I was stunned.

If this was 1985, you’d already know their name, because they’d be all over MTV.

What we’ve got here is five English women and a male drummer who can play, sing and write songs with melodies and changes. Do you know how rare that is?

I didn’t want to go. It’s been hot as hell here in Los Angeles. It’s hard to get a parking spot in Hollywood. I’m gonna have to sit there and feign interest for an hour and a half. But I already told myself I was going to be honest, I was not going to lie. Not that I ever do. But I would not be enthusiastic if I didn’t feel it. I wasn’t going to say the band was great. I was expecting some hard rock drivel played poorly more akin to Metallica than Def Leppard, boy was I surprised.

Yes, The Last Dinner Party is managed by Q Prime. I mean why are Cliff and Peter bothering. A new band, really? They’re both in their seventies. Why don’t they just count their money and go home.

Excitement… It’s so rare these days. Stuff is good on paper. Genre-specific. Appealing to brain dead kids who the purveyors have no respect for. Meanwhile, the bands of yore sell out stadiums.

Can you pour some sugar on me?

Now don’t ask me how people find out about bands like this these days. Used to be top-down marketing. You’d hire a stylist, a director with chops and make an expensive video launching the act to the masses. Everybody played the game, few acts made it through the Pittman sieve. But when they did…

Abbey Konowitch was the most powerful person in the music business. He decided whether you got airplay or not. And then the KROQ team, which migrated from Pasadena to NYC and could be seen on both sides of the camera. We all watched, we knew all the tunes, and then the CD came along and made the labels and their executives rich. Richer than they’d ever been before. I’m not saying that the acts were broke, now that they could tour around the world, but there was more money and more of it was kept by the labels and…

These are the days everybody yearns for.

Unless you’re under the age of thirty, and then you have no frame of reference, you came of age in the internet era, where there was a plethora of music and it was every person for themselves.

But usually it’s solo acts. Platforms for brand extension. Little money-makers. The music is just grease.

And then there are those who aren’t built for the mainstream. The Active Rockers. Appealing to a hard core alienated audience. Glad that you don’t get it, don’t like it, and don’t go. But it doesn’t cross over. There’s too much of an edge, too much bite, there might be changes, but the riffs overpower the melody, and there’s a lot of shouting and less singing.

So what’s a poor boy to do, who even wants to play in a rock and roll band?

It’s girls. And you don’t need to be a rock star to get laid. But so many of those boys are now incels. Ceding the territory to the well-adjusted, the women they want to be with. And their audience, half of the opposite sex.

I’d say it was around 50/50. Maybe 60/40, women to men. And the music was far from wimpy. But they knew the tunes and sang along.

And the lead singer stopped the performance to give aid to a woman overcome by the heat. Traditionally acts don’t care, they don’t want to stop the momentum.

But the band and the audience were one.

How did they know?

Believe me, this was not a Clive Davis act, this was not Whitney Houston.

Yes, Clive specialized in what we’ve got today. Drivel. Pretty faces singing pop songs written by others.

That is not The Last Dinner Party.

If you’re authentic, people believe, they play your records and come to see you.

Cliff told me they could have played the Greek. 6,000 seats. HUH?

This is the modern world. Everything is spontaneous. Assuming it gets traction at all. You can’t even push it if you want to. That’s what the labels are looking for, a conflagration that brings the act from 0-60 overnight. An edge, a social media breakout. Whether they sign the act from TikTok or do their best to push it there.

Sometimes that works, but usually it doesn’t. Because the audience is in control. There’s no PD of the internet.

So what you need to do is hone your chops and play and…

Do you know how rare this is? Do you know how often people want me to get excited about people who can’t sing? My inbox is inundated with acts who can’t sing, people wondering why they’re not superstars.

And now I’ll get a rash of links from people believing that there’s some golden ticket out there, that will bring them to the top of the heap. But that is untrue.

Some woman at Q Prime in the U.K. saw a video online, from some club, there’s a guy who shoots videos of unknown bands there.

The Last Dinner Party, then just The Dinner Party, before another act claimed the name, had only a few gigs under their belt. Cliff and Peter saw the clip, flew to England and signed them. There were no socials, there was no data, only music.

And there was no bidding war, no one else was involved.

And then the band paid their dues, on the road, made an album with the producer of the Arctic Monkeys, on Island. The U.K. is different.

Cliff told me if I’d seen Def Leppard in their first fifty gigs…

But The Last Dinner Party is no longer rough, it’s over the hump.

Really, I couldn’t believe they were that tight, I haven’t heard anything this seamless sans hard drives in eons.

