Texas Flood World Tour

Texas Flood World Tour
Worldwide tour by Stevie Ray Vaughan and Double Trouble
Poster for a concert in Dallas
Location North America, Europe
Associated album Texas Flood
Start date June 22, 1983 (1983-06-22)
End date February 25, 1984 (1984-02-25)
Legs 5
No. of shows 116
Stevie Ray Vaughan and Double Trouble concert chronology

The Texas Flood World Tour was a concert tour in North America and western Europe, undertaken by American blues rock band Stevie Ray Vaughan and Double Trouble from 1983 to 1984. The band had released their debut album, Texas Flood, a week prior to the tour's beginning. Their sensational talent was demonstrated during a trip to Switzerland in 1982, when they held a jam session with Jackson Browne in a downstairs bar after playing at the Montreux Jazz Festival. Aware of the future opportunities that might accumulate from their performance and the first unsigned act on the festival, Browne offered Vaughan and Double Trouble free use of his personal studio to record Texas Flood. Throughout the tour, the group's career status escalated as their performances continuously amazed and stunned their audiences.

The first leg of the tour took the band to the United States and Canada, and then on to Europe where they toured for two weeks. They then returned to North America, where during a leg that lasted more than three months Vaughan and Double Trouble opened for Men at Work and The Moody Blues. The band then moved on to the Mid-Atlantic, where they concluded the leg before returning to the studio in January 1984, although the tour resumed the following month. The final leg incorporated recurring stops in several cities and a visit to Hawaii, before the band's return home in late February.

The commercial success of the tour, though significant, did not alter the band's modesty, and they continued in this career mindset. However, the tour enabled the group to experience the overseas concert circuit, and gave them massive exposure. In the case of Vaughan this would be ongoing through subsequent tours in the ensuing seven years, before his death in a helicopter crash in August 1990.

Background

Montreux Casino, the venue in which Vaughan and Double Trouble performed after arriving in Switzerland, July 1982 (2014 photograph).

Stevie Ray Vaughan was not the only one in his family who was musically talented. Authors Joe Nick Patoski and Bill Crawford refer to several family members,[1] and cites that of Charles LaRue of Chisholm who in 1946,[2] at the age of twenty-three, joined as a trombonist in the Tommy Dorsey Orchestra.[3] Biographer Craig Hopkins explain Vaughan's early fascination with music as "the best of all possible worlds in terms of the incentive and opportunity to become a masterful electric guitar player".[4] Other young contemporaries of Vaughan included Eric Johnson, born the same year as Vaughan,[5] and Alan Haynes.[6] Vaughan eventually became recognized among musicians as the future standard for success and promise in blues.[7]

Two children were born to Jimmie Lee "Big Jim" and Martha Jean Vaughan, the oldest, Jimmie Lawrence Vaughan, born March 20, 1951, and the youngest, Stephen "Stevie" Ray Vaughan, born October 3, 1954, in Dallas.[8] Vaughan's musical education was aided by exposure to the constant practicing and playing of Jimmie.[9] When Jimmie was twelve he began to teach himself how to play the guitar, with Vaughan intently observing; according to Vaughan's own account "he made up three songs the first day. He didn't have to try. It just came out".[9] A family friend, Steve Stevenson, noticed that within a few days Jimmie was able to demonstrate what he had learned.[9]

Vaughan himself was a gifted protégé, no less quick to learn than his brother, and was playing the guitar with striking virtuosity by the time he was seventeen. In that year, 1972, Vaughan brought his band Blackbird to Austin to play at Rolling Hills Country Club, later Soap Creek Saloon.[10] Vaughan then joined a band called Krackerjack, during a stint that lasted three months.[11] He had accepted offers from several local bands, but within six years of arriving in Austin, Vaughan and his own group, Double Trouble, were playing at the Rome Inn. Among those present was Manor Downs accountant and future business partner Edi Johnson, who remembered, "I'm not an authority on music—it's whatever turned me on—but this did." After an appearance before the record producer Jerry Wexler, Vaughan and Double Trouble were invited to the Montreux Jazz Festival in 1982,[12] where the purist audience disliked the band's abilities by booing their performance. Patoski and Crawford recounts a similar case of how Muddy Waters received an unfavorable reception at his debut in England in 1958; he reportedly received a negative reaction due to his loud volume.[13] During this overseas visit however, Vaughan and Double Trouble met Jackson Browne on the following night, who offered them free use of his personal studio in Los Angeles, where they recorded a full-length album in November 1982.[14]

