}}</ref>}} Critic Jimmy Guterman of ''Rolling Stone'' wrote: "there's some life left in their blues rock pastiche; it's also possible that they've run out of gas."<ref name="Patoski Crawford 197">{{harvnb|Patoski|Crawford|1993|p=197}}</ref> According to Patoski and Crawford, sales of the album "did not match ''Couldn't Stand the Weather'', suggesting Stevie Ray and Double Trouble were plateauing".<ref name="Patoski Crawford 197" /> Vaughan commented: "as far as what's on there song-wise, I like the album a lot. It meant a lot to us what we went through to get this record. There were a lot of odds and we still stayed strong. We grew a lot with the people in the band and immediate friends around us; we learned a lot and grew a lot closer. That has a lot to do with why it's called [''Soul to Soul'']."<ref>{{harvnb|Rosen|1985}}</ref>

==== ''Live Alive'' ====
{{Main|Live Alive}}
After touring for nine and a half months, Epic requested a fourth album from Double Trouble as part of their contractual obligation.<ref>{{harvnb|Patoski|Crawford|1993|p=204}}</ref> In July 1986, Vaughan decided that they would record the LP, ''[[Live Alive]]'', during three live appearances in Austin and Dallas.<ref name="Hopkins 2011 136-137">{{harvnb|Hopkins|2011|pp=136–137}}</ref> On July 17 and 18, the band performed sold-out concerts at the Austin Opera House, and July 19 at the Dallas Starfest.<ref>{{harvnb|Patoski|Crawford|1993|p=205}}: "The Austin shows sold out in minutes, as fans showed their support for their hometown hero."; {{harvnb|Hopkins|2011|pp=136–137}}: ''Live Alive'' recording dates.</ref> They used recordings of these concerts to assemble the LP, which was produced by Vaughan.<ref>{{harvnb|Patoski|Crawford|1993|p=205}}</ref> Shannon was backstage before the Austin concert and predicted to new manager Alex Hodges that both Vaughan and he were "headed for a brick wall".<ref name="Paul 99">{{harvnb|Paul|1999}}</ref> Guitarist Denny Freeman attended the Austin performances; he called the shows a "musical mess, because they would go into these chaotic jams with no control. I didn't know what exactly was going on, but I was concerned."<ref name="Paul 99" /> Both Layton and Shannon remarked that their work schedule and drugs were causing the band to lose focus.<ref>{{harvnb|Hopkins|2011|p=137}}</ref> According to Wynans: "Things were getting illogical and crazy."<ref name="Paul 99" />

The ''Live Alive'' album was released on November 17, 1986, and was the only official live Double Trouble LP made commercially available during Vaughan's lifetime, though it never appeared on the Billboard 200 chart.<ref>{{harvnb|Hopkins|2011|p=152}}; {{harvnb|Patoski|Crawford|1993|p=268}}</ref> Though many critics claimed that most of the album was overdubbed, engineer Gary Olazabal, who mixed the album, asserted that most of the material was recorded poorly.<ref>{{harvnb|Hopkins|2011|p=140}}</ref> Vaughan later admitted that it was not one of his better efforts; he recalled: "I wasn't in very good shape when we recorded ''Live Alive''. At the time, I didn't realize how bad a shape I was in. There were more fix-it jobs done on the album than I would have liked. Some of the work sounds like [it was] the work of half-dead people. There were some great notes that came out, but I just wasn't in control; nobody was."<ref>{{harvnb|Hopkins|2011|p=137}}: "..better efforts..."; {{harvnb|Paul|1999}}: Vaughan quote about ''Live Alive''.</ref>

==== Drugs and alcohol ====
In 1960 when Vaughan was six years old, he began stealing his father's drinks. Drawn in by its effects, he started making his own drinks and this resulted in alcohol dependence. He explained: "that's when I first started stealing daddy's drinks. Or when my parents were gone, I'd find the bottle and make myself one. I thought it was cool&nbsp;... thought the kids down the street would think it was cool. That's where it began, and I had been depending on it ever since."{{sfn|Milkowski|1988}} According to the authors Joe Nick Patoski and Bill Crawford: "In the ensuing twenty-five years, he had worked his way through the ''[[Physicians' Desk Reference]]'' before finding his poisons of preference—alcohol and [[cocaine]]."<ref name="Patoski Crawford 201">{{harvnb|Patoski|Crawford|1993|p=201}}</ref>

{{quote box|quote= Stevie and I reached this point where we had to have the drugs and alcohol all the time. If the phone would ring in the morning and wake us up, we couldn't answer the phone before we had some alcohol.{{sfn|Hopkins|2011|p=137}}|source=—[[Tommy Shannon]]|width=23%|align=left|style=padding:8px;}}

