What a nice surprise popping on the board and reading this thread.

Thank you Miss Coco and Bobby for the insight into your memories.

It's a real pleasure for us, thank you so much.
X CC

Thanks for sharing all this info with us, I love reading about a great musical work. I never realized the importance of Bobby Whitlock in song writing... Thanks again Miss Coco.

Thanks for sharing all this info with us, I love reading about a great musical work. I never realized the importance of Bobby Whitlock in song writing... Thanks again Miss Coco.

Definitely pick up his book, it's a really great read if you want to be a fly on the wall for the creation of some of the best Rock music our generation has churned out.

Bobby & Ms. CoCo, a big thanks again for gracing the threads of this forum!

For anyone that has not seen Ms. CoCo or Bobby in concert.... you are missing one hell of a show.
I was most fortunate to spend a little of time with both a recent show in Nashville & I had to pinch myself just to make sure I was not dreaming... the co-founder of arguably the best band ever & co-writer/writer of 7 of the 14 tracks for one of the greatest albums of all times. (Sorry but I'm proud to be bias).

One question... and one that has been discussed many times on this forum.
How many live shows did Duane play with the Dominos & which shows were they??

Duane played two shows with us~Tampa and Syracuse~BW~

A prayer for your good health & prosperity for you both!
Get back to Nashville soon!! ..... Tony

Thanks for the great response to my questions. Still hoping you can fill in some blanks for me.

Not surprised by your remembrance of DA's casual decline of the offer to become a band member. I read another version in his daughter's book, but she couldn't have known what happened, only hearsay.

Did the band members know in Miami that they were creating such exquisite music?

~We knew that we were a part of the creation of some great music, but we also knew that we were ahead of our time~The general public didn't take us seriously at first~The Layla record is sophisticated rock and roll~It was over most everyone's heads at the time~We were extremely disappointed when it was not accepted by the public and it sent Eric into hiding~It wouldn't be until after Duane's passing and Eric going through heroin addiction, and then many years later that 'Layla and Other Assorted Love Songs" would be considered to be the classic that it was, and is, and always will be~BW~

When the album wasn't successful at first, were you able to hang on to the belief that your music would rise and keep rising over the years?

Can you comment on the days in Miami for the two guitarists? Some of my thoughts and please correct me.

EC had been declared god on a wall. It must have been a heavy weight for him and a wonderful release to come to the US just to make music for the love of it.

DA had 'eventual legend' stamped on his ass from birth. Even he couldn't have stopped his destiny. He wanted everyone to think he was just a member of the band, but he keeps rising to the top. Brilliant stars burn fast.

I hear an immediacy to your music lifting and pushing the songs. I say that's your southern background. What do you say?

Thanks again. Great posts here.

You will have to ask a question or two at a time...when there are more than that Bobby can't answer..it's too much.
BTW ...Bobby's response is in the middle of the questions here, where the ~ are
Thanks,
CC

[Edited on 1/5/2016 by twobug]

[Edited on 1/5/2016 by twobug]

Dear Bobby and Coco,
I just want to thank you for the great music. Unbeknownst to me, I became familiar with Bobby's work at a young age. George Harrison's "All Things Must Pass" was released when I was 10 years old, and being a big Beatles fan, I quickly bought it. I fell in love with the energy and passion of the music, without having any idea who any of the other musicians were.
When I was around 16 years old, I bought the Layla album, and that has remained one of my favorite albums over my life; along with the Derek and the Dominos "Live" albums. Those recording led me to a love affair with the guitar and a life-long exploration of Blues music and the artists who pioneered that genre.
I discovered Delaney and Bonnie and Friends much later and was instantly hooked on the amazing groove and feel of that band. At that point in time I began to realize that Bobby, Eric, Carl Radle, and Jim Gordon were the common denominator.
I stumbled upon the Steve Hoffman thread several years back and bought Bobby's book when it first came out. It was a great read and I thoroughly enjoyed it. It caused me to go back and purchase some of Bobby's early solo work. In the last several years, I've looked up some videos of the two of you playing in (I believe) Austin. I particularly loved the acoustic guitar duet arrangements. I'd love to sit down and learn those.
Life is funny. I was just thinking this last week that I would love to write Bobby and thank him for all of the wonderful music and inspiration, but I had no idea how to do that. So the timing of discovering this thread was serendipitous. So, a really heartfelt thank you.

Good morning.

I am starting to study this music history and full of questions. Reading my post again, I can see it rambled. Sorry about that.