And it doesn’t matter what you think. It doesn’t matter what the “gatekeepers” think. Oh, you need to get on a Spotify playlist, that’s the ticket!

No, you only have to be good. Then people find you.

But there’s very little good out there. And when people find it they glom on to it, they believe in it.

Everybody wants to be a star. They want a shortcut, they figure if they’re on a TV competition show…

It’s all positively old school.

But there’s a new girl in school. Actually, five. And the guitarist was playing in a pit orchestra before joining the band.

Don’t bother to send me your opinion. It doesn’t matter, I don’t care.

Everybody focuses on the records, the charts. But it always comes down to live, whether you can sell tickets or not, whether the audience is dedicated, whether they care.

The Last Dinner Party is building an audience and you’ve never heard of them.

Welcome to the modern era.

I want to hear about it from someone else.

If you need to tell me how big you are, send me your reviews, then you can’t be that big or great to begin with.

I know, this sounds just the opposite of today’s overwhelming world with a million messages and a fight for attention, but if you’re an artist, your work must speak for itself, or else you’re doomed. No one can convince me you’re great unless I feel it myself.

When you hype yourself it just seems desperate.

If your label does so…then you have plausible deniability. It’s one step removed.

And then there are the people who ask you to vote for them for this or that. I mean really? Once again, if you need to ask… If it doesn’t happen organically, then how deep a fan base do you have?

And it is all about fans, and respecting them.

If I’m a fan I already believe in you, I want a personal relationship, I don’t want you to sell to me. This isn’t multi-level marketing, this is a human connection. Don’t pester me with hype, deliver information that makes me feel like I’m related to you. Be satisfied I’m paying attention at all. If I really like you I’ll tell everybody I know about you. But don’t ask me to do the work, unless you’re appealing to pre-teens.

Charts… I never get an e-mail from someone saying they’re not number one or two somewhere. Klezmer vinyl in Afghanistan, I’m number one! How could you be so big if I’ve never heard of you?

Never mind that TV and press mean so little these days. And often appears like it’s bought.

Now there are some acts based on self-promotion. Like KISS. And Howard Stern. It’s part of their personality. But even Howard doesn’t do this anymore, he’s achieved status, he doesn’t need to constantly remind others of it.

If I can’t experience the work and be affected, want to listen, you’re in trouble. That’s the only criterion. Doesn’t matter who says what, I’m not interested.

Let’s be clear, I’m talking about career acts here. And that’s all that really matters anymore. These are not the acts the majors are concentrating on. It’s beneath the dignity of a touring act with a fan base to constantly remind those already buying tickets how great they are.

And in a world with so many messages, yours telling us about your chart numbers, your reviews, actually works against you. It makes you look tiny and desperate.

I know it’s a tough world out there. If you make marginal music, or music that is not widely adopted, you need to accept that. You’ve got a niche, do your best to monetize and be happy. Don’t get frustrated you’re not bigger if you are that klezmer artist. The great thing about the modern world is there’s room for more acts than ever before, but fewer are big hit acts. And it’s not Spotify that is holding you back, Spotify is helping you, exposing you. It’s that the mass of public just isn’t interested. If the majors can’t break new acts, what are the odds that you’re going to blow up based on a review in a publication I’ve never heard of telling me you’re great?

We know your status. If you need to convince us you’re bigger, that just makes us uneasy, realizing we’ve invested in someone who is really not that big.

In our eyes, you’re a giant, if you don’t believe this, you’re screwed.

Hi Bob!

I was at Beaver Creek yesterday for some mountain biking before the rain … stayed for the ARS show. Having played them on the radio since they first broke in the 70s, I was curous to see this cover band. Most memorable scene was the mom walking in with 3 little girls in tow, each of the kids with their hands over their ears and their faces showing agony. Promised myself to stay until they played one of the big hits… it was “So Into You” which included an excruciating extended jam/guitar solo. I left after that, along with at least a third of the rest of the audience… and the band had a half-hour to go…

Best,

Tom Fricke

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In 1980, ARS played a college show at the University of Puget Sound in Tacoma where I was a student. The student body was the promoter, and we lost our shirt – like really blew the total ASB budget out of whack for the year.

I was the head of concerts as a Senior in 1983 – after 2 years without a “Headliner” show,  We had a chance to book Jimmy Buffet acoustic on the “Somewhere over China” tour with very favorable economics. Due to the ARS Fiasco I couldn’t get it approved, so we had to pass and went with a Jeff Lorber featuring Kenny G … We were fortunate to turn a nice profit , and build back some goodwill , but passing on Jimmy Buffet haunts me.

