Deconstructed Layla

[Rock Stolid]

Maddeningly tough to play along with due ot the tuning used.

Some say A sharp.

Others claim C.

Many advise playing it in D...

But for a real look at why music is layered and mixed, listen to Clapton
and Duane Allman stripped back to their leads and vocals only:

https://www.guitarworld.com/artists/eric-clapton-and-duane-allmans-isolated-guitar-tracks-layla

What you're actually hearing (in the YouTube player below) is a
combination of tracks; there's a rhythm guitar track from the chorus,
the lead in the verses and choruses, Duane Allman's manic slide solos,
crystal-clear acoustic guitar at the end of the song—and another guitar
that's filtered through a revolving Leslie speaker, a la "Badge."

“There had to be some sort of telepathy going on because I’ve never seen
spontaneous inspiration happen at that rate and level. One of them would
play something, and the other reacted instantaneously. Never once did
either of them have to say, ‘Could you play that again, please?’ It was
like two hands in a glove. And they got tremendously off on playing with
each other.”

Nowhere was the interplay between Clapton and Allman more sublime than
on “Layla,” which, says Dowd, features six tracks of overlapping guitar:
“There’s an Eric rhythm part; three tracks of Eric playing harmony with
himself on the main riff; one of Duane playing that beautiful
bottleneck; and one of Duane and Eric locked up, playing countermelodies.”

Take note of the Leslie guitar, which kicks in at 5:25. Criteria Studios
in Miami had one of the first guitar input devices for the Leslie that
could vary the speed with a foot switch, and legend has it that Clapton
was pretty fond of it. Enjoy!

[BryanGSimmons]

Post by Rock Stolid
Maddeningly tough to play along with due ot the tuning used.
Some say A sharp.
Others claim C.
Many advise playing it in D...
But for a real look at why music is layered and mixed, listen to Clapton
http://youtu.be/Jfj3QhJ3Xmk
https://www.guitarworld.com/artists/eric-clapton-and-duane-allmans-isolated-guitar-tracks-layla
What you're actually hearing (in the YouTube player below) is a
combination of tracks; there's a rhythm guitar track from the chorus,
the lead in the verses and choruses, Duane Allman's manic slide solos,
crystal-clear acoustic guitar at the end of the song—and another guitar
that's filtered through a revolving Leslie speaker, a la "Badge."
“There had to be some sort of telepathy going on because I’ve never seen
spontaneous inspiration happen at that rate and level. One of them would
play something, and the other reacted instantaneously. Never once did
either of them have to say, ‘Could you play that again, please?’ It was
like two hands in a glove. And they got tremendously off on playing with
each other.”
Nowhere was the interplay between Clapton and Allman more sublime than
“There’s an Eric rhythm part; three tracks of Eric playing harmony with
himself on the main riff; one of Duane playing that beautiful
bottleneck; and one of Duane and Eric locked up, playing countermelodies.”
Take note of the Leslie guitar, which kicks in at 5:25. Criteria Studios
in Miami had one of the first guitar input devices for the Leslie that
could vary the speed with a foot switch, and legend has it that Clapton
was pretty fond of it. Enjoy!

I adore that song, but the one that I can't get out of my head is *Bell
Bottom Blues*.

[Hiram Freeborn]

