Posts Tagged ‘Carl Radle’

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George Harrison released the 3 LP set “All Things Must Pass” on November. 27th, 1970. “All Things Must Pass” was a triple album recorded and released in 1970. The album was Harrison’s first solo work since the break-up of the Beatles in April of that year, and his third solo album overall. It included the hit singles “My Sweet Lord” and “What Is Life.” The record introduced Harrison’s signature sound, the slide guitar, and the spiritual themes that would be present throughout his subsequent solo work.
Among the large cast of backing musicians were Eric Clapton and Delaney & Bonnie’s Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Billy Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake. The sessions produced a double album’s worth of extra material, most of which remains unissued.
The record was critically and commercially successful on release, with long stays at number 1 on charts around the world. “All Things Must Pass” is “generally rated” as the best of all the former Beatles’ solo albums. George Harrison may have been “the quiet Beatle” but he was still one fourth of what was probably the most important band on the planet, whose contribution to the group, and popular music in general, cannot be underestimated. His use of the 12 string electric on the “A Hard Day’s Night” album, and subsequent movie had such a profound impact on Roger McGuinn, that he soon went out and bought himself a Rickenbacker. Harrison also changed the direction of pop music when he introduced the sitar on 1966’s Rubber Soul, thus creating a sound that would within a few months forever become synonymous with the psychedelic movement.

But it wasn’t until 1970, after the Beatles announced their breakup that Eric Clapton introduced him to Delaney Bramlett, where within a matter of weeks George developed the unique slide technique he is remembered for today, a style which owes itself less to the blues or rock and roll, and more to Harrison’s soul.

No doubt Lennon and McCartney’s domination in the song writing department must have proved to be a great frustration for Harrison, who was often forced to take a back seat. Thus Harrison found himself in the enviable position of having a rich cache of material to draw from, and so he set to work on his first solo album proper (with the exception of Wonderwall Music, which was really a soundtrack anyway), assembling a cast that included Clapton, Ringo Starr, Klaus Voorman, Dave Mason, Badfinger, and probably whoever else was hanging around the studio at the time.

“Beware of Darkness.” If you’re looking for a little spiritual uplift about now, look no further than this George Harrison heartfelt meditation on the perils of living in the material world. “Beware of Darkness,” irom Harrison’s triple album “All Things Must Pass.” Clearly, George had been filing away songs that never made it to Beatles‘ albums, so “All Things Must Pass,” opened the floodgates for him to explore his more inner-directed concerns with glorious results. The song features Eric Clapton and Dave Mason on guitars, Carl Radle on bass, Bobby Whitlock on piano, Gary Wright on organ, and old trusty, fellow Beatle, Ringo Starr on drums. It represented an extension of Harrison’s spiritual awakening in India in 1968 when he and the Beatles traveled to Rishikesh to meet up again with Mararishi Mahesh Yogi, whom they had met in 1967 in Wales. Harrison had included “Within You, Without You,” on Sgt. Pepper in 1967, and had incorporated the sitar even earlier on “Rubber Soul” in 1965, and “Revolver” in 1966, indicating a slowly shifting focus.

“Beware of Darkness,” possesses a sweetness, beauty and depth of feeling that only could have come from Harrison at that time. “All Things Must Pass,” including this song, are his answer to his fellow Beatles, John Lennon and Paul McCartney, who for years limited Harrison to one song on most albums. Though a single album brimming with greatness might have been preferable, George felt the need to demonstrate his own writing prowess over three albums, with stellar results.

The resulting triple LP, “All Things Must Pass”, was and remains the finest musical statement made by a solo Beatle. It was also a global hit, thanks mainly to the single “My Sweet Lord”, a spiritual pop-rock paean to Harrison’s recent conversion to the teachings of Hare Krishna. That people went out and bought it in droves is a testament not only to the quality of the tunes contained within its grooves, but also the talent behind it.

“I’d Have You Anytime” gets things off to a low key and leisurely start, where he hear Clapton’s sweet and endearing guitar tones complement Harrison’s pleading and plaintive vocals. A lovely piece overall. Next is the big one, “My Sweet Lord”, perhaps the song Harrison is most identified with post Beatles, which is fair enough. Now whether he ‘subconsciously’ borrowed from the Chiffons 1963 hit “She’s So Fine” is a matter of conjecture. Because at the end of the day, who really gives a shit. It’s a great song, and that’s all that’s matters.

