Customer Reviews

Layla And Other Assorted Love Songs [GOLD CD]

5 star:		(15)
4 star:		(0)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

It is rumored that Duane Allman challenged EC to be more aggressive on the guitar than he would otherwise have been. The result is magnificent. Clapton's songwriting skills come to fruition here and he is starting to emerge as a well-rounded performer and not just a guitar slinger. A nice combination of blues with a gospel touch. EC makes us feel his pain, even 30 yrs. later, it still hurts. Standouts: I looked Away, Bell Bottom Blues, Little Wing, Anyday and of course the title track. A round of applause for Bobby Whitlock. A "must" buy.

If you only know this album from hearing "Layla" on the radio, then your first question after hearing this will be: "Why don't they play the rest of it?" Even if you are sick of "Layla", this album is a treasure chest of searing pain songs, caused by Eric Clapton being dumped by Patti Harrison, wife of Beatle George. Even the relatively hookless tunes like "Keep On Growing" and "Anyday" get over on sheer desperate passion. Plenty of guitarists can make their instrument scream, but only Clapton, on "Bell Bottom Blues", had ever made it sob. This was Clapton's absolute peak--all the power and virtuosity of his Cream years are encapsulated here, cast in a personal blues tone that anticipates almost everything he ever did thereafter. Duane doesn't suck either. If you can, read the 1985 interview with Clapton in Rolling Stone. He relates how the band was all nodded out on drugs the entire time. Do _not_ try this at home; they are trained professionals!

One can hardly use too many superlatives when describing "Layla..." It is one of the essential recordings of
British blues, of '60s rock, of '70s rock (since it straddles two decades), of blues-rock, of guitar-rock, and of
rock 'n' roll in general. From the searing blues of "Key to the Highway," to the passion of "Little Wing" and
"Bell Bottom Blues," this album represents everything that Clapton fans love about him. Of course, the title
track is a musical monument in its own right, and its two halves (driving blues-rock opening, soothing but
emotional instrumental coda) neatly summarize the entire album. And, you know it's a great record when you
find yourself loving lesser-known album tracks even better than its radio classics. "Keep on Growing" and
"Anyday" are, in this reviewer's humble opinion, simply transcendent.

When people insist on listening to "classic rock" stations, and claim that no one makes good records
nowadays, "Layla" may very well be what they have in mind. It's what great rock is supposed to be.

"Have you ever loved a woman, so much you're tremblin' in pain, and all the time you know she bears another man's name - but you just love that woman so much, it's a shame and a sin ... and all the time you know she belongs to your very best friend!" If you'd never heard this album's title track, you would swear that "Have You Ever Loved A Woman" was the song that Eric Clapton wrote for Pattie Boyd Harrison; not only do the lyrics of Billy Myles' blues classic fit so perfectly, Clapton positively pours his heart out as he sings them, and his guitar screams with the pain of unrequited love. And even before get to this song, Clapton's own "Bell Bottom Blues" lays bare similar feelings and recalls his infamous heroin ultimatum to Pattie ("Either you come with me or I'll take that"): "Do you wanna see me crawl across the floor to you? Do you wanna hear me beg you to take me back?" And as the man pleads with her, so does his guitar, and you wonder what woman could possibly have resisted such an impassioned plea.

Until of course, almost at the end of the album, you hear "Layla," this record's motto more than a simple title track and, in many respects, its reason for being. Torn by personal insecurity, Clapton used the cover and seeming anonymity of yet another band, and the parable of a medieval Persian love story ("Layla and Majnun" - reportedly, "majnun," in Persian, means madman) to put into music what he couldn't put into words alone. From its opening riff to its last note the song is pure blues, Clapton audibly on the brink of the madness he sings about, and his guitar wailing, moaning and crying out all that was in his heart: "Layla ... you got me on my knees - Layla ... I'm begging darling, please - Layla ... won't you ease my worry now?"

