Layla London Two Brothers
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Layla London Two Brothers
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1970 studio album by Derek and the Dominos
" Bell Bottom Blues " Released: January 1971
" Layla " Released: March 1971
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^ "115: Layla and Other Assorted Love Songs
^ "The 500 Greatest Albums of All Time" . Rolling Stone . 22 September 2020 . Retrieved 26 August 2021 .
^ Colin Larkin , ed. (2000). All Time Top 1000 Albums (3rd ed.). Virgin Books . p. 122. ISBN 0-7535-0493-6 .
^ Welch 2016 , p. 148.
^ Evans, Rush (19 April 2011). "Layla turns 40" . Goldmine . Retrieved 4 August 2015 .
^ Clayson, pp. 275, 277–79.
^ Robbins, "Review".
^ Poe, Skydog , 160.
^ "Allman, Duane."
^ Clapton, The Autobiography , 128.
^ Hunter, Dave; Darrin Fox (July 2012). "Fender EC Twinolux and EC Vibro-Champ". Guitar Player . pp. 130–33.
^ Jump up to: a b Poe, Skydog , 159.
^ Sandford, p. 117.
^ " 'Layla' at 50: New Vinyl Box Set; Inside the Sessions with Domino Bobby Whitlock" . 10 November 2020.
^ Archived at Ghostarchive and the Wayback Machine : "Key to the Highway/ Keep on Growing" . YouTube .
^ "Layla's 40th: The Where's Eric! Interview With Bobby Whitlock" . Where's Eric! . Retrieved 25 December 2017 .
^ Jump up to: a b c d Shapiro, p. 123.
^ "French court orders Eric Clapton to pay compensation over 'Layla' album cover" .
^ "Atlantic-Atco Cotillion November Releases" . Billboard . Vol. 82, no. 47. 21 November 1970. p. 19 . Retrieved 19 February 2012 .
^ Ruhlmann, William. "Derek and the Dominos" . AllMusic . Retrieved 7 November 2014 .
^ "Layla and Other Assorted Love Songs – Derek & the Dominos" . AllMusic. Rovi Corporation. Charts & Awards . Retrieved 19 February 2012 .
^ Reid, pp. xvii, 145.
^ Santoro, p. 69.
^ Shapiro, pp. 123, 126.
^ Shapiro, Harry (January 2001). "The Prince of Love … Or How the Recording of 'Layla', Clapton's Ode to Forbidden Love, Made Victims of Derek and the Dominos". Mojo .
^ Hollingworth, Roy (12 December 1970). "Derek & The Dominos: Layla and Other Assorted Love Songs (Polydor)". Melody Maker .
^ Sander, Ellen (26 December 1970). "Rock 1970: A Level of Excellence". Saturday Review . p. 38.
^ Jump up to: a b Leimbacher, Ed (24 December 1970). "Layla and Other Assorted Love Songs" . Rolling Stone . Retrieved 19 February 2012 .
^ Christgau, Robert (7 January 1971). "Consumer Guide (15)" . The Village Voice . New York City. Music section . Retrieved 19 February 2012 .
^ Naha, Ed (September 1972). "Review: Layla and Other Assorted Love Songs" . Circus . Retrieved 19 February 2012 .
^ Jump up to: a b c Erlewine, Stephen Thomas . "Layla and Other Assorted Love Songs – Derek & the Dominos" . AllMusic. Rovi Corporation. Review . Retrieved 19 February 2012 .
^ Jump up to: a b Kot, Greg (1993). "It's A Roller-coaster Career From Blues To Pop And Back" . Chicago Tribune . No. 21 February . Retrieved 30 October 2014 .
^ Jump up to: a b Christgau, Robert (1981). Christgau's Record Guide: Rock Albums of the Seventies . Ticknor & Fields . p. 106 . ISBN 089919026X .
^ "Review: Layla and Other Assorted Love Songs" . DownBeat . Maher Publications. February 1991 . Retrieved 19 February 2012 .