As the band gave several performances toward year's end, they began to be noticed by music industry representatives. They were well guaranteed for these engagements—at the end of a two-night stand in Austin, Vaughan and Double Trouble were able to earn more than $7,000 for their efforts.[15] Their career development had progressed when the group signed with Epic Records, and their former momentum was augmented.[16] Thus, the label's approval left Vaughan eager to pursue further opportunities for critical and commercial success.[17] On a trip to New York, Vaughan and Double Trouble played at a concert as the opening act for Bryan Adams, to the evident astonishment of those in attendance.[18]

Tour itinerary

Preparations

In a memorandum to the executives at the southwest branch of Epic, written before the tour, marketing vice president Jack Chase agreed to break Vaughan and Double Trouble out of Texas, who after a branch meeting had said: "The prize is having Stevie Ray Vaughn [sic] on our label and in your bags to promote and sell". Chase asserted that it was his duty to break Vaughan nationally, otherwise "the pride in selling a 'Men at Work' is long gone". He went on to describe Vaughan as a "remarkable artist".[19] Hopkins has suggested that the success of Texas Flood was largely dependent on Chase's expertise in breaking a new artist: "John Hammond has received the most accolades, but without Jack Chase, the record might have been just another of those grapes withering on the vine."[20] However, there is no evidence to suggest that Hammond became less involved in the making of the band's subsequent studio albums; it seems that he trusted Vaughan's abilities as an artist.[21]

Chase wanted to begin the tour as soon as possible—the longer the breakout took, the more competition that would occur. The itinerary he initially planned included the eastern and southwestern United States.[19] The additional legs were only added after the progressing international success of Texas Flood.[22] The plan was for the band to begin the tour by performing nationwide then Western Europe, as well as headlining theater dates in Texas—Vaughan built on the desire from his immediate statewide fan base.[23] Marketing assistance also came from agents Rick Alter and Alex Hodges, whose philosophies and techniques in the major markets would propel the band to perform what eventually became arena tours. These excursions would enable them to receive monetary bonuses that were dependent on specific ticket sale plateaus.[24]

Vaughan and Double Trouble prepared for the tour by performing showcases in Dallas and Houston, which were attended by various musicians, radio station personalities, disc jockeys, record store owners, music critics, and record company executives.[25] As for more general preparation, the band delighted in making promotional appearances, something they never grew to dislike.[26] On tour, even during the busiest traveling days they would fit them in their daily schedule, which would later exhaust the band.[27] Before the tour could begin, Vaughan and Double Trouble needed the support from radio stations, Dallas' Q102-FM in particular.[28] Disc jockey Redbeard had only been receiving negative reactions from listeners in the beginning; nevertheless Redbeard's perseverance to air Texas Flood for an additional two weeks provoked more album sales in the label's seven states of jurisdiction, on the grounds that at least 15,000 units were shipped to record stores, and proper marketing techniques were utilized.[29]

Opening leg (June–August 1983)

El Mocambo, Toronto, where the band performed in the summer of 1983.

The tour's beginning, on June 22, 1983, was slightly discouraging; on the second night Vaughan developed laryngitis, requiring a cancellation of three performances.[30] Vaughan used this time to his advantage by resting his throat.[31] In Philadelphia, on July 8, the band played at Ripley Music Hall, recorded for a radio show broadcast.[32] The next stop was Providence, where they appeared before a capacity audience.[33] The group then moved on to New York, where the band performed for another packed house in Rochester.[34]

The next extended stop was in Canada. Vaughan and Double Trouble gave four concerts in the region, which included a July 20 appearance at the El Mocambo.[34] From Toronto the band took their newly-purchased tour bus back to New York, where additional concerts were given.[35] Among those present at one of these were tennis players Vitas Gerulaitis and John McEnroe, whom organized a concert as a benefit for the Special Olympics. A review from the concert described it as "one of the lightest turnouts of the season", while Gerulaitis and McEnroe "still cannot lure hordes of teenagers to a concert, even a benefit for a worthy cause". However, the review praised the band: "The concert opened strongly with the ubiquitous Texas guitarist Stevie Ray Vaughan leading his trio Double Trouble through a workmanlike set of blues and boogie-woogie."[36]

The group proceeded to the Northeast, Mid-Atlantic, Midwest and East South Central regions of the US.[37] Returning to Canada they reached Montreal, where a performance was given before over 38,000 people, at Olympic Stadium. The concert also featured The Police, Talking Heads and Peter Tosh, accruing nearly $700,000 in gross revenue.[38] The band proceeded into the west and mid-western US, an area that encompassed Michigan, Illinois, Colorado and California, where they arrived in the regional city, Grand Rapids, on August 11.[39] After two performances at ChicagoFest with opening act Buddy Guy & Junior Wells ("I'll open for them", said Vaughan to Alter),[40] Vaughan and Double Trouble gave a performance as the warm-up for Sammy Hagar on August 19.[41] In late August the band departed for England.[42]

