Amazing Rhythm Aces -

The Amazing Rhythm Aces were an American rustic-rock band from Memphis that released five albums between 1975 and 1979 on ABC and a sixth on Warner. They scored a country-pop crossover hit with “Third Rate Romance” from their debut album Stacked Deck, their first of four Top 30 albums on the Billboard Top Country Albums chart, followed by Too Stuffed to Jump, Toucan Do It Too, and Burning the Ballroom Down.

Members: Russell Smith (guitar, vocals), Billy Earheart III (keyboards, organ, accordion, piano), James Hooker (keyboards, piano, vocals), Jeff “Stick” Davis (bass, vocals), Butch McDade (drums, vocals), Barry “Byrd” Burton (guitar, Dobro, vocals, 1974-77), Duncan Cameron (guitar, mandolin, banjo, Dobro, 1978-81)

Background

The Amazing Rhythm Aces had their roots in Fatback, a late-Sixties Knoxville bar band with singer–guitarist Russell Smith, bassist Jeff “Stick” Davis, and drummer Butch McDade.

Stacked Deck

The Amazing Rhythm Aces released their debut album, Stacked Deck, in September 1975 on ABC.

The Memphis-based group—vocalist–guitarist Russell Smith, guitarist–producer Barry “Byrd” Burton, keyboardists James Hooker (piano) and Billy Earheart (organ, piano), bassist Jeff “Stick” Davis, and drummer Butch McDade—bridged Southern soul, gospel, and country with an understated rhythmic pulse and narrative lyricism. Their mix of R&B phrasing, swamp rhythm, and relaxed pacing set them apart from West Coast contemporaries such as the Eagles and Poco.

Smith wrote nine of the album’s eleven songs. Drummer McDade contributed “The Beautiful Lie,” and Burton arranged the traditional hymn “Life’s Railway to Heaven,” on which he sang lead. They also covered Charlie Rich’s 1961 single “Who Will the Next Fool Be.”

The set balances Southern story-songs, country laments, and relaxed soul inflections. “Third Rate Romance” and “Amazing Grace (Used to Be Her Favorite Song)” trace moral vignettes through conversational lyrics and soft rhythmic sway. “The ‘Ella B’” blends funk phrasing and maritime imagery, while “Hit the Nail on the Head” moves briskly with clipped guitar accents. “My Tears Still Flow” and “Emma-Jean” linger in slow, spacious time, contrasting with the nostalgic closer “King of the Cowboys,” a tribute to bygone screen heroes. “Life’s Railway to Heaven” injects a gospel refrain framed by Burton’s Dobro, and “Who Will the Next Fool Be” reinterprets Rich’s soul ballad with a restrained, Sam Cooke-like delivery.

A1. “Third Rate Romance” (3:17) — tells of a man and woman meeting for a one-night tryst at the Family Inn; later covered by Jesse Winchester (1974), Ace Spectrum (1975), and Fabulous Poodles (1978)
A2. “The ‘Ella B’” (4:33)
A3. “Life’s Railway to Heaven” (4:20) — traditional; arranged by Barry Burton; 19th-century gospel hymn popularized by M.E. Abbey and Charles Davis Tillman
A4. “The Beautiful Lie” ((2:54) — Butch McDade
A5. “Hit the Nail on the Head” (2:22)
A6. “Who Will the Next Fool Be” (2:48) — Charlie Rich; originally issued as a 1961 single by Rich on Sun Records

B1. “Amazing Grace (Used to Be Her Favorite Song)” (3:17) — moral narrative about alcoholism and personal downfall
B2. “Anything You Want” (3:48) — Russell Smith, James H. Brown Jr.
B3. “My Tears Still Flow” (3:25)
B4. “Emma-Jean” (2:47)
B5. “Why Can’t I Be Satisfied” (3:03)
B6. “King of the Cowboys” (4:01) — Russell Smith, James H. Brown Jr.