^ Larkin, Colin (2011). Encyclopedia of Popular Music (5th ed.). Omnibus Press . p. 2006. ISBN 978-0857125958 .
^ "Layla and Other Assorted Love Songs" . Acclaimed Music . Retrieved 7 November 2015 .
^ Jump up to: a b "Review: Layla and Other Assorted Love Songs". Q . No. 122. EMAP Metro Ltd . November 1996. p. 147.
^ Jump up to: a b DeCurtis, Anthony (27 January 2005). "Layla and Other Assorted Love Songs" . Rolling Stone . Retrieved 19 February 2012 .
^ Campbell, Hernan M. (23 May 2012). "Layla and Other Assorted Love Songs" . Sputnikmusic . Retrieved 5 November 2015 .
^ Williamson, Nigel (February 2005). "The Domino Effect". Uncut . p. 86.
^ Hilburn, Robert (12 October 1990). "Layla Remixed Version | 20 Years Later: An Improved, Remixed 'Layla Sessions' " . Los Angeles Times . Los Angeles. HOME TECH / CD CORNER section . Retrieved 19 February 2012 .
^ "Derek and the Dominos – Layla and Other Assorted Love Songs" . Super Seventies RockSite . Retrieved 19 February 2012 .
^ Various (1 November 2007). The Mojo Collection . Canongate Books . ISBN 978-1-84767-643-6 .
^ Gill, Andy (18 March 2011). "Album: Derek and the Dominos, Layla and Other Assorted Love Songs, 40th Anniversary Deluxe Edition (Universal)" . The Independent . London. Arts & Ents section . Retrieved 19 February 2012 .
^ DiMartino, Dave. "Derek & The Dominos Reviews" . Yahoo! Music . Yahoo! . Archived from the original on 1 January 2013 . Retrieved 20 February 2012 .
^ DeRogatis, Jim (23 September 2001). "The Great Albums – Derek and the Dominos, Layla (A&M, 1970)" . Chicago Sun-Times . p. 14 . Retrieved 24 February 2013 .
^ "Derek + the Dominos Play The Johnny Cash Show" . 6 June 2015.
^ Clapton, The Autobiography , 224.
^ Clapton, The Autobiography , 307.
^ ""Layla And Other Assorted Love Songs" 40th Anniversary Release Due" . Whereseric.com . Retrieved 3 July 2018 .
^ Jump up to: a b "Derek And The Dominos* - Layla And Other Assorted Love Songs" . Discogs . Retrieved 3 July 2018 .
^ "Layla And Other Assorted Love Songs" . Amazon.co.uk . 21 March 2011 . Retrieved 3 July 2018 – via Amazon.
^ "Derek & The Dominos – Layla (40th Anniversary Super Deluxe): UMC1432 Badlands" . Badlands.co.uk . Archived from the original on 7 March 2011 . Retrieved 3 July 2018 .
^ "shmcd" . Positive-feedback.com . Retrieved 3 July 2018 .
^ Layla at mofi.com .
^ https://www.discogs.com/Derek-The-Dominos-Layla-And-Other-Assorted-Love-Songs-40th-Anniversary-Deluxe-Edition/release/3965017 Retrieved 04/10/2016 16:06
^ "CRIA Sales Award" . Canadian Recording Industry Association . Worthpoint.com. Archived from the original on 28 December 2015 . Retrieved 23 December 2015 .
^ "British album certifications – Derek & the Dominos – Layla" . British Phonographic Industry . Retrieved 23 June 2021 .
^ "British album certifications – Derek & the Dominos – Layla & Other Assorted Love Songs" . British Phonographic Industry . Retrieved 23 June 2021 .
^ "American album certifications – Derek & the Dominos – Layla" . Recording Industry Association of America .