We then get the bigger than Hollywood, Phil Spector produced “Wah-Wah”, dominated by Clapton’s own wah-wah, and Harrison’s gorgeous slide guitar. It’s a monumental track and one where everyone seems to be flying by the seat of their pants. “Isn’t It a Pity” is a philosophical number, and finds Harrison reflecting on all that’s wrong with the world, in that epic “Hey Jude” kind of way, only with a bit more spirituality thrown in. “What Is Life” lifts the listener up then puts him (or her) down again in one glorious swoop. Imagine Bob Dylan meets The Ronettes. And speaking of Dylan, “If Not for You” first appeared on his 1970 album New Morning. But this is my favourite rendition. Hands down.

Now I’m not much of a fan of country, however “Behind that Locked Door” aches with a yearning which speaks to me every time I hear it. “Let It Down” starts off all big and bombast before falling into a relaxing groove. Billy Preston provides some soothing organ, while Harrison laments about his state of mind. “Run of the Mill” is another intellectually searching opus, albeit in less than three minutes. But putting aside the ‘what do our lives mean’ aspect, it’s a great song nonetheless. And one I never seem to tire of.

The second LP, and yes I do own the vinyl version, the best in my opinion, begins in depressing fashion with “Beware of Darkness”, hardly the sort of song you want to play to someone on a first date. Suffice to say I’m quite a fan of it nonetheless. The same goes with “Apple Scruffs”, which is not only a summation of everything Harrison had learned from the Beatles (just listen to the harmonies), but also a great play on words, at least in relation to the Apple label which his previous band had founded, and which wound up costing them huge sums of money in the process.

“Ballad of Sir Frankie Crisp (Let It Roll)” is one of the most haunting tunes of the record, but I can’t tell you why. Call it the mystery of music. “Awaiting On You All” is a short uplifting gospel number, although the listener finds himself on the psychiatrist’s couch again with the title track, a song that probably sums up Harrison’s career at that point, and one that forces the him to gaze out on the horizon, and reflect on his own life.

Harrison gets playful on “I Dig Love”, before we get all serious and musical with “The Art of Dying”, a tune which has some superb playing by Clapton and everyone else involved. We hear a reprise of “Isn’t It a Pity”, just in case you didn’t get the message the first time, before ending with a plea to the Almighty on “Hear Me Lord”, which is really a nice song, and I guess an expression of a man who has been though a lot and was at a point where he was truly grappling with some important issues.

The third LP is a bit of hit and miss, depending on your state of mind. “It’s Johnny Birthday” is basically a self indulgent write off, though “Plug Me In” is more like it, an effervescent guitar jam, where the amps must have been running red hot. We get all late night and jammy on “I Remember Jeep”, before some High Octane Chuck Berry kicks in on “Thanks for the Pepperoni”. The only issue I have at this point of the album, is that one either has to be pissed or on some kind of drug to enjoy it.

No matter which way you look at it, All Things Must Pass was a landmark release. Harrison had made it clear that from now on he would be doing things his way and that there could not be any turning back. The man poured his heart into this record, a quality which shines through some forty years later. Harrison might not have been the most perfect human being, but his quest for some kind of universal purity in the world was a noble one at best. And while an individual who was not always at peace with himself, he wanted nothing but peace for the world.

Happy 50th Birthday to “All Things Must Pass”

Derek and The Dominos‘ 1970 album “Layla and Other Assorted Love Songs” is being reissued for its 50th Anniversary as a deluxe 4LP vinyl set and across two CDs.

The original album has been half-speed mastered by Miles Showell at Abbey Road Studios and, being a double, is pressed on two LPs. Two further records of bonus material (not half-speed mastered) make up this 4LP deluxe box set.

Layla and Other Assorted Love Songs was celebrated back in 2011 with a deluxe, cross-format box set that featured the remastered original album (on CD, vinyl and in a 5.1 surround mix on DVD), 1973’s In Concert, and a disc of 13 bonus tracks, including new mixes of outtakes from the supergroup’s unfinished second album and a live set from The Johnny Cash Show. This new box strips things back somewhat, offering the half-speed mastered album and the 13 bonus cuts across four LPs along with the 12″ x 12″ book from the 40th anniversary set and a certificate of authenticity.  (The 2CD 40th anniversary edition will also go back into print as well, ostensibly for the 50th anniversary.) Alongside this is a further 2LPs of bonus material some of which has previously been unreleased on vinyl. All the bonus material across all of LP3 & LP4 is mastered normally (so is not half-speed mastered).