Europe (August–September 1983)

On August 27, 1983 Vaughan and Double Trouble arrived in England. The band hoped to be received positively by the crowd at the Reading Rock Festival in the county of Berkshire. However, a lineup with mainly hard rock and heavy metal artists was not conducive to a positive reception from the audience, so they began throwing bottles of urine. One person who took particular note of this was the band's road crew member Byron Barr, whose journal records the reaction in demeaning terms: "Played Reading Festival. People were rude bastards. They threw bottles full of piss & all kinds of rude shit."[42] Uber Rock writer Andy P's own recollection, written in 2014, was similar: "He kinda stuck out a bit like a sore thumb and like Steel Pulse the day before he caught the attention of the bottle throwers. Unlike Steel Pulse who ended their set early with bottles clanging off their steel drums he persisted with real flair asking the crowd politely, 'I know it's fun but put a stop to it.'"[43]

On August 31 the band traveled to Paris for two shows during which, through the Canadian Recording Industry Association (CRIA), they received their first gold records, which were awarded for selling 50,000 copies of Texas Flood. In Paris they also visited the famous Eiffel Tower, then the Arc de Triomphe—"...where Hitler marched through on horseback. Pretty scary to think that all that shit happened just 40 years or so ago", wrote Barr in his journal.[44] A further concert was given in Berlin on September 4, at a nightclub in the borough of Kreuzberg.[45] The next day Vaughan and Double Trouble's first German television appearance was broadcast: a brief interview with Vaughan and a performance of four songs. These songs were all culled from Texas Flood. The interview featured a male and female host; the male host asked questions in English, and the female host translated Vaughan's responses to German. Hopkins comments that the female host came out wearing Vaughan's trademark flat-brim hat, which he did not appear to find humorous. On September 8 the band arrived in London.[22]

Vaughan and Double Trouble's first London show was at The Venue on Victoria Street. They were advertised as a "special guest at the Reading Rock Festival" with their "new album Texas Flood".[22] The introduction of the group in London proved successful; according to The Guardian, "his technique and command are something quite extraordinary".[46] This was, as former bandmate Billy Alford put it, "just a major drug fest". Referring to Vaughan's escalating substance abuse, Alford said, "I knew he was going to be a star, that he had it. It was just a matter of timing and whether he would kill himself before he got there."[47] Only one more European concert was given, on September 9, at the Paradiso in Amsterdam, from which the band returned to the US for a forthcoming tour of the East Coast.[48]

North America (September–December 1983)

(L–R): Layton, Vaughan and Shannon, performing at the Beacon Theatre in New York on December 28, 1983.

On September 14 Vaughan and Double Trouble arrived in Norfolk, where they played at The Boathouse; a few days later they played an awards show held by WSHE in Miami.[47] Alter was sufficiently confident of their career status to announce the appearances of the group at concerts to be given at Houston Music Hall, Austin City Coliseum and the Bronco Bowl in Dallas in early October.[23] An advertisement for the Dallas concert used the phrase "the triumphant return of Stevie Ray Vaughan and Double Trouble".[49] The main reason for their return to Texas was the celebration of homecoming concerts in the state. Vaughan had earlier performed extensively in the Texas club circuit, as he had for the previous decade. This allowed his immediate fan base to attend these larger occasions; Vaughan also featured Eric Johnson as the warm-up act for each show.[23]

Manager Chesley Millikin had been effusive in a letter to Chase, dated October 12, that the band would not have had the chance to breakout nationally without the effort of Epic's marketing techniques. He confirmed that Vaughan and Double Trouble would soon return to the studio and learned that Texas Flood was approaching sales of 300,000 units.[23] According to Hodges, many people disliked the idea of their upcoming tour with The Moody Blues, but he reckoned that both bands had a common thread in musical genre, and accordingly organized concerts for October through December, which were deemed a success. Hodges apparently "didn't have any doubt" in Vaughan's ability to command the audience.[24] During a short hiatus in mid-December, the band turned their attention briefly from performing to composing. Among other compositions, they finished two instrumentals, which would be incorporated into the closing shows of the year, which they completed during a return appearance in Norfolk.[50]

United States (February 1984)

The Power Station, Manhattan, New York, photographed in 2009. The band's second album, Couldn't Stand the Weather, was recorded here during a break in the tour in January 1984.

