At 74, Jimmie Vaughan continues to defy the odds, having faced meaningful health challenges, including three heart attacks. Following his third incident in 2022, the renowned Texas blues guitarist successfully underwent quadruple bypass surgery.
Fast forward two years, Vaughan received a diagnosis of a “curable form of cancer,” which appears to be under control, as he recently completed an exhilarating tour alongside fellow guitar icon Bonnie Raitt.
“I’m feeling fantastic,” Vaughan shared with GW when discussing his health. “I just finished a tour with Bonnie – over 30 shows – and I even went to Europe before that.It was an amazing experience.”
In addition to his touring, Vaughan is gearing up to celebrate his influential past with the Fabulous Thunderbirds through a new compilation, The Jimmie Vaughan Years: Studio Records 1978-1989.
“I take immense pride in my time with the Thunderbirds,” Vaughan reflects. “This new box set includes the Doc Pomus recordings from before we signed with Takoma Records; no one has ever heard those. Plus, it features all the classics from Takoma, like Girls Go Wild, What’s the Word, T-Bird Rhythm, Butt Rockin’, Tuff Enuff, Hot Number, and Powerful Stuff. It’s all there!”
Vaughan’s journey since his days with the Fabulous Thunderbirds has been remarkable, releasing nearly a dozen solo albums that have earned him four Grammy Awards and a Blues Music Award, not to mention the iconic 1990 collaboration Family Style with his late brother, Stevie Ray Vaughan. Yet,his guitar philosophy remains refreshingly straightforward.
“It may sound simplistic, but if you mix it the way you enjoy it, you’ll always appreciate it,” he explains. “Just play what resonates with you. That’s been my approach for years. If all my favourite guitarists were in the same room, I’d think, ‘What should I do? Play what I want to hear!’”
Vaughan is brimming with new musical ideas. “I’m currently working on my next album,” he reveals. “I’m always looking ahead and figuring out my next steps.It’s incredibly exciting.”
while he’s not ready to divulge specifics, he does tease, “I can’t share the title yet. I don’t want it to leak out. But I’m in the process of creating it, and I’m thrilled about it.”
Reflecting on His Musical Evolution
Did you have a specific approach to your guitar playing during your early years, or was it more instinctual?
“I’ve been playing since 1962, starting at the age of 12,” Vaughan recalls. “When we recorded, they’d place the mic right on the speaker, you know?”
“I always aimed for a unique room sound, which Kim [wilson, the Fabulous Thunderbirds’ singer and harmonica player] and I developed.We discovered that moving the mic away from the amp and positioning it correctly produced a better sound.That was our focus.”
Was Fender gear your go-to during that time?
“Absolutely, we primarily used Fender amps. We had a Marshall too,but Fender was our mainstay. I still have a Fender amp I bought at Barry’s Music in downtown Jefferson [Texas] when I was 12; cranking up the presence made it come alive. Even in the early days of the T-Birds, I was striving for that same sound, and I still chase it.”
Was there a pivotal moment with the T-Birds when you felt you truly found your voice as a guitarist?
“I never really thought about it that way.We were always honing our craft, focusing on tone and sound. It was all about making it happen. We loved what we did,touring extensively across the country without returning home for long stretches.I was constantly working on my skills.”
Your efforts, along with Stevie Ray, revitalized the blues scene in the ’80s.
“It was a small club of enthusiasts. We traveled around, and people showed up, eager to hear more. [Laughs] But I don’t want to dwell on our significance. We simply loved the blues, played our hearts out, and had a blast.”
Looking back at the new box set, you mentioned the Fabulous Thunderbirds’ sessions with doc Pomus in 1978, which many may not be aware of.
“That was before Girls Go Wild [1979].We met Doc Pomus while performing, and he had a room full of horns.We recorded all the songs we had been playing live. Many of those tracks ended up on our later albums. After that, we played numerous blues festivals and built a solid reputation.”
How did that session with Doc influence you as a young musician?
“We learned about the importance of room mic’ing. In engineering school, they teach you to place the mic right next to the speaker. The blues records we loved had that perfect sound, partly due to room mics. We sought that out, especially when we discovered that Doc Pomus shared our passion for that sound!”
Have you ever experienced a venue where the live sound through the PA was exceptional?
“Yes! It’s a unique sound that comes from proper mic placement in a small venue. That’s the technique the Chess brothers mastered with many artists in the ’40s and ’50s. We experimented with Doc and learned how to achieve that.”
It’s been nearly 40 years since you recorded Bob Dylan’s I Don’t Wanna Do It with George Harrison for the Porky’s Revenge soundtrack.What was that experience like?
I just forget about everyone else – I ignore the trends. I don’t even know what they are! I create music that resonates with me.That’s my goal.
What was it like working with george Harrison?
“George was incredible. It feels like a lifetime ago – 40 years! I’m still figuring out what I’ll do tomorrow. [Laughs] Meeting George, one of my idols, was surreal. I had all the Beatles albums in the ’60s, so being in the same room with him was unbelievable.”
“I can’t recall exactly what George said, but I was in awe of being on a record with him. He mentioned he had been listening to the T-Birds, which was a nice compliment.”
There are whispers about your upcoming album, your first studio project as 2019’s Baby, Please Come Home. What drives you to continue creating new music?
“I focus on my own path, disregarding trends. I don’t even keep track of them! [Laughs] I create music that excites me. That’s the aim. I need to get into the recording mindset. You write a song, develop it, and then head into the studio. Sometimes, you don’t need to overthink it, and then you mix it. That’s the final touch, if that makes sense. After that, it’s on to the next project.”
What inspires you these days?
“I don’t categorize albums or periods; I just keep moving forward. I don’t dwell on that. If someone sends me a song, like the one we just did with Kenny Wayne Shepherd, who I’ll be touring with, I’ll listen and possibly add more. It’s all about taking it one day at a time.”
What’s the latest on your gear?
I’m still playing my Jimmie Vaughan fender custom shop Strat. I keep wearing out the frets, but it’s still performing beautifully.
“I’m using two Fender Bassmans paired with a Strymon Flint tremolo/reverb pedal. It’s a fantastic little device that offers both effects. I still rely on my Jimmie Vaughan Fender Custom Shop Strat. I keep wearing out the frets,but it’s still doing its job. [laughs]”
If you had to save just one guitar from a burning building, which would it be and why?
“I would grab the two I used while touring with Bonnie.One is my white Strat, featuring a Mexican-made body and custom-wired pickups.”
“The othre is a Fender custom shop replica of my old guitar from my Fabulous Thunderbirds days, which is still available… unless they’ve discontinued it! [Laughs] That guitar sounds incredible. Once you find the right mix,it’s fabulous and will continue to sound great.”