Layla was the end result of four members of Delaney & Bonnie Bramlett’s touring group – guitarist Eric Clapton (already well-known for work with Blind Faith, The Beatles and many more), singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon – coming together for a brief but fruitful series of sessions. (Their earliest session produced the briefly issued single “Tell the Truth,” produced by Phil Spector and featuring guitar work from Dave Mason and George Harrison.) The Layla sessions also featured scintillating guitar contributions from Duane Allman. Despite the album’s pedigree, the album never performed to expectations, and tragedy followed the group: Allman was killed in a motorcycle crash in 1971, Radle died in 1980 after years of drug abuse, and Gordon remains institutionalized after killing his mother during a schizophrenic episode in 1983.

But gradually, Layla‘s title track took hold as one of Clapton’s crowning achievements: written about his insatiable infatuation with Harrison’s wife Pattie Boyd (who indeed had a decade-long marriage with the guitarist after divorcing the Beatle), “Layla” became a Top 10 hit on both sides of the Atlantic in 1972; in 1990, its Gordon-led piano outro scored a pivotal scene in Martin Scorsese’s Goodfellas – and three years later, a striking acoustic performance for MTV’s Unplugged won a Grammy Award.

“That thing was like lightning in a bottle,” begins Bobby Whitlock talking about his short-lived band time with Eric Clapton, Derek and the Dominos. “We did one club tour, we did one photo session, then we did a tour of a bit larger venues. Then we did one studio album in Miami. We did one American tour. Then we did one failed attempt at a second album.” And all within about a year’s time in 1970.

So in this case, the oft-overused flash of lightning description is right on the money. And Whitlock was a key part of the kinetic energy behind what’s considered a genuine landmark in not just Clapton’s career but the entire classic rock genre: the 1970 album Layla and Other Assorted Love Songs, co-writing six of the double album’s 10 original songs, and bringing his soul-soaked Deep South keyboard skills to the musical mix, taking the vocal lead on two tracks and doubling/trading off with Clapton throughout the rest of the album.

Now, five decades later, he is the keeper of the Dominos legacy. And the dedicated survivor of a star-crossed band if there ever was one. After the band’s short flash as a working act, he descended into some three years of heroin adduction and seclusion. Duane Allman, who played on most of Layla, was killed in a motorcycle crash on October 29th, 1971. Bassist Carl Radle recorded and played with Clapton later in the ’70s and died of a kidney infection, exacerbated by his alcohol and drug abuse, in 1980. Drummer Jim Gordon as well continued to engage in substance abuse, damaging his career with behavioural issues. In 1983, he murdered his mother, claiming a voice in his head had told him to do so. He was diagnosed with paranoid schizophrenia and has remained incarcerated ever since.

Whitlock stresses “We were better than anybody.” One of the key elements that made them what he feels were the Greatest Rock ‘n’ Roll Band for that all-too-brief time was Whitlock’s deep Southern musical soul. Growing up a preacher’s kid in a family poor as a church mouse, he was weaned on spiritual music (and did some cotton picking in his youth). Coming of age in Memphis, Whitlock was steeped in R&B in the city where white rock ‘n’ roll was born at Sun Studio.

Although Whitlock, only 22 years old at the time, helped Clapton all but define anguished unrequited love in the most profound rock ‘n’ roll terms and tunes on songs like “Why Does Love Got to Be So Sad,” “Tell the Truth” and “I Looked Away,” his own ultimate love story is something quite different, and a rather delightful one at that. Though his post-Domino years were not without their struggles, today he’s blissfully married and in musical partnership with singer, bassist, guitarist, sax player, songwriter, recording engineer and producer CoCo Carmel.

Whitlock, Clapton, Radle and Gordon became part of the core crew on the sessions for Harrison’s post-Beatles debut, All Things Must PassWhen Harrison had business elsewhere for a few days, he told the four to use the studio time with producer Phil Spector to cut some tracks, which yielded the debut Dominos 45, “Tell the Truth” b/w “Roll It Over.”