The band traveled to New York City for two-and-a-half weeks. No concerts were given by them in this period although there were recording sessions scheduled at the Power Station with Hammond.[51] Layton was effusive about Hammond's presence during the sessions; Hammond, he said, "was kind of like a nice hand on your shoulder", and: "he was a feedback person".[52] Of Hammond he praised his keen ability to identify keeper takes and the elimination of overprocessing. "He was kind of like our gyroscope," said Layton.[53]

The recordings made by Vaughan and Double Trouble during this New York session were later released on Couldn't Stand the Weather, the band's second studio album.[54] On February 4, the band left New York for Nashville. They played in a concert there at Nashville Municipal Auditorium, appearing at the tenth-annual Volunteer Jam, an event organized by Charlie Daniels.[55] They moved on to Knoxville where the group performed at Alumni Memorial Gym on the University of Tennessee campus.[56] The band traveled to Georgia, arriving in Atlanta on February 8, where they gave two shows at Moonshadow Saloon. During the first performance, Vaughan paused during their set and asked an unruly patron to leave the venue.[56] This incident, that Vaughan encountered when faced with disorderly audience members, appears to be one of the few stern orders he made to those who were being disruptive.[57]

The tour through the Midwest continued, with concerts in Missouri and Illinois.[56] Since leaving Chicago, a 28-year-old man named Willie M. "Wimp" Stokes, Jr., the son of a drug kingpin, was shot and killed at a motel in the city less than a week later. Austin musician Bill Carter read about the story in a local newspaper and wrote the song "Willie the Wimp", which he recorded on a demo tape that he gave to Vaughan, who would later include his version of the song on the band's live album.[58] Resuming the tour, the band reached Honolulu on February 25, during which they closed the tour as the warm-up for The Police at Aloha Stadium.[58]

Reception

Commercial

The band had survived a few setbacks, including three canceled shows which were rescheduled due to Vaughan's laryngitis.[31] Although the full extent of the tour's earnings were not highly publicized, or its expenses, the commercial reception of the tour had evidently been considerable. Hopkins confirmed that they had averaged $500 to $950 per show before the release of Texas Flood, but increased to $1,500 by the beginning of the tour.[26] The expenses were certainly somewhat higher; during the Moody Blues tour in October–December 1983, after four months on the road, the band received $5,000 per show, an amount that included additional bonuses dependent on ticket sale plateaus.[59] Layton stated that "I could actually pay my rent and keep my lights turned on and have money to eat on and put gas in my car—that was our real priority in life."[60] He later recounted that in the year prior, they had "very little money, basically broke".[61]

At times, the shows were packed to capacity; in August 1983, near the end of the first North American excursion, the group's performance at The Palace in Los Angeles was a sellout.[41] "As we were pulling up to the club, there was a line all the way around the block," recalled Shannon.[62] Two months later, after having success in Europe, Vaughan and Double Trouble received a portion of the near $75,000 in ticket sale revenue, following an appearance opening for Men at Work in Seattle.[63] However, in December of that year, after the Moody Blues tour concluded, they returned to performing in smaller theaters—they sold-out the Beacon Theatre on December 28.[64] The following year, after studio duties were completed, Vaughan and Double Trouble earned a percentage of the near $155,000 gross revenue after their performance in Nashville.[65] The stability in their successful career status led the band to enjoy making their living by playing music.[66]

Critical response and creative development

In terms of critical reception, while there were some mixed reactions, Vaughan and Double Trouble's public response was well-received, beyond all expectation.[67] The band was now known throughout the United States, Canada and Europe. As well as encounters with other celebrities, the group now had the ability to share the stage with their musical influences; the tour represented, for them, an indicator of success.[68] However, these advantages had been gained at a price; Shannon, in retrospect, noting the stress and strain on the band, had succumbed to "everything you'd want, right there—and for a long time it was fun."[52] However, Vaughan's friend Lew Stokes, while also expressing concerns, concludes that, despite Vaughan's substance abuse, his moral compass had always been prevalent, and the way in which he treated people had never wavered.[27]

Of Vaughan and Double Trouble's music composed during the end of 1983, four of them were released on their next album, Couldn't Stand the Weather. A number of songs were outtakes, including an instrumental and a lyrical piece.[69] The released works include two instrumentals "Scuttle Buttin'" and "Stang's Swang", and two lyrical pieces "Couldn't Stand the Weather" and "Honey Bee". Vaughan's creative progress is likewise reflected in the songs released on Couldn't Stand the Weather, which, according to Hopkins, quickly outpaced the sales of Texas Flood.[54] The album includes Vaughan's first attempt at instrumental jazz, "Stang's Swang".[51] The tour thus saw Vaughan's confirmation of his mastery over the electric guitar.[64] This was evidenced in his hometown, on June 16, when a number of radio VIPs attended the Texas Flood record release party. They were frankly skeptical about Vaughan's performance skills, believing them to only be feasible in the studio.[28]