Post by BryanGSimmons

Post by Rock Stolid
Maddeningly tough to play along with due ot the tuning used.
Some say A sharp.
Others claim C.
Many advise playing it in D...
But for a real look at why music is layered and mixed, listen to
http://youtu.be/Jfj3QhJ3Xmk
https://www.guitarworld.com/artists/eric-clapton-and-duane-allmans-isolated-guitar-tracks-layla
What you're actually hearing (in the YouTube player below) is a
combination of tracks; there's a rhythm guitar track from the chorus,
the lead in the verses and choruses, Duane Allman's manic slide solos,
crystal-clear acoustic guitar at the end of the song—and another
guitar that's filtered through a revolving Leslie speaker, a la "Badge."
“There had to be some sort of telepathy going on because I’ve never
seen spontaneous inspiration happen at that rate and level. One of
them would play something, and the other reacted instantaneously.
Never once did either of them have to say, ‘Could you play that again,
please?’ It was like two hands in a glove. And they got tremendously
off on playing with each other.”
Nowhere was the interplay between Clapton and Allman more sublime than
on “Layla,” which, says Dowd, features six tracks of overlapping
guitar: “There’s an Eric rhythm part; three tracks of Eric playing
harmony with himself on the main riff; one of Duane playing that
beautiful bottleneck; and one of Duane and Eric locked up, playing
countermelodies.”
Take note of the Leslie guitar, which kicks in at 5:25. Criteria
Studios in Miami had one of the first guitar input devices for the
Leslie that could vary the speed with a foot switch, and legend has it
that Clapton was pretty fond of it. Enjoy!

I adore that song, but the one that I can't get out of my head is *Bell
Bottom Blues*.

+1!

[dsi1]

Post by Rock Stolid
Maddeningly tough to play along with due ot the tuning used.
Some say A sharp.
Others claim C.
Many advise playing it in D...
But for a real look at why music is layered and mixed, listen to Clapton
http://youtu.be/Jfj3QhJ3Xmk
https://www.guitarworld.com/artists/eric-clapton-and-duane-allmans-isolated-guitar-tracks-layla
What you're actually hearing (in the YouTube player below) is a
combination of tracks; there's a rhythm guitar track from the chorus,
the lead in the verses and choruses, Duane Allman's manic slide solos,
crystal-clear acoustic guitar at the end of the song—and another guitar
that's filtered through a revolving Leslie speaker, a la "Badge."
“There had to be some sort of telepathy going on because I’ve never seen
spontaneous inspiration happen at that rate and level. One of them would
play something, and the other reacted instantaneously. Never once did
either of them have to say, ‘Could you play that again, please?’ It was
like two hands in a glove. And they got tremendously off on playing with
each other.”
Nowhere was the interplay between Clapton and Allman more sublime than
“There’s an Eric rhythm part; three tracks of Eric playing harmony with
himself on the main riff; one of Duane playing that beautiful
bottleneck; and one of Duane and Eric locked up, playing
countermelodies.”
Take note of the Leslie guitar, which kicks in at 5:25. Criteria Studios
in Miami had one of the first guitar input devices for the Leslie that
could vary the speed with a foot switch, and legend has it that Clapton
was pretty fond of it. Enjoy!

There was a folk singer/disco diva from Hawaii in Clapton's band. I
think they were a thing for a while. In this clip, Clapton seems a bit
flustered. Funny.

[Rock Stolid]

Post by dsi1

Post by Rock Stolid
Maddeningly tough to play along with due ot the tuning used.
Some say A sharp.
Others claim C.
Many advise playing it in D...
But for a real look at why music is layered and mixed, listen to Clapton
http://youtu.be/Jfj3QhJ3Xmk
https://www.guitarworld.com/artists/eric-clapton-and-duane-allmans-isolated-guitar-tracks-layla
What you're actually hearing (in the YouTube player below) is a
combination of tracks; there's a rhythm guitar track from the chorus,
the lead in the verses and choruses, Duane Allman's manic slide solos,
crystal-clear acoustic guitar at the end of the song—and another guitar
that's filtered through a revolving Leslie speaker, a la "Badge."
“There had to be some sort of telepathy going on because I’ve never seen
spontaneous inspiration happen at that rate and level. One of them would
play something, and the other reacted instantaneously. Never once did
either of them have to say, ‘Could you play that again, please?’ It was
like two hands in a glove. And they got tremendously off on playing with
each other.”
Nowhere was the interplay between Clapton and Allman more sublime than
“There’s an Eric rhythm part; three tracks of Eric playing harmony with
himself on the main riff; one of Duane playing that beautiful
bottleneck; and one of Duane and Eric locked up, playing
countermelodies.”
Take note of the Leslie guitar, which kicks in at 5:25. Criteria Studios
in Miami had one of the first guitar input devices for the Leslie that
could vary the speed with a foot switch, and legend has it that Clapton
was pretty fond of it. Enjoy!