Whitlock says of Clapton, “He wanted to be Derek not Eric. He wasn’t ready to step into his role of as a solo artist at that time.” The four musicians did a show at London’s Lyceum Theatre, and then set off on a tour of small English venues as Derek & the Dominos where the admission was £1, and Clapton’s name was forbidden to be used in any advertising. In late August of ’70, the Dominos arrived at Criteria Studios in Miami to record with producer Tom Dowd. He took them to see the Allman Brothers Band, Clapton and Duane Allman bonded, and the latter joined the Layla sessions to help create some of the most incendiary dual guitar rock ever recorded. The album was suffused with Clapton’s passionate longing for his best friend Harrison’s wife Patti Boyd – interestingly, while in England Whitlock dated her sister Paula – and even though it was only a middling hit on its release, over time its stature grew to become considered a rock ‘n’ roll masterpiece.

The vinyl box comes with a 12×12″ book of sleeve notes taken from the 40th-anniversary edition. A 2CD edition will also be made available which is effectively identical to the double-CD edition issued in 2011.

The big 40th anniversary box set (which was 4CD+DVD+2LP) featured a surround sound mix on the DVD. Since that is now very hard to get hold of, it’s disappointing that the DVD hasn’t been included as with the two CDs to make a triple disc package.

Layla and Other Assorted Love Songs will be reissued on 13th November 2020.

 

 

 

       

Hindsight may be less than favorable concerning the super-group phenomenon, but Delaney and Bonnie’s efforts represent the most complementary and productive examples of the communal creativity at the heart of this approach, one which crystallized in the brief roadwork captured. On Tour with Eric Clapton recently released in an expanded edition; it’s little wonder this group, headed primarily by Delaney, went on to supervisor EC’s eponymous solo debut (see Bracelet’s mix, markedly different and arguably superior to, than official producer Tom Dowd’s, included in the Deluxe Edition CD set of that album).

   

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On Tour with Eric Clapton-Expanded Edition The four CDs in this set originally comprised a Very high-priced, limited edition package, the design of which replicated an equipment road-case. The cover artwork here mirrors that and, presumably, a pristine sound mix courtesy Bill Inglot and Dan Hersch that pulses with no small measure of the excitement in those moments.Including extensive historical notes by Bud Scoppa taken from perspectives as varied as Bonnie Bramlett herself and engineer Glyn Johns, as well as technical notes, the newly-issued set turns into a true labor of love that’s worth the dramatically reduced price. The complete concert from the Royal Albert Hall in London accompanies composites and further complete later shows on the seven-day tour; and while not surprisingly, there’s more than a little overlap, the ostensible redundancy really serves to further illustrate how infectious are these performances. And while Eric Clapton’s participation is limited to the sideman role he preferred at that time, he does take a lead vocal on “I Don’t Know Why” and there’s no mistaking what his guitar work adds to this roiling eclectic mix of vocals, keyboards, horns (trumpeter Jim Price and saxophonist Bobby Keys who went on to play with the Rolling Stones) and a redoubtable rhythm section.Given the durability and spirit of the setlist, including The Spencer Davis Group’s “Gimme Some Lovin’,” “Only You Know and I Know,” (composed by ex-Traffic member Dave Mason, whose presence in the band is given short shrift) and most conspicuously “Coming Home” with its clarion call guitar figure, it really no surprise it didn’t change much night tonight.

As no pictures of Delaney and Bonnie were deemed good enough for the album cover, a photo was used instead of a Rolls-Royce Silver Dawn in a desert, reportedly taken by manager Barry Feinstein while working as a photographer covering a Bob Dylan tour in 1966. Dylan’s feet are those hanging from the car window.

On Tour was re-issued in 2010 as four-disc box set, packaged in a mock road case containing the complete performance from the Royal Albert Hall, plus a composite of the next night’s performances at Colston Hall in Bristol, and both the early and late shows from the tour’s final stop at Fairfield Halls in Croydon. George Harrison played slide guitar on the English leg of the tour that followed the Albert Hall performance, as well as in Scandinavia, therefore he doesn’t appear on the first disc but does on the other three.

On Tour with Eric Clapton is a 1970 album by Delaney & Bonnie with Eric Clapton, recorded live at the Fairfield Halls, England. Released on Atco Records, The album features Delaney and Bonnie’s best-known touring band, including Eric Clapton, Jim Gordon, Carl Radle, Bobby Whitlock, and Dave Mason. Many of the players on this album would later go on to work with George Harrison on his post-Beatles debut album All Things Must Pass and with Clapton on his solo debut. The horn players Bobby Keys and Jim Price would play on the albums Sticky Fingers and Exile on Main St by the Rolling Stones, and join them for their 1972 STP Tour. Whitlock, Radle, and Gordon would form with Clapton his band Derek and the Dominos for Layla and Other Assorted Love Songs.

