SOUTHERN FRIED

JOHN HAMMOND:
Southern Fried

Original release:
LP: Atlantic SD-33-8251 (1970)

Other releases:


CD: Water 106 (2002)

  1. Shake For Me
  2. Cryin' For My Baby
  3. I'm Tore Down
  4. Don't Go No Further
  5. I'm Leavin' You
  6. It's Too Late
  7. Nadine
  8. Mystery Train
  9. My Time After A While
10. I Can't Be Satisfied
11. You'll Be Mine
12. Riding In The Moonlight

Duane Allman plays on tracks 1, 2, 5 & 11.

These 4 tracks are also released as bonus tracks on the CD 'I Can Tell' (Atlantic 7 82369-2 (1992).

45 rpm single releases:
Shake For Me / I'm Tore Down (Atlantic SD-45-2696, December 1969). Duane Allman plays on 'Shake For Me'.


Shake For Me / I'm Tore Down (Atlantic France 650.191, 1969). Duane Allman plays on 'Shake For Me'.

The liner notes of the 1972 Capricorn album 'Duane Allman - An Anthology' mention that the track 'Shake For Me' was recorded at Muscle Shoals Sound Studios on November 21, 1969.

The liner notes of the 1992 CD release of John Hammond's 1967 album 'I Can Tell' mention that the 4 bonus tracks on this CD (the 4 tracks with Duane Allman from the album 'Southern Fried') were recorded in the Spring of 1969.

In 2 interviews John Hammond talks about the first time he met Duane and the recording sessions for "Southern Fried':

http://jasobrecht.com/john-hammond-remembers-friend-duane-allman/ (June 23, 1981) (READ) :
Do you recall the first time you met him?

The first time I met him was in Muscle Shoals, Alabama. I was down there to record with the band down there. It was being produced by Marlin Greene, and it had Barry Beckett, Roger Hawkins, Jimmy Johnson, David Hood, Eddie Hinton. And when I got down there, they thought that I was gonna be black, and I thought they were gonna be black. So they got pretty cold to me, you know. I didn�t know what to do. I didn�t know what to make of the scene. I was told that this was the band that recorded behind Aretha and all these people. So after about two days, we�d cut about four tunes or something. It was not going well.

On the scene arrives this guy with long red hair down his back, eyebrows that crossed, and a moustache that went all the way into sideburns. He was wearing a T-shirt that said �City Slickers� on it. He arrived in this abandoned milk truck. And everybody said, �Hey, Duane! How ya doin� man?� He said, �Where is this John Hammond guy? I wanna meet this guy! I really dig him.� They said, �You do?� And they all looked at me with new respect. I was introduced to Duane, and Duane said, �Man, I sure dig your stuff! Boy, and I sure would love to play on your record if it�s okay.� I said, �Sure, I guess so.� I had never heard him play before, but these guys worshipped him. As soon as Duane gave me the okay, the session went fantastic. The album is Southern Fried.

This was in �69. Not long after that, he put together the Allman Brothers Band. They had worked some jobs under the name the Allman Joys before that time. And then the next time I saw them they opened the show for me in St. Paul, in the winter. It was, like, 35 below zero, at the Union Labor Temple there. This was in late �69, and it was very, very cold. We got together and we had a jam that night, and it was just terrific. It was the beginning of a long relationship I had with him. Duane got me together with the Paragon Agency, and I worked for them for about four years. I was on many shows with them. Duane was at my house the night before he died.

http://swampland.com/articles/view/title:john_hammond (January 2007):
I want to jump back a few years ago to one of my favorite John Hammond albums, 1969�s Southern Fried...

I had been sent by Atlantic Records to Memphis to record with Tommy Cogbill producing. I got down there and whatever it was, I didn�t seem to connect with him on what I perceived his direction to be. I called Jerry Wexler and said that I didn�t think it would work out. So, he sent me down to Muscle Shoals Sound. These guys backed Aretha Franklin, Wilson Pickett and all these guys.

I arrived and assumed they would all be black studio musicians. They were all white guys. They were all a clique and everyone knew each other and their wives and it was a homegrown kind of thing. I liked Marlin Greene and he was a very easygoing and likable guy, and then Jimmy Johnson who is just a terrific guy. They all seemed sympathetic to me. I had these tunes that I wanted to do, and some were Howlin� Wolf tunes and stuff, with Barry Beckett, Roger Hawkins and David Hood and all these phenomenal players. I mostly connected with Eddie Hinton. He was a cool guy, great guitar player and songwriter, and a great singer in his own right. I had been there for about three days and we had cut some tunes and I was feeling very frustrated and couldn�t get across some of the ideas that I had in mind. Then this guy Duane Allman and his friend Berry Oakley showed up and they had driven from Macon in this old milk truck. They walked in the door and everybody was like, �Hey, Duane, how are you doing?�

Eddie Hinton said he was the guy that played the slide guitar on �The Weight,� but it was still not clear in my mind. Then Duane said he wanted to meet John Hammond. We decided to do a tune together and we did �Shake for Me� and my jaw just slacked. This guy was just phenomenal. So, all of a sudden all of these guys that I could not communicate with before understood exactly what I meant and that was the beginning of a short lived, but intense relationship. This was before The Allman Brothers Band was happening. Duane was just phenomenal and a really cool guy; and everything just came together and we made the whole record in one week. I didn�t get to know all the guys that well, but Duane, Berry and Eddie Hinton were the ones that I knew. Eddie was my connection to Muscle Shoals.
 

On November 21, 1969 Atlantic Records probably assigned the masters to the John Hammond tracks.