Aftermath

Despite the extent of their financial earnings from the tour, Vaughan and his wife Lenny continued to live in their modest house in Austin.[70] However, travel and public appearances dominated the next two years of Vaughan's life. In March 1984 the band was on the move again, this time to North America, Europe, Australasia and Japan, remaining on the road until May 1985.[71] Within the next month Vaughan and Double Trouble left for another tour—with Reese Wynans who was now the band's keyboardist.[72] They were away for over ten months, and took a break in May 1986, to change their management team.[73] A second visit to Europe, from September until October 1986, was the last of the exhaustive touring schedules;[74] Vaughan's new personal assistant, Timothy Duckworth, had concerns about his escalating substance abuse, which ultimately proceeded to threaten his life—and now Shannon's, himself immersed by addiction.[75]

Tour dates

List of concerts, showing date, city, country, venue, opening act(s), tickets sold, amount of available tickets and gross revenue
Date City Country Venue Opening Act(s) Attendance Revenue
Leg 1: North America[76][77][78]
June 22, 1983 Bloomington United States Jake's N/A N/A
June 23, 1983 Cleveland Pirate's Cove
June 28, 1983 Cincinnati Bogart's Ray Fuller and the Bluesrockers
June 29, 1983 St. Louis Mississippi Nights
July 1, 1983 Milwaukee Marcus Amphitheater Short Stuff, Truc
July 2, 1983 Quincy Quinsippi Island
July 3, 1983 Chicago Metro George Faber and Stronghold
July 6, 1983 Asbury Park Asbury Park Convention Hall
July 7, 1983 New York City First City Eve Moon
July 8, 1983 Philadelphia Ripley Music Hall
July 9, 1983 Providence Lupo's Heartbreak Hotel
July 10, 1983 Boston The Paradise The Lost Tropics
July 12, 1983 Poughkeepsie The Chance
July 13, 1983 Auburn Charlie's
July 14, 1983 Rochester Red Creek Inn
July 15, 1983 Buffalo Rooftop Skyroom
July 16, 1983 Toronto Canada CNE Bandshell
July 18, 1983 Montreal Spectrum de Montréal
July 19, 1983 Ottawa Barrymore's
July 20, 1983 Toronto El Mocambo
July 22, 1983 Rome United States Colman's
July 23, 1983 New York City Pier 84
July 24, 1983 Scotia Radio City
July 25, 1983 New Haven Toad's Place Current
July 27, 1983 Washington, D.C. The Bayou Bob Margolin
July 28, 1983 Pittsburgh The Decade Loan Sharks
July 30, 1983 Detroit Saint Andrew's Hall Street Light Knights
July 31, 1983 Dayton Gilly's
August 1, 1983 Louisville Stage II Lonnie Mack
August 3, 1983 Montreal Canada Olympic Stadium Amphitheatre 38,617 / 40,000 $690,416
August 11, 1983 Lowell United States Lowell Showboat Amphitheater N/A N/A
August 12, 1983 Chicago Soldier Field Vanessa Davis Band, Eddie Taylor
August 13, 1983 Buddy Guy & Jr. Wells, Clark Street
August 15, 1983 Colorado Springs Rose's Dave Drynan, Red Perry and Walter Chase
August 16, 1983 Denver Rainbow Music Hall
August 19, 1983 Sacramento Cal Expo Grandstands Y&T 15,003 / 25,000 $262,177
Berkeley Keystone N/A N/A
August 20, 1983 San Francisco The Stone Northern Rockers
August 21, 1983 Palo Alto Keystone
August 22, 1983 Los Angeles The Palace Hodge Brothers Band
August 23, 1983 Huntington Beach Golden Bear
Leg 2: Europe[79]
August 27, 1983 Reading England Little John's Farm N/A N/A
September 1, 1983 Paris France Rock and Roll Circus
September 2, 1983
September 4, 1983 Berlin Germany Sektor
September 7, 1983 Hamburg Fabrik
September 8, 1983 London England The Venue
September 9, 1983 Amsterdam Netherlands Paradiso Harry Muskee Gang
Leg 3: North America[80][81][82]
September 14, 1983 Norfolk United States The Boathouse N/A N/A
September 15, 1983 Richmond Much More Johnny Sportcoat and the Casuals
September 16, 1983 York York Expo Center