The album has received highly positive reviews, with many critics suggesting the album is superior to Clapton’s prior project (Blind Faith) . In the Rolling Stone Album Guide, the album is described as “a triumph”, which is attributed to the fact the band was “one of the best” in “rock and roll”. Writing for Rolling Stone, Mark Kemp said the album contained “wicked performances of the kind of country and boogie that would define Southern rock”.Mojo described the album as “one of the two Rosetta Stones of roots rock’n’roll”.

The Band:
Bonnie Bramlett — vocals
Delaney Bramlett — guitars, vocals
Eric Clapton — lead guitars, vocals
Rita Coolidge — backing vocals
Jim Gordon — drums, percussion
George Harrison (under the pseudonym L’Angelo Misterioso) – guitars (discs two — four of box set only)
Tex Johnson – percussion
Bobby Keys — saxophone
Dave Mason — guitars
Carl Radle — bass guitar
Jim Price — trombone, trumpet
Bobby Whitlock — organ, keyboards, vocals

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Derek & The Dominos: Layla And Other Assorted Love Songs: 50th Anniversary Edition Box Set

From The Roosters to the Yardbirds, John Mayall’s Bluesbreakers, CreamBlind Faith and Delaney and Bonnie; Eric Clapton had certainly been around over the previous 8 years, prior to forming his new band in early summer 1970. When this new band played their first gig at London’s Lyceum in the Strand on Sunday 14 June they hadn’t quite got around to giving themselves a name, that is until just before being introduced on stage but Derek and the Dominoes it all had a certain ring to it.

The other three members of the band, Bobby Whitlock on keyboards, guitar and vocals, bass player, Carl Radle and drummer and occasional pianist, Jim Gordon had all played together in Delaney and Bonnie’s band and all are on the album, Delaney and Bonnie On Tour With Eric Clapton that was recorded in South London in December 1969 and released in March 1970.

All four musicians also worked with George Harrison on his All Things Must Pass album and earlier in the day of their debut concert they were at Abbey Road for a Harrison session when they cut ‘Tell The Truth’ that became Derek and The Dominoes first single release in September 1970. The b-side of this single was ‘Roll It Over’, another recorded at an ATMP session and this included the former Beatle and Dave Mason of Traffic on guitar and vocals.

Following their London debut the band spent time rehearsing before embarking on a U.K. tour that opened at The Village Blues club in Dagenham Essex, not one of Britain’s most prestigious venues. For the next 22 days they criss-crossed the country playing 18 gigs, ranging from London’s Speakeasy Club to The Black Prince Pub in Bexley Kent and The Penthouse in Scarborough in Yorkshire; there was even a side trip to Biot in France for a lone cross-channel gig.

During July and while the band was touring, Robert Stigwood, the band’s manager, was busy arranging the band’s recording for their debut album. He called Tom Dowd who was working on The Allman Brothers sessions for Idlewild South and told him that the band wanted to come to Florida to record at Criteria Studios in Miami.

Less than a week after their last gig in Plymouth’s Van Dike Club, Clapton, Radle, Whitlock and Gordon were in studio A at Criteria ready to get down to business. On the evening of 26 August Clapton and the others had been invited to an Allman Brothers concert at Miami Beach Convention Center; as Clapton watched Duane play for the first time was hooked. After the gig the two bands headed back to Criteria and jammed for hours.

On Friday 28 August the sessions for Layla and Other Assorted Love songs began in earnest, joining the other four musicians for the next week or so of recording was Duane Allman who was thrilled to be playing with Clapton. The first song they recorded was Clapton and Whitlock’s, ‘Tell The Truth’ – a far more assured version than their earlier effort; it became the opening track of the first side of the second record on the double album that came out in November 1970.

There was no recording on Saturday, but on Sunday and for the next five nights there was some intense activity, intense because on 4th September Duane had a gig in Milwaukee with the Allmans. On Sunday night the session was under way, and despite Tom Dowd’s orders to keep the tapes running at all times, someone had screwed up and it was only Dowd rushing back into the control booth from the men’s room shouting, “Turn the faders up” that preserved the brilliance of the cover on Big Bill Broonzy’s, ‘Key to The Highway’. If anyone asks you if white men can play the blues, point them in the direction of this track.

