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  1. As Muscle Shoals Rhythm Section (MSRS) bassist David Hood stated in 2011, “With the different artists that we would work with, we always tried to sound like we were that particular artist’s band.” 1. In some instances, Rick Hall was the songwriter, but in most cases he was the recording engineer and producer.

  2. Muscle Shoals Sound Studio opened in early 1969 by the Muscle Shoals Rhythm Section (also known as the Swampers) – David Hood on bass, Jimmy Johnson on rhythm guitar, Roger Hawkins on drums, and Barry Beckett on keys. They began working together at Rick Hall’s FAME Studio in Muscle Shoals, Alabama where they became wel

  3. But the storyline pivots on FAME owner/record producer Rick Hall and the Muscle Shoals Rhythm Section, who left FAME to start their own Muscle Shoals Sound Studios, much to Hall's chagrin.

  4. The twin catastrophes of the split with Wexler and the loss of his rhythm section did not spell the end of Rick Hall, however. In 1968, he produced two monster hits at FAME: Clarence Carter’s Top 10 smash “Slip Away,” and the raucous “Tell Mama” by Chess Records artist Etta James.

  5. Apr 20, 2015 · Drummer Blog: Drummer Reflections from Rick Hall of Muscle Shoals/Fame Studios. Jerry Carrigan was the first drummer I used as a studio musician when I produced my first hit record for Arthur Alexander. It was called “You Better Move On.”. Jerry went on to play drums on my second hit, with Jimmy Hughes, which was “Steal Away” on Vee-Jay ...

  6. May 7, 2024 · Muscle Shoals Rhythm Section, 1970s The Muscle Shoals Rhythm Section (MSRS) is one of America’s most notable American recording-studio “house bands.” The quartet emerged during the golden age of “rock & soul” in the 1960s and early 1970s and played on hit records by soul recording stars such as Percy Sledge, Wilson Pickett, and Aretha Franklin, as well as on country-rock songs by ...

  7. Jan 3, 2018 · In the often-volatile music business, Hall often faced challenges, among them the defection of the Swampers rhythm section in 1969, when the musicians wanted more control over what and with whom ...

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