That said, I can understand how disappointing it was to have a masterpiece that no one wanted to hear. You can take comfort in knowing its come into its own. Its classic now, for sure. I'm even thinking in years to come it may be considered "The Classic" of your generation.

Not bad.

"With all respect, which I mean sincerely, and without Galadrielle's book in front of me, what she mentioned regarding DA joining the Dominos is, I believe, from a letter DA wrote home. It is possible that EC asked DA more than once about it. Bobby truthfully says what he knows, that does not mean that was the whole story."

I went back to re-read the letter. There is another obvious explanation to the differing accounts. Did DA lie to Donna? Using the daughter's book as source, he did mislead her on numerous occasions.

No doubt, there's considerable backstory yet to be told here. Maybe books are yet to be written.

"With all respect, which I mean sincerely, and without Galadrielle's book in front of me, what she mentioned regarding DA joining the Dominos is, I believe, from a letter DA wrote home. It is possible that EC asked DA more than once about it. Bobby truthfully says what he knows, that does not mean that was the whole story."

I went back to re-read the letter. There is another obvious explanation to the differing accounts. Did DA lie to Donna? Using the daughter's book as source, he did mislead her on numerous occasions.

No doubt, there's considerable backstory yet to be told here. Maybe books are yet to be written.

Hello James,
I don't think that there is any reason to doubt Duane's letter to his wife, that Duane was asked by Eric and Bobby, the two made all the decisions for the band together at the time. Duane was not lying, I did see the letter and it confirms Bobby's story. The only thing is that he told Eric and Bobby no when they asked him to join. You have to understand that that was a pretty heavy offer in those days, one would not just throw it off and forget about it, especially a young upcoming guitar player. I am certain that Duane gave it some serious thought. According to Bobby they left the door open for Duane should he change his mind.
Apparently he did not. At that very time, both Duane and Gregg were arguing with each other over Gregg going to California. So, it is likely that Duane gave it some consideration even after saying no.
But in the end as we all know, he did not join the band. Layla was just another session on the books.
Had he joined it may have been a different story.
CC

Dear Bobby and Coco,
I just want to thank you for the great music. Unbeknownst to me, I became familiar with Bobby's work at a young age. George Harrison's "All Things Must Pass" was released when I was 10 years old, and being a big Beatles fan, I quickly bought it. I fell in love with the energy and passion of the music, without having any idea who any of the other musicians were.
When I was around 16 years old, I bought the Layla album, and that has remained one of my favorite albums over my life; along with the Derek and the Dominos "Live" albums. Those recording led me to a love affair with the guitar and a life-long exploration of Blues music and the artists who pioneered that genre.
I discovered Delaney and Bonnie and Friends much later and was instantly hooked on the amazing groove and feel of that band. At that point in time I began to realize that Bobby, Eric, Carl Radle, and Jim Gordon were the common denominator.
I stumbled upon the Steve Hoffman thread several years back and bought Bobby's book when it first came out. It was a great read and I thoroughly enjoyed it. It caused me to go back and purchase some of Bobby's early solo work. In the last several years, I've looked up some videos of the two of you playing in (I believe) Austin. I particularly loved the acoustic guitar duet arrangements. I'd love to sit down and learn those.
Life is funny. I was just thinking this last week that I would love to write Bobby and thank him for all of the wonderful music and inspiration, but I had no idea how to do that. So the timing of discovering this thread was serendipitous. So, a really heartfelt thank you.

Thank you so much for the very kind message.
Very thoughtful.
CC

[Edited on 1/7/2016 by twobug]

Coco/Bobby, again thanks for showing up here!, Carl Radle is one of my favorite bass players, and I think he ranks up among the best[ incredibly unique and creative], I was wondering if Bobby wants to share any thoughts or a story about Carl?.

[Edited on 1/7/2016 by pops42]

~Carl used to live in the valley just down the street from the Plantation, and would loan me his Triumph Bonneville from time to time~I was just finding my way around then~I was about eighteen going on nineteen and was completely out of my element there in California~Any, one day I walked down to Carl's house, as I was living at the Plantation at the time, and was going to pick up his bike and go for a ride in the hills to help find my way around Hollywood~I went into his front room where his girlfriend Judy was standing, like I was up to something, or something like that~I think that she disapproved of Carl loaning me his bike~But before he gave me the key, he sat down with his guitar and played me his new song~It was the beginning and unfinished version of "Never Ending Song of Love"~He had been writing with Delaney and was going to show him the new song idea that he had when he got to the Plantation for rehearsal~Well, he did and Ol'Lane helped him finish it alright~He recorded it and didn't give Carl writer's credit on the song that was his idea in the first place~Carl was so let down spiritually that he never wrote another song~I tried to get him to but he wouldn't get into it~He was just content to play bass~And a great bass player he was~

Thanks for sharing all this info with us, I love reading about a great musical work. I never realized the importance of Bobby Whitlock in song writing... Thanks again Miss Coco.

