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