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Author: Subject: Duane and Carl Radle ?

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  posted on 2/22/2006 at 12:29 PM
in Wikipedia under Radle, they have the following:

Derek and the Dominos began working on sessions for another group of songs, but after being dissastisfied with the results — and the tensions that resulted — the band dissolved. For the next three years, Radle stayed busy with session work on projects by various artists, such as Art Garfunkel, Duane Allman, John Lee Hooker, Rita Collidge, Leon Russell, Bobby Whitlock, Donovan and Freddie King.

----I don't offhand recall any projects Duane worked with Radle after the breakup of D&D, after April 71. Anyone have other info.

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  posted on 2/22/2006 at 01:08 PM
I know Radle played on Motel Shot, but I'm at work and not sure what came first, layla or Motel Shot.
 

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  posted on 2/22/2006 at 05:04 PM
Fron allmusic.com

From late 1970 until the end of that decade, Carl Radle was one of the top bassists in rock music. He began the decade as a star on his instrument by virtue of his membership in the shortlived, legendary band Derek & The Dominos, alongside Eric Clapton and yoked to drummer Jim Gordon in an outstanding rhythm section -- but it was the sheer quality of his work that had led him to that point and sustained him for years after. Born in Oklahoma City in 1942, he reached his teens just as the rock 'n' roll boom began. By the early 1960's, he'd made his way to California, where he played for a time as a member of Skip And The Flips, a group organized by future Byrd Skip Battin, playing alongside drummer Billy Mundi. He entered the orbit of his fellow Oklahoman Leon Russell and played numerous sessions for him during the latter's days as an arranger -- although uncredited, Radle played on many recordings for Gary Lewis & The Playboys. For a time in the late 1960's, he was also a member of the band Colours, which cut two LPs for Dot Records at the end of the 1960's. It was Russell's introduction that brought Radle to the attention of Delaney & Bonnie and led to his joining their backing band (alongside drummer Jim Gordon) and which, in turn, led to his crossing paths with Eric Clapton, who used him (along with Gordon) on his first solo album, and also to his participation in the sessions for George Harrison's All Things Must Pass album, which brought about the formation of Derek & The Dominos. Though it took a little time to be fully appreciated by the public, the resulting album Layla And Other Assorted Love Songs proved to be one of the most enduring creations to come out of Clapton's career. Radle later played with Joe Cocker's Mad Dogs And Englishmen show and the resulting album, again with Russell's prompting, and albums by Dave Mason, Mark Benno, J. J. Cale, RIta Coolidge, Dr. John, Art Garfunkel, and Buddy Guy, Bobby Keys, and Freddie King, and as a member of Leon Russell & The Shelter People. By 1975, when Clapton resumed touring, he brought Radle back as a band member and he remained through the Backless album -- then, in 1978, Clapton decided to dismiss his group, believing them inadequate in the studio. At the outset of the 1970's, Radle had cut an extraordinary musical figure, his tall, slightly gaunt bespectacled figure hunched over his instrument holding down the rhythm section with whatever drummer he happened to be working with, whether he was playing blues, country, or rock 'n' roll. And the results were impressive, a fact borne out by the sheer number of sessions he'd played in the first half of the 1970's. By the second half of the decade, however, Radle's health had started to decline, principally from the ravages of excessive drinking and some drug use. He died in 1980, of complications from a kidney infection caused by his alcoholism and addiction. At the time, his passing was barely noticed even by many Clapton fans or the rock press.

 

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  posted on 2/23/2006 at 09:20 AM


i have the tapes of that other "derek and the doms" album - sounded potentially pretty good to me

 

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  posted on 2/23/2006 at 09:45 AM
quote:
I know Radle played on Motel Shot, but I'm at work and not sure what came first, layla or Motel Shot.
Layla came first, then Motel Shot. To Bonnie from Delaney came before Layla.

 

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  posted on 2/23/2006 at 10:47 AM
Funny, just the other day I was thinking that only one member of Derek and the Dominos is still alive. No major revelation, just a little sadness. At the time, I bet most people thought Eric would be the first to go. Glad he cleaned up his act....glad so many of our beloved musicians have cleaned up their act.

 

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  posted on 2/23/2006 at 11:10 AM
Whitlock is still amongst us, as is Gordon, however, one suspects that he will never leave the confines of his "rest" home....sad ending indeed.

The Motel Shot was done at various hotel rooms and back stages, and released before April 71. The last work Duane did with D&B was released in 1972 on Delaney and Bonnie Together, on Columbia Records. Duane is credited, but Radle is not. The band listing is clearly after the departure of Radle, Whitlock, and Gordon.