Monday produced ‘Nobody Knows When You’re Down and Out’ and ‘Why Does Love Got To Be So Sad’. On Tuesday Clapton and Whitlock’s, ‘Keep On Growing’ was laid down. Wednesday, I’ Looked Away’, ‘Bell Bottom Blues’ and a cover of a Billy Myles song, made famous by Freddie King, ‘Have You Ever Loved A Woman’; King was one of Clapton’s favourite blues guitarists.
Layla
Thursday was the last day of Duane Allman being available and the band nailed, ‘I Am Yours’, ‘Anyday’ and another by the man they called, ‘The King of the Stroll’, Chuck Wills’s, ‘It’s Too Late’. On Friday and Saturday, with Duane away, the rest of the guys concentrated on overdubs for everything they had so far recorded, barring ‘Key to The Highway’ and ‘Nobody Knows When You’re Down and Out’.

After the Allman Brothers Milwaukee gig they played another at Jolly’s Place in Des Moines on 6th September after which Duane flew back to Miami so that the last few songs could be completed. On Wednesday 9th September there was also overdubs to be done and the five musicians, who by this time were all in the proverbial zone, together tackled ‘Little Wing’ and ‘Layla’.

‘Little Wing’ is the band’s tribute to Jimi Hendrix who recorded it on his Axis: Bold Is Love album in 1967. It is a monumental; record, the playing so tight, which belies the fact that Whitlock later recalled he had never heard the song before they cut it and had the words laid out on top of his organ so he could sing them. Nine days later Hendrix died at the Samarkand Hotel, in London’s Notting Hill.

And then there’s ‘Layla’. Clapton was inspired to write the first part of the song having been given a copy of the Persian classical poet, Nizami Ganjavi’s book, The Story of Layla and Majnun. As we now know it is Clapton’s love song to Pattie Boyd, who at that time was married to George Harrison; she later married Clapton in 1979. It is also a song of two halves.

The first half recorded by the band on sixteen tracks including multi layered guitars by Clapton and a single track of Allman’s solos. After laying down his song Clapton returned to the studio to hear Jim Gordon playing a piano piece that he immediately loved and decided he wanted to add it to ‘Layla’ to complete the track; it proved to be an inspired decision of a happy coincidence. The composing credits on the song are Eric Clapton and Jim Gordon, but Gordon had in fact borrowed the melody from his former girlfriend.

According to Bobby Whitlock, “Jim took that piano melody from his ex-girlfriend Rita Coolidge. I know because in the D&B days I lived in John Garfield’s old house in the Hollywood Hills and there was a guesthouse with an upright piano in it. Rita and Jim were up there in the guesthouse and invited me to join in on writing this song with them called ‘Time.’ Her sister Priscilla wound up recording it with Booker T. Jones; Jim took the melody from Rita’s song and didn’t give her credit for writing it. Her boyfriend ripped her off.”

For the last session for the album it seems somehow appropriate that it should be the delicate, ‘Thorn Tree In The Garden’ a Bobby Whitlock song, which he also sings, that is poignant and such a fitting closer. It’s like the morning after the party when there is peace and quiet imbued with a reflective air that is perfection.

After wrapping up the sessions Clapton, Whitlock, Radle and Gordon headed back to the UK to begin an extensive bout of touring beginning at Croydon’s Fairfield Halls, in South London on 20th September. Between then and 28th September they played eight UK dates and another in Paris. However, according to the tape boxes for the Layla sessions there were sessions in Miami at Criteria on 1 October where they overdubbed ‘Layla’ and ‘It’s Too Late’ and on the following day Clapton, Allman and Gordoncut a version of little Walter Jacob’s ‘Mean Old World’. October 1st was a Thursday and on that day Derek and The Dominos, were 4,400 odd miles away from Florida in the south of England playing a gig at Swindon Town Hall. So what is the story here? Could it be that they flew to Miami during their two days off on 29th and 30th September and the boxes were labelled a day or so later?

We are continuing our investigations with the help of Bill Levenson who produced the 40th anniversary reissue of Layla And Other Assorted Love Songs.   

Thanks to UDiscover.