Sparks must have been flying in the studio while Eric Clapton and Duane Allman, recruited by manager Tom Dowd to add inspiration and take some of the lead guitar weight off Clapton's shoulders, drove each other to ever greater heights, simultaneously feeding off and to each other. Like most of the album, "Layla" was recorded live in the studio, and only a live recording could transmit this feverish outbreak of passion. Merely listening to the song is emotionally exhausting, and you can only imagine what must have gone on in the studio and inside Clapton during its recording. To hear the Allman Brothers' drummer Butch Trucks tell the story (in an interview for "Off the Record"), Duane Allman gave "Layla" its finishing touch when he added the five notes immediately following its signature riff. Yet, Allman is not credited as a writer (if that story is true, though, how much more than those five notes would it have taken I wonder?); only drummer Jim Gordon is, for having written the song's piano closing - which he had to be persuaded to allow to be used.

And while Eric Clapton continued to perform the song unaltered for years after its initial recording, he spontaneously decided to include it in the setlist of his MTV "Unplugged" appearance where, deprived of all its riffs, even its signature beginning toned down to a few simple notes, and Clapton's voice unexpectedly reflective, Layla assumed a different personality although not a word of the lyrics was altered. Yet, just as Eric Clapton's and Pattie Boyd's marriage was over by then, Layla was now less an object of burning desire than somebody the singer thought about - thought back to maybe, or sought a conversation with, possibly cautioning her about the consequences of her actions, or recalling his experiences with her: "What will you do when you get lonely, no one waiting by your side? You've been running, hiding much too long - you know it's just your foolish pride ..." And although Clapton has gone back to performing the song in its "plugged in" version during his 2001 "Reptile" tour, he has confined himself to talking only about its musical values, commenting on the technical difficulties of playing riffs and chords that are virtually opposite to what you are singing in an interview for the tour's official program.

Besides Eric Clapton and late addition Duane Allman, Derek And The Dominos consisted of the musicians "left over" by the breakup of Delaney and Bonnie, with whom Clapton had briefly found shelter after yet another supergroup of his (Blind Faith) had disintegrated way too quickly: Bobby Whitlock, Carl Radle and Jim Gordon. Like virtually all of Eric Clapton's albums, solo as well as with his various bands, this record combines material written by Clapton himself and covers of songs he liked; and of course, there is much more to it than "Layla," "Have You Ever Loved A Woman" and "Bell Bottom Blues." As always, Clapton makes his mark with every song alike, and as always, he needs and has found (or Tom Dowd found for him) a cast of outstanding musicians to work with. Segar/Bronzy's "Key to the Highway" becomes an extended blues jam session as there ever was one, and Jimmie Cox's "Nobody Knows You When You're Down and Out" forecasts the feelings which, among other things, later compelled Clapton to establish the Crossroads foundation.

Eric Clapton has said about Derek And The Dominos in the interview for the "Reptile" tour program: "[That] was a band I really liked - and it's almost like I wasn't in that band. It's just a band that I'm a fan of. Sometimes, my own music can be like that. When it's served its purpose to being good music, I don't associate myself with it any more. It's like someone else. It's easy to do those songs then." Hearing the raging pain of "Layla"'s original recording, you wonder whether this is maybe also the only way for him to perform it now ... at least "plugged in."

Also recommended:
Eric Clapton's Rainbow Concert
Crossroads
Unplugged
One More Car: One More Rider (CD & DVD Set)
Riding with the King
The Allman Brothers at Fillmore East