CD bonus: “Mystery Train” (Junior Parker) (2:51) — originated as a 1953 Sun single by Parker; also covered by Elvis Presley (1955)

Sessions occurred at Phillips Recording Studio in Memphis with Barry “Byrd” Burton producing and engineering.

The cover design by Martin McDonald features Jim McCrary’s photography, showing the group seated in a warm interior setting that evokes the casual tone of the music.

ABC issued “Third Rate Romance” (b/w “Mystery Train”) in June 1975; it reached No. 14 on the Billboard Hot 100 and No. 11 on the Country chart, topping both the pop and country charts in Canada. “Amazing Grace (Used to Be Her Favorite Song)” followed in December (b/w “The Beautiful Lie”) and reached No. 9 on the U.S. Country chart and No. 72 on the Hot 100.

Elvis Costello later recorded a 1975 demo of “Third Rate Romance” with his Flip City band.

Too Stuffed to Jump

The Amazing Rhythm Aces released their second album, Too Stuffed to Jump, in May 1976 on ABC.

The sextet retained the Stacked Deck lineup: vocalist–guitarist Russell Smith, guitarist–producer Barry “Byrd” Burton, keyboardists James Hooker (piano) and Billy Earheart (organ), bassist Jeff “Stick” Davis, and drummer Butch McDade. They advanced their blend of country, R&B, and Southern pop with greater polish and narrative depth, maintaining the Memphis warmth that defined their debut.

Smith wrote six of the album’s ten songs. He co-wrote three others with lyricist James H. Brown Jr., while McDade contributed one song and Stuart Wright added another. The set includes no outside covers, focusing entirely on original material.

The album alternates between plainspoken character sketches, romantic reflections, and rhythmic story-songs. “Typical American Boy” opens with a brisk, good-natured pace and conversational phrasing. “The End Is Not in Sight (The Cowboy Tune)” unfolds as a weary travelogue with gospel inflections, while “Out of the Snow” follows a chance reunion between old lovers. McDade’s “Same Ol’ Me” adds an easy, front-porch charm, and “A Little Italy Rag” injects a playful rhythmic twist. The closer, “Dancing the Night Away,” expands into extended interplay and became one of their most covered numbers.

A1. “Typical American Boy” (3:30) — Russell Smith, James H. Brown Jr.; brisk opener depicting a restless everyman persona
A2. “If I Just Knew What to Say” (2:08) — Stuart Wright; tender ballad expressing uncertainty in love
A3. “The End Is Not in Sight (The Cowboy Tune)” (3:46) — slow, introspective piece that won a 1977 Grammy for Country Vocal Performance by a Group
A4. “Same Ol’ Me” (2:25) — Butch McDade sings lead on this relaxed, country-soul lament
A5. “These Dreams of Losing You” (3:30) — Smith, James H. Brown Jr.; midtempo reflection on romantic insecurity

B1. “I’ll Be Gone” (2:56) — compact farewell narrative with rhythmic restraint
B2. “Out of the Snow” (3:40) — reunion story of two former lovers rekindling affection amid winter setting
B3. “Fool for the Woman” (2:44) — brisk, lightly funked declaration of obsession
B4. “A Little Italy Rag” (2:22) — humorous, quick-step novelty framed by ragtime piano
B5. “Dancing the Night Away” (5:39) — Smith, James H. Brown Jr.; extended closer built on circular rhythm and gradual instrumental layering

Sessions occurred at Phillips Recording Studio in Memphis with Barry “Byrd” Burton producing and engineering.

The cover, designed by John Kehe, features a cartoon frog astride a wooden motorcycle—a visual nod to the album’s wry title.

ABC promoted Too Stuffed to Jump with “The End Is Not in Sight (The Cowboy Tune)” (b/w “Out of the Snow”), which reached No. 12 on the Billboard Country chart, No. 69 on the Hot 100, and No. 20 on the Canadian Country chart.