Genius Loves Company – Al Schmitt , Robert Hadley & Doug Sax, John Burk, Phil Ramone & Herbert Walf (2005)
Brothers In Arms - 20th Anniversary Edition – Chuck Ainlay , Bob Ludwig , Chuck Ainlay & Mark Knopfler (2006)
Morph The Cat – Elliot Scheiner , Darcy Proper, Donald Fagen (2007)
Love – Paul Hicks, Tim Young, George Martin & Giles Martin (2008)
Mussorgsky: Pictures At An Exhibition; Night On Bald Mountain; Prelude To Khovanshchina – Michael Bishop , Robert Woods (2009)
Transmigration – Michael Bishop , Elaine Martone (2010)
Britten's Orchestra – Keith O. Johnson, David Frost (2011)
Layla and Other Assorted Love Songs – Elliot Scheiner , Bob Ludwig , Bill Levenson & Elliot Scheiner (2012)
Modern Cool – Jim Anderson , Darcy Proper, Michael Friedman (2013)
Live Kisses – Al Schmitt & Tommy LiPuma (2014)
Beyoncé – Elliot Scheiner , Tom Coyne , Beyoncé (2015)
Amused To Death – James Guthrie & Joel Plante (2016)
Dutilleux: Sur le Même Accord; Les Citations; Mystères de l'Instant & Timbres, Espace, Mouvement – Alexander Lipay, Dmitriy Lipay (2017)
Early Americans – Jim Anderson /Darcy Proper/Jim Anderson & Jane Ira Bloom (2018)
Eye in the Sky – Alan Parsons , Dave Donnelly, P.J. Olsson (2019)
Layla and Other Assorted Love Songs is the sole studio album by the English–American blues rock band Derek and the Dominos , released in November 1970 as a double album . It is best known for its title track, " Layla ", and is often regarded as Eric Clapton 's greatest musical achievement. The other band members were Bobby Whitlock on keyboards and vocals, Jim Gordon on drums, and Carl Radle on bass. Duane Allman played lead and slide guitar on 11 of the 14 songs.
Initially regarded as a critical and commercial disappointment, it failed to chart in Britain and peaked at number 16 on the Billboard Top LPs chart in the United States. It returned to the US albums chart again in 1972, 1974 and 1977, and has since been certified Gold by the RIAA . The album finally debuted on the UK Albums Chart in 2011, peaking at number 68.
In 2000, the album was inducted into the Grammy Hall of Fame . In 2003, television network VH1 named Layla and Other Assorted Love Songs the 89th-greatest album of all time. In the same year, Rolling Stone ranked it number 117 on its list of " The 500 Greatest Albums of All Time ". [1] It was ranked at number 226 on the 2020 reboot of the list. [2] It was voted number 287 in the third edition of Colin Larkin 's All Time Top 1000 Albums (2000). [3] In 2012, the Super Deluxe Edition of Layla won a Grammy Award for Best Surround Sound Album .
Derek and the Dominos grew out of Eric Clapton 's frustration with the hype associated with his previous bands, the supergroups Cream and Blind Faith . Following the latter's dissolution, he joined Delaney & Bonnie and Friends , whom he had come to know while they were the opening act on Blind Faith's US tour in the summer of 1969. After that band also split up, a Friends alumnus, Bobby Whitlock , joined up with Clapton in Surrey, England. [4] From April 1970, the two spent weeks writing a number of songs "just to have something to play", as Whitlock put it. These songs would later make up the bulk of the material on Layla and Other Assorted Love Songs . [ citation needed ]
Having toured with Joe Cocker straight after leaving Delaney & Bonnie, Carl Radle and Jim Gordon reunited with Clapton and Whitlock in England. Clapton attempted to avoid the limelight under cover of the anonymous "Derek and the Dominos", with whom he played a tour of small clubs in Britain during the first three weeks of August. The group's name had reportedly resulted from a gaffe made by the announcer at their first concert, who mispronounced the band's provisional name, "Eric & The Dynamos". In fact, Clapton chose "Derek and the Dominos" because he did not want his name and celebrity to get in the way of maintaining a "band" image. When the tour was over, they headed for Criteria Studios in Miami to record an album.
