Layla - Writing and Recording

Writing and Recording

After the breakup of Cream, Clapton tried his hand with several groups, including Blind Faith and the husband-and-wife duo Delaney and Bonnie. In the spring of 1970, he was told that Delaney and Bonnie's backup band, consisting of bassist Carl Radle, drummer Jim Gordon, and keyboardist Bobby Whitlock, was leaving the group. Seizing the opportunity, Clapton formed a new group, which became Derek and the Dominos.

In mid-to-late 1970, Duane Allman joined Clapton's fledgling band as a guest. Clapton and Allman, already mutual fans, were introduced at an Allman Brothers concert by Tom Dowd. The two hit it off well and soon became good friends. Dowd said of their guitar-playing chemistry: "There had to be some sort of telepathy going on because I've never seen spontaneous inspiration happen at that rate and level. One of them would play something, and the other reacted instantaneously. Never once did either of them have to say, 'Could you play that again, please?' It was like two hands in a glove. And they got tremendously off on playing with each other." Dowd was already famous for a variety of work and had worked with Clapton in his Cream days (Clapton once called him "the ideal recording man"); his work on the album would be another achievement. For the making of his biographical film Tom Dowd and the Language of Music, he remixed the original master tapes of "Layla," saying, "There are my principles, in one form or another."

Clapton originally wrote "Layla" as a ballad, with lyrics describing his unrequited love for Pattie Boyd, but the song became a "rocker" when Allman reportedly helped compose the song's signature riff. With the band assembled and Dowd producing, "Layla" was recorded in its original form. The recording consisted of six guitar tracks: a rhythm track by Clapton, three tracks of harmonies played by Clapton against the main riff, a track of slide guitar by Allman, and one track with both Allman and Clapton playing duplicate solos.

Shortly afterward, Clapton returned to the studio, where he heard Gordon playing a piano piece he had composed separately. Clapton, impressed by the piece, convinced Gordon to allow it to be used as part of the song. "Layla's" second movement was recorded roughly a week after the first, with Gordon playing his piano part, Clapton playing acoustic guitar and slide guitar, and Allman playing electric and bottleneck slide guitar. After Dowd spliced the two movements together, "Layla" was complete.

Due to the circumstances of its composition, "Layla" is defined by two movements, each marked by a riff. The first movement, which was recorded in the key of D minor for choruses and E major for verses, is centred around the "signature riff", a guitar piece utilising hammer-ons, pull-offs, and power chords. The second part of the riff is commonly believed to have originated from Allman, an adaptation of the vocal melody from Albert King's "As the Years Go Passing By" from 1967's album Born Under a Bad Sign. The first section contains the overdub-heavy guitar solo, a duet of sorts between Allman's slide guitar and Clapton's bent notes. By placing his slide at points beyond the end of the fretboard, Allman was able to play notes at a higher pitch than could be played with standard technique. Dowd referred to this as "notes that aren't on the instrument!"

The second movement, Jim Gordon's contribution, is commonly referred to as the "piano coda." Originally played in C major, the tape speed of the coda was increased during mixing. The resulting pitch is somewhere between C and C sharp. The piano interlude at the end of the song is augmented by an acoustic guitar, and is also the accompaniment to the outro-solo. The same melody is played on Allman's slide guitar, albeit one octave higher. Gordon does not improvise or deviate from the piano part; Clapton and Allman are the ones who improvise the melody. The song ends with Allman playing his signature high-pitched "bird call" on his slide guitar.

As Clapton commented on his signature song:

'Layla' is a difficult one, because it's a difficult song to perform live. You have to have a good complement of musicians to get all of the ingredients going, but when you've got that... It's difficult to do as a quartet, for instance, because there are some parts you have to play and sing completely opposing lines, which is almost impossible to do. If you've got a big band, which I will have on the tour, then it will be easy to do something like 'Layla'—and I'm very proud of it. I love to hear it. It's almost like it's not me. It's like I'm listening to someone that I really like. Derek and The Dominos 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.

Or, as his inspiration, Pattie Boyd, once said, "I think that he was amazingly raw at the time... He's such an incredible musician that he's able to put his emotions into music in such a way that the audience can feel it instinctively. It goes right through you."