David Hood

Mentioned in this March 1, 2019 al.com interview.

The bass Hood played from FAME days as well as after co-founding Muscle Shoals Sound in 1969, with Johnson, Hawkins and key Beckett, was the very first bass he ever owned: a sunburst 1961 Fender Jazz.

Before Hood embarked on a rare (for him) tour in 1973, performing with Steve Winwood's jam-band Traffic, he stripped his Jazz finish to give the instrument a new look. Hood had recently built some speaker cabinets for his home stereo. He used leftover walnut-stain to re-hue his bass. He cut a new pickguard from a floor tile and then painted it black. "It was really cool looking," Hood recalls. Alas, while on tour with Traffic his beloved '61 Jazz was stolen from behind New York venue Brooklyn Academy of Music at a gig. "I hated to lose that bass," he says.

The next day, Hood went to Manny's Music and bought two new Fender Jazz Basses. "But they'd changed by then and I was never really happy with that," he says. Later, he acquired an Alembic bass and played that instrument on many of his recording sessions after 1976. "The guys in San Francisco that equipped the Grateful Dead made they [sic] Alembic instruments," Hood says. "I've still got mine. It's got a double-octave neck though and with arthritis in my wrists and shoulders I rarely play it, because it's not really comfortable to play. But it's a great sounding instrument."

The '61 bass is also discussed in this February 20, 2014 No Treble interview.

What are some of your favorite instruments to use in the studio? Does it change based upon the session?

My first bass was a ’61 Fender Jazz. It took a long time, but I eventually got a really good sound with it. I worked with that bass for over 10 years so I knew how to make it sound right and I measured all other basses against that one. That bass got stolen on one of the Traffic tours in ’73 so I immediately went out and got two other Jazz basses. Then I got an Alembic and was able to get a really good sound with that one. People would come in to the studio and say, “Gosh, I thought you played a Fender. What’s that thing?” But it got a great sound, and as always, I was playing and working for the sound that came out of the speakers. I’ve gotten a good sound with a Kubicki X-Factor bass and then I’ve got some Lakland basses that I really like… one of them is a Joe Osborn model. It’s the closest thing to my first jazz bass; it’s got the stacked tone controls and the neck feels like the neck that was on that Jazz. It has the sound I want and it plays well for my hands.

A photo of Hood with a Jazz bass can be found here.

Mentioned in this March 1, 2019 al.com interview.

A vintage photo of Muscle Shoals Rhythm Section bassist David Hood with his Alembic bass. (Courtesy of Dick Cooper)

(...) Later, he acquired an Alembic bass and played that instrument on many of his recording sessions after 1976. "The guys in San Francisco that equipped the Grateful Dead made they [sic] Alembic instruments," Hood says. "I've still got mine. It's got a double-octave neck though and with arthritis in my wrists and shoulders I rarely play it, because it's not really comfortable to play. But it's a great sounding instrument."

This May 17, 2013 Bass Player interview specifies that Hood used the bass from 1976 to 1988.

From 1976 to 1988, he played an Alembic; he also occasionally plays a Kubicki Factor and a 1957 Fender Precision. (Hood’s Jazz Bass was stolen during the Traffic era.) He uses flatwound strings on the Lakland Osborn and the Precision, and roundwounds on the rest. For amplification, he favors a Gallien-Krueger head driving two Ampeg cabinets, each of which has two 12" speakers.

In this February 20, 2014 No Treble interview, Hood discusses his initial switch to the Alembic.

My first bass was a ’61 Fender Jazz. It took a long time, but I eventually got a really good sound with it. I worked with that bass for over 10 years so I knew how to make it sound right and I measured all other basses against that one. That bass got stolen on one of the Traffic tours in ’73 so I immediately went out and got two other Jazz basses. Then I got an Alembic and was able to get a really good sound with that one. People would come in to the studio and say, “Gosh, I thought you played a Fender. What’s that thing?” But it got a great sound, and as always, I was playing and working for the sound that came out of the speakers.

The "Bass FAQ" page of Hood's official website mentions that the '76 Alembic is "[a] veteran of 1,000 recordings, still a great sounding bass."

Mentioned in this May 17, 2013 Bass Player interview.

From 1976 to 1988, he played an Alembic; he also occasionally plays a Kubicki Factor and a 1957 Fender Precision. (Hood’s Jazz Bass was stolen during the Traffic era.) He uses flatwound strings on the Lakland Osborn and the Precision, and roundwounds on the rest.

