In the late 1960s, Paul Goddard was a popular guitarist on the Atlanta music scene, as a studio player and backing shows by Lou Christie, Billy Joe Royal, and others. He later enjoyed a taste of fame as bassist for the Atlanta Rhythm Section, which he helped form in 1970.

Influenced by progressive-rock bassists such as Chris Squire of Yes and Kansas’ Dave Hope, Goddard typically used a pick, and his bright, skittering style was integral to the sound of Atlanta Rhythm Section (ARS).

“He was actually a very good guitar player,” said former ARS guitarist J.R. Cobb in a 2017 interview with VG. “He played differently, the same way he ended up playing bass differently.”

In the early days of ARS, Goddard played a sunburst Fender Precision purchased from the band’s lead guitarist, Barry Bailey, but he is most closely associated with an early-’70s Rickenbacker 4001 with a Mapleglo finish, on which he installed an XLR jack, eliminated the pickup selector, and sealed one of the two Rick-O-Sound inputs.

“It was done that way because he had poor eyesight and was worried he’d accidentally plug into the wrong output,” said repairman/tech Jonathan Holland of the modifications. “And his string setup was pretty high considering the great runs he played. I didn’t do any of the original mods on his Mapleglo bass, but that was how he liked his Ricks.”

For many ARS fans, Goddard’s acclaimed style and tone – most-heard on “Imaginary Lover,” “So Into You,” “Spooky,” and “I’m Not Gonna Let it Bother Me Tonight” – were particularly evidenced on live albums, epitomized by the jaw-dropping, bone-shaking solo on “Another Man’s Woman,” from the band’s 1979 album Are You Ready?. Moreover, his tone on Live at the Savoy is a consummate Chris Squire tribute; recorded in ’81, it wasn’t released until 2000.

In the ’70s, Goddard also used the ’57 Precision he’s shown playing on the front cover of band’s 1976 album, A Rock and Roll Alternative. At the end of that decade, it was sold to ARS fan Jack Booth through Atlanta’s Wallace Reed Music; Goddard included a note authenticating its use on classic recordings.

After selling the Precision, Goddard began using Peavey T-40s in the studio, making use of their versatile pickup roll-off circuitry. In ’82, he appeared on the cover of a Peavey promotional magazine and owned two T-40s – one in light sunburst with a rosewood fretboard, the other one in a dark sunburst with maple. And while he occasionally used a T-40 live, their heavy ash bodies compelled him to return to his Rickenbacker.

Goddard left ARS in ’84 and started Interpol, a musical project that created a progressive-style recording.

“It was never released, but it has some great music,” said ARS guitarist Steve Stone, who joined the band in ’86. The two met for the first time in ’96, at the ceremony during their induction to the Georgia Music Hall of Fame. By then, Goddard was making a living by working on computers for a school supply wholesaler. In the early 2000s, he enjoyed a visit with the ’57 during a 35th-anniversary event at Wallace Reed Music. Booth was given a heads-up that Goddard would be there.

“That was the first time I met Paul,” said Booth. “He was thrilled to be reunited with it. I don’t think he cared about its collectibility, as it was a tool of the trade.”

When he rejoined ARS in 2011, Goddard mostly used a newer Rick 4003 in Midnight Blue, modified by Holland much the same as the Mapleglo.

Goddard’s return to the band was lauded by fans, but was short-lived. Diagnosed with terminal cancer, he passed away on April 30, 201

More than half a century after ARS’ first album, Goddard’s riffs still resonate, and he will be remembered as an innovative musician.

“He was proud of his work, but I’m not sure he fully knew how many players respected it,” said Stone.

This article originally appeared in VG’s August 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.