![]() Meanwhile social media aficionados have no doubt influenced the 5% who love to call their other half 'boo', followed closely by a further 5% using the totally cringe name 'baby boy/girl' as an endearing term. The UK's favourite pet names have been revealed. Read more: The nation's biggest dinner date turn-offs revealed These were followed by the somewhat flirtatious 'handsome', popular among 9% of respondents and 'honey' and 'sweetie' in joint sixth and seventh place. Next up is ‘babe’ (25%), followed by ‘honey’ (17.8%), and ‘sweetie’ with 15.3% claiming that as their pet name of choice. When it comes to the most popular pet names couples in the UK have for each other, has it that, perhaps unsurprisingly, ‘love’ comes out on top, with almost a third (29%) of the 1,500 respondents admitting to using it. While it might be somewhat embarrassing to admit many of us have soppy, made-up terms of endearment that we reserve for our nearest and dearest, new research has suggested that almost half of Brits (47%) use schmalzy pet names for their partners.īut turns out not all pet names are created equal with some being dubbed considerably more cringey than others. (Getty Images)Įven those with the hardest of hearts are likely to have cute (or cringe?) pet names for their other half that they use when no one else is around. and Rita’s sister Priscilla in 1973.'Love you 'baby cakes'' - the nation's cringiest pet names have been revealed. It certainly sounds similar to the Coolidge-penned Time, released by Booker T. It’s like Guitar Wars – you’ve got three or four guitars and everybody’s going all over the place.” Whitlock also claims that Gordon stole the piano part from Rita Coolidge, his then girlfriend. “It has nothing to do with the rest of the song. Jim Gordon’s piano coda, added three weeks after the song had been recorded, further irritates Whitlock. Such remarks are heresy to the Allman fan club, but there are reports of an unreleased out-take of Layla that was abandoned because of “tuning issues”. If Eric had been playing them it would have been different.” Both the slide parts he put on to the coda are out of tune. “ Layla would have been just as great without Duane on it,” he says. While he credits him with some inspirational performances – “The majesty of those opening chords on Little Wing is all Duane for sure” – he has a problem with some of his other contributions. Whitlock’s appreciation of Allman’s playing with Derek And The Dominos is more measured. Not once did either of them have to say: ‘Could you play that again, please?’. "One of them would play something and the other would react instantaneously. “There had to be some kind of telepathy going on, because I’ve never seen spontaneous inspiration happen at that rate and level. ![]() “There’s an Eric rhythm part, three tracks of Eric playing harmony and the main riff, one of Duane playing that beautiful bottleneck, and one of Duane and Eric locked up, playing counter melodies,” he said. Tom Dowd recalled layering six guitar parts on the track. Some people even maintain that it was Allman who introduced the opening riff into the song, although Whitlock disagrees. What Allman did was to change the song’s dynamic by speeding up the opening riff. Nevertheless, the fact that Layla gave the record its title and is the climax to the double album suggests that Clapton regarded it as a special song, even before Allman added his masterstroke. “It wasn’t like, ‘We’ll do this one first and then this one, and we’ll leave Layla for last’,” he explains. Layla was recorded towards the end of the album sessions, and Whitlock says the album was recorded pretty much in the order you hear it. Within days, Duane Allman was playing at the album sessions, transforming the atmosphere as he and Clapton brought the best out of each other. Afterwards, Clapton invited the band back to the studio, where they jammed for the next 18 hours. According to Dowd, the sessions had been sluggish before he took Clapton to an Allman Brothers concert. And then Duane stirred ’em up.”ĭuane Allman, guitarist with the Allman Brothers, was introduced to Clapton by producer Tom Dowd soon after sessions began on the Layla album at Criteria Studios in Miami. ![]() “Eric brought that seven-note lick with him to the recording sessions. We’d gone through it before,” says Whitlock. The opening riff was also there – taken from Albert King’s As The Years Go Passing By – but the song was much slower than it finally appeared.
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