It is also mentioned in this February 20, 2014 No Treble interview.

I’ve gotten a good sound with a Kubicki X-Factor [sic] bass and then I’ve got some Lakland basses that I really like… one of them is a Joe Osborn model.

The "Bass FAQ" page of Hood's official website mentions that the Kubicki is "[v]ery versatile, with great tones for both recording and playing live."

Discussed in this August 12, 2015 Bass Player interview about Hood's work on The Waterboys' Modern Blues. Note that the Skyline 44-60 is the current name of the 4-string Joe Osborn model.

What basses did you use on the album?

I was playing a Lakland Joe Osborn model with flatwound strings. It’s like a real good vintage Fender Jazz Bass, the one with stacked knobs. I think I used that bass on everything except for one song, “I Can See Elvis.” They needed a thumpier sound on that one. I used a ’57 Fender Precision, a workhorse and a great bass that looks like crap. That bass has flatwound strings, and I put some foam rubber in front of the bridge.

Is the Lakland Osborn your main bass these days?

I think so. It didn’t start out to be. At a NAMM show, Dan Lakin said to me, “Come up to the hotel. I want you to meet Joe Osborn.” I thought, Wow, he’s one of my heroes. So I go and meet Joe, and we’re talkin’ and he’s playing, and when it was over, Dan said, “Would you like to take that bass with you?” It was a pink bass, and I thought, Pink? I don’t want a damn pink bass [laughs]. He said, “It’s not pink, it’s Burgundy Mist. It’s a General Motors color.” My wife was with me, and she nudged me and said, “Take the bass.” So I took it.

I didn’t play it for almost two years. I didn’t really like the sound of it; I thought it was too bright. But after two years, I finally realized that when I turn the treble back on both pickups a little, it has a really nice sound. It’s got nice Lindy Fralin pickups. I just cut the treble and play with my fingers, and it’s got a warm, rich sound. I’ve fallen in love with that bass ever since, so I have been using it quite a bit.

It is also mentioned in this May 17, 2013 Bass Player interview.

From 1976 to 1988, he played an Alembic; he also occasionally plays a Kubicki Factor and a 1957 Fender Precision. (Hood’s Jazz Bass was stolen during the Traffic era.) He uses flatwound strings on the Lakland Osborn and the Precision, and roundwounds on the rest.

Another mention is made in this February 20, 2014 No Treble interview.

I’ve gotten a good sound with a Kubicki X-Factor bass and then I’ve got some Lakland basses that I really like… one of them is a Joe Osborn model. It’s the closest thing to my first jazz bass; it’s got the stacked tone controls and the neck feels like the neck that was on that Jazz. It has the sound I want and it plays well for my hands.

On the "Bass FAQ" page of Hood's official website, he states that the Joe Osborn is "[o]ne of the best jazz style basses I’ve played."

Used on The Waterboys' "I Can't See Elvis", as mentioned in this August 12, 2015 Bass Player interview about Hood's work on Modern Blues.

What basses did you use on the album?

I was playing a Lakland Joe Osborn model with flatwound strings. It’s like a real good vintage Fender Jazz Bass, the one with stacked knobs. I think I used that bass on everything except for one song, “I Can See Elvis.” They needed a thumpier sound on that one. I used a ’57 Fender Precision, a workhorse and a great bass that looks like crap. That bass has flatwound strings, and I put some foam rubber in front of the bridge.

It is also mentioned in this May 17, 2013 Bass Player interview.

From 1976 to 1988, he played an Alembic; he also occasionally plays a Kubicki Factor and a 1957 Fender Precision. (Hood’s Jazz Bass was stolen during the Traffic era.) He uses flatwound strings on the Lakland Osborn and the Precision, and roundwounds on the rest.

On the "Bass FAQ" page of Hood's official website, he states that the '57 Precision "[h]as a great neck and a classic P-bass sound."

Used for The Waterboys' Modern Blues, as stated in this August 12, 2015 Bass Player interview.

EQUIP

Basses Lakland 44-94, Lakland Joe Osborn, Fender 1957 Precision

**Rig **Gallien-Krueger Fusion 550, Gallien- Krueger RBH410 4x10 and 1x8

Other Demeter Tube Direct Box, TC Electronic Polytune tuner

It is also listed under Hood on the official Lakland artist page and visible in this photo of Hood. On the "Bass FAQ" page of Hood's official website, he states that the 44-94 is a Deluxe and is "[his] favorite bass for playing live because of its great looks and sound."

