from page 79 and 80 of Willie G. Moseley's THE ATLANTA RHYTHM SECTION: THE AUTHORIZED HISTORY, 2018:

After taking note of the burgeoning "Southern Rock" phenomenon (especially Phil Walden's Capricorn Records), veteran New York musician Al Kooper had moved to Atlanta and had founded a venture called SOUND OF THE SOUTH RECORDS, distributed by MCA Records. In the spring of 1973, he would record LYNYRD SKYNYRD and Atlanta's MOSE JONES at STUDIO ONE, essentially leasing the facility from Buddy Buie and associates.

MOSE JONES actually had two incarnations, the first of which would be the aggregation recorded by Kooper. Their keyboard player, Steve McRay, was a Vietnam veteran who joined the band after he left the Army.

Ultimately, much more attention would be paid to LYNYRD SKYNYRD than to MOSE JONES by Kooper's record label, even though the latter aggregation was a hometown band. The first incarnation of MOSE JONES, would record two albums, GET RIGHT and MOSE KNOWS, under Kooper's aegis, before splitting (for the first time) in 1975.

J.R. Cobb: "I remember Al coming around the studio, and people were talking about he'd played in BLOOD, SWEAT AND TEARS and had done that big SUPER SESSIONS album, but now he was producing LYNYRD SKYNYRD at our place. Sometimes we'd come in during the day, and they'd come in at night, or vice versa. [SKYNYRD singer] Ronnie Van Zant was the taskmaster of that band. He insisted that they rehearse over and over to get their songs as tight as you can imagine."

Former Jacksonville resident Robert Nix played drums on LYNYRD SKYNYRD's "Tuesday's Gone," which also included Kooper on Mellotron.

Interestingly, after the contents of what would become the band's debut album [PRONOUNCED LEH-NERD SKIN-NERD] were completed, the band returned to STUDIO ONE and recorded "Sweet Home Alabama" and "Saturday Night Special," which ended up as the leadoff tracks on the band's next two albums.

What's more, Ronnie Van Zant was a fan of Ronnie Hammond's singing, and the two lead vocalists became good friends. Van Zant reportedly commented on Hammond's vocal range, telling the new A.R.S. frontman, "You have the most perfect rock-and-roll voice I've ever heard."

The use of a Fender Stratocaster guitar by another LYNYRD SKYNYRD member underlined J.R.'s commitment to concentrate on that brand and model as his primary guitar with the A.R.S.

"When Ed King came into STUDIO ONE with SKYNYRD, he was the one who really made me want to stick with a Strat," Cobb recalled. "I knew he'd played with the STRAWBERRY ALARM CLOCK, he got that "Strat sound" better than anybody I'd ever heard."

And King himself was a fan of STUDIO ONE.

"I loved that place," King recalled. "Very relaxing, and what great sound. I recall Buie coming in during both 'Sweet Home Alabama' and 'Saturday Night Special' [sessions]. He was quite complimentary!"

Listening to some of the studio work by some of the Atlanta Rhythm Section members, King also admired the sound Barry Bailey evoked from his red Telecaster.

Dean Daughtry remembered playing, along with other A.R.S. members, on some of Al Kooper's own material recorded at STUDIO ONE, while Robert Nix recalled that Ronnie Van Zant would hang out around STUDIO ONE when it was occupied by the A.R.S., encouraging the band about taking their sound out on the road.    https://www.schifferbooks.com/the-atlanta-rhythm-section-the-authorized-history-6463.html?fbclid=IwAR3Kfv7TNAoo1K6AIggOQxOISTTNHLyvKdofzfysaHWTu6kQQ

Wanted to let my Facebook friends know I'm working on a little fictional story that's based upon events in Dothan during April, May and June of 1966. That was the end of the first year that Dothan High had been integrated ; Houston County was engaged in a WET-DRY election and the Dothan High Class of '66 was trying to survive graduation under the administration of NOTORIOUS DHS principal, Brad Stephens (any BRAD OR ARCHIE STORIES will be greatly appreciated). This link is for a YouTube video Bruce Wallace and I put together for our DOTHAN HIGH CLASS OF '68 5Oth Class last year.  It takes a half hour to watch but put on the headphones, turned up the juice and set the damn thang loose! It'll jog your memory and I need all the help I can get and so do a lot mo' folks now that it look like they ain't gonna be no mo' DOTHAN HIGH TIGERS in the future) https://www.youtube.com/watch?v=58r4Ck-YLoM&t=1774s

The July 7, 2006 Paul Finebaum Interview with BUDDY BUIE http://www.finebaum.com

Paul: And we bid you hello. As we set off for the weekend on a holiday week and what better way to kick back. If you're heading to the lake, coming back from the lake or to the beach or just chilling out on this afternoon talking to one of our favorite guests. We had him on a couple of months ago. Didn't have enough time. We said we'd get him back and he is here. Buddy Buie, the famed songwriter and producer trecked up here from the Dothan area.

