there are those few people that come along that create the wave. That’s the way he was. That’s him and he had the best charisma, I guess is the word for it, he could walk into a room of thirty people and it’s like the old E.F. Hutton commercial, everybody stopped talk- ing to hear what this guy was saying. It’s just like, who would do that and why? You know, it wasn’t like he had all the answers but you thought, “Well man, this guy’s cool. At least his answers are cool.” And so you just had to take note. He was just somebody you took notice of.


There’s just a few people that were like that, yeah. The way he sounded, the way he carried him- self, you know.


You know, another person that I talk a lot about and talk to people about is Gram Parsons. You know, he died real young and he was one of those that just came along that did things that nobody else had ever done and I really respect Gram Parsons. And then, here in Spar- tanburg, SC, you know, with Marshall Tucker, Tommy Caldwell, you know, he was kinda like Duane in a way as far as being driven. He was the driving force of that Tucker band, I thought. He had a vision and yeah, each of ‘em they had a vision of what they wanted to do and they weren’t gonna let anybody derail them.


Yeah, that’s good. That’s the way to do it. If you can do it. That was the first thing I noticed about the Tucker band when I first heard ‘em is they had the most enthusiasm and confidence, just like Duane. I mean you talk about confidence, there was nothing unsure about it, it was like, here we are and by God we’re gonna do it and


19


Paul in the studio with Marshall Tucker. (Courtesy Paul Hornsby)


Do whatever you want to do. I think it’s great. Well, speaking of all that, it makes me – I want to jump on this a lit- tle bit, the Capricorn Records days, when you went to work for them, tell us a little bit about how that happened and what you did when you first went there. I guess you were like the house band or something? To give you sort of a timeline, Hourglass broke up in, I believe it was July or it might have even been August of 1968 - the summer of 1968 anyway, and Duane wound up mov- ing to Muscle Shoals like Eddie Hinton had done and was playing guitar on some stuff. I moved back to Tuscaloosa, it was a great mu- sician’s town. It was a town where you could find a musician if you needed one. A prime example of that, years later, Charlie Daniels called me one day after the first album we cut, after the Fire on the Mountain album. He


this is the way it is and here it is.


Unlike anything anybody else had ever done too. You said one time before, that nobody told ‘em they couldn’t have a flute in that kind of band. Why not? Of course you can.


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77