By the way, I raised the issue of the luckiest 1-2-3 punch in a single year by a single group of musicians. Gordon and Radle must surely count. They left D&B, went on to Joe Cocker's MadDogs and Englishmen, then to George Harrison's All Things Must Pass, then finally ended the year with Derek and the Dominos. A good year by any standard.

 

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  posted on 2/23/2006 at 11:13 AM
I guess I have been busy with school and all. Has Bobby Whitlock passed away?

Marion

 

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  posted on 2/23/2006 at 11:14 AM
Howdy Carlos
I guess you answered my question while I was composing it.

Cheers Friend

 

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  posted on 2/23/2006 at 11:16 AM
http://www.bobbywhitlock.com/

 

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  posted on 2/23/2006 at 11:25 AM
Hey Marion

Sorry to have missed you in San Diego, ol man.....things got hectic that last day.

But, I am headed back there for Memorial Day weekend and then some. Rumor has it that Yuma is only two hours from your place......let's try to get an unplanned road trip, and scare a certain audioman living on a mountain

Anyone know when Whitlock last played with Clapton...April 71?

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  posted on 2/23/2006 at 11:39 AM
quote:
Anyone know when Whitlock last played with Clapton...April 71?
1971 sounds right but maybe it was 72? When did Dr. John's "Sun, Moon and Herbs" come out? Bobby was on that with Clapton and Mick Jagger.

 

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  posted on 2/23/2006 at 12:43 PM
quote:
By the way, I raised the issue of the luckiest 1-2-3 punch in a single year by a single group of musicians. Gordon and Radle must surely count. They left D&B, went on to Joe Cocker's MadDogs and Englishmen, then to George Harrison's All Things Must Pass, then finally ended the year with Derek and the Dominos. A good year by any standard
.
Got that right. But actually it's like 1-2-3-4.

 

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  posted on 2/23/2006 at 07:21 PM
quote:
quote:
Anyone know when Whitlock last played with Clapton...April 71?
1971 sounds right but maybe it was 72? When did Dr. John's "Sun, Moon and Herbs" come out? Bobby was on that with Clapton and Mick Jagger.



If Carlos mentioned only for Derek & The Dominos, April '71 is right. But not limited to, their last play with each other was 4/25/'00 at Jools Holland Show, broadcasted by BBC TV.
They played "Bell Bottom Blues" and you can see this by DVD, "Later With Jools Holland - Later - Giants". Also there are some bootleg CDs of this show.

 

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  posted on 2/24/2006 at 08:23 AM
Ohayoo gozaimasu Masahiko-san

thanks for the Jools info. Had not seen that, but is it a great performance?

Cheers

Carlos

 

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  posted on 2/24/2006 at 09:50 AM
A friend of mine emailed me last night to tell me he talked to Bobby Whitlock on the phone yesterday. What a coincidence! I told him we were just discussing him in a thread on the ABB site.

 

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  posted on 2/24/2006 at 10:26 AM
I think Bobby Whitlock posted on the GB a few times. Below is the link at drummerworld to Jim Gordon's page. There is a disturbing picture of him in the middle of the page.


http://www.drummerworld.com/drummers/Jim_Gordon.html

 

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  posted on 2/24/2006 at 11:16 AM
Nick

The link seems to indicate that Gordon served time until 2000. Is he out now and performing?

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  posted on 2/24/2006 at 11:45 AM
No he is is a mental facility in CA I think.

 

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  posted on 2/24/2006 at 12:49 PM
Not sure if this is for real, or, some sicko has spoofed Gordon, but check this site:
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=1 4212943

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  posted on 2/24/2006 at 07:41 PM
Amazing what happened to that guy -- hopefully, at least judging by that chilling Rolling Stone photo, they don't set him free anytime soon.
He's the drummer on three albums I'll never get sick of -- Layla, All Things Must Pass, and Low Spark. The guy was an incredible talent in his day.

 

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  posted on 2/24/2006 at 10:43 PM
Here's some reading for you...

It’s About Time
Bobby Whitlock (Grapevine)

If Time is the Great Teacher of Life, then it’s proper for the new century to welcome back a star scholar of musical chops: Bobby Whitlock. Showing off all his vocal and instrumental talents, Bobby’s new CD, “It’s About Time” (GRACD 265) has the depth of experience and access of interest to please folks from all ages. This package comes from a man who is blessed with a voice that richly carries a rainbow of intensive expression and ideas that cut across generations. Best of all, the always-soulful “Bobby Dubs” wears his heart on his sleeve throughout every song in this tasty collection of new and old material.