Buddy: Eufaula

Paul: Excuse me, Eufaula area. The Dothan area going a little deeper into...
How far is Dothan from Eufaula?

Buddy: Dothan is about 50 miles south of Eufaula.

Paul: O.K. Well, you didn't have to go to Dothan then to get here.
[Laughter]

Buddy: But I was born and grew up in Dothan.

Paul: Something tells me you're near the lake.

Buddy: Yeah, I'm on the lake.
[laughter]

Paul: I had a guess!
Well, Buddy, of course, has a storied career and you grew up in Dothan.

Buddy: Yes.

Paul: I'll get that right eventually.
We hung around a couple of hours a few months ago talking about some of the great classics and you have a new release, which we will get to later on, entitled THE DAY BEAR DIED.
There's so much to talk about and I know we'll have a lot of phone calls as well. We're glad you're back.

Buddy: It's good to be back. It really is. I really enjoyed being here last time and brings back a lot of old memories coming back to Birmingham. We used to come to Birmingham so much. Made the first record I ever made in my life here in this town.

Paul: I didn't know that.

Buddy: Yeah. Heart Recording Studios. It was over a blood bank downtown.

Paul: What was that?

Buddy: It was just a little recording studio owned by a guy named Ken Shackleford and Bobby Goldsboro and all us came up from Dothan and made the first recording we ever made. You know, just a little band out of Dothan. Coming up here, being so excited about actually cutting a record. Nothing we cut there ever did anything but at least it was the first exposure we had to the recording industry so Birmingham is kind of near and dear to my heart.

Paul: Now you grew up with Bobby Goldsboro. Which one of you started in music first?

Buddy: Hmm, I think pretty much, probably simultaneously, I mean, we were in high school and we both liked the music. He played guitar and had a little band and I was a big music fan and so we kind of started our careers together.

Paul: You've had so many hits. We were chatting off the air with one of our younger guys, trying to see if we could connect the dots between your big hits and today and one of your songs which made the charts with two different groups. Made the charts with the Atlanta Rhythm Section in 1979 but it first hit the charts, got all the way up to I think #3 in '68 with The Classics IV. People will recognize this one.

Buddy: Yeah.

[SPOOKY plays]

Paul: When this song came out in the late Sixties, obviously Buddy, you did it again with ARS about 11 years later, was it much different in terms of the arrangement?

Buddy: Actually, not a whole lot of difference. Main difference was it was a guitar solo instead of a saxophone solo. You know we had one more. We had a #1 jazz record with David Sanborn.

Paul: I didn't know that.

Buddy: Yeap,we did. That was only about five years ago. It was a #1 jazz record released around Halloween, of course.

[cell phone rings loudly]

Buddy: My goodness! I forgot to turn my phone off!

Paul: That's the loudest phone I've ever heard!

[laughter]

Paul: I thought that was a new solo on SPOOKY or something!

[laughter]

Buddy: I am sorry.

Paul: It's Billboard saying you're back on the charts!
While waiting to hear......

Buddy: No I was turning it off!
I don't know who that was but I turned it off.

Paul: Wow!
It's interesting because songs like yours and we'll obviously go through the charts as we move thoughout the program and somebody out there has a special one they'd like to hear before we get it, go right ahead but they're timeless. Just a few minutes ago, we have a couple of music staitions here, I heard SPOOKY. I think it the ARS version, not that I could tell. Last night I'm driving home flipping around. TRACES. I mean you just don't have to look very hard to find your music.

Buddy: Well, those songs, that's one thing we're proud of is ,you know, like Spooky was written in 1967 so, God, that's almost 40 years. Lacking one year. Right?

Paul: Pretty close.

Buddy: That's scary. I started real young.

Paul: How old were you when you penned your first song?

