Atlanta Rhythm Section, artist notes and General Information (biography):
Often described as a more radio-friendly version of Lynyrd Skynyrd or the
Allman Brothers, the Atlanta Rhythm Section (sometimes abbreviated ARS) was
one of many Southern rock bands to hit the upper reaches of the charts
during the late '70s.
The story of the Atlanta Rhythm Section began in Doraville, GA, a small town
northeast of Atlanta, in 1970. Local Atlanta engineer Rodney Mills built a
new studio in Doraville with the support of music publisher Bill Lowery,
producer/songwriter/manager Buddy Buie, and songwriter/guitarist J.R. Cobb.
The studio was named, Studio One, and would become one of the preeminent
studios in the Atlanta area.
The Atlanta Rhythm Section originally came together as the house band at
Studio One. Buie recruited three musicians he had worked with previously in
the Candymen, a group that had backed Roy Orbison, singer Rodney Justo,
keyboardist Dean Daughtry and drummer Robert Nix. Buie, Cobb and Daughtry
had been part of the group the Classics IV. Two talented local session
players also joined, guitarist, Barry Bailey and bassist, Paul Goddard.
These musicians played on a number of other artists' records and the
decision was made to make an album on their own in 1971.
Buie wanted the best players doing his songs as a guitar based band, and he
wrote, produced and managed the group from the start. Buie, Daughtry and Nix
did a lot of the songwriting together. ABS would play on others' albums 3-4
days a week and then work on their own material. Over the next couple of
years they pulled together enough material for an album and got themselves a
two-record deal with MCA/Decca, and so ARS officially began.
Their album was released in 1972 and generated some critical interest for the
quality of the songs and musicianship. But there was also some questioning of
the idea of a rock band made up of a group of studio musicians who hadn't paid
their dues on the road. The album didn't produce any hit songs, so the group
continued to play on other records made at Studio One.
It was during the recording of their first album that Ronnie Hammond came to
Studio One as an assistant engineer for Rodney Mills. He was skilled on
multiple instruments and most importantly, had a great singing voice. When
singer Rodney Justo decided to leave the group in 1972 to pursue a solo
career, Hammond became the new lead singer. This grouping would go on to
make the next six ARS albums together. They are:
* Ronnie Hammond - vocals
* Barry Bailey - lead guitar
* J.R. Cobb - guitar, backing vocals
* Dean Daughtry - keyboards, vocals
* Paul Goddard - bass
* Robert Nix - drums, percussion, backing vocals
By 1974 the band's pop-oriented songwriting and diverse musical stylings,
characteristics that would distinguish them from other southern rock bands,
were displayed to great effect helped them to develop a regional following.
They continued to play live shows, working to solidify their identity and
carve out their niche. At the time, the Allman Brothers Band had fallen on
hard times and Lynyrd Skynyrd was leading the charge of guitar based
southern rock. While ARS shared some musical approaches with these
contemporaries, their background as musicians, not performers, and more pop
oriented songwriting put them in a unique position along with but not truly
a part of the southern rock scene.
They played rock, but they also dabbled with country and blues. Their
songwriting continued to improve and their musicianship was tighter than
ever. ARS tried to be true to themselves and fit into the musical landscape.
In 1976, facing increasing pressure for sales and chart success from their
label, it all came to a head. They had been taking three months to record an
album, but now were given an ultimatum to deliver the next album in 45 days,
or else.
While road weary from touring non-stop for most of the year, they nevertheless
went back to Studio One and wrote, recorded, and produced the next album, named
A Rock & Roll Alternative, in 30 days. It was released in December 1976.
The first single from Alternative, "Neon Nites," got close to the Top 40.
But it was the next single, "So Into You," that proved to be the
breakthrough. It rose to number seven on the charts and was a staple of rock
radio during the summer of 1977. The album made it to the Top 10 on the
album charts and went Gold.
For the next several years, ARS was on the road for 250 plus shows a year.
And when they came off the road, they were right back in the studio working
five days a week. For the first time, the band had popular success to build
on, but this also meant increased expectations to top themselves. They
worked to produce a focused concept album that would show they were up to
the challenge and ended up having their greatest commercial success.
Champagne Jam, released in January 1978, was the breakthrough album that
marked the zenith of their music-making.
Eight great songs, all originals, were showcased with the top-notch, smooth,
pop production the group had been refining for years. The songwriting and
musicianship maintained the superior standards the band had established
through its previous albums. The songs continued the pattern of blending
beautiful melodies with shifting tempos and each of the songs clocked in at
a moderate three to five minutes. The album proved to be very popular,
hitting the Top 10 and quickly going Gold.
The title track, "I'm Not Gonna Let It Bother Me Tonight," was released as a single
and made it into the Top 20. But it was "Imaginary Lover" that proved to be the
band's biggest hit, reaching number seven on the charts. A story (possibly an
urban legend) has been told of a New York DJ who accidentally played the 45 rpm of
"Imaginary Lover" at 78 rpm and was inundated with calls asking about the new
Fleetwood Mac song. Whether the story was true or not, the single and album both
hit the Top 10, with the album ultimately going Platinum.
In August 1978 ARS hosted a big festival at Grant Field in Atlanta that they
called The Champagne Jam, a celebration of the local boys who had made it
big. It was also around this time that ARS played one of their more
prestigious venues, the White House. They had become acquainted with Jimmy
Carter in his days as Governor of Georgia, and as President he invited them
to come play for his son's birthday party held on the South Lawn in
Washington. "My friends," Carter introduced them, "Not only are we both from
the same part of the country, but I remember when they first started that
all the critics and commentators said they didn't have a chance, they said
the same thing about me." This performance was noted in Time Magazine among
other places. The studio session men from Doraville had come a long way.
The long road trips and the non-stop pressure of trying to write and record started
to get to everyone in different ways. Thier next album, The Boys from Doraville,
did not produce a hit single and for the next 20 years the band saw mostly
personnel changes and thier recording did not generate much success.
In 1998, singer Ronnie Hammond, who had battled alcoholism and depression
off and on over the years, got into a confrontation with the police in
Macon, GA and forced an officer to shoot him. Hammond was seriously injured,
but survived the injury and dealt with the depression. This was a blessing,
not just for the man but for all ARS fans, as the group was back in the
studio and would soon put out an album of new material including some new classics.
This time ARS only took two years to get a new album out. Eufaula, released
in February 1999, was another winner featuring a number of songs that stand
with the best of their catalog. State-of-the-art production work, Ronnie
Hammond's voice - still in classic form- and the guitar work of Barry Bailey
sounded as good as ever.
The band had justifiably high hopes for Eufaula, but almost immediately problems
began. The record label, Platinum Entertainment, faced financial troubles and
was not able to support the album as intended. A couple of songs were released
as singles but did not get the support to break out. The band continued to tour
and make personnel changes (largely due to illnesses and deaths).
While ARS never reached the commercial success of Lynyrd Skynyrd or The
Allman Brothers, the group had a strong following in the South and charted a
number of major & minor hits. The band also influenced a number of rock and
country artists, notably Travis Tritt, who recorded a cover of the ARS
songs, "Back Up Against the Wall," and "Homesick."
The band maintains a Web site and still tours with some of its original
members, playing mostly festivals and other nostalgia-themed concerts.