Bobby has always been known as a magician on a Hammond B-3, a sparkplug on piano, and a rocker and R&B specialist with grit and gospel in his blood and songs. The years have been good to him: he has gained a depth of passion and maturity to his singing—a sense of rich warmth and strength that only can be achieved as a gift earned through hard work and Time’s patience. Even better, Bobby showcases two marvelous assets: his slide guitar, and his friendship and collaboration with two instrumental wizards: Steve Cropper on guitar and the appropriately-named Jim Horn on saxophones. Credit should also be given to the late Duane Allman for the wisdom to show this good friend the technique and merits of a bottleneck—and Bobby has obviously been practicing Skydog’s recommendations.

“There She Goes” would easily pass as a sad ballad for a lost, departing sweetheart, but Bobby throws us something extra with this wistful lament: it’s not about a broken love affair, this is about his daughter’s journey to find truth and meaning in her life. Bobby literally leaves us in the doorway of parenthood memories as he watches his now-grown child embark on her search. A lush string arrangement by producer Paddy Prendergast frames a thick carpet of B-3 and piano refrain, and the slow pace captures Whitlock’s distress and pleading.

Bobby snaps back on track two with an old favorite from his Layla days: “Why Does Love Got to Be So Sad,” but this time, Bobby has a chance to take the reins (where Eric Clapton once held court). Cranked along by Darryl Johnson’s bass and Horn’s saxophone lineup, Bobby swoops and wails new life and energy into this piece.

The title song makes it clear why this man’s writing skills have been in demand by a collage of fellow musicians, as Bobby heralds a rallying cry for the world to account for a global reckoning of brother-and-sisterhood. This is followed by “Wing & A Prayer,” clearly displaying Bobby’s contemplative moments and spiritual growth that comes from listening and participating for hours in gospel church services. Jim Horn, on tenor sax, confidently stands beside his friend

There’s a tiger by the tail when Bobby picks up a slide (he uses a 5/8 or 11/16 socket when possible; he told me Duane Allman was his mentor and inspiration—and a personal joke to his technique of teaching it), and the lady who inspired “Sold Me Down the River” surely must have realized that this man can bare his claws. This has the texture and substance of pure Bonnie Raitt aggressiveness, and Ashley Whitlock’s sassy backup chorus vocal does her daddy justice.

Jim Horn’s soprano sax kicks off “It’s Only Midnite” with a poet’s voice, and Bobby’s piano and gutsy, gritty vocals chase after his buddy like two colts on a romp. “Standin’ in the Rain” comes next, and Bobby brings out his favorite six and 12-string acoustic guitars, reminding us why Tom Dowd wisely selected “Thorn Tree” as the last cut for Layla.

Drummer Brady Blade and Jim Horn take turns cooking like popcorn in a microwave on “Born to Sing the Blues,” and Bobby’s Memphis days are boogied to a golden brown. Of all the apropos statements this man has ever crafted, he was and is, indeed, able to claim this as a personal and righteous honor.

Whitlock’s voice paints a gorgeous pastel arrangement for his wife (and childhood love) on “High On You,” and Jim Horn again comes in as best man at this renewal of vows. Love definitely keeps the fireplace warm and glowing in the Whitlock household. Subtle, muted guitar by “Colonel” Cropper adds to the sincere arrangement. “Bell Bottom Blues” was Eric’s need to display his angst over Patti Harrison thirty years ago, but Bobby has showcased his keyboards and Leslie amps to properly reveal that an older man can still grieve. Beau Whitlock remarkably haunts the background vocals with a voice that could only have come from his father’s pipes—the younger man is now capably filling the notes his father sang on the original.

“Ghost Driver” (and the inside-liner photo of Bobby’s trashed Ferarri Daytona) clearly displays the thrill-seeking rocker that runs through his veins (at least, until he traded in his last fast car for the slow-and-easy Cadillac). Barry Swain’s guitar bursts and Horn’s sax chants serve as the pace car on this speedway course, followed closely by the always-dangerous B-3 and Bobby’s wind-whipped stormy vocals. Everyone in the studio comes back for a celebratory hug and reunion at the end for “I Love You,” and Bobby and Buddy Miller laugh and dance on an electric mandoline and 12-string exchange between vocals. It’s a perfect, cheery way to wrap up a wonderful gathering of happy, caring artists who love their work and are glad to show it. Jim Horn plays the court jester with sax squeals, Beau adds in an acoustic finale, and it’s time to make sure the “continuous play” button is engaged on the CD player.

This release is a perfect gift for anyone who needs that “hard-to-please” present for the friend or loved one in their life, as well as a riverbed of golden nuggets for the coffeehouse and cover musicians who want to flex their muscle and show some quiet strength at the same time. Be sure you have the tool box out and ready when Bobby comes to visit—he’s expecting that socket to be available for some good music. Better yet, hop, skip or bounce on down the road to grab this item: as Bobby would say, “It’s about time” you had some Whitlock in your life!

 

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