Buddy: Actually, the first song I wrote about my wife, Gloria, and it was a song called IT SEEM SO STRANGE. It's never been released. Nobody's ever heard it.

Paul: In the vault.

Buddy: It's in the vault.

Paul: There's a reason you haven't come out with it!

Buddy: Exactly!

Paul: Is there something in there maybe that's not...

Buddy: No not really.

[laughter]

Paul: She's blushing by the way!

Buddy: I wrote songs in secret for a couple of years.

Paul: In secret.

Buddy: Yeah, because of the fact that,yeah, you just don't wake up one day and tell your buddies,"Hey, I'm a songwriter!"

Paul: No.

Buddy: I mean, they look at you eschew like, "Lord, you are what?!!!!"

"I'm a songwriter."

[laughter]

Paul: Right in the middle of football practice, you're in the huddle...

Buddy: Exactly! It's kinda....
So I wrote and would keep 'em to myself. Finally a boy by the name of John Rainey Adkins in Dothan. He and I started talking about songs and he played guitar and he took me seriously and we started writing songs so...

Paul: Who influenced you during that time?

Buddy: Well,of course, Elvis Presley, Ray Charles, all the ones you would probably think of, oh, Roy Orbison. Fortunately I had a long....
I worked with him a long time but before I knew him, I was...

Paul: You got out of high school what year?

Buddy: '59.

Paul: As Elvis was really firing up the charts.

Buddy: He'd already in '55, '56, '57.
'57 was a big year.

Paul: So you got to high school about the time Elvis was ...

Buddy: Exactly.

Paul: Knocking 'em dead!

[Laughter]

I could see how he could be an influence!

Buddy: Yeah I wore pink and black. Back then, guys would come to school with pink shirts, black pants and a little white belt- little thin white belt and that was an Elvis fan.

Paul: We all know and I grew up in the same town that he was in and it's hard to get away from Elvis Presley but how important was that sphere to young people?

Buddy: It was The Holy Grail. It was...
I mean Elvis Presley impacted my life and I suppose everybody, most everyone, like my class in school. He was just...
If you were really into music, he was THE MAN!
I saw the Prime Minister of Japan and President Bush at Graceland. I thought that was cool.

Paul: In your career and obviously you started writing during this period. You had hits on the charts as early as the mid to late Sixties. Did you come in contact with Elvis at all?

Buddy: No, I talked to him. I had been fairly hot as a songwriter and a guy by the name of Red West...

Paul: Oh yeah! Sure!

Buddy: that worked for Elvis called me and said, "Buddy, E wants to say hey."
Just blew me away.
[Buddy imitates Elvis]
"Hey man, we'd sure like for you to write us some songs. We're going over to Memphis to record."
So that's when he went over and did the great work with my buddy,Chips Moman, over in Memphis.

Paul: He was on the phone?

Buddy: He was on the phone.

Paul: Red West, I remember him.

Buddy: Did you ever know Lamar Fike?

Paul: No, I didn't know these people. I just remember their names.
[laughter]

Buddy: I knew a lot of his people.

Paul: I knew one. My next door neighbor as an infant was a guy named Marty Lacker.

Buddy: Oh yeah! Marty Lacker, huh...

Paul: He was part of the Memphis Mafia. So I was two years old I didn't jam with him too often.

Buddy: I saw him in Vegas. His producer at that time when he was in Vegas at the Hilton was Felton Jarvis. This was after Chet had produced him.
By the way, did you know that Chet Atkins produced all the Elvis things.
Would you believe if I told you that Chet Atkins quit recording Elvis Presley?
You know what the reason was?
Because they recorded at night!
[laughing]

Chet says,"Elvis, I love you and we're making some great stuff but I can't handle this late night."
[laughter]

That's what you call CONFIDENCE!!!!

Paul: I guess at this point in your career....
This was not the peak of Elvis' recording career.

Buddy: You know, in retrospect, that trip to Memphis and those recording sessions at Memphis had SUSPICIOUS MINDS and IN THE GHETTO.

Paul: Late Elvis.

Buddy: Yes. Late Elvis. The best late Elvis. Elvis was really trying...
He'd done all those lame movie songs for so many years, you know, early Elvis is Elvis to me except for that brief period where he went to Memphis and Chips Moman recorded him on those great songs. Those songs now are....
I know the Prime Minister of Japan the other day, the songs he was singing...
SUSPICIOUS MINDS

Paul: Did people compose and write songs for Elvis? Obviously, he didn't....

