Barry Bailey - Guitar
Robert Nix - Percussion, Drums, Background Vocals
Ronnie Hammond - Vocals, Background Vocals
Paul Goddard - Bass
Dean Daughtry - Keyboards
J.R. Cobb - Guitar, Background Vocals
Released in 1978, this was the breakthrough album that marked the zenith of music-making, critical support and popular acclaim for ARS. Eight great songs-all originals-are showcased with the top notch, smooth pop production the group had been refining for years. The songwriting and musicianship maintain the superior standards the band had established through its previous albums. The songs continue the pattern of blending beautiful melodies with shifting tempos, with each of the songs clocking in at a moderate three to five minutes.

The album opens with a classic Southern rock song, Large Time, that pays tribute to recently fallen comrades. Three of the next four songs may be unmatched in their concise demonstration of the extraordinary talent and multifaceted skills of the band. I'm Not Gonna Let It Bother Me, Champagne Jam and Imaginary Lover are all classics-hits at the time that still sound fresh and resonate as nicely today as when they were released. The first two share a buoyant, positive sound that turns more subdued with the third. The album winds down with three more songs that lyrically present a darker image of wild times and loves-each with beautiful musical backing that both contrasts with and perfectly represents the stories being told.

Song by Song
1. Large Time (Buie/Nix/Bailey)-2:55
        This flat out rocker pays tribute to the Lynyrd Skynyd band, with lyrics focusing on their shared musical experiences on stage. It's hard hitting, crisp and intense-a fitting tribute to a band that were ARS' contemporaries and been quoted as acknowledging ARS to be the best band in the South.
2. I'm Not Gonna Let It Bother Me Tonight (Buie/Nix/Daughtry)-4:06
        The easy flowing nature of this song makes it a delight. It's a fine example of how ARS differed from other Southern bands. While others could have done this as a faster tempo rock song, ARS uses a moderate pace and softer pop production style to let the vocals and ensemble musicianship shine. Another classic.
3. Normal Love (Buie/Nix/Cobb/Daughtry)-3:22
        Another one of the band's classic ballads begins with and is backed by some beautiful keyboard work supporting a fine vocal performance. The lyrics embody a yearning for something "old fashioned…these days it's rare."
4. Champagne Jam (Buie/Nix/Cobb)-4:31
        The title song is another mid-tempo rocker that shows off ARS' ability to mix melodies and tempos as effectively as any of their hits. It's a classic party tune, with a an inviting vocal that seems to bring the listener in, beautiful lead guitar solos, and a classic bass break that all comes together in a grand finale. A masterpiece.
5. Imaginary Lover (Buie/Nix/Daughtry)-5:05
        The group's biggest hit features many of the group's proven strengths combined in one place-a moderate tempo, great melody, clever lyrics, a beautiful vocal, solid ensemble playing and instrumental soloing that flashes brilliance and leaves the listener wanting more as it fades away. The darker, subdued tone seemed to help make this a hit, and provides a musical bridge from the songs that come before to those that follow on the album.
6. The Ballad Of Lois Malone (Buie/Nix/Daughtry/Bailey)-4:30
        A grand piano intro leads into the story of a woman from south Alabama who "drank like a fish and cussed like a sailor." The moderate tempo and piano backing put the listener there in a dark, smoky bar scene of both enjoyment and excess.
7. The Great Escape (Buie/Nix/Bailey)-4:47
        This mid-tempo song takes the listener over to the other side of the tracks, where good time partying has turned into addiction. The insightful lyrics are beautifully balanced with trademark tempo shifts and guitar soloing.
8. Evileen (Buie/Nix/Daughtry)-3:32
        A brooding intro leads into another story about a woman-"she's a witch, a bit of a bitch…she's a necessary evil." The lyrics tell of an obsessive love/hate relationship while the guitar solos seem to be straining for a way out, and the tune comes together for a quick, subdued closing-perhaps reflecting a group that over recent albums has given their all.

Primary Works
Compilation Discs

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