Third Annual Pipe Dream has it all – the statement of purpose “Doraville,” the gorgeous hit “Angel” with its dramatic strings-against-lead guitar exchange, the hard rocking revenge song “Help Yourself,” the beautiful ballad “Get Your Head Out of Your Heart,” and Bailey’s phenomenal take on a jazz guitar classic from Grant Green, “Blues in Maude’s Flat.” ARS was a true album group, expanding songwriting ideas and arrangement strategies without overplaying. ARS recorded more hit singles than any of their peers, but they were also one of the best live bands, with a lead guitarist in Barry Bailey who could hold his own with anyone, one of the greatest bassists in rock history, Paul Goddard, and a slide specialist in J.R. Tech whiz Rodney Mills ran the board as engineer and later producer for ARS and a bunch of other Southern rockers. ARS was the house band for Studio One in Doraville, Georgia, where they would record anyone who walked through the door when they weren’t working on their own records. Wild-Eyed Southern Boys was its commercial breakthrough, with strong material ranging from the title track to the hit “Hold On Loosely” and party favorites “Back Alley Sally,” “Hittin’ and Runnin’,” “Honky Tonk Dancer” and “Bring It On.”Ītlanta Rhythm Section: Third Annual Pipe Dream (1974)Ĭertainly the most creative and versatile of all the Southern rock bands, the ARS had a pedigree that dated back to the 1960s with members from Roy Orbison’s backing group the Candymen and the hit machine Classics IV. The band cut its best records at Studio One just outside Atlanta with producer Rodney Mills at the helm. But the group’s sound was different than Skynyrd’s, with vocalist Van Zant and guitarists Jeff Carlisi and Don Barnes writing AOR material that was closer to the studio sound of bands like Boston and Journey even though the themes stuck to the Southern rock verities of sex, partying and rock & roll. After the 1977 plane crash that killed Ronnie, Donnie’s young band had new purpose. 38 Special: Wild-Eyed Southern Boys (1980)ĭonnie Van Zant, the younger brother of Lynyrd Skynyrd’s Ronnie Van Zant, rehearsed in the family living room with his band, which became closely associated with Skynyrd, especially after former Skynyrd bassist Larry Junstrom joined. The bands here could provide great Southern rock album lists all their own. And the few Southern rock bands who could genuinely carve their own identities were truly great groups in their own right whether they were Southern or not. That combination of elements that birthed Southern rock has proved to be a Mississippi River of influence on American music ever since, spawning generations of Southern rock, country and jam bands who owe their sound to the magnificent consolidation.Īs the style gained steam it developed its own cliches from what were once innovations. And since rock ‘n’ roll was a meld of those two styles to begin with, the genre simply reflected the circularity of rock music’s progressions. Southern rock changed all that.Īt its inception the style drew from, ironically, what numerous English groups had done with the blues, transplanting it back into its native Southern soil, where the country and R&B influences also seeped into the sound. Before that, the South was mostly a place where country and R&B records were cut. Southern rock has come to mean a lot of things, but it’s pretty easy to pinpoint its defining moment: When the late Otis Redding’s manager Phil Walden started Capricorn Records in 1969. Smith’s Soulful 1969 Cover of ‘Baby It’s You’.17 #1 Hits Worse Than ‘We Built This City’.Carpenters’ Approved Biography, ‘Musical Legacy,’ Published.Marshall Tucker Band Sets 50th Anniversary Tour.
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