This must be one of my most spontaneous posts. I literally just came across this cool clip of Stevie Ray Vaughan and decided I had to put it on the blog.
Usually, there’s some of sort of angle to my posts. Not so in this case. The sole fact this footage is just so much fun to watch is good enough for me. It’s from a July 1982 show of Vaughan and his backing band Double Trouble at the Montreux Jazz Festival in Switzerland.
While the performance was dynamite, unfortunately, it was met by boos from the audience. Part of the reason for the reception was the band’s booking during an acoustic night at the prestigious event. High volume electric blues simply wasn’t a good fit. Plus, Vaughan was still an unsigned act, who was completely unknown outside of Texas.
Pride and Joy, written by Vaughan, was first recorded for his studio debut Texas Flood released in June 1983. There’s also a live album with material from the above concert and a 1985 appearance, which came out in November 2001. By the time of their second Montreux show, Stevie Ray Vaughan and Double Trouble not only were well received, but also were headliners. What a difference!
And I thought I had known Carole King pretty well! Yes, I had been aware of her versatility as a songwriter, especially during the ’60s with her husband Gerry Goffin. But I had not been quite prepared for the above tune, Believe In Humanity, from Live At Montreux 1973, which came out in September. This great live album captures a 1973 show at the Montreux Pavillon in Switzerland, conducted as part of the Montreux Jazz Festival.
I don’t recall having heard King as soul and funk-oriented as on this track. This is really cool! I figured some readers who may know her primarily from the iconic and very different Tapestry album, may be surprised as well.
Undoubtedly, much of Believe In Humanity’s groove has do do with King’s 11-piece backing band that featured six horn and woodwind players, among others. Originally, Believe In Humanity appeared on her fifth solo album Fantasy from June 1973, a record I had hardly known. Oh, well, now I do!
According to King’s website, the material from Fantasy “was, at the time, untested. To up the stakes, almost everything about the new music broke with Carole’s past. This was her first attempt at a song cycle, a format which purposely blurs the songs into an unbroken piece, starting and ending with two distinct versions of the title track.”