Thanks

John Maltman

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The Atlanta Rhythm Section = Steely Dan with cowboy hats?

Formed from the ashes of The Classics IV and Roy Orbison’s band The Candymen (who also launched the career of Bobby Goldsboro).

I saw ARS about ten years ago – Dean Daughtry and Rodney Justo were still with them – on a triple bill with Pure Prairie League and Firefall.

Best southern rock guitar clinic ever.

Vince Welsh

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Hi Bob,

Long time reader, Agree with some of your opinions, not so much others, but this review of the ARS is SPOT ON!!  These guys are purveyors of snake oil!

I grew up on ARS in Atlanta in the 70s, went to every Champagne Jam in the late 70s at Georgia Tech’s Grant Field.  From R. Hammond’s vocals to Dean Daughtry’s sublime keyboard foundation and songwriting, to Barry Bailey’s singing guitar sound, ARS was indeed the Steely Dan of southern rock.  They were grizzled studio vets who, together, created a sound like no other.  I’ve heard a recent “greatest hits” recording from the band with the “no hit maker” lineup, and they are lame, but live it is even worse.

I don’t think I’ve ever read a review where you crucified a band like this, but think it is well deserved in this case.  They need to stop trampling the ARS name…in the name of ARS.

Oh, and totally agree…Dog Days is the BEST of their compositions still today.  I originally heard it and also HAD to own it.  Mike McCarty’s artwork on all of their albums was also very cool.

Will McBride

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July 4th, 1978. Saw Rolling Stones in Buffalo’s Rich Stadium. The line up was: April Wine, Journey (Had never heard of them. No one had. Bought the album the next day.), Atlanta Rhythm Section and the Stones. Quite the fall over those decades!

Gary Sender

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I saw the “ARS” in a small Tuscaloosa, AL club in 89’.  They still had original members keyboardist, Dean Daughtry and the lead guitarist, Barry Bailey.  Barry Bailey was a great lyrical lead guitarist.

They played Champagne Jam as an encore.  The instrumental break in the song was all Barry Bailey playing and I mean he was wailing. The audience members were jumping up and down to the beat of this instrumental shuffle break and the floor was moving up and down to the beat of the tune!  The place was pulsing…

Tim Pringle

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A few days before my senior year of high school, in the August Dog Days of Georgia, I was at a Rum and Coke party out in the country. Despite nightfall, it was still hot. A group of us went for a drive, spiked, icy, sweating MicDonald’s coke cups in hand with the windows down.  We noticed a glow in the distance. Of course we investigated. We came upon a field to the left where in the center we witnessed a large wooded barn, in a solitary setting, totally consumed in the magnificent yellow and oranges of a fire. As we pulled over to watch, out of my Thunderbird’s speakers came Dog Days. We absorbed that song as we enjoyed the sight. So fitting. No firetrucks yet, just crackle and Dog Days. We all give each other a buzzed knowing look.  I want to go back Bob. I want to go back.

David Thomson

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3 of the best shows I’ve seen this year have been heritage acts with only one original member. I was more than skeptical but wanted to hear the music played live so I took a chance and had my meager expectations blown completely out of the water! If you get a chance and have any interest at all make an effort to see 10cc, Jon Anderson with the Band Geeks, and Os Mutantes while they’re on the road right now. You will not be disappointed!

Doyle Davis

Grimey’s Records

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Kinda glad I didn’t see this…..Doraville has always slain me, one of the songs that came to Juneau in the mid-late 70’s with my then roommate there in Juneau, a fierce Southern Boy drummer biker dude from Jacksonville straight out of Central Casting, who I always thought must be running from something back home, cause he always had a vibe of something about to go hard left about him…he turned me on to ARS, and Doraville was what sealed it for me….but those guys were serious session guys whose groove was thick and solid, and that guy could sing… I’m glad I didn’t see the karaoke version, that woulda bummed me out hard, bums me out just to hear about it. And BTW, that bass player was monstrously good.