Buddy: I didn't get a song on the session unfortunately. I'd loved to. I sent songs but they didn't do 'em.

I good at taking a "NO!"
You have to be thick skinned in my business.

Paul: You had to feel pretty good though. You had a few on the charts when he wasn't on the charts.

Buddy: Yeah and like I said, his producer in Memphis was good friend of mine so when he asked Chips about songwriters, Chips named four or five songwriters that he should call and he called some of the best around Memphis and I'd already had a hit with Chips for a girl named Sandy Posey. A song called I TAKE IT BACK. My first BMI award. It went to about #19 in the country. Yeah, you know that whole era of music and when Elvis came back strong, it really meant a lot to a lot of people and those songs today are big for him. I loved DON'T BE CRUEL. All those things that were playing while I was in high school '57, '58,'59.
Those are my favorites but he really did some good work late that a lot of people don't recognize.

Paul: It's interesting to wonder... What (laughs)
We're talking about Elvis Presley but if he had not done so much time doing movies, what kind of...
I mean to say he didn't leave a legacy would be the most ridiculous statement I ever made but there was a big gap.

Buddy: There was a gap between the early and he did all those movie songs. Those were such lame songs.

Paul: VIVA LAS VEGAS! (laughs0

Buddy: VIVA LAS VEGAS was one of the better ones.

Paul: BLUE HAWAII. What were some of the others?

Buddy: Yeah, BLUE HAWAII, but there were a lot of things he did that he hated and he would just go in and do 'em by rote. I know this from talking to people who were around him. Gosh, I don't remember the year. What year did he go back to Memphis? It was in the 70s and cut those things. You know those movie songs he made, everybody kind of laughs at 'em but do you know how big those things were? I mean...

Paul: I remember seeing some of them...

Buddy: I did too. I never missed one!
But we used to laugh a lot.

Paul: Well we shouldn't feel sorry for Elvis. He had a pretty good career.

Buddy: I'll tell you, you know, when he died...
It hit everybody.
I can remember the exact moment, the exact place I was. I was writing at Lake Eufaula, matter of fact, for the Atlanta Rhythm Section at Lake Eufaula. My buddy, Dean Daughtry went up....
We didn't have a telephone there. On purpose.
Back in the cabin, a little trailer where we wrote and we were working on Champagne Jam album and Dean went down to the store to get us some hot dogs and came back and said,"Man, you won't believe this. Elvis is dead!"

Paul: Umm.

Buddy: I never will forget it

Paul: Back with much more...

from the PAUL FINEBAUM SHOW, April 13, 2006 http://robertoreg.blogspot.com/2016_12_18_archive.html

Paul: So many great songs for The Atlanta Rhythm Section!
For the CLASSICS IV!
The Lettermen!
Buddy Buie, who's heading toward...
He's in the Georgia Music Hall of Fame!
He's in the Alabama Music Hall of Fame!
& now he's in the FINEBAUM HALL OF FAME!
because this is one of the best shows we've had in a long time!

Buddy: Thank you so much! I've really enjoyed being here!

Paul: We hope to see you this summer.

Buddy: I'd love to come back!

Paul: We'll pause right here.

"The first time I saw Buddy Buie he was probably managing the Webs and we were sharing a bill with them at THE OLD DUTCH & I don't even remember what the name of my band was but in Buddy Buie I saw a guy who had more desire and more ability and more natural talent than anybody I'd run into in my life up to that time. He wasn't really a guitar player but he could make enough chords & he wasn't really a singer but he could write the most beautiful songs & when he would rair back & play one for a room full of people, he didn't let his guitar playing & vocals stand in the way, I mean, if you had any imagination at all, you could hear the finished product & I also noticed that Buddy took care of the little details nobody else wanted to do, like booking the jobs & making sure the guitar player had his pick. You know, all that kind of stuff~" the late JOHNNY WYKER on TIGER JACK'S RADIO SHOW, July 11, 2008 http://www.birminghamrecord.com/brc/hall_of_fame/buddy-buie/

