Mose Jones - "Mose Knows" - 1974

"MOSE JONES has a lot of musical history surrounding the group and it’s members - from being one of THE Southern bands coming out of Atlanta in the 70’s to sign a major record contract (MCA/Sounds of the South), to introducing our manager and producer, Al Kooper (Blues Project - Blood, Sweat, & Tears) to a band named Lynyrd Skynyrd, which he signed to his label (MCA/Sounds of the South) and produced the band’s first and second records. Plus MOSE JONES opened concerts and played with just about everybody back in their day, including Lynyrd Skynyrd, Frank Zappa, Little Feat, Boz Scaggs, Doobie Brothers, Mother’s Finest, Eddie Money, Atlanta Rhythm Section, Dixie Dregs. Sea Level, Santana, Freddie King, Wet Willie, IF, Rory Gallagher, Molly Hatchet, Stillwater, Marshall Tucker Band, Iggy Pop, Kiki Dee, Charlie Daniels, Hydra, Hampton Grease Band, and the list goes on…"

Mose Jones


"Mose Knows was a good record. I think it has better songs and we had been playing out on a national level, building our confidence and it showed on this disc."

"Could you tell us some more things about his second LP?"

"The ‘Mose Knows" disc was started with Al producing but after a few sessions he brought in Charles Callelo (who had done work with Laura Nyro and others) to work with us. I think we all felt like a change might do us good. Charlie was like a teacher, he set down parameters but encouraged us to try our ideas and Al was more like a buddy. This record also saw Rodney Mills come on board as the engineer. Rodney has since gone on to produce 38 Special, The Doobie Brothers and many more and we remain close friends. We didn’t tour until the recording was done which helped keep us focused and I think we were starting to develop our sound on this one. I remember it fondly."

"An instrumental like "Mose Knows" has some Allman Brothers flavors. Was this band an influence for you?"

"You could not grow up in the south in the 70’s without being influenced by the Allman Brothers. At their best they were what we all tried to be, tight but with the ability to do jazz-like stretching and jamming when the groove gets good to you."

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