"Everything's the same everywhere. There are nice folks, and ass-holes, and you have to learn to distinguish between the two in order to get by. And someone who's an ass-hole to somebody may be a nice folk to somebody else, so you've got to learn to be nice to everybody, and show everybody respect, that's the only way people respect you. You've got to have mutual respect and a little bit of love, if you can round it up. And don't be afraid to share what's inside of you with other people. That's the only way you're ever going to get free or have any fun all, either. So just rock on, and have you a good time. If I have a choice between having a good time and a shitty time, I'm going to have me a good time. I've had enough shitty times."-Duane Allman
OK, first up, a YouTube "video" of Wilson Pickett's cover of the Beatles' "Hey, Jude" with Duane Allman comping, playing fills and solos on a Strat through a Fuzz Face with a nearly dead battery into a Fender Twin Reverb- here on a car radio, recorded on someone's phone.
It's cooler than one might imagine- and rather fitting, as will be understood via the next quotes and links...
Now, some cool behind-the-scenes history and details- wait, izzatt the phone?
Originally Posted By: Richard Albero/GP May-June '73 @ DuaneAllman.info
One of Duane's closest friends was Jerry Wexler, head of Atlantic Records and one of the most perceptive men in the recording industry. I asked him how he first heard of Duane. "My first knowledge of Duane came when Rick Hall played for me on the telephone from Muscle Shoals a playback of Wilson Pickett's "Hey Jude," which Rick had just finished producing. I was knocked out by the lead guitar I heard all through the record, and because I was familiar with the several session guitarists in Muscle Shoals I realized I was hearing a new player. It was Duane, of course, and I asked Rick to put him on the phone. That was the beginning of a close relationship, business and personal.
"Rick Hall had Duane under contract and I purchased it from Rick for Atlantic Records for $15,000. At this time it was a steep expenditure, because Duane didn't sing, write, nor did he have a band. I was encouraged to buy Duane's contract by Phil Walden, who became his manager and who built the Allman Brothers Band. Phil set up Capricorn Records, backed by Atlantic, which became the distributor for Capricorn, and the Allman’s were Capricorn's first, and ultimately most successful, project."
And here's some further historical detail; note the revelation of the "Leslie" used on the Layla-album being, in fact, a Variac modified- what, izzatt the phone again?
Originally Posted By: Richard Buskin / CLASSIC TRACKS: Derek & The Dominos 'Layla' @ SoundOnSound.com
When I spoke with him in 1998, the late, great Tom Dowd described how this came about while he, Ron and Howard were working on the Allmans' Idlewild South:
"One day I was in a session and the band was doing a take, and the secretary came in and said 'There's a Robert Stigwood on the phone for you.' I couldn't deny Robert, so in the middle of the take I picked up the phone, and when the band finished and came into the control room I was still speaking to him. When I put the phone down I apologised and said 'Look, that was Robert Stigwood. He's Eric Clapton's manager, and I haven't spoken to Eric for some time, but he wants to record here,' and Duane said 'Do you mean the guy...' and he started playing these Cream licks. I said 'Yeah.' He said 'Oh man! Is he going to record here?' and I said 'Well, that's what we were talking about.' Duane said 'Man, I'm going to call you when we get back here, because when he's here do you think I could come by and watch him?' and I said 'Well, the two of you are so congenial that I'm sure it'll work out, not a problem,' and I just let it go at that.
Originally Posted By: Richard Buskin / CLASSIC TRACKS
"A couple of weeks later... In the middle of doing this the phone rang and it was Duane saying 'Hey, we're going to be in town the day after tomorrow. We're doing a concert. Are they there?' Then he heard Derek & The Dominos in the background and he said 'They're there! Can I come by?' Eric was in the control room and I said 'Eric, I have Duane Allman on the phone and he's asked if he could come by and watch you record...' Eric looked at me and said 'You mean the chap who played...' and he played me the back end of 'Hey Jude' from the Wilson Pickett record. I said 'Yeah, that's him.' He said 'They're going to play a show here? Then we're going to see them play!'
"That's how that all materialised."
The complete article can be read in its entirety at:
Hahhahh! Idunno, SEHpicker, I didn't make that vid, I just ran across it looking for info on that version of that song in particular, and Duane Allman's career and gear in general.
I love how Duane had said "you mean the guy..." and played some EC/Cream licks on his guitar to refer to Eric Clapton, and then later Clapton had said "You mean the chap who played..." and played some of Duane's licks from the end of that song, both incidents involving telephone-calls and occurring before they had met each other...
And, of course, that this all resulted in the Layla album becoming what it was.
Right on comment about the playing, Funkwire. Note also how his guitar timbre in the middle of the tune is similar to the brass. Also the ending, while quite wild & built around that triplet pulloff he opens with, also mimics Pickett's wails.
Caeven, a coolacious job of linkifying. X
I think one thing that might've linked DA & EC is not just their interest in blues but certain specific players, most notably perhaps, Albert King. Many of Clapton's most popular Cream solos quote King licks. In some books there are photos of him during Disraeli Gears sessions listening to AK records in the studio while recording! In that regard the famous opening riff of "Layla", famously offered to Clapton by Allman during the Criteria sessions they did, is a sped-up variation on "Born Under A Bad Sign".