"The first time I saw Buddy Buie he was probably managing the Webs and we were sharing a bill with them at THE OLD DUTCH & I don't even remember what the name of my band was but in Buddy Buie I saw a guy who had more desire and more ability and more natural talent than anybody I'd run into in my life up to that time. He wasn't really a guitar player but he could make enough chords & he wasn't really a singer but he could write the most beautiful songs & when he would rair back & play one for a room full of people, he didn't let his guitar playing & vocals stand in the way, I mean, if you had any imagination at all, you could hear the finished product & I also noticed that Buddy took care of the little details nobody else wanted to do, like booking the jobs & making sure the guitar player had his pick. You know, all that kind of stuff~" the late JOHNNY WYKER on TIGER JACK'S RADIO SHOW, July 11, 2008
http://robertoreg.blogspot.com/2015_08_09_archive.html

1972 DEAD GIG @ THE KESEY FARM https://www.youtube.com/watch?v=r5aA3pu1hJw

MEME GENERATOR https://imgflip.com/memegenerator

SUMMER OF '69 by John Little : In 1969 a group of Chukker Nation types spent the summer in New Jersey driving Pied Piper Ice Cream trucks. Besides myself there was John Vanslavie, Rick Stiengress, Pat Jordon (Siano), Bill Hart and a couple of others who's identity I can't remember. Bill Hart would leave with his truck each morning with a case of beer in the freezer which he would completely polish off before he had returned to plant at night (he was an excellent role model for his little children customers). One of the great mysteries in Chukker Nation lore, of course, is "whatever happened to to Bill Hart". In early June (with the encouragement of Rick Stiengress) I hitch hiked to Alaska alone (45 rides in 8 days). I worked there for a couple of months then flew to Kansas City and hitched back to Tuscaloosa in time for the fall semester. Before leaving New Jersey in early June some of our housemates were talking about going to the Woodstock festival in mid-August (about an hour and a half drive north). I think that Bruce's the story is about right but I'm not sure that the term "Chukker Nation" was born exactly in August of 69 but it certainly was at some point within the following year. I certainly remember Lloyd Russell. I also recall that one or more narcs had infiltrated the Chukker Nation circle resulting in arrests.

There's an interesting MARION INSTITUTE connection to the novel DEVIL MAKE A THIRD. The character of the small red haired boy who is "Earnestine's oldest boy" is based upon T.E. Buntin (1896-1898 ) and the character of his mother, Earnestine Bannon is based upon T.E.'s Mama, Eugenia Baker Buntin (1867-1898). Probably as early as high school, Buck Baker (1869-1921), T.E.'s uncle who is the model for the protagonist of the novel, paid for T.E.'s tuition and expenses @ Marion and later @ the University of Alabama. The National Guard armory in Dothan is named after T.E. I'd appreciate any comments or information which will reveal THE REST OF THE STORY of the impact of DEVIL MAKE A THIRD. https://privatepropertynotrespass.blogspot.com/2017/07/antiquated-terms-and-expressions-from.htmlhttps://privatepropertynotrespass.blogspot.com/2017/07/antiquated-terms-and-expressions-from.html

"They's lots more but we better eat if we're goin' to carry you to THE FIDDLERS' CONVENTION."
We went back to the kitchen and sat down to a steaming mess of salt pork, collard greens, cowpeas and cornbread.
"Where's the convention?, said Knox.
"Valleyhead," said Henry, piloting a well-forked bale of greens into his mouth.
"Biggest of the year," he continued. "Fiddlers from all over the state. Ez Cowart and his boys- 'Cowart's Hell-Raisin Quintet' they call 'emselves- be comin' through the country from Lawrence County. They say Bob Taylor is comin' by train from Tennessee. Then there's Monkey Brown from Tuscaloosa County and the Rice Brothers an' Chun Gizzard an' a heap more. Let's get movin'. I'm as nervous as an old woman in a mother hubbard standin' on an anthill." (quoted passage from STARS FELL ON ALABAMA, clipping from the October 16, 1921 TUSCALOOSA NEWS)

FIDDLER'S CONVENTION FROM STARS FELL ON ALABAMA https://books.google.com/books?id=3ko_CgAAQBAJ&pg=PA40&lpg=PA40&dq=Fiddler%27s+Convention+%22Stars+Fell+On+Alabama%22+Carmer&source=bl&ots=H8UzHCq8mW&sig=t-KtJjfe5axWqc6J34MW6HA9IDM&hl=en&sa=X&ved=2ahUKEwiYiYTentffAhWidt8KHTmTDWkQ6AEwAXoECAEQAQ#v=onepage&q=Fiddler%27s%20Convention%20%22Stars%20Fell%20On%20Alabama%22%20Carmer&f=false