Five times Duane Allman proved he was a genius through collaboration
When it comes to slide guitar, Duane Allman practically wrote the handbook. Although he might not have been the first to pick up a slide, his work with the Allman Brothers made his guitar sing anthems of Southern rock.
Allman knew how to spread the wealth though. Outside of his work with the Allmans, Allman brought his own flavour to classic songs for other artists. While he might not have taken credit for everything, he’s responsible for some of the greatest songs on these records just by adding the slightest touch on a slide.
What made those contributions so effective was their subtlety. Allman never felt the need to dominate a track to leave his mark, instead finding small pockets within a song where his playing could elevate the mood without overwhelming it. It was an approach rooted in restraint, understanding that sometimes the most powerful moments come from knowing exactly when to step forward and when to pull back.
That sensitivity also made him an ideal musical partner. Rather than imposing a singular identity onto every session, he adapted to the tone and intention of the artist he was working with, enhancing their vision while still retaining his unmistakable voice. It is a delicate balance to strike, but one that Allman managed with ease, turning even the briefest appearance into something memorable.
Although Allman takes a back seat on most of these songs, his tone is instantly recognisable from the minute that you hear his slide coming in. Even when he’s standing next to legends like Aretha Franklin and Eric Clapton, Allman’s delicate touch on the guitar is what grabs your ear whenever you hear these songs.
Whether he’s running through slide licks or going on different shredding runs, what Allman did sounds like he’s talking through his instrument.
Five times Duane Allman proved he was a genius:
‘Hey Jude’ – Wilson Pickett
There’s no real way to eclipse the Beatles, but Allman makes a case on this version of Paul McCartney’s classic song.
While there might not be as much flash on here, Allman’s lyrical touch on guitar is on full display, poring over every single note that comes out of his six-string. Even though Pickett’s performance is no slouch, Allman’s guitar packs all of the emotion behind Paul McCartney’s words into one simple sound.
The southern rock community weren’t the only ones impressed either. When hearing it for the first time, Eric Clapton called it one of the best songs he had ever heard. Not bad for a kid who wasn’t even signed yet.
‘The Weight’ – Aretha Franklin
When you’ve cut your teeth as a session musician, people don’t want you to sound like someone else. By the time the Queen of Soul took on The Band’s classic, Allman was battle ready.
This song doesn’t beat around the bush, either. From the first few seconds, Allman’s slide hooks you in to hear the beginning of Robbie Robertson’s most celebrated tune. And when he matches Franklin’s voice, it’s pure musical heaven.
There’s almost a spiritual quality to what Allman does here. The song may be about heartbreak and the weight that comes with it, but Allman’s guitar seems to be crying out in pain on every single lead break.
‘Push Push’ – Herbie Mann
Southern rock was only a small portion of what Allman was capable of. When he teamed up with flautist Herbie Mann, we got to see the jazzy side of southern rock.
As much as Allman could play like a singer, he is all over the neck on here, exchanging lines that feel like they were lifted out of a smoky jazz club circa 1945. Allman was no stranger to this kind of jamming either. If you listen to At Fillmore East, Allman had a symbiotic relationship with his bandmates, and hearing a song like this finds Allman in his natural habitat.
Although there is a set structure, Allman lets the music carry him to wherever he needs to go. It might not be as lyrical, but this is a more condensed version of what Allman did live with the jam band.
‘Living on the Open Road’ – Delaney and Bonnie
Delaney and Bonnie is where a lot of phenomenal guitarists cut their teeth for the first time.
Although George Harrison and Eric Clapton had come and gone, Allman held his own next to those legends. Delaney had secured the work of Allman purely by accident, requesting Ry Cooder to play slide but getting Allman instead.
Considering the weeping sounds on this tune, it seems like a fair trade. Despite Cooder’s legendary reputation, only Allman can make a guitar sing like this, taking the main melody of the song and playing with it throughout his lead breaks. There’s nothing wrong with a standard pop song like this, but you sometimes need an Allman touch to get it into prime form.
‘Layla’ – Derek and the Dominoes
When you’re on Allman’s level, the legends come to you. After playing with the Allmans, Eric Clapton asked Allman to sit in with Derek and the Dominoes.
While ‘Layla’ is Clapton’s magnum opus, Allman holds his own, playing delicate slide behind Slowhand’s amazing riff. Since the song was written around Clapton’s unrequited love for George Harrison’s wife Patti Boyd, Allman’s slide licks may as well be the sound of his heart crying out in pain.
Though there are two legends on this track, this was no competition. Clapton had brought Allman on as a piece of Derek and the Dominoes, and he was looking to get the best out of every player that he used. And when you have players of this calibre, you just sit back and let the music do the talking.
