Third Annual Pipe Dream (Remastered) Atlanta Rhythm Section

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  • 1Doraville03:26
  • 2Jesus Hearted People03:51
  • 3Close The Door03:26
  • 4Blues In Maude's Flat03:51
  • 5Join The Race (To Inner Space)03:59
  • 6Angel (What In The World's Come Over Us)05:10
  • 7Get Your Head Out Of Your Heart02:34
  • 8The War Is Over02:03
  • 9Help Yourself (You Gotta Help Yourself)02:55
  • 10Who You Gonna Run To03:18
  • Total Runtime34:33

Info zu Third Annual Pipe Dream (Remastered)

The 10 songs on this album, including 8 written by Buddy Buie in conjunction with other band members, show ARS to have become both tighter in their playing and more polished in their song presentation. The band's pop oriented songwriting and diverse musical stylings-characteristics that would distinguish them from the rest of Southern Rock-are displayed to great effect and show a band coming into their own. The album opens with Doraville, their first regional hit that's a rocking tribute to the town where Studio One was located. Blues In Maude's Flat is an instrumental that shows off the group's musical skills to fine effect. The song Angel (What in the World's Come Over Us) showcases the band's ability to mix tempos and styles in a longer piece with outstanding musicianship.

For their third album, the Atlanta Rhythm Section, newly signed to Polydor after a couple of releases for Decca, put their best foot forward with some good-time Southern-flavored rock & roll for the album's opener, "Doraville," a catchy tribute to their hometown. They also weave a subtler spell with "Jesus Hearted People," which presents their love of Southern culture in more general terms. From there it's off to the suitably bluesy moments on "Close the Door" and the moody instrumental "Blues in Maude's Flat," and into swamp rock territory on "Join the Race (To Inner Space)," which also slips in a few hints of progressive rock jamming, especially on the keyboards and the guitar break. And that's all just the first side -- the second side of the original LP shows the band in a more introspective and experimental mode (especially on "The War Is Over"), but doesn't skimp on the musicianship, basic and otherwise, and "Angel (What in the World's Come Over Us)" even adds harmonies almost worthy of Crosby, Stills & Nash. The resulting record ended up breaking a few rules at the time -- most Southern bands (apart from the Allman Brothers) weren't supposed to get too experimental -- but it touches all the right buttons to make good listening three decades later and counting. Sad to say, at the time it only peaked at number 74 (which would be their highest LP chart placement for the next couple of years), and yielded a pair of regional hits, "Doraville" and "Angel"; but it's worth tracking down for more than a couple of listens for a sharper take on the permutations of "Southern rock."" (Bruce Eder, AMG)

Hugh Jarrett, vocals
Mylon LeFevre, vocals
Barry Bailey, guitar
Dean Daughtry, keyboards
Paul Goddard, bass
Ronnie Hammond, vocals, background vocals
Robert Nix, percussion, drums, background vocals
J.R. Cobb, guitar, background vocals
Michael Huey, conductor

Digitally remastered

Atlanta Rhythm Section
Often described as a more radio-friendly version of Lynyrd Skynyrd or the Allman Brothers, the Atlanta Rhythm Section was one of many Southern rock bands to hit the upper reaches of the charts during the late '70s. Hailing from the small town of Doraville, Georgia, the beginning of the Atlanta Rhythm Section can be traced back to 1970. It was then that a local recording studio was opened, Studio One, and the remnants of two groups (the Candymen and the Classics Four), became the studio's house band. One of the facility's head figures, Buddy Buie, soon began assembling the session band -- singer Rodney Justo, guitarist Barry Bailey, bassist Paul Goddard, keyboardist Dean Daughtry, and drummer Robert Nix. After playing on several artists' recordings, it was decided to take the band a step further and make the group of players a real band, leading to the formation of the Atlanta Rhythm Section.

Atlanta Rhythm SectionBuie soon became an invisible fifth member of the fledgling band; he served as their manager and producer, in addition to providing a major hand in the songwriting department. Finding time between sessions to record their own original material (which was initially, entirely instrumental), an early demo wound up landing the band a record deal. The group's first few albums failed to generate much chart action (1972's Atlanta Rhythm Section, 1973's Back Up Against the Wall, 1974's Third Annual Pipe Dream, 1975's Dog Days, and 1976's Red Tape), but it was during this time that Justo was replaced with newcomer Ronnie Hammond, which would eventually pay dividends for the group. Although they had gained quite a bit of radio airplay down south, their record company began to put pressure on the quintet to deliver a single that would break them nationally. The demand worked -- the Atlanta Rhythm Section scored a Top Ten single, "So Into You," on their next release, 1976's A Rock and Roll Alternative, which was the group's first album to reach gold certification.

Champagne Jam But this wouldn't be the group's commercial peak, as they scored the highest charting album of their career in 1978, the Top Ten Champagne Jam, which spawned two hit singles -- "I'm Not Gonna Let It Bother Me Tonight" and "Imaginary Lover." To keep up their high profile, the Atlanta Rhythm Section soon became one of the hardest touring bands of the entire Southern rock genre (including a performance at the White House for then-president Jimmy Carter). But the group's commercial success would be fleeting -- it appeared as soon as mainstream rock fans embraced the Atlanta Rhythm Section, they just as quickly forgot about them. Each subsequent album -- 1979's Underdog and live set Are You Ready, 1980s The Boys from Doraville, and 1981's Quinella -- sold less than the previous one, resulting in the band's split shortly thereafter.

In the wake of their split, the Atlanta Rhythm Section has reunited sporadically for tours (although only a few original members would be present), and issued their first all-new studio album in more than a decade in 1999, Eufaula. Additionally, some of country-rock's biggest names have gone on to record Atlanta Rhythm Section covers -- Travis Tritt, Wynonna Judd, and Charlie Daniels, among others. (Greg Prato, AMG)

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