“Dancing the Night Away” became a recurrent cover item for country and pop artists, notably by Crystal Gayle (1977) and Tanya Tucker (1978).

Toucan Do It Too

The Amazing Rhythm Aces released their third album, Toucan Do It Too, in March 1977 on ABC.

The band—vocalist–guitarist Russell Smith, guitarist–producer Barry “Byrd” Burton, keyboardists James Hooker (piano, electric piano, clavinet) and Billy Earheart (organ), bassist Jeff “Stick” Davis, and drummer Butch McDade—retained the relaxed, Southern-laced rhythm of their first two albums but broadened the scope with sharper guitar accents and a stronger R&B undercurrent. The set marked Burton’s final appearance with the group.

Smith wrote or co-wrote eight of the album’s ten tracks, collaborating frequently with lyricist James H. Brown Jr. McDade co-wrote two numbers, and bassist Jeff Davis co-wrote “Living in a World Unknown.” The lone outside contribution, “I’m Setting You Free,” came from J.T. Watts, Harold Allen, and Jimmy Grimes.

The album opens with “Never Been to the Islands (Howard and Hugh’s Blues),” a light, tropical shuffle that eases into the mellow “Never Been Hurt.” “Living in a World Unknown” and “Who’s Crying Now” move in a brisk, rock-oriented direction, while “Everybody’s Talked Too Much” and “Last Letter Home” return to their reflective, country side. “Geneva’s Lullaby” showcases Smith’s tenderness as both singer and writer, and “Two Can Do It Too” closes with syncopated rhythm and soulful interplay suggestive of Little Feat’s funkier edge.

A1. “Never Been to the Islands (Howard and Hugh’s Blues)” (3:50) — airy, calypso-tinged opener contrasting escapist imagery with gentle irony
A2. “Never Been Hurt” (3:08) — midtempo reflection on romantic caution, supported by electric piano and vocal harmonies
A3. “Living in a World Unknown” (3:29) — propulsive rock number driven by twin guitars and forward rhythm
A4. “Everybody’s Talked Too Much” (2:58) — retreat into laid-back country pacing
A5. “Last Letter Home” (3:20) — plaintive farewell ballad with acoustic mandolin filigree

B1. “Who’s Crying Now” (2:55) — brisk rocker with sharp rhythmic emphasis
B2. “Just Between You and Me and the Wall, You’re a Fool” (3:12) — sardonic lyric dressed in restrained country-soul
B3. “I’m Setting You Free” (3:35) — outside composition in R&B slow-dance mode
B4. “Geneva’s Lullaby” (2:58) — gentle, minor-key ballad expressing tender regret
B5. “Two Can Do It Too” (4:15) — syncopated closer blending funk rhythm and Southern wit

Sessions occurred at Phillips Recording Studio in Memphis with Barry “Byrd” Burton producing and engineering.

ABC issued “Never Been to the Islands (Howard and Hugh’s Blues)” (b/w “Everybody’s Talked Too Much”) as the lead single, followed by “Two Can Do It Too” (b/w “Living in a World Unknown”). The album reached No. 24 on the Billboard Country chart and No. 114 on the Billboard 200.

Burning the Ballroom Down

The Amazing Rhythm Aces released their fourth album, Burning the Ballroom Down, in April 1978 on ABC.

The album mixes country rock, Southern soul, and folk balladry with traces of bluegrass and gospel. It marked the final appearance of founding guitarist and multi-instrumentalist Barry “Byrd” Burton, whose steel and slide accents color the band’s regional blend. The Aces lineup comprised vocalist–guitarist Russell Smith, guitarist–mandolinist Burton, keyboardists Billy Earheart (organ) and James Hooker (piano, clavinet), bassist Jeff Davis, and drummer Butch McDade.

