August 26th, 1970. Producer Tom Dowd was in Criteria Studios in Miami, doing a record for Eric Clapton’s new band, something Eric formed out of the ashes of Delaney & Bonnie and Friends. He had gotten together with D&B keyboardist Bobby Whitlock for some easy jamming over brews and joints, and they had been quickly joined by Carl Radle and Jim Gordon, D&B’s rhythm section. Dubbed Derek & the Dominos, Tom was recruited to man the boards for them after his success recording Idlewild South for the Allman Brothers Band.
That prodigious August afternoon, Tom received a call from Duane Allman, the Skydog himself, letting him know that the Allman Brothers Band would be in Miami playing a benefit concert that night. When Eric found out, he wanted to go.
“You mean that guy who plays on the back of ‘Hey Jude’?” (Wilson Pickett’s, not the Beatles’) “…I want to see him play… let’s go.”
The bunch of them went to the Allmans show that night, and managed to score seats in front of the front row barricade. When the Dominos came in, Skydog was playing a solo, eyes closed and lost in the glory of the blues. When Duane opened his eyes, the first thing he saw was Eric “Slowhand” Clapton, a famous name and godlike presence in the guitar world. And he was staring right at him. Duane froze. Luckily, the Allmans’ other lead guitarist Dickey Betts was right there to pick it up, but when Dickey followed Duane’s gaze to see what he was gaping at, he had to turn away to keep from freezing himself.
Clapton and Allman were two guitar Supermen, transcendent beings Nietzsche would have been proud of. If they had been different people with bigger egos, I think all of Miami would have sunk into the sea with the weight of their posturing, not to mention their talent. But that wasn’t how it went down. Instead, they each had an admiration and giddy excitement at seeing the other one play. Instead of arching their backs and showing their fangs, they both said “oh man, it’s Eric Clapton!” or “I can’t believe this… it’s Duane Allman!”
Slowhand and Skydog met after the show, talked some shop, and Duane said he’d love to come by the studio to check out what they were doing. Eric excitedly said, “Bring your guitar! You gotta play!” And like that, a musical brotherhood was born. Duane became an official member of Derek & the Dominos, and the two were inseparable for the entire recording of Layla. They talked shop, swapped guitars, and showed each other techniques. But the best thing was that they traded licks, calling and answering with their guitars in a fantastic partnership; and it’s all caught on tape for the generations to enjoy and learn from. Pay attention, you blooming guitarists; this is how it’s done.
“Key to the Highway,” the last track on the first half of this double album, contains the glory, beauty and excellent freedom of blues music in its Platonic form. Blues is all about having a basic progression that’s repeated, and improvising over it to creating a unique sound and musical experience not just with each song, but with each repeat of the form of a song. “Key to the Highway” is only 8 measures played over and over again. Yet no set of eight measures is the same because of the splendid element of the guitarists having no idea where they’re going, what comes next, or where it will end. They only know that when the 8 measures are up, the song will start over again, and so can they.
The recording of it came by happy accident. 60s camp artist Sam the Sham was recording “Key to the Highway” in the studio room next door for his album Hard and Heavy. The band recognized it (it’s an old blues standard first recorded by Charles Seger in 1940), and they just started playing it improv-style. After they got going, Tom Dowd started recording. The jam apparently goes on for about 15 minutes before what’s on the album actually starts.
I can imagine “Key to the Highway” going on forever; no beginning, no end. The musicians never tire, never sweat, never get bored or let their minds wander. It’s a picture of heaven for me. I’ve heard lots of things from lots of people about heaven, but my mom’s description is the one that sticks with me. She says heaven will be all God’s children singing endless praise to him, ceaselessly giving him the glory due his name in a progression that never stops. To complete that picture, I use “Key to the Highway.” When we get to heaven, we will never get tired of playing those 8 measures.
I have been playing since i was 4 years old and I just love playing the guitar, I have been using ESP/LTD guitars since i got my first real electric when i turn 13, it was a ESP/LTD Mh-50 but after i while i broke it :( but then i got a ec 200 qm and i custmized it to be own and i love it :)
Been playing guitar 15 years and recently switched to ESP when I bought a custom Standard Series Horizon 7. As you can imagine being a left handed 7 string player is a drawback for the choice of guitars available.
hi from Madagascar!! well, my first guitar was a gift, an Epiphone les Paul bought in Japan 5 years ago, since then, i wanted to test as many kind as possible, so after the les paul, there was an SG, an ES 335, (all from epiphone), then came the ibanez, GSA, the SA and an RG, i discovered ESP LTD guitars with an EX 50, loaded with the LH 150, i was a bit surprised by these pickups, especially the neck one!!! they were damn good!!! so, as a fan of les paul shaped guitar, i decided to buy en EC with LH 150, then came the EC 256!! what a versatile guitar, all the sounds were nice!!! from the splitted coil sound on clean mode to the high gain humbucker sound, astonishing for the price!!! then i wanted to upgrade my les paul, so i loaded her with a Dimarzio Petrucci on the neck position, and an EMG ALX on the bridge (yes, weird configuration), i pretty liked the EMG sound (though the cleans are ... so so), so i decided that my next guitar would be an EC loaded with EMGs!! now i live with an EC 401, really happy with her :)