Thank you so much.

Definitely pick up his book, it's a really great read if you want to be a fly on the wall for the creation of some of the best Rock music our generation has churned out.

What a nice surprise popping on the board and reading this thread.

Thank you Miss Coco and Bobby for the insight into your memories.

Sorry, I forgot to thank you as well..Bobby has many many wonderful memories.

[Edited on 1/9/2016 by twobug]

Thanks for sharing all this info with us, I love reading about a great musical work. I never realized the importance of Bobby Whitlock in song writing... Thanks again Miss Coco.

Thank you all so much.

I want to thank you again Coco and Bobby for taking the time to share with us music fanatics here... it's fascinating to hear the stories of how some of the greatest music ever put out came to be!

I didn't say in my first post but Happy New Year to you both.... I can't wait to read Bobby's book!

I keep reading through this thread. Leaves me with so many musings.

I do want to ask, if I might, what was the trouble with Duane's guitar on the record? In some places he is clearly out of tune and not in a good way. Yes, I know he got those crying notes by bending strings and blurring the lines - but that is not what I mean by 'out of tune'.

Some here have speculated that he recorded his parts which were then sped up later, making them off pitch.

Don't get me wrong, I love the Layla album as much as anyone. I am just really curious.

thank you kindly,
W4R

I want to thank you again Coco and Bobby for taking the time to share with us music fanatics here... it's fascinating to hear the stories of how some of the greatest music ever put out came to be!

I didn't say in my first post but Happy New Year to you both.... I can't wait to read Bobby's book!

I hope you enjoy the book. Happy New Year to you as well.

Hey Bobby & Coco,

So appreciative of your spending time with us on the site. What a treasure trove of inside information. I have a question regarding overdubbing sessions on the Layla album. As best as you could recall, when overdubbing was being done on the sessions, would all the musicians typically be present as a group? Or did Tom Dowd and/or the other engineers sometimes work with just the individual musicians during those times. I am particularly interested if you knew if Duane would sometimes work by himself (with an engineer of course) while doing overdubs. Thanks!

Bobby has to be hit with the bug to write, unfortunately that hasn't happened in the past couple of days as we have been busy. Hopefully he will get around to answering the questions about Duane/Layla in the next few days.
Sorry for the delay.
X

Coco, another question for Bobby.

I pulled out his two Capricorn albums and I see what he means about a number of different guitarists being on the two records.

One common thread seems to be Dru Lombar, who is even credited with writing several songs with Bobby.

What are Bobby's remembrances of Dru as a player, songwriter and as a person?

Coco, another question for Bobby.

I pulled out his two Capricorn albums and I see what he means about a number of different guitarists being on the two records.

One common thread seems to be Dru Lombar, who is even credited with writing several songs with Bobby.

What are Bobby's remembrances of Dru as a player, songwriter and as a person?

Hello OldCoot,
Bobby remembers he and Dru hanging around together, because of the sessions. Bobby asked him to help write a song with him, although at that time Dru was not a songwriter. He couldn't really help much, but Bobby in typical fashion (and I say that because I have seen him do this many times), added Dru's name as a co-writer.
Bobby says he liked Dru, but they went their separate ways, there was nothing to talk about really.
Hope this helps.
CC

[Edited on 1/12/2016 by twobug]

Hey Bobby & Coco,

So appreciative of your spending time with us on the site. What a treasure trove of inside information. I have a question regarding overdubbing sessions on the Layla album. As best as you could recall, when overdubbing was being done on the sessions, would all the musicians typically be present as a group? Or did Tom Dowd and/or the other engineers sometimes work with just the individual musicians during those times. I am particularly interested if you knew if Duane would sometimes work by himself (with an engineer of course) while doing overdubs. Thanks!

~When there were guitar over dubs everyone was still present in the studio, just not in anybody's way~Overdubs were done right away after each song, so nobody went back to the hotel or anything like that~I watched as Eric and Duane worked out their parts before we recorded each song ie; Key to the Highway~I was there watching as all of the guitar overdubs were done as well~Eric was amazing to watch as was Duane~It was as if they already knew what it was to be in the end~When we did vocal overdubs only Eric and Myself and Tom and the assistant engineers were there~Eric was gracious when it came to giving Duane room to run~B~

I keep reading through this thread. Leaves me with so many musings.