Smith wrote five songs and co-wrote three with James H. Brown Jr., while keyboardist Billy Earheart contributed “Out of Control.” The album includes a cover of the 1951 Johnnie & Jack hit “Ashes of Love,” written by Jim Anglin, Jack Anglin, and Johnnie Wright.

The title track opens the set with blue-eyed soul inflections and wistful lyrics on lost youth and memory. “A Jackass Gets His Oats” rolls with a swamp-rock swagger reminiscent of Lynyrd Skynyrd’s rhythmic phrasing. “All That I Had Left (Left With You)” presents a restrained breakup ballad marked by Smith’s plaintive delivery. “I Pity the Mother and the Father (When the Kids Move Away)” leans into acoustic folk humor, while “Out of Control” evokes gospel lament with slow-paced chords and organ tone. “Red to Blue (When Dreams Come True)” carries a minor-key melancholy, and closer “The Spirit Walk” extends into a sacred meditation framed by Burton’s layered strings.

A1. “Burning the Ballroom Down” (5:20)
A2. “A Jackass Gets His Oats” (4:53)
A3. “Ashes of Love” (3:03) — originated as a 1951 country single by Johnnie & Jack, later covered by Don Gibson, Buck Owens, and Emmylou Harris.
A4. “All That I Had Left (Left With You)” (3:32) Jeff Davis
A5. “I Pity the Mother and the Father (When the Kids Move Away)” (2:07)

B1. “Della’s Long Brown Hair” (3:13)
B2. “Out of Control” (3:53)
B3. “Red to Blue (When Dreams Come True)” (5:18)
B4. “The Spirit Walk” (6:01)

Sessions took place at Jack Clement Recording Studios in Nashville with production by Barry “Byrd” Burton and engineering by Clement’s in-house team.

The album cover features Kay Nielsen’s 1914 illustration The Lovers Perish in Fire, depicting a pair of figures engulfed in flames, adapted from the artist’s work for East of the Sun and West of the Moon.

ABC issued “Ashes of Love” as the album’s lone single. The album reached No. 28 on the US Country chart and No. 166 on the Billboard 200.

The Amazing Rhythm Aces

The Amazing Rhythm Aces first released their self-titled fifth album in January 1979 on ABC. After the label’s collapse, Columbia reissued the album that June.

The album continues the band’s fusion of country, soul, and R&B, but emphasizes smoother R&B textures that temper their traditional country sensibilities. Acoustic and electric guitar interplay remains central, and layered horn arrangements punctuate select tracks, while piano, organ, and clavinet provide harmonic depth.

Russell Smith handled the bulk of songwriting, contributing five songs, while Duncan Cameron co-wrote with Smith on several tracks. Covers include Benny Spellman’s “Lipstick Traces (On a Cigarette)” (written by Allen Toussaint as Naomi Neville).

Musically, the album divides into richer country-leaning tracks such as “Homestead in My Heart” and “Say You Lied,” and more polished R&B-oriented numbers like “Love and Happiness” and “Whispering in the Night,” which employ layered backing vocals and horn accents.

A1. “Love and Happiness” (4:41) — Smith on lead vocals; features Tracy Nelson on backing vocals, James Hooker on organ, and Billy Earheart on piano/electric piano.
A2. “Lipstick Traces (On a Cigarette)” (3:45) — originated as a 1962 single by Benny Spellman, written by Allen Toussaint; features backing vocals by Tracy Nelson.
A3. “Homestead in My Heart” (3:15) — Cameron on lead vocals, Tracy Nelson on backing vocals; acoustic textures foregrounded.
A4. “Say You Lied” (2:15) — intimate country arrangement.
A5. “The Lonely One” (3:27) — Smith vocals, understated instrumentation.

B1. “Pretty Words” (3:51) — McDade lead vocals; rhythmic percussion with subtle backing.
B2. “If You Gotta Make a Fool of Somebody” (2:47) — straightforward country pacing.
B3. “Whispering in the Night” (7:07) — extended R&B arrangement with layered horns and backing vocals.
B4. “Rodrigo, Rita and Elaine” (3:37) — Smith lead vocals and multi-instrumentation; Lisa Gilkyson, Russell Smith, and Tracy Nelson provide vocals; Cameron adds multiple stringed instruments.