September 17, 1983 Benson Scott Lake Pavilion The Spongetones, Control Group
September 20, 1983 Charlotte P.B. Scott's Music Hall
September 21, 1983 Stone Mountain Harlow's The Heartfixers, The Road Ducks
September 22, 1983 Jacksonville Playground South
September 23, 1983 Miami James L. Knight Center Mitch Ryder
September 25, 1983 Cocoa Beach Brassy's Night Club The Road Ducks
September 26, 1983 Orlando Tom's Point After
September 27, 1983 Sarasota Playground South
September 28, 1983 Clearwater Mr. T's Club 19
September 30, 1983 Gainesville UF Bandshell Artimus Pyle Band
October 1, 1983 Destin Nightown The Road Ducks
October 2, 1983 New Orleans McAlister Auditorium G.T. & the Trustees
October 6, 1983 Houston Houston Music Hall Eric Johnson and the Avenue
October 7, 1983 Austin Austin City Coliseum
October 8, 1983 Dallas Bronco Bowl
October 11, 1983 Portland Veterans Memorial Coliseum
October 12, 1983 Seattle Seattle Center Arena 6,000 / 6,000 $74,719
October 13, 1983 Vancouver Canada Pacific Coliseum N/A N/A
October 15, 1983 Edmonton Northlands Coliseum
October 17, 1983 Hartford United States Hartford Civic Center
October 18, 1983 Worcester Centrum in Worcester 10,391 / 11,000 $133,855
October 19, 1983 Buffalo Buffalo Memorial Auditorium N/A N/A
October 21, 1983 Philadelphia The Spectrum 12,832 / 15,000 $151,372
October 22, 1983 East Rutherford Brendan Byrne Arena N/A N/A
October 23, 1983 Portland Cumberland County Civic Center
October 25, 1983 Baltimore Baltimore Civic Center
October 26, 1983 Pittsburgh Civic Arena
October 28, 1983 Cincinnati Riverfront Coliseum
October 29, 1983 Ann Arbor Crisler Arena
October 30, 1983 Rockford MetroCentre
October 31, 1983 Saint Paul St. Paul Civic Center
November 1, 1983 Cedar Rapids Five Seasons Center
November 2, 1983 Omaha Omaha Civic Auditorium
November 4, 1983 Dallas Reunion Arena 8,816 / 9,663 $94,627
November 6, 1983 Austin Frank Erwin Center 6,462 / 12,673 $67,095
November 7, 1983 Houston The Summit N/A N/A
November 20, 1983 Seattle Seattle Center Coliseum
November 21, 1983 Portland Veterans Memorial Coliseum
November 23, 1983 Vancouver Canada Pacific Coliseum
November 24, 1983 Edmonton Northlands Coliseum
November 25, 1983 Calgary Olympic Saddledome
November 27, 1983 Denver United States McNichols Sports Arena
November 28, 1983 Casper Casper Events Center
November 30, 1983 Tempe ASU Activity Center
December 1, 1983 San Diego Montezuma Hall The Paladins
December 2, 1983 Santa Barbara Campbell Hall
December 3, 1983 Inglewood The Forum
December 4, 1983 San Francisco Kabuki Nightclub Ron Thompson and the Resistors, Pamela Rose and Wild Kingdom
Leg 4: United States[83][84]
December 27, 1983 Washington, D.C. United States Wax Museum Nightclub Bob Margolin N/A N/A
December 28, 1983 New York City Beacon Theatre The Outlaws, The Nighthawks
December 29, 1983 Upper Darby Tower Theater The Outlaws
December 30, 1983 Baltimore Famous Ballroom Skip Castro Band
December 31, 1983 Norfolk The Boathouse
Leg 5: United States[85][86][87]
February 4, 1984 Nashville United States Nashville Municipal Auditorium Grinderswitch, Rodney Crowell 9,900 / 9,900 $154,665
February 5, 1984 Knoxville Alumni Memorial Gym The Heartfixers N/A N/A
February 7, 1984 Charlotte P.B. Scott's Music Hall Robert Cray Band
February 8, 1984 Atlanta Moonshadow Saloon The XL's
February 10, 1984 Athens Georgia Hall The Heartfixers
February 11, 1984 Carbondale Shryock Auditorium
February 12, 1984 Kansas City Uptown Theater The Belairs
February 15, 1984 Normal Braden Auditorium
February 16, 1984 Peoria Second Chance
February 17, 1984 Chicago Embassy Ballroom
February 18, 1984 Ida Noyes Hall
February 25, 1984 Honolulu Aloha Stadium 31,653 / 50,000

