Stevie Ray Vaughan - Texas Flood

A debut seemingly sent from the musical heavens, Stevie Ray Vaughan and Double Trouble's Texas Flood announces the arrival of a truly special talent - namely, the last major blues guitarist to emerge with a voice all his own, an immediately distinctive style and a soulfulness that you feel inside the depths of your existence. Not for nothing was Vaughan frequently mentioned in the same breath as his closest musical cousin, Jimi Hendrix.

This staggering 1983 album has been remastered and reconfigured multiple times, yielding sporadic results. Mobile Fidelity finally gets it right: Mastered from the original master tapes, this hands-down definitive digital version brings Vaughan and Co. into your listening room and places them at your feet. Vaughan's trademark Fender Stratocaster has never sounded more real, electric or authentic on record.

 

1. Love Struck Baby

2. Pride and Joy

3. Texas Flood

4. Tell Me

5. Testify

6. Rude Mood

7. Mary Had A Little Lamb

8. Dirty Pool

9. I'm Cryin

10. Lenny

Customer Reviews (5.00 Stars) 2 person(s) rated this product.

"Super Audio" Stevie posted on 03/29/2011 5 Stars This dynamic and natural-sounding SACD of SRV's finest album is up to MoFi's (digital) standards; you've got to have the vinyl version to give it a run for its money, and if you (like me) like to play it loud, this may be the disc to own. Compression-free and very organic-sounding!

Simply amazing! posted on 02/26/2011 5 Stars My listening setup: Onkyo C-S5VL SACD player -> Burson AB 160 -> Burson HA 160 -> Audeze LCD-2 orthodynamic headphones I pre-ordered this last September and let me tell you the wait was well worth it. The original master used was well recorded as you can tell at first listen. There is very little grain which can be a detractor with high quality (re)masters of this order. There is a noticeable presence of air but not as much as on some other SACD/hi-def quality recordings. Stevie's guitar sounds very life-like although I noticed in a one or two spots where it seems to be pushed back in the mix (noticeably quieter). [edit: I've learned that this is what is called 'print through' and unless you're listening very analytically on a decent setup you may not even notice it] The vocals and other instruments are well defined in the soundstage and nothing really seems overbearing in the mix. It's all too perfect really.

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