“David, little David, help me now, c’mon little David…”
Excerpts from David Hood Q&A, Soho Hotel Cinema
Audience member: Do you have a theory about what the magic of Muscle Shoals was?
DH: I think it’s a group of young people who wanted to make good music, that was the driving force. We never thought we’d be famous, we never thought we’d be Beatles or anything like that… always my role has been a supporting role. I was always the guy by the drummer playing and trying to do whatever I could to make the artist sound good… we all had the same goal and that was to play great music and to hear it on the radio. And that was a thrill… it’s still a thrill.
I was interested in the fallout of Aretha’s appearance in the Shoals and her sudden departure after Rick Hall and her husband, Ted White, came to blows. Was there a difference in feel, working in New York, where the sessions relocated, compared to the Shoals?
DH: Well it was a lot more formal. There were union guys saying You can’t unplug that amplifier, we gotta have someone come in. We did the Letterman show three weeks ago in New York and we’re setting up and I wanted to move my amplifier, and… In Muscle Shoals, we were the guys, that’s the thing. [But in New York] once we got in there, got in our positions, playing the music, it was the same, then…
Our little studio, 3614 Jackson Ave., when Paul Simon came and recorded there, he came to record “Take Me To The Mardi Gras”, because he had heard “I’ll Take You There” and wanted those black Jamaican musicians to play, so he came and booked the studio time. He booked four days for that song and when he came in it was raining and the studio leaked… I don’t know if it’s polite to say this but the sound engineer [Jerry Masters] taped tampons across the back of the control room roof, because the water was dripping on the control board. We got “Take Me” on the second take, so we had three more days – Paul Simon’s not going to give up the studio time he’s paying for so we cut “Kodachrome” and those other things… [those other things included “Loves Me Like A Rock”, “One Man’s Ceiling Is Another Man’s Floor” and the luminous and delicate “St. Judy’s Comet”, showing the deft touch that made them perfect collaborators. Just listen to Pete Carr’s guitar fills, Hood’s super-melodic bass and Barry Beckett’s cool vibes. The Rhythm Section also cut “Still Crazy After All These Years” and “My Little Town” with Simon].
So, very primitive facilities that we had… but it’s the sound of the musicians – it’s not the room, it’s the musicians. Many, many accidents happen in music. At the end of “Kodachrome” you hear Paul Simon go “OK” – that’s when he’s trying to get us to stop, to do it again, and we keep playin’ and it sort of becomes the record, so you never know on things like that.
My friend Alex: Often in the film Rick Hall comes across as an eccentric and sometimes brutal character – is that a fair depiction?
DH: That’s some true depiction – to this day. The session where you see [in the film] Candi Staton recording ”I Ain’t Easy To Love”…
Alex: He’s all over it, isn’t he…
DH: He was so typical Rick Hall. He was still as awful as he ever was. “No man, that’s no good! That’s not what I want…”
Audience member: Is it a love/hate thing?
DH: Mostly love [audience laughs]. He gave me my start, I would be nowhere without him… I tell him that every time I see him. It’s a small town where we are. You either love each other or kill each other!
Other than the fact that I missed there being any mention of Eddie Hinton (add your own non-hitmaking Shoals denizen here), the film captures something of the time and place that those wonderful records came from. Read Mick Brown’s lovely piece on the Telegraph’s site, that tells you what you need to know.
I caught up with David after 25 or so years – the last time we talked was in his office at 1000 Alabama Avenue. I wore the T-Shirt the studio had given us, and Alex took a picture on his phone.
Quote at the top: Mavis Staples’ exhortation to David Hood in “I’ll Take You There”. Sign photograph taken by me in ’87.