The source of the album's eventual centrepiece, " Layla ", was rooted in Clapton's infatuation with Pattie Boyd , the wife of his friend and Beatle lead guitarist George Harrison , [5] who had joined Clapton as a guitarist on Delaney & Bonnie's European tour in December 1969. [6] Dave Marsh , in The Rolling Stone Illustrated History of Rock and Roll , wrote that "there are few moments in the repertoire of recorded rock where a singer or writer has reached so deeply into himself that the effect of hearing them is akin to witnessing a murder, or a suicide … to me, 'Layla' is the greatest of them." [7]
Veteran producer Tom Dowd was working on the Allman Brothers second album, Idlewild South , when the studio received a phone call that Clapton was bringing the Dominos to Miami to record. Upon hearing this, guitarist Duane Allman indicated that he would love to drop by and watch, if Clapton approved.
Allman later called Dowd to let him know that his band was in town to perform a benefit concert on 26 August. When Clapton learned of this he insisted on going to see their show, saying, "You mean that guy who plays on the back of ( Wilson Pickett 's) 'Hey Jude'? … I want to see him play … let's go." Stage hands seated Clapton and company in front of the barricade separating the audience from the stage. When they sat down, Allman was playing a solo. As he turned around and opened his eyes and saw Clapton, he froze. Dickey Betts , the Allmans' other lead guitarist, picked up where Allman left off, but when he followed Allman's eyes to Clapton, he had to turn his back to keep from freezing, himself. [8]
After the show, Allman asked Clapton if he could come by the studio to watch some recording sessions, but Clapton invited him there directly, saying: "Bring your guitar; you got to play!" Jamming together overnight, the two bonded; Dowd reported that they "were trading licks, they were swapping guitars, they were talking shop and information and having a ball – no holds barred, just admiration for each other's technique and facility." [9] Clapton wrote later in his autobiography that he and Allman were inseparable during the sessions in Florida; he talked about Allman as the "musical brother I'd never had but wished I did". [10]
The majority of the songs on Layla and Other Assorted Love Songs were products of Clapton and Whitlock's collaboration, which produced six of the nine originals on the recording, with five covers making up the balance. Clapton used a diminutive 5-watt tweed Fender Champ during the sessions, [11] which has grown to legend since.
Clapton and Whitlock co-wrote "I Looked Away", "Keep on Growing", " Anyday ", " Bell Bottom Blues ", " Tell the Truth " and "Why Does Love Got to Be So Sad?" Whitlock also contributed "Thorn Tree in the Garden", while Clapton brought "I Am Yours" (from a poem by Nizami ) and "Layla" (with a coda credited to Jim Gordon).
"Tell the Truth" had been initially recorded with an upbeat tempo in June 1970 with producer Phil Spector . It was issued as a single , with "Roll It Over" on the B-side . However, as Whitlock recalls, Spector's Wall of Sound approach did not fit the band's style, and they had the single withdrawn. [12] On 28 August, with Allman contributing slide, [13] the song was recorded as a long and slow instrumental jam . The version with vocals released on Layla captures the jam's slower pace. Both vocal versions were later included on the 1972 compilation The History of Eric Clapton .
The last track on the album, "Thorn Tree in the Garden", was recorded with Whitlock, Clapton, Allman, Radle and Gordon sitting in a circle around a single microphone.