See also

References

  1. ↑ Patoski & Crawford (1993), p. 9
  2. ↑ Los Angeles Times (2006), p. B7
  3. ↑ Cooper (2008), p. 64
  4. ↑ Hopkins (2011), p. 319
  5. ↑ Prown & Sharken (2003), p. 19
  6. ↑ Hopkins (2011), p. 119
  7. ↑ Hopkins (2011), p. xi
  8. ↑ Patoski & Crawford (1993), pp. 6, 8
  9. 1 2 3 Patoski & Crawford (1993), p. 10
  10. ↑ Patoski & Crawford (1993), pp. 45–6
  11. ↑ Hopkins (2010), pp. 67–70
  12. ↑ Patoski & Crawford (1993), p. 145
  13. ↑ Patoski & Crawford (1993), p. 148
  14. ↑ Patoski & Crawford (1993), p. 149
  15. ↑ Patoski & Crawford (1993), p. 150
  16. ↑ Hopkins (2011), p. 9
  17. ↑ Hopkins (2011), p. 17
  18. ↑ Hopkins (2011), p. 16
  19. 1 2 Hopkins (2011), p. 19
  20. ↑ Hopkins (2011), p. 18
  21. ↑ Hopkins (2011), p. 11
  22. 1 2 3 Hopkins (2011), p. 35
  23. 1 2 3 4 Hopkins (2011), p. 38
  24. 1 2 Hopkins (2011), p. 39
  25. ↑ Hopkins (2011), pp. 22, 24
  26. 1 2 Hopkins (2011), p. 23
  27. 1 2 Hopkins (2011), p. 28
  28. 1 2 Hopkins (2011), p. 22
  29. ↑ Hopkins (2011), pp. 19, 23
  30. ↑ Hopkins (2011), pp. 24–5
  31. 1 2 Hopkins (2011), p. 25
  32. ↑ Hopkins (2011), p. 26
  33. ↑ Hopkins (2011), pp. 26–7
  34. 1 2 Hopkins (2011), p. 27
  35. ↑ Hopkins (2011), pp. 27–8
  36. ↑ Holden (1983)
  37. ↑ Hopkins (2011), pp. 29–30
  38. ↑ "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 95 no. 34. Nielsen Business Media, Inc. August 20, 1983. p. 44. ISSN 0006-2510.
  39. ↑ Hopkins (2011), pp. 31–3
  40. ↑ Hopkins (2011), p. 31
  41. 1 2 Hopkins (2011), p. 32
  42. 1 2 Hopkins (2011), p. 33
  43. ↑ H, Johnny; P, Andy (December 7, 2014). "Stevie Ray Vaughan And Double Trouble: 'The Complete Epic Recordings Collection'". Uber Rock: Kick Ass Rock 'n' Roll. Retrieved March 5, 2018.
  44. ↑ Hopkins (2011), p. 34
  45. ↑ Hopkins (2011), pp. 34–5
  46. ↑ Brown (1983), p. 8
  47. 1 2 Hopkins (2011), p. 36
  48. ↑ Hopkins (2011), p. 36–7
  49. ↑ "Stevie Ray Vaughan Double Trouble 1983 Bronco Bowl Dallas Handbill". The Heart of Rock and Roll. 2018. Retrieved March 5, 2018.
  50. ↑ Hopkins (2011), pp. 44–5
  51. 1 2 Hopkins (2011), p. 46
  52. 1 2 Interviews by Dan Jackson, July 26–27, 1997: Doyle Bramhall, Jimmie Vaughan, Chris Layton, Tommy Shannon
  53. ↑ In The Studio, Album Network, 1993, Redbeard
  54. 1 2 Hopkins (2011), p. 59
  55. ↑ Hopkins (2011), p. 47
  56. 1 2 3 Hopkins (2011), p. 48
  57. ↑ Hopkins (2011), pp. 48, 145
  58. 1 2 Hopkins (2011), p. 49
  59. ↑ Hopkins (2011), pp. 39, 45
  60. ↑ Hopkins (2011), p. 45
  61. ↑ "Success in Disguise" (DVD documentary), Live at Montreux: 1982 & 1985.
  62. ↑ Guitar World, August 2000, "Pride and Joy," Andy Aledort; "The Lost Interviews," Andy Aledort
  63. ↑ "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 95 no. 45. Nielsen Business Media, Inc. November 5, 1983. p. 48. ISSN 0006-2510.
  64. 1 2 Hopkins (2011), p. 44
  65. ↑ "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 96 no. 6. Nielsen Business Media, Inc. February 18, 1984. p. 37. ISSN 0006-2510.
  66. ↑ Guitar World, May 2000, "Rise & Shine," Andy Aledort
  67. ↑ Hopkins (2011), p. 24
  68. ↑ Hopkins (2011), pp. 29–32
  69. ↑ Hopkins (2011), p. 301
  70. ↑ Barr, Byron (2013). "Stevie Ray Vaughan". Vintage Texas Blues. Retrieved March 5, 2018.
