Given how much I fluffed Duane Allman in last week's entry, I thought it would be appropriate to back up my claims with some evidence. So, for your enjoyment and edification, here are some choice examples of Duane's virtuosity.
First, some diverse tracks from Layla and Other Assorted Love Songs. The first is the classic blues tune Nobody Knows You When You're Down and Out. Duane's addition to the track is a spare slide line that adds just the right emotional intensity. It's almost as valuable in it's absence as in its presence. Great lyrics on this track as well, and a convincing vocal delivery.
Contrast this with the absolutely incendiary guitar interplay with Clapton on Why Does Love Got To Be So Sad and the syncopated strut of Anyday. Taken all together, they illustrate some of the strength of Duane's technique as well as how stacked the Layla album is. It's got 14 cuts, and Layla itself is about my 8th favorite. If you're not familiar with the rest of the album, do yourself a favor and download it. This is desert island-level material here.
We also have Livin' On the Open Road, a Delaney and Bonnie and Friends tune. Just good solid slide guitar playing on this one from Duane. Delaney and Bonnie and Friends is notable mostly because Clapton stole the "Friends" backing band to form Derek and the Dominos. It's hard to overestimate the skills of these guys, especially Jim Gordon on drums. The guy lays down amazingly smooth fills. And with the rock solid bass of Carl Radle the rhythm is all good.
Derek and the Dominos also wouldn't have worked without Bobby Whitlock, whose vocal sparring with Clapton is part of what makes the record so unique, and great. Serviceable organ work too. Both have written that their vocal models were the legendary soul duo Sam and Dave, who would keep crowds spellbound by trading off verses and coming together for rousing choruses. Combine that with the production talents of the legendary Tom Dowd and you really have lightning in a bottle. For these guys, it was a Johnny Walker bottle with a speedball chaser (Radle and Gordon met tragic fates from their drug abuse, Clapton chose life - eventually), but we're here to remember the good times.
From the Layla album outtakes, there's Mean Old World, which gives a nice taste of Duane's acoustic chops. Finally, we have Dreams, an Allman Brothers tune which generally shows Duane off to his best advantage, especially live. This is a studio version but you'll get the point. Beautiful tune.
Also, I took Greg Allman's advice and checked out King Curtis' Live at the Fillmore West. I have to say it's a ton of fun, and King Curtis can really blow. Creative, rock solid interpretations of classic tunes and some great originals. It's ideal party music in that it's instrumental (I find lyrics distracting to conversation), familiar, yet novel. Plus a full "Memphis horns" section to get the tail feathers shaking.
So for a bonus, included in the Duane Allman sampler here are two tunes from King Curtis' Live at the Fillmore West: his original version of Soul Serenade and a cool instrumental take on a great 60's tune, Procul Harum's Lighter Shade of Pale.
Good stuff if I may say so myself. Enjoy.
Click here to download the Duane Allman Studio Sampler
Here's a bunch of info about Duane's gear and technique. Most of it is Greek to me, but anybody with knowledge of the instruments would find it interesting. It's certainly comprehensive.
Click here to purchase Derek and the Dominos Layla and Other Assorted Love Songs
Click here to purchase King Curtis Live at the Fillmore West
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