Wade Biery

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Ahhh yes, Ronnie Hammond and the original ARS…one of the great lead singers..the guitarists were pretty good too.. Yeah dead bands…I live near Daryl’s House in Pawling NY…and all we seem to get is tribute bands…Like a Styx/REO Speedwagon/Joni/Janis/Jimi/Johnny Cash June Carter tribute acts…

Chip Lovitt

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Glad you brought this up. I love these bands like ARS, Guess Who, etc but hate what these fake bands do to their legacies. They even put out new albums which all suck and in my opinion hurt the real artists histories. Burton Cummings from The Guess Who goes after the GW fake band on social media and I applaud him for trying to warn fans of these imposters. And by the way The Guess Who is still NOT even considered for the Rock Hall which is ridiculous… I will say the Skynyrd concert I saw in March was great and honored the original band better than I thought was possible so I do give them a break..I am old and know rock n roll music better than most and could go on and on and on:). But won’t for now. Thanks Bob and keep listening to the great and Real ARS. By the way I saw them several times and they could Play and Sing! What a concept. Van Fletcher

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Rolling Stone is so disappointing, it’s like a bad cover band trying to perform like the original members and totally failing.  So that story is kinda ironic.

Leaving aside the issue of the ownership of the Molly Hatchet name (the story’s section on them doesn’t read right to me), they include the Ventures, actually mention the current drummer by name, but don’t point out that he took the drum chair in place of his father, Mel Taylor, upon his passing.  That’s at least some credible link, but goes unmentioned.

Toby Mamis

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I am a native of Atlanta. I grew up in Decatur, just a few miles from Doraville. Started attending concerts in 1972, including Fleetwood Mac opening for Deep Purple and 2 nights of the ABB (with Berry, never saw Duane, the most influential musician of my entire life). All 3 shows were in the first week of my junior year of hs. What a week!

I saw ZZ Top on August 30, 1974. Excited to see them. A fan since Rio Grande Mud. Tres Hombres was just out. Went into the show with GREAT anticipation to see this hot group and walked out that evening…..with Atlanta Rhythm Section tunes in my head! I was blown away by this band I had never heard of. Went out the very next day and bought Third Annual Pipe Dream. Then I had to go back and get the first 2 albums. The second album, Back Up Against The Wall is excellent. Go listen to the song Conversation from that album. Just beautiful. My favorite tune they ever played.

The Dog Days album was a monster. I know that So Into You was what made them blow up nationally, but here in Atlanta, they blew up with Dog Days and stayed on top for years. And I didn’t even like So Into You. It was a departure from the early stuff. It just seemed too commercial. My interest waned after that. I saw them several times but not after they made it big nationally. To this day I still play their early records.

Zombie bands should be stopped. If you want to be a tribute band, go for it. At least people know what they are getting. There are many Allman Brothers tribute bands, with names like Live At The Fillmore. I’m sure they are entertaining but I would never pay to see them. With over 50 ABB concerts under my belt, why would I?

Neal Barfield

Atlanta, GA

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“Yes, the Atlanta Rhythm Section was on Polydor. Not quite as bad as Decca and MCA, but still pretty bad, even worse than RCA, which was a Mickey Mouse label.”

That’s insulting. There was a core group of veteran promotion and press people abetted by many newbies at Polydor, who busted their ass for The Atlanta Rhythm Section. “So Into You” was not an easy cross over. I remember Bob Pittman at some Chicago Top40 saying that “his research” came back saying that the track was “not a hit” when it was #5 nationally in Billboard. ARS got the ball rolling and we had success with many other artists (especially rock) over the next decade. I don’t have to cite them chapter and verse. ARS eventually moved to Columbia and had no success there before breaking up. Say what you may about “labels” from the 70s and 80s, but here’s some food for thought. If ARS were on Warners. the powers-that be- might have been satisfied with sales of 200,000 because they had plenty of those “respected acts” (eg Bonnie Raitt) and their high priorities like Rod Stewart, Madonna, Prince etal were the sacred cows of mainstream promotion. At Polydor (subsequently PolyGram), when we got our foot in the door we worked extra hard to break the damn door down. By the way ARS’ manger and producer was Buddy (not Barry) Buie. “So Into You” was far bigger than “Imaginary Lover.” An interesting side note- after So Into You, Polydor’s head of promotion, Arnie Geller, left to go into business with Buddy Buie. ARS’s summer extravaganzas in Atlanta, “Champagne Jam” attracted upwards of 50,000 in a football stadium at the same time they were playing clubs in the northeast. This Bronx Yid loved those guys. Indeed RIP.

-Jerry Jaffe

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Hilarious read! I can’t recall you panning anything like this.

If you haven’t already, check out ARS’ last real studio album 1999’s Eufaula. Contains some of their best work since Champagne Jam – especially Barry Bailey’s guitar work.

The last time I saw them they toured to support that album and played The Wolf Den at Mohegan Sun in CT. They still had it.

Bob Levy

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All I can say I read the subject and thought… “this won’t be good”

Tom Clark

Not the ones you talk about, but the ones you actually listen to on a regular basis.

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