According to Dowd, the recording of "Key to the Highway" was unplanned, triggered by the band hearing Sam Samudio performing the song for his album Hard and Heavy in another room at the studio. When the Dominos spontaneously started playing it Dowd told the engineers to roll tape, resulting in the tune's telltale fade-in . Bobby Whitlock's version of the story is that the tape was rolling non-stop for the entire session, but that Dowd had taken a lavatory break leaving the faders on the mixer down. As the jam began, he came running back into the control room, still pulling up his trousers and yelling, "Push up the faders!" [14] [15]
The album's front cover is credited as "Cover painting by Frandsen-De Schomberg with thanks to his son, Emile, for the abuse of his house". Bobby Whitlock revealed in an interview that while they were staying at Emile Frandsen's house in France in August 1970, he took them to his father's studio just after they had made a mess by having an egg fight. It was there that they saw "La Fille au Bouquet" (Girl with bouquet), the painting by Émile-Théodore Frandsen de Shomberg which became the cover of Layla. [16] Eric Clapton immediately spotted a likeness between the blonde-haired woman it depicted and Pattie Boyd. Clapton also insisted that the image be used unadorned on the ''Layla'' sleeve, with no text added to give either the band's name or the title of the album. [17]
46 years after Frandsen gave the painting to Eric Clapton, it was the subject of a French lawsuit in which Clapton was ordered to pay compensation for altering the image on a cardboard pop up used on the 40th anniversary reissue of the album. The family of Frandsen de Schomberg, who died in 1969, received €15,000 ($16,400). [18]
Atco Records issued Layla and Other Assorted Love Songs in November 1970 in the United States, [19] with a UK release following in December, on Polydor . [17] The album failed to chart in the United Kingdom, [20] while in the US, it peaked at number 16 on the Billboard Top LPs chart. [21] Despite this achievement, Layla was viewed as a commercial failure, according to authors Harry Shapiro [17] and Jan Reid. [22] Dowd later rued the difficulty of getting airplay for the songs on US radio, [23] while Shapiro attributes its lack of success in Britain to minimal promotion by Polydor and what he terms "the unrelenting and monotonous Press litany of a post-Cream withdrawal syndrome". [24] Concerned that the press and the public were unaware of Clapton's involvement, Atco and Polydor distributed badges reading "Derek is Eric".
Layla also flopped critically, [17] according to Shapiro: "As with Eric's first solo album, the reviewers liked the guitars-on-fire-stuff … but regarded the [love songs] as little more than fluff." [25] Writing in Melody Maker , Roy Hollingworth opined that the songs ranged "from the magnificent to a few lengths of complete boredom", and specified: "We have Hendrix's 'Little Wing' played with such spreading beauty that Jimi would surely have clapped till his hands bled, and then we have 'I Am Yours' … a bossa that novas in pitiful directions." While he identified portions of "pretty atrocious vocal work", Hollingworth considered Layla to be "far more musical" than Eric Clapton , and praised Clapton and Allman for "giv[ing] about every superb essay possible on the playing of the electric guitar". [26] Writing in Saturday Review magazine, Ellen Sander described it as "pointless and boring" and "a basket case of an album", and said that Clapton had "all but blown his musical credibility". Grouping the Dominos album with recent releases by Bob Dylan , the Beatles and Stephen Stills , Sander added, "It's [Clapton's] instincts, not his talents, that are out of synch, and he is certainly not alone, nor by any means the worst offender, in depositing garbage into the vault of a guaranteed personal audience." [27] In a more favourable review for Rolling Stone , Ed Leimbacher noted the album's " filler " material but added that "what remains is what you hoped for from the conjunction of Eric's developing style, the Delaney and Bonnie styled rhythm section, and the strengths of 'Skydog' Allman's session abilities." [28] Leimbacher found Clapton's singing "always at least adequate, and sometimes quite good" and concluded, "forget any indulgences and filler – it's still one hell of an album." [28]
In a rave review for The Village Voice , Robert Christgau applauded the contrast of "the high-keyed precision of [Clapton's] guitar" with "the relaxed rocking of Allman/Whitlock/Radle/Gordon". He wrote in conclusion that, "even though this one has the look of a greedy, lazy, slapdash studio session, I think it may be Eric Clapton's most consistent recording ... one of those rare instances when musicians join together for profit and a lark and come up with a mature and original sound." [29] In a review for the album's 1972 reissue,
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