While Vaughan asserted that he first experienced the effects of cocaine when a doctor prescribed him a liquid solution containing it as a nasal spray, according to Patoski and Crawford, the earliest that Vaughan is known to have used it is in 1975, while performing with the Cobras.<ref>{{harvnb|Hopkins|2011|p=232}}; {{harvnb|Patoski|Crawford|1993|pp=85–86}}</ref> Before that, Vaughan had briefly used other drugs such as [[cannabis]], [[methamphetamine]], and Quaaludes, the brand name for [[methaqualone]].<ref>{{harvnb|Patoski|Crawford|1993|p=201}}; {{harvnb|Hopkins|2010|p=62}}</ref> After 1975, he regularly drank [[whiskey]] and used cocaine, particularly mixing the two substances together.<ref name="Patoski Crawford 201" /> According to Hopkins, by the time of Double Trouble's European tour in September 1986, "his lifestyle of substance abuse had reached a peak, probably better characterized as the bottom of a deep chasm."<ref>{{harvnb|Hopkins|2011|p=144}}</ref>

At the height of Vaughan's substance abuse, he drank {{convert|1|USqt|L|sigfig=2}} of whiskey and used {{convert|1/4|oz|g|sigfig=1|spell=in|adj=pre|of an}} of cocaine each day.<ref name="Hopkins 2011 146">{{harvnb|Hopkins|2011|p=146}}</ref> Personal assistant Tim Duckworth explained: "I would make sure he would eat breakfast instead of waking up drinking every morning, which was probably the worst thing he was doing."<ref>{{harvnb|Hopkins|2011|p=139}}</ref> According to Vaughan: "it got to the point where if I'd try to say "hi" to somebody, I would just fall apart crying. It was like solid doom."<ref name="Paul 99" />

In September 1986, Double Trouble traveled to Denmark for a one-month tour of Europe.<ref>{{harvnb|Hopkins|2011|pp=144–148}}</ref> During the late night hours of September 28, Vaughan became ill after a performance in [[Ludwigshafen]], Germany, suffering from near-death dehydration, for which he received medical treatment.<ref name="Hopkins 2011 146" /> The incident resulted in his checking into [[The London Clinic]] under the care of Dr. Victor Bloom, who warned him that he was a month away from death.<ref>{{harvnb|Patoski|Crawford|1993|p=213}}; {{harvnb|Hopkins|2011|p=147}}</ref> After staying in London for more than a week, he returned to the United States and entered Peachford Hospital in [[Atlanta]], where he spent four weeks in rehabilitation, and then checked into rehab in Austin.<ref>{{harvnb|Hopkins|2011|p=150}}</ref>

==== ''Live Alive'' tour ====

In November 1986, following his departure from rehab, Vaughan moved back into his mother's Glenfield Avenue house in Dallas, which is where he had spent much of his childhood.<ref>{{harvnb|Hopkins|2011|p=153}}</ref> During this time, Double Trouble began rehearsals for the ''Live Alive'' tour. Although Vaughan was nervous about performing after achieving sobriety, he received positive reassurance.<ref name="Hopkins 2011 154">{{harvnb|Hopkins|2011|p=154}}</ref> Wynans later recalled: "Stevie was real worried about playing after he'd gotten sober...he didn't know if he had anything left to offer. Once we got back out on the road, he was very inspired and motivated."{{sfn|Aledort|2000|p=158}} The tour began on November 23 at [[Towson State University]], which was Vaughan's first performance with Double Trouble after rehab.<ref name="Hopkins 2011 154" /> On December 31, 1986, they played a concert at Atlanta's [[Fox Theatre (Atlanta)|Fox Theatre]], which featured encore performances with Lonnie Mack.<ref name="Hopkins 2011 159">{{harvnb|Hopkins|2011|p=159}}</ref>{{refn|group=nb|A portion of the show was broadcast on local radio, but as of 2014, only one song has officially been released.<ref name="Hopkins 2011 159" />}}

As the tour progressed, Vaughan was longing to work on material for his next LP, but in January 1987, he filed for divorce from Lenny, which restricted him from any projects until the proceedings were finalized.<ref>{{harvnb|Hopkins|2011|p=161}}</ref> This prevented him from writing and recording songs for almost two years, but Double Trouble wrote the song "Crossfire" with Bill Carter and Ruth Ellsworth. Layton recalled: "we wrote the music, and they had to write the lyrics. We had just gotten together; Stevie was unable to be there at that time. He was in Dallas doing some things, and we just got together and started writing some songs. That was the first one we wrote."<ref>{{harvnb|Hopkins|2011|p=178}}</ref> On August 6, 1987, Double Trouble appeared at the [[Austin Aqua Festival]], where they played to one of the largest audiences of their career.<ref name="Hopkins 2011 175">{{harvnb|Hopkins|2011|p=175}}</ref> According to biographer Craig Hopkins, as many as 20,000 people attended the concert.<ref name="Hopkins 2011 175" /> Following a month-long tour as the opening act for [[Robert Plant]] in May 1988, which included a concert at [[Toronto]]'s [[Maple Leaf Gardens]], the band was booked for a European leg, which included 22 performances, and ended in [[Oulu]], Finland on July 17. This would be Vaughan's last concert appearance in Europe.<ref>{{harvnb|Hopkins|2011|p=192}}</ref>