There was a folk singer/disco diva from Hawaii in Clapton's band. I
think they were a thing for a while. In this clip, Clapton seems a bit
flustered. Funny.
http://youtu.be/NldjjmzDUfE
http://youtu.be/CZVUzho-nok

Yvonne Elliman!

I had no idea she was an islander.

She got her first big single punked by an Auztard, regrettably:

"She had her first Billboard Hot 100 hit single in 1971 with the ballad
"I Don't Know How to Love Him" from Jesus Christ Superstar. Her original
version was not issued as a single until a cover version by Helen Reddy
started moving up the U.S. charts; appearing concurrently on the charts
(a rare event, not common since the 1950s, when different releases
played in different parts of the United States), Elliman's original
peaked at #28, while Reddy's cover peaked at #13."

Reminiscent of the role Nicollete Larson had with Neil Young.

Whom I had no idea came from Helena, MT!

[dsi1]

Post by Rock Stolid

Post by dsi1

Post by Rock Stolid
Maddeningly tough to play along with due ot the tuning used.
Some say A sharp.
Others claim C.
Many advise playing it in D...
But for a real look at why music is layered and mixed, listen to Clapton
http://youtu.be/Jfj3QhJ3Xmk
https://www.guitarworld.com/artists/eric-clapton-and-duane-allmans-isolated-guitar-tracks-layla
What you're actually hearing (in the YouTube player below) is a
combination of tracks; there's a rhythm guitar track from the chorus,
the lead in the verses and choruses, Duane Allman's manic slide solos,
crystal-clear acoustic guitar at the end of the song—and another guitar
that's filtered through a revolving Leslie speaker, a la "Badge."
“There had to be some sort of telepathy going on because I’ve never seen
spontaneous inspiration happen at that rate and level. One of them would
play something, and the other reacted instantaneously. Never once did
either of them have to say, ‘Could you play that again, please?’ It was
like two hands in a glove. And they got tremendously off on playing with
each other.”
Nowhere was the interplay between Clapton and Allman more sublime than
“There’s an Eric rhythm part; three tracks of Eric playing harmony with
himself on the main riff; one of Duane playing that beautiful
bottleneck; and one of Duane and Eric locked up, playing
countermelodies.”
Take note of the Leslie guitar, which kicks in at 5:25. Criteria Studios
in Miami had one of the first guitar input devices for the Leslie that
could vary the speed with a foot switch, and legend has it that Clapton
was pretty fond of it. Enjoy!

There was a folk singer/disco diva from Hawaii in Clapton's band. I
think they were a thing for a while. In this clip, Clapton seems a bit
flustered. Funny.
http://youtu.be/NldjjmzDUfE
http://youtu.be/CZVUzho-nok

Yvonne Elliman!
I had no idea she was an islander.
"She had her first Billboard Hot 100 hit single in 1971 with the ballad
"I Don't Know How to Love Him" from Jesus Christ Superstar. Her original
version was not issued as a single until a cover version by Helen Reddy
started moving up the U.S. charts; appearing concurrently on the charts
(a rare event, not common since the 1950s, when different releases
played in different parts of the United States), Elliman's original
peaked at #28, while Reddy's cover peaked at #13."
Reminiscent of the role Nicollete Larson had with Neil Young.
http://youtu.be/XSRvl7K8z4M
http://youtu.be/XCoHo3MsaK0
Whom I had no idea came from Helena, MT!

I think you're right about that - Nicollete Larson will always be
associated with Neal Young as will Yvonne Elliman be with Eric Clapton -
well to me, anyway.

My mom and wife went to the same high school as Ms. Elliman. Da
Hawaiians on the mainland have to modify their language somewhat. Words
like "hapa", "haole", or "poi dog", don't mean anything over there. You
use words like "white", or "mongrel", instead. "Mongrel" is a word that
makes me laugh.