Chet Atkins was an A&R (artist and repertoire) executive for RCA Victor Records from 1958 until 1974, producing recordings for such artists as Elvis Presley, Bobby Bare, Eddy Arnold, Jim Reeves, Skeeter Davis, Waylon Jennings, Duane Eddy, The Browns, Charley Pride, Hank Snow and The Everly Brothers, to name just a few. In the early 1960s, at th...
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Chet Atkins was an A&R (artist and repertoire) executive for RCA Victor Records from 1958 until 1974, producing recordings for such artists as Elvis Presley, Bobby Bare, Eddy Arnold, Jim Reeves, Skeeter Davis, Waylon Jennings, Duane Eddy, The Browns, Charley Pride, Hank Snow and The Everly Brothers, to name just a few. In the early 1960s, at the peak of his production activity, he supervised as many as 300 recording sessions a year - each session lasting at most three hours and yielding three or four arranged and completed tracks. At his disposal were the cream of Nashville session musicians, the so-called "A-list", including pianists Floyd Cramer and Hargus Robbins, saxophonist Boots Randolph, guitarists Grady Martin, Harold Bradley and Hank Garland, legendary bassist Bob Moore, drummer Buddy Harman and renowned harmonica artist Charlie McCoy, backed up by superb vocalists such as Anita Kerr, Millie Kirkham and The Jordanaires. A superb talent with an amazing sense of musical creativity, Chet Atkins wrote the "book" for much of what we consider good popular music today. Show less «
[on the first time he heard Hank Garland] I was in Knoxville, and I heard this chorus. I don't recal...Show more »
[on the first time he heard Hank Garland] I was in Knoxville, and I heard this chorus. I don't recall the artist now, but I remember then that I thought it was the greatest guitar chorus I'd ever heard, so I checked around and found out it was Hank Garland who played it. Show less «
Hank Garland was very outspoken and he had a lot of ideas. He didn't take any talk from any producer...Show more »
Hank Garland was very outspoken and he had a lot of ideas. He didn't take any talk from any producer. If they said something smart to him, his face would get real red and he'd say something back. But he was such a good musician that everyone had a terrible amount of respect for him, so nobody stepped on his toes. He could only help you: he was so good, he could never hurt you. Show less «
[on producing records with Jim Reeves, aka "Gentleman Jim", who joined RCA in 1955 after recording s...Show more »
[on producing records with Jim Reeves, aka "Gentleman Jim", who joined RCA in 1955 after recording several years for Abbott Records] When I first met and started working with him, he was singing too high. He was a great baritone, but he wasn't a very good tenor. I always tried to keep him down in a low key, because when he did that, he sounded wonderful to me. He knew I liked it when he sang in that low key, but occasionally he'd kid me a little and pitch it up a little too high. Show less «
Years from now, after I'm gone, someone will listen to what I've done and know I was here. They may ...Show more »
Years from now, after I'm gone, someone will listen to what I've done and know I was here. They may not know or care who I was, but they'll hear my guitars speaking for me. Show less «
I was more interested in my guitar than the fiddle and I'd fool around practicing whenever I could. ...Show more »
I was more interested in my guitar than the fiddle and I'd fool around practicing whenever I could. One time the radio-station boss heard me playing my guitar in the back seat of his car. He told me to throw away the fiddle for good and he'd give me a job playing guitar. Show less «
Once when I was on a cruise ship I was practicing on deck and drew a little crowd. When I was done, ...Show more »
Once when I was on a cruise ship I was practicing on deck and drew a little crowd. When I was done, one lady told me "You're good but you're no Chet Atkins." Show less «
\I realized that what I liked, the public would like, too, 'cause I'm kind of square.
\I realized that what I liked, the public would like, too, 'cause I'm kind of square.
Everything I've ever done was out of fear of being mediocre.
Everything I've ever done was out of fear of being mediocre.