Mac Gayden, John Harris, Wayne Moss, and Kenny Buttrey, are fondly remembered as fourninths of that strictly instrumental band comprised of Nashville's more stoned studio musicians, Area Code 615. When the Code disbanded, these four chose to form their own band, Barefoot Jerry, doubtless in an effort to break free from the hey-these-guys-used-to-back-up-Dylan stigma and establish themselves as a "hip country" band in their own right. On their first album, Southern Delight, they have by no means succeeded completely, but it's safe to say they're well on their way.

The personality that Barefoot Jerry delivers on Delight is one of four hayseed lads singing their own songs about what a groove it is to be a stoned Southerner. Well, that's nice, and this is by no means an album that is difficult to get close to, but something is awry with this opus, and I suspect it has something to do with the difficulty of breaking away from the confines of the studio into more verbal expression; with a background of backing such diverse folks as Connie Francis and Roy Orbison, it is possible that Barefoot Jerry still has a few too many notes floating around in their collective head to settle down into a steady groove of their own.

As it is, the boys keep straddling styles in mid-song, moving with very little continuity from Wagnerian heaviness into ethereal harmonies, and their lyrics show the awkwardness of guys who haven't yet mastered writing non-cliched words. ("Come to me tonight/When I'm feeling cold and lonely").

But once you've figured what style is going to follow the next in these songs, and adjusted yourself to the occasionally preachy-hip lyrics, there's some genuinely exciting music being generated by Barefoot Jerry, and well worth the time it takes to give it a listen. "Hospitality Song," "I'm Proud To Be A Redneck," and "Blood Is Not the Answer" are worthy efforts in the "Woodstock sound" style, and when they choose to let out the stops and go high-energy, as on "That's OK, He'll Be Your Brother Someday," they do succeed in breaking through with something distinctive.

Barefoot Jerry provides a slightly disappointing answer to the question "What ever happened to Area Code 615?" but on the basis of their song, "The Minstrel Is Free At Last," where they express misgivings about the creative vacuum that has existed in one-too-many Nashville sessions, one is left feeling that these boys have a good idea of where they want to go. Be patient, and I bet they'll get there. (RS 97)

CHARLIE BURTON