Listed under Hood on the official Lakland artist page.

A deluxe 55-94 is listed on the "Bass FAQ" page of Hood's official website.

• Lakland 55-94 Deluxe 5-string — A very good sounding, easy playing 5-string and a mainstay in recording sessions.

REDUNDANT SUBMISSION. PLEASE DELETE.

Featured in this March 2, 2019 al.com interview.

The resulting recorded tone is, “more in the bass and my hands,” iconic session musician David Hood says.

That said, the bass amplifier rig Hood used for his classic Muscle Shoals Sound Studios work is a Fender Bassman amp head and blonde Fender speaker cabinet.

In 2016, Muscle Shoals Sound reopened at original Sheffield location 3614 Jackson Hwy. and restored to retro ’60s/'70s prime. Hood’s rig was returned to the same spot it was during many vintage sessions. Against the studio wall, just left of the drum booth.

"My father was in the tire business and got hooked up with a purchasing-agent-type place who would connect you with people to buy things wholesale," Hood says. "They hooked us up with Manny's Music in New York, on 48th Street. It's no longer there, but it was a famous music store. I would call and order things from them. I could hardly talk to them because they spoke so fast, but I started buying amps and would sell them to somebody and buy another one, things like that."

(...) From Manny’s, Hood purchased the blonde cab, containing two 12-inch speakers, originally to use as an extension cabinet with the bass amp he was using. He ended up selling that amp. Now he had an extra cabinet. He then purchased a black Tolex-covered Bassman piggyback amp. “And I can’t remember why I did it, but I brought the blonde cabinet to 3614 (Jackson Hwy.) and we started recording that and using the black Bassman head with it, to monitor myself. Sometimes they’d mic it and sometimes we’d go direct. But I used it always as a monitor. In a studio full of loud guitars and keyboards and everything, you just can’t hear the bass well, even with the headphones. It’s getting where nowadays they have so many channels on the recording stuff they can use several channels for a bass. A long time ago you were lucky if you’d get one channel.”

A 6G6 cabinet is featured in this March 2, 2019 al.com interview.

The resulting recorded tone is, “more in the bass and my hands,” iconic session musician David Hood says.

That said, the bass amplifier rig Hood used for his classic Muscle Shoals Sound Studios work is a Fender Bassman amp head and blonde Fender speaker cabinet.

In 2016, Muscle Shoals Sound reopened at original Sheffield location 3614 Jackson Hwy. and restored to retro ’60s/'70s prime. Hood’s rig was returned to the same spot it was during many vintage sessions. Against the studio wall, just left of the drum booth.

"My father was in the tire business and got hooked up with a purchasing-agent-type place who would connect you with people to buy things wholesale," Hood says. "They hooked us up with Manny's Music in New York, on 48th Street. It's no longer there, but it was a famous music store. I would call and order things from them. I could hardly talk to them because they spoke so fast, but I started buying amps and would sell them to somebody and buy another one, things like that."

(...) From Manny’s, Hood purchased the blonde cab, containing two 12-inch speakers, originally to use as an extension cabinet with the bass amp he was using. He ended up selling that amp. Now he had an extra cabinet. He then purchased a black Tolex-covered Bassman piggyback amp. “And I can’t remember why I did it, but I brought the blonde cabinet to 3614 (Jackson Hwy.) and we started recording that and using the black Bassman head with it, to monitor myself. Sometimes they’d mic it and sometimes we’d go direct. But I used it always as a monitor. In a studio full of loud guitars and keyboards and everything, you just can’t hear the bass well, even with the headphones. It’s getting where nowadays they have so many channels on the recording stuff they can use several channels for a bass. A long time ago you were lucky if you’d get one channel.”

The same interview states that an original 6G6 was used during Hood's days as a session musician for FAME Studios.

As a bassist, Hood is known for infectious nimble grooves and soulful touch. Earlier in his career, working at Muscle Shoals' FAME Studios on such R&B hits as Etta James' "Tell Mama," Hood used a house rig FAME producer/owner Rick Hall kept there. "It was one of the original Bassman piggyback amps that just had one 12-inch speaker, inside the cabinet," he recalls. Hood was part of the Muscle Shoals Rhythm Section, also featuring guitarist Jimmy Johnson, drummer Roger Hawkins and keyboardist Barry Beckett, later known as The Swampers, following a shout-out in Lynyrd Skynyrd's 1973 southern-rock hit "Sweet Home Alabama."