Nearly any Clapton album would be nice enough to own, (particularly those from his early days) but an album containing the talents of both Clapton and Duane Allman is truly remarkable. Their meeting is almost legendary, and the inevitable result was Clapton's invitation extended to Allman for a recording. What ensued was their creation, "Layla and Assorted Love Songs." The music itself is a combination of blues standards, ("Nobody Knows You When You're Down and Out" and "Key to the Highway") Clapton's ballads ("Bell Bottom Blues" and "Why does Love Got to be So Sad") and good ol' fashioned rock (the title track, and Hendrix's "Little Wing"). The album came during Clapton's depression as a result of his love for George Harrison's girlfriend at the time (Harrison being his best friend). The resultwas pure magic, and the song "Layla." Clapton was in fact too bashful to use the lady's name, and instead substituted the name of a Persian legend, Layla. Allman filled in on slide guitar, along with "Key to the Highway" while Clapton sung his heart out. Bobby Whitlock's organ and piano melds beautifully with the blues from Clapton and Allman, and percussion from Jim Gordon and Carl Radle is a nice compliment. Although all the songs on this venerable album are good, the title track smokes, while "Have You Ever Loved a Woman" brings in the blues and "Little Wing" veers off into Hendrix's psychadelia. It makes for a powerful work. In all seriousness, this is a must-have.

Takes you back to those days that only you can remember--where the music makes you feel each note and you identify with the message. Oh youth, sweet youth--fortunately as an older American, I can truthfully say, that I still feel each note and thought. I am older but still can appreciate real music.

THE GREATEST song in the history of rock 'n roll. The pain, the ache, the torment. And the rest of the album ain't bad, either. Thank the deity that Clapton is still with us. I wish Duane was too. Amen.

Despite being a real Cream fan, I've never subscribed to "Clapton is God" theory. However, Derek and the Domino's LAYLA AND OTHER ASSORTED LOVE SONGS is, I believe, one of the greatest rock albums of all time. The musicianship is absolutely incredible, the songs are amazing, and I think that it features Clapton's best blues playing of his career.

I recently rebought this on CD. I had it on tape from when I was a kid, but I wore the darn thing out.

All of these are love songs; ballads, blues numbers, and straight out rock. Duane Allman plays rhythm guitar and backup vocals on many of the selections, and the effect on the energy is palpable. This is infectious rock and roll at its finest, played with a maturity and sincerity that I think is really hard to find anywhere else, and is listenable in any context. All the songs are complete and balanced; there is no self-indulgent excess here, and the band is tight. Although these are all love songs, the main reason why this album just plain WORKS is that there is no typical rock adolescent fixation on sexuality, and there is no hyper-sincere self-pitying narcissism that marks most rock love songs from the seventies and early eighties. Just look at the "monster ballads" for sale on late-night TV, and you understand that its only by our nostalgia and camp humor that bands like Journey still get by.

LAYLA totally transcends that. There is real content, real sincerity, and superb playing that takes this album to a higher level. Clapton's writing and arrangements are perfect. The covered tunes are great selections; various in style and translated perfectly by the band. Each song holds up on its own, and the album as a whole is unsurpassable. "I Looked Away" starts out right away with a straight forward, tightly played song. "Bell Bottom Blues" is a classic in its own right; Clapton, no great singer by any measure, nails this one. The 9+ minutes "Key to the Highway" is a great blues romp that is never tedious. "Why Does Love..." is a frantic balls-out jam. The cover of Hendrix's "Little Wing" almost makes for an off-note with its pretentious intro, but having two singers and great guitar solos makes it a wonderful tribute to Jimi. "Layla" of course is the one everyone knows, a 7-minute song with the 4-minute ending; a glorious excess. My personal favorite, however, is the last tune: Bobby Whitlock's solo "Thorn Tree in the Garden," which is so soulful and elegant I wish it were more well-known.

Almost have the songs are over 6 minutes. Altogether the album is almost 78 minutes. So quantity and quality all come together here. This is definitely a must-have. Clapton's best work. It'll liven you up on the sunny days and get you through the rainy ones.

I purchased this album for my nephew as a late Christmas gift. Not only was he pleased with it, but he put the cover in a new album frame he received. The delivery was earlier that the projected date. I would definitely purchase from this vendor again.

Classic all the way. Good pressing, top notch sound quality, one of the best albums of all time, and on vinyl. It doesn't get much better then this.