I said that the aspect of his voicing that is beyond me is his placing of the root-note of a complex chord at the top of the stack as the highest note, with the most complex harmonic element (the major 7th) voiced below it on the third string an octave plus a semitone away, and the fifth as the bottom note (so a 2nd inversion of the chord). This is most unusual, but it distinctive: here is the opening chord of "Three Sheets To The Wind", shifted up a fret into A minor to make it easier to notate -
Am9/E x (0) 14 16 13 17
The bracketed open A on the 5th string is just for reference - Allan would leave that to the bass player. The other notes going up are E (5th), B (9th), C (b3rd) and A (root). It is common to have the 9th and the b3rd a semitone apart, as here, but I can't think of another musician who would displace the voicing of the A root note an octave UP rather than down! Like I said last time, Genius!