(...) Hood thinks he played his vintage Fender amp rig, the one now back at Muscle Shoals Sound, during classic sessions including Staple Singers’ soul hit “I’ll Take You There.” Again, that bass signal may have been recorded direct, instead of via a mic-ed amp, but he’s pretty sure he was playing through the amp too during the session. “Whatever it is,” he says, “it sounded good.”

The FAME stack is also mentioned in [this May 17, 2013 Bass Player interview(https://www.bassplayer.com/artists/hell-take-you-there-david-hoods-legacy-as-the-muscle-of-muscle-shoals), which discusses how it was recorded.

Hits by local favorites Sledge, Arthur Alexander, Clarence Carter, and others started to catch the attention of the national music industry, most notably Atlantic Records’ Jerry Wexler. Hood played trombone—not bass—on Aretha Franklin’s “I Never Loved a Man,” but he played bass on sessions for such R&B stalwarts as Wilson Pickett, Johnnie Taylor, and Etta James. He later played bass on Franklin’s “Call Me” and several other tracks.

“FAME had an old [Fender] Bassman amp that had only one speaker in it. We would record it with one of those old RCA 44 mics. When they learned about going direct, they started running me direct and miking me. Inevitably, they’d run out of tracks, so they would lose one of those. Usually the one they would keep was the direct track, so nowadays, I go direct. If I can, I like to have an amp, and they can mic it if they want.”

Used for The Waterboys' Modern Blues, as stated in this August 12, 2015 Bass Player interview.

EQUIP

Basses Lakland 44-94, Lakland Joe Osborn, Fender 1957 Precision

Rig Gallien-Krueger Fusion 550, Gallien- Krueger RBH410 4x10 and 1x8

Other Demeter Tube Direct Box, TC Electronic Polytune tuner

It is also mentioned in this May 17, 2013 Bass Player interview.

For amplification, he favors a Gallien-Krueger head driving two Ampeg cabinets, each of which has two 12" speakers.

Another mention is made in this March 1, 2019 al.com interview.

His amp for live gigs these days is a 500-watt, four 10-inch speaker Gallien-Krueger setup.

Used for The Waterboys' Modern Blues, as stated in this August 12, 2015 Bass Player interview.

EQUIP

Basses Lakland 44-94, Lakland Joe Osborn, Fender 1957 Precision

Rig Gallien-Krueger Fusion 550, Gallien- Krueger RBH410 4x10 and 1x8

Other Demeter Tube Direct Box, TC Electronic Polytune tuner

It is also mentioned in this May 17, 2013 Bass Player interview.

For amplification, he favors a Gallien-Krueger head driving two Ampeg cabinets, each of which has two 12" speakers.

Another mention is made in this March 1, 2019 al.com interview.

His amp for live gigs these days is a 500-watt, four 10-inch speaker Gallien-Krueger setup.

Visible in the background of this photo of Hood.

Mentioned in this March 1, 2019 al.com interview.

Also in the ’60s, Hood acquired a Conn Strobotuner, a primitive device used to help accurately tune instruments. After Muscle Shoals Sound’s recent refurbishment, the tuner, which resembles a vintage science-fiction film prop, returned there, adding to the throwback aesthetics.

Used for The Waterboys' Modern Blues, as stated in this August 12, 2015 Bass Player interview.

EQUIP

Basses Lakland 44-94, Lakland Joe Osborn, Fender 1957 Precision

Rig Gallien-Krueger Fusion 550, Gallien- Krueger RBH410 4x10 and 1x8

Other Demeter Tube Direct Box, TC Electronic Polytune tuner

Used during Hood's days as a session musician for FAME Studios, as mentioned in this May 17, 2013 Bass Player interview.

Hits by local favorites Sledge, Arthur Alexander, Clarence Carter, and others started to catch the attention of the national music industry, most notably Atlantic Records’ Jerry Wexler. Hood played trombone—not bass—on Aretha Franklin’s “I Never Loved a Man,” but he played bass on sessions for such R&B stalwarts as Wilson Pickett, Johnnie Taylor, and Etta James. He later played bass on Franklin’s “Call Me” and several other tracks.

“FAME had an old [Fender] Bassman amp that had only one speaker in it. We would record it with one of those old RCA 44 mics. When they learned about going direct, they started running me direct and miking me. Inevitably, they’d run out of tracks, so they would lose one of those. Usually the one they would keep was the direct track, so nowadays, I go direct. If I can, I like to have an amp, and they can mic it if they want.”