==== ''In Step'' ====
{{Main|In Step}}
After Vaughan's divorce from Lenora "Lenny" Darlene Bailey became final, recording for Double Trouble's fourth and final studio album, ''[[In Step]]'', began at Kiva Studios in [[Memphis, Tennessee]], working with producer Jim Gaines and co-songwriter [[Doyle Bramhall]].<ref>{{harvnb|Paul|1999}}; {{harvnb|Hopkins|2011|p=197}}</ref> Initially, he had doubts about his musical and creative abilities after achieving sobriety, but he gained confidence as the sessions progressed. Shannon later recalled: "''In Step'' was, for him, a big growing experience. In my opinion, it's our best studio album, and I think he felt that way, too."{{sfn|Aledort|2000|p=158}} Bramhall, who had also entered rehab, wrote songs with Vaughan about addiction and redemption.<ref>{{harvnb|Patoski|Crawford|1993|p=247}}</ref> According to Vaughan, the album was titled ''In Step'' because "I'm finally in step with life, in step with myself, in step with my music."{{sfn|Corcoran|1987}} The album's liner notes include the quote; "'thank God the elevator's broken," a reference to the [[twelve-step program]] proposed by [[Alcoholics Anonymous]] (AA).<ref>{{harvnb|Hopkins|2011|p=208}}</ref>

After the ''In Step'' recording sessions moved to Los Angeles, Vaughan added horn players Joe Sublett and [[Darrell Leonard]], who played saxophone and trumpet respectively on both "Crossfire" and "Love Me Darlin{{'}}".<ref>{{harvnb|Hopkins|2011|p=197}}</ref> Shortly before the album's production was complete, Vaughan and Double Trouble appeared at a presidential inaugural party in Washington, D.C. for [[George H. W. Bush]].<ref>{{harvnb|Hopkins|2011|pp=203–204}}</ref> ''In Step'' was released on June 13, 1989, and eight months later, it was certified gold.<ref>{{harvnb|Hopkins|2011|pp=208, 237}}</ref> The album was Vaughan's most commercially successful release and his first one to win a [[Grammy Award]].<ref>{{harvnb|Gill October 3, 2013}}; {{harvnb|Hopkins|2011|p=238}}</ref> It peaked at number 33 on the Billboard 200, spending 47 weeks on the chart.<ref>{{cite magazine |title=Billboard chart history |magazine=Billboard |url=http://www.billboard.com/artist/280716/stevie-ray-vaughan/chart|access-date= September 28, 2014}}</ref> ''In Step'' included the song, "Crossfire", which was written by Double Trouble, Bill Carter, and Ruth Ellsworth; it became his only number one hit.{{sfn|Aledort|2000|p=158}} The album also included one of his first recordings to feature the use of a [[Fuzz Face]] on Vaughan's cover of the Howlin' Wolf song, "Love Me Darlin{{'"}}.<ref>{{harvnb|''The ToneQuest Report''|2000|p=7}}; {{harvnb|Aledort|2000|p=162}}</ref>

In July 1989, Neil Perry, a writer for ''[[Sounds (magazine)|Sounds]]'' magazine, wrote: "the album closes with the brow-soothing swoon of 'Riviera Paradise,' a slow, lengthy guitar and piano workout that proves just why Vaughan is to the guitar what [[Rudolf Nureyev|Nureyev]] is to ballet."{{sfn|Perry|1989}} According to music journalist [[Robert Christgau]], Vaughan was "writing blues for AA...he escapes the blues undamaged for the first time in his career."<ref>{{cite web |last=Christgau|first=Robert|title=Consumer Guide Reviews |website=Robert Christgau – Dean of American Rock Critics |url=http://www.robertchristgau.com/get_artist2.php?id=2137|access-date=January 12, 2012}}</ref> In October 1989, the ''[[Boca Raton News]]'' described Vaughan's guitar solos as "determined, clear-headed and downright stinging" and his lyrics as "tension-filled allegories".{{sfn|''Boca Raton News''|1989|p=29}}