After decades of recording for RCA Victor, Atkins switched labels; this 1985 effort is a summit meeting of sorts with young guitar hotshots like Larry Carlton, George Benson, Mark Knopfler, Steve Lukather, and Earl Klugh, plus session A-teamers like Boots Randolph, Larrie Londin, David Hungate, Mark O'Connor and others. Atkins' tone is, as usual, faultless, and his playing superb. If the "meetings" don't always come off, it's usually due to the overzealousness of the other guitar players (Lukather's over-the-top style screams '80s big hair, for instance), not Chet, whose playing always exercises the utmost in restraint in every situation. All in all, a good modern-day Chet Atkins album, but not the place to start a collection.
Chet Atkins earned and held the title of "Mr. Guitar" for 50 years before passing away in the summer of 2001. Signed to RCA in 1947, he would help define the "Nashville Sound" in the late '50s while simultaneously releasing a steady string of instrumental albums. RCA Country Legends captures Atkins on 14 wonderful tracks recorded between 1949 and 1976. Atkins recorded the self-penned single "Barber Shop Rag" with mandolinist Jethro Burns and guitarist Homer Haynes. Burns' speedy runs work as a nice counterpoint, and bring out equally inspired work from Atkins. Curiously, Atkins and his buddies even add vocals on an infectious cut titled "Boogie Man Boogie." There's a nice duet with writer and fellow guitar picker Jerry Reed on "Twitchy," and a spunky take on "Tiger Rag" worthy of Django Reinhardt. There are also a number of solo pieces, including "Petite Waltz," "Yes Ma'am," and the closer, "Liza." These cuts capture a quintessential Atkins, just a man and his guitar, handling the rhythm and lead without blinking.
Another of Chet Atkins' attempts to break into the jazz world during his Columbia period, this recording veers well across the line into new age wallowing of the most innocuous kind. At this point in time, when a record opened with soothing ocean waves, followed by a gentle wash of synths, you could pretty much expect the new age to be lapping at your feet throughout. As he has with so many other genres, Atkins displays an instinctive grasp of this feel-good idiom, though he has to hold back his powers of invention to conform to its clichés and repetitions. Yet even amidst the twittering sound effects and electronic drums of "Up in My Treehouse"…
Sails is an album by Chet Atkins. It was released in 1987 by Columbia Records. Sails follows in the 1980s' vein of Chet Atkins' releases with a smooth jazz and new age atmosphere.
As seen on PBS. Chet Atkins - Certified Guitar Player is a concert-tribute to Chet Atkins, performed by Chet and many giants in the music business: Mark Knopfler, The Everly Brothers, Emmylou Harris, Michael McDonald, Waylon Jennings, and Willie Nelson, backed by Nashville's premier studio musicians. Great music, great fun, and a moving experience as a joyful document created about Chet Atkins' importance in the history of music, and to everyone on that stage. The CD: contains the entire soundtrack of the program above. It has all the music (17 songs), all the interplay between Chet and his fellow stars, and all the excitement felt by the audience that night.
Includes the albums Hum & Strum Along (1959), Mister Guitar (1959), After The Riot at Newport (1960), Teensville (1960), The Other Chet Atkins (1960), Chet Atkins Workshop (1960), Most Popular Guitar (1961) and Christmas with Chet Atkins (1961).
Without Chet Atkins, country music may never have crossed over into the pop charts in the '50s and '60s. Although he recorded hundreds of solo records, Atkins' largest influence came as a session musician and a record producer. During the '50s and '60s, he helped create the Nashville sound, a style of country music that owed nearly as much to pop as it did to honky tonks.
This video lesson is for intermediate and advanced fingerstyle guitarists. Chet performs and describes in detail, phrase by phrase, the playing of nine of his classic arrangements. An 80 page tab/music booklet is included. "Someone once asked me to estimate how many guitar lessons I've had in my lifetime," Chet has said. "The answer is simple – none. There were no teachers in our neighborhood when I was learning. And if there had been I doubt whether they would have taught me with that shabby guitar of mine. But I kept a lookout for any stray 'picker' that wandered into town and if he knew any new runs I would learn them before he left."