Page 35 - the NOISE January 2016

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Clapton opened up and pulled out the most emotionally naked music of his life.
The resulting double album, Layla and Other Assorted Love Songs, featured Duane Allman on about 75% of it. The Clapton/ Allman combination resulted in some stunning guitar work, most notably on the epic title track, which featured Duane’s distinctive weepy slide. Duane was offered a permanent position in the Dominos, who were about to go on tour, but opted to remain loyal to his Brothers.
The buzz around The Allmans was growing. Their first two albums had not been big sellers and their career needed a boost. The band was often frustrated that their studio LPs never quite captured the magic of their concerts. Phil Walden had to convince Atlantic Records (Capricorn’s parent company) a live set by this relatively unknown group was a good investment.
Four shows were recorded over two nights at the Fillmore East in New York City, with Tom Dowd sitting behind the
16-track machine. The seven performances chosen filled up four LP sides. The Brothers insisted on a real live album, with no studio sweetening to hide mistakes.
The original concept for the cover was to shoot the band in front of the Fillmore East, their name up on the marquee. When the pictures arrived, no one was happy with them. Phil Walden had an alternate idea: a photo of the group’s equipment, all packed in road cases, with the Brothers sitting on top. The release date was nearing and the label needed something soon.
The photo shoot was scheduled on a weekday morning at 9AM. The roadies arrived early and dutifully stacked the equipment against a brick wall in the alley next to Capricorn’s offices. It was almost summertime, and by the time the crew finished all were sweating in the Georgia heat. The Brothers straggled in wearing their stage gear: fancy shirts, vests, long pants, cowboy boots and hats. Everyone was hot and pissed off. None of them wanted to be there. Why in hell did this have to be done
by tony ballz
at nine in the Goddamn morning instead of three in the afternoon? The general feeling was, “Let’s get it over with.”
Capricorn had hired noted photographer Jim Marshall at great expense. Marshall had caught many iconic rock and roll moments, such as Hendrix setting his guitar on fire at Monterey Pop and Johnny Cash flipping the bird backstage at San Quentin. He took shot after shot of the group sitting on their equipment and looking miserable. Marshall tried to stir up some good vibes and lighten the mood but his attitude rubbed the Brothers the wrong way and they grew more sullen. He even had the group collectively flip off the camera a la Johnny Cash, which raised a few vague smiles. Marshall could
feel the shoot going down the tubes. During a break, Duane Allman suggested Marshall buy some beer for the roadies in thanks for their hard work. Marshall’s assistant was dispatched to the corner market and returned with cold 16 oz. tall boys of Pabst Blue Ribbon, which the road crew gratefully chugged down. Duane then had a brainstorm. He asked the roadies if they would mind having their gorgeous mugs enshrined on the back cover of an Allman Brothers Band LP. The picture that was eventually used shows the unsmiling crew slouched on the equipment looking mean and cradling their cans of beer. A
photo was inserted of roadie Twiggs Lyndon, who couldn’t be present that morning. Twiggs was currently in jail awaiting trial for stabbing a promoter to death who refused to pay the band after a show.
The Brothers returned to their spots for more fruitless, scowling photos. At one point a man wandered into the alley. He stopped a few feet behind Marshall and observed the scene. Duane Allman smiled as he recognized the man, stood up and walked out of shot towards him. An exasperated Marshall muttered under his breath. Almost time to call it a day.
Duane and his friend shook hands and had a leisurely conversation while everyone waited patiently. Eventually they said their
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