Editing Stevie Ray Vaughan (section)

==== 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>