Sessions occurred at Muscle Shoals Sound Studios A and B, Sheffield, Alabama, with producer Jimmy Johnson and engineers Gregg Hamm and James Griffin; Bill Fair and Steve Melton handled remixing.

The album features photography by Earl Miller and horn arrangements by Harrison Calloway, with Muscle Shoals Horns contributing on multiple tracks.

Singles include ABC’s release of “Lipstick Traces (On a Cigarette)” (b/w “Homestead in My Heart”).

How the Hell Do You Spell Rhythum?

The Amazing Rhythm Aces released their sixth album, How the Hell Do You Spell Rhythum?, in September 1980 on Warner Bros.

The album balances the band’s signature country-soul blend with covers of R&B and blues material, emphasizing piano, organ, and layered horn arrangements. Russell Smith and Duncan Cameron anchor vocals and guitar, while session contributions from Muscle Shoals regulars enrich the harmonic and rhythmic texture.

Russell Smith wrote three songs, Duncan Cameron contributed one, and covers include Van Morrison’s “Wild Night,” Taj Mahal’s “Farther On Down the Road,” Dan Penn and Rick Hall’s “You Left the Water Running,” and Elvin Bigger/Gladys Stacey/Louise Certain’s “Give Me the Flowers While I’m Living.” Delbert McClinton wrote “Object of My Affection,” David McDade wrote “Living on Borrowed Time,” and Eddie Hinton co-wrote “I Got the Feeling” with Smith.

Musically, the album pairs mid-tempo country-inflected numbers like “I Musta Died and Gone to Texas” and “Big Ole Brew” with bluesier interpretations of R&B tracks, including “You Left the Water Running” and “Wild Night,” featuring trumpet and saxophone accents and percussion variations that underscore rhythmic shifts.

A1. “What Kind of Love Is This?” (4:18) — Cameron solo writing; organ and piano textures support contoured vocal lines.
A2. “Object of My Affection” (2:39) — written by Delbert McClinton; brisk tempo with subtle harmonic shifts.
A3. “You Left the Water Running” (3:19) — originated as a 1966 single by William Bell; guitar by Jimmy Johnson, saxophone by Al Garth and Ronnie Eades; piano and organ provide layered accompaniment.
A4. “I Musta Died and Gone to Texas” (3:05) — Smith composition; country pacing with harmonic interplay between guitars and backing vocals.
A5. “Living on Borrowed Time” (3:44) — written by David McDade; percussion by Mickey Buckins adds rhythmic variation.

B1. “Wild Night” (3:40) — Van Morrison cover; trumpet by Harrison Calloway, saxophones by Al Garth and Ronnie Eades; horn lines punctuate R&B phrasing.
B2. “Big Ole Brew” (2:41) — Smith composition; straightforward country rhythm, piano and guitar interplay.
B3. “Farther On Down the Road” (4:38) — Taj Mahal cover; blues influence emphasized through guitar and organ counterpoint.
B4. “I Got the Feeling” (5:45) — Smith and Eddie Hinton; guitar and trumpet highlight syncopated variations, extended phrasing.
B5. “Give Me the Flowers While I’m Living” (2:30) — written by Elvin Bigger, Gladys Stacey, Louise Certain; concise arrangement with piano and harmonic support.

Sessions occurred at Muscle Shoals Sound Studios, Sheffield, Alabama, in May and June 1980 with producer Jimmy Johnson and engineer Steve Melton; Mary Beth McLemore assisted engineering.

The album was mastered at Sterling Sound and pressed by Capitol Records Pressing Plant, Winchester.

Warner Bros. promoted the album with the single “I Musta Died and Gone to Texas.”

Discography: