Often with an accidental death in the prime of one’s lifecomes a tendency to remember, or at least speak of publicly, only the best ofthe person; out of respect if for nothing else. What authors (and musicians, themselves) Alan Paul and Andy Aledortmanage to do quite successfully with TexasFlood: The Inside Story of Stevie Ray Vaughan is maintain the highest levelof regard for Vaughan’s undeniably impressive talent, as well for his devotionto late-life sobriety, while not only revealing candidly the near-lethal levelof his addictions, but also his true offstage personality. Without a hint of celeb tell-all or dramamining, this is both the rawest and most reverent story of Stevie Ray.
As Paul did with OneWay Out, his recent Allman Brothers Band bio, he mostly leaves it to thosethat lived the story to tell it. Drawingon extensive interviews with all the notable players- from family, friends, andbandmates to personal and professional peers- and including Vaughan, himself, heand Aledort detail from as many relevant perspectives as possible the Texasmusician’s escalation from the humble training ground of Lone Star roadhousesto distinguished international fame. It’salso been a suitable amount of time that has passed since the helicopter crashthat killed Vaughan following an August 1990 performance in Wisconsin to allowand encourage those participating to be as reflectively honest and forthcomingas possible. Subsequently, there exists aproportionate amount of exposure, and criticism, of the less than pretty partsof Vaughan’s life; comments that are integral in presenting an authenticportrayal, and avoiding hagiography, rendering SRV as much fallible human as guitarhero.
Paul and Aledort lay bare Vaughan’s increasing use of drugsand alcohol that nearly derailed his blossoming career, as well as the (stillconflicting) views on his decision to decline a tour with David Bowie followinga myth-building breakthrough appearance on Let’sDance. Even with more light on theseareas, it’s the ardent and recurring discussion of Vaughan’s growth as anartist, his virtuosic ability, his adoration and reverence for the blues, andhis sweet and gentle disposition that this circle of participants focuses onmost. So, when the inevitable tragedybegins to loom as the final pages turn, after Vaughan had kicked his habit, wasplaying better than ever to larger and larger audiences, selling more albums,and sharing stages with his idols and contemporaries, it’s an infiltratingsadness that resonates deeper and longer because of not just the musician, butthe man that the world lost.