  71. ↑ Hopkins (2011), pp. 53–98
  72. ↑ Hopkins (2011), p. 99
  73. ↑ Hopkins (2011), pp. 99–132
  74. ↑ Hopkins (2011), pp. 144–7
  75. ↑ Hopkins (2011), pp. 136, 146
  76. ↑ Hopkins (2011), pp. 24-33
  77. ↑ First leg boxscore data:
    • "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 95 no. 34. Nielsen Business Media, Inc. August 20, 1983. p. 44. ISSN 0006-2510.
    • "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 95 no. 36. Nielsen Business Media, Inc. September 3, 1983. p. 41. ISSN 0006-2510.
  78. ↑ First leg opening act references:
    • "Summerfest schedule". The Milwaukee Journal. July 1, 1983. p. 6.
    • "1983 Metro Chicago Flyer (second thumbnail)". WorthPoint Corporation. 2016. Retrieved August 1, 2016.
    • "The Chance ticket stub". Facebook. n.d. Retrieved March 8, 2018.
    • "Bio". Connecticut Singer-Songwriter-Guitarist-Bart Bryant. 2017. Retrieved March 8, 2018.
    • "Night Life". The Pittsburgh Press. 100 (35). July 28, 1983. p. D5.
    • LeLievre (2013)
    • Walek (1983), p. 22
    • Jarvis (1983), p. B1
    • "Events". The Stanford Daily. August 19, 1983. p. 15.
    • "Calendar: Pop Music—Concerts". Los Angeles Times. August 21, 1983. p. 72.
  79. ↑ Hopkins (2011), pp. 33-36
  80. ↑ Hopkins (2011), pp. 36-43
  81. ↑ Third leg boxscore data:
    • "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 95 no. 45. Nielsen Business Media, Inc. November 5, 1983. p. 48. ISSN 0006-2510.
    • "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 95 no. 48. Nielsen Business Media, Inc. November 26, 1983. p. 43. ISSN 0006-2510.
  82. ↑ Third leg opening act references:
    • Mahin (1983)
    • "Something's going on..." (PDF). The Pendulum. 10 (2). Elon. September 15, 1983. p. 12.
    • "Harlow's ticket stub". WorthPoint Corporation. 2008. Retrieved March 8, 2018.
    • "Personnel/Bios". The Roadducks. 2015. Retrieved March 8, 2018.
    • Haldin (1983), p. 2C
    • "McAlister Auditorium newspaper advertisement". The Times-Picayune. New Orleans. October 1, 1983.
    • "Montezuma Hall newspaper advertisement". The Daily Aztec. 65 (66). UC San Diego. November 30, 1983. p. 6.
    • "List of concerts promoted by Bill Graham". SugarMegs Audio. 2016. Retrieved August 1, 2016.
  83. ↑ Hopkins (2011), pp. 43-45
  84. ↑ Fourth leg opening act references:
    • "Jazz / Folk / Rock Concerts, Personal Appearances, Etc". The New Yorker. Advance Publications. December 26, 1983. p. 7.
    • "Tower Theater newspaper advertisement". eBay. 2016. Retrieved August 1, 2016.
    • "In concert". The Baltimore Sun. 294 (37). December 30, 1983. p. C1.
  85. ↑ Hopkins (2011), pp. 47-49
  86. ↑ Fifth leg boxscore data:
    • "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 96 no. 6. Nielsen Business Media, Inc. February 18, 1984. p. 37. ISSN 0006-2510.
    • Harada, Wayne (February 26, 1984). "Record 31,653 see Police in action". Honolulu Star-Bulletin. p. A7.
  87. ↑ Fifth leg opening act references:
    • "AB Boxscore: Top Concert Grosses" (PDF). Billboard. Vol. 96 no. 6. Nielsen Business Media, Inc. February 18, 1984. p. 37. ISSN 0006-2510.
    • "Georgia Hall newspaper advertisement". The Red and Black. University of Georgia. February 9, 1984. p. 7.

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