I do want to ask, if I might, what was the trouble with Duane's guitar on the record? In some places he is clearly out of tune and not in a good way. Yes, I know he got those crying notes by bending strings and blurring the lines - but that is not what I mean by 'out of tune'.

Some here have speculated that he recorded his parts which were then sped up later, making them off pitch.

Don't get me wrong, I love the Layla album as much as anyone. I am just really curious.

thank you kindly,
W4R

I have gotten in some hot water talking about the subject of the slide tuning on the Layla ending~He was clearly out of pitch several times~Playing slide guitar is not a fretted thing to play~It's all feel and sonics~That bottle has to hit home every time~But sometimes a guitar player will slide just past the intended invisible mark for effect~Sometimes it works, sometimes it doesn't~It's always questionable~Was he looking for that note or did he intentionally do it that way?~He did it that way!~For whatever reason, he did it that way~Tom asked him to try to overdub it and it didn't work~It lost the feel~They kept the original guitar, slide by tuning and all~One thing for sure though, it has kept people talking for forty-five years~Listen to Duane's slide work on "I Am Yours"~He plays perfectly and absolutely in tune~The Coda was purposeful and effectual~Eric didn't play any slide on the ending~That's just Duane~B~

[Edited on 1/12/2016 by twobug]

I would also like to add, that the reel ran out at the end of Layla. The coda was later played on a fresh tape, then the two were spliced together.
The entire record was vso'd, sped up..(it's not in any particular key)...that was very popular back then, it sweetened the record so to speak. It made everything sound tighter and better.
Same as today in the digital world (it's a sad state of affairs though when you have to use auto tune on the singer), just better on tape of course. All I know is that Tom Dowd worked miracles putting those two pieces together and ultimately deciding to keep Duane's parts as is. As Bobby says the second take had no feel..so you have to make an executive decision..not talk about alot it and go for it.
They made the right choice.
CC

[Edited on 1/12/2016 by twobug]

[Edited on 1/12/2016 by twobug]

[Edited on 1/12/2016 by twobug]

Sincere thanks and appreciation for all the candid replies regarding the Layla sessions. Nice to get some of the sorely missing inside scoop as to how things came together,

Sincere thanks and appreciation for all the candid replies regarding the Layla sessions. Nice to get some of the sorely missing inside scoop as to how things came together,

You are very welcome..
CC

[Edited on 1/13/2016 by twobug]

Great stuff! How old was Bobby when he got interested in music, and what were his early influences?

Coco, another question for Bobby.

I pulled out his two Capricorn albums and I see what he means about a number of different guitarists being on the two records.

One common thread seems to be Dru Lombar, who is even credited with writing several songs with Bobby.

What are Bobby's remembrances of Dru as a player, songwriter and as a person?

Hello OldCoot,
Bobby remembers he and Dru hanging around together, because of the sessions. Bobby asked him to help write a song with him, although at that time Dru was not a songwriter. He couldn't really help much, but Bobby in typical fashion (and I say that because I have seen him do this many times), added Dru's name as a co-writer.
Bobby says he liked Dru, but they went their separate ways, there was nothing to talk about really.
Hope this helps.
CC

[Edited on 1/12/2016 by twobug]

Thanks so much for the response Bobby & CoCo.

I didn't want to lead with my question, I was honestly interested in Bobby's recollections.

I actually became very good friends with Dru and admired him not only as a musician but as a very sweet soul. I miss him a lot.

Let me ask another question, and I sincerely apologize if this is within Bobby's book, or previous discussions, I had read in some music publication or another, that the instrumental piano part that is the last half of Layla, that at some point, Jim Gordon may have overheard Bonnie Bramblett/Rita Coolidge playing that melody and brought it to the Layla sessions.

Is that complete rubbish, or, could that have happened at some point, I'd guess in connection with a Delaney & Bonnie tour? I'd always found it odd that Jim was never really credited from a songwriting perspective (an exception being his work with Frank Zappa & Jack Bruce on Zappa's Apostrophe album) and yet, here is this beautiful keyboard melody that finishes Layla.

What does Bobby recall of how Layla was put together as a song?

Also CoCo, check your personal messages here on the site.

And again, thanks to you and Bobby for indulging all of our questions.

One other thing pertaining to Jim Gordon, did any of the band members see or perceive any signs of his problems that lead to his eventual incarceration?

[Edited on 1/15/2016 by Dan]