As a program bassist and an associate from the famous Muscle Shoals Rhythm Section (with Barry Beckett, Roger Hawkins, and Jimmy Johnson), David Hood is broadly admired for his workmanship and versatility dealing with a great range of music artists in his 40-yr career. Created on Sept 21, 1943, in Sheffield, AL, Hood performed trombone in senior high school, getting proficient on bass and acoustic guitar aswell. While going to the College or university of North Alabama, he started working with an area group known as the Mystics. He gravitated to Rick Hall’s Popularity Studio in Muscle tissue Shoals and produced his first program appearance playing trombone on Wayne & Bobby Purify’s “I’m Your Puppet” in 1966. Switching to bass, he worked well sessions at Popularity for Percy Sledge, Etta Wayne, Clarence Carter, Irma Thomas, and Arthur Conley. In 1969 the Popularity house band started freelancing with maker Jerry Wexler at Atlantic’s NY studio room, cutting edges with Aretha Franklin, Ruler Curtis, Wilson Pickett, Solomon Burke, and Wayne Carr. With this promising background the tempo section left Popularity that same calendar year opening Muscles Shoals Audio in Sheffield as co-owners. Their move officially began the Muscles Shoals Tempo Section period. Dubbed “the Swampers” by Shelter Information’ manufacturer Denny Cordell and provided public recognition therefore in Lynyrd Skynrd’s “Sugary House Alabama,” the MSRS was shortly burning a diverse selection of performers at the brand new studio room, including Cher, Laura Nyro, Linda Rondstadt, Lulu, Boz Scaggs, and Sam & Dave, and also employed in some jazz period with Herbie Mann and potential Bee Gees manufacturer Arif Mardin on his Atlantic Information established Cup Onion (1970). With the middle-’70s the tempo section worked continuously, backing Fishing rod Stewart, J.J. Cale, Bonnie Bramlett, Jimmy Cliff, Joe Cocker, Leon Russell and Wendy Waldman. Hood also performed bass on a large number of Stax recordings between 1970 and 1977, just like the Staple Performers’ “I’ll Consider You There”. The tempo section became a member of Steve Winwood’s re-formed Visitors in 1973, showing up on Capture Out on the Illusion Factory as well as the live established On the highway. Paul Simon documented There Runs Rhymin’ Simon using the MSRS, and their cooperation on Still Crazy IN THE END These Years gained Simon two Grammy Honours in 1975. In 1976 Hood stepped behind the plank, making albums by Southern rock and roll rings Blackfoot and Jackson Highway. Hood’s “country-soul” method of bass modified well to a bunch of country performers’ tasks including Willie Nelson’s consummate outlaw-country routine Phases and Levels (made by Jerry Wexler), in addition to edges by Alabama, Eddie Rabbitt, The Oak Ridge Children, and Ronnie Milsap. But Hood’s groove lent itself similarly well for some deep spirit recordings by Eddie Hinton, Bobby Womack, Johnnie Taylor, and Millie Jackson. Muscle tissue Shoals Audio was relocated to a more substantial service in 1978, where through the 1980s Hood anchored paths by James Dark brown, Glenn Frey, Levon Helm, Dr. Hook, Joan Baez, Jerry Jeff Walker, Carlos Santana, Lou Ann Barton, and Julian Lennon. In the past due 1970s, Hood performed on many Bob Seger albums, including Stranger around and Contrary to the Blowing wind. Delbert McClinton as well as the MSRS documented his traditional LP The Jealous Kind at MSS. Muscle tissue Shoals Audio was bought by Malaco Information in 1985 (who resold it in 2005). Hood’s use Malaco’s spirit roster includes paths with Bobby Bland and Small Milton Hood offers kept busy like a program bassist, dealing with Dan Penn, Gregg Allman, Jimmy Buffett, and many more with the 1990s. He became a member of The Decoys (fronted by Scott Boyer) in 1996, showing up on Shot Through the Saddle; concurrently, Hood caused Russell Smith (Amazing Tempo Aces) on THE FINISH is Not AROUND THE CORNER. In 2005 he collaborated with Memphis manufacturer Jim Dickinson at Sunlight Studios documenting John Hiatt’s record Master of Devastation. Exactly the same calendar year, Hood became a member of Muscles Shoals comrades Dan Penn and Spooner Oldham, Steve Cropper, and Reggie Youthful, to record Frank Black’s Honeycomb as well as the expansive follow-up Fast Man Raider Man. Among the esteemed and constant of studio room bassists Hood provides curved out his 4th decade being a consummate program player without sign of slowing.