Chet Atkins

At 77 years old, Chet Atkins has this physical status:

Early musical career

After dropping out of high school in 1942, Atkins began playing fiddle and guitar with Bill Carlisle and the comedic comedian Archie Campbell and became a member of the station's Dixieland Swingsters, a small swing instrumental group. Merle Travis had previously worked in Cincinnati, Ohio, where he joined WLW-AM in Cincinnati, Ohio.

After six months, he migrated to Raleigh and worked with Johnnie and Jack before heading to Richmond, Virginia, where he worked with Sunshine Sue Workman. Atkins' shy personality, as well as his sophisticated style, led to several people to question whether he was really "country." He was fired often, but due to his extraordinary playing skills, he was able to land another job at a different radio station shortly.

Leona and Lois Johnson, Laverne and Fern Johnson, joined Atkins and Jethro Burns (of Homer and Jethro) as twin sisters Leona and Lois Johnson, the Johnson Sisters. Leona Atkins lived outlived her husband by eight years, dying in 2009 at the age of 85.

Atkins, who was formerly known for Red Foley on WLS-AM's National Barn Dance, auditioned for the Grand Ole Opry in Chicago. Atkins made his first appearance at the Opry in 1946 as a member of Foley's band. That year, he appeared on a single for Nashville-based Bullet Records. The single, "Guitar Blues," was fairly progressive, with clarinet solo by Nashville dance band singer Dutch McMillan and Owen Bradley on piano. He had a solo spot on the Opry, but As the Opry was cut, Atkins went to KWTO in Springfield, Missouri. Despite the company's help, Si Siman was fired soon for not being "country enough."

Atkins caught RCA Victor's attention while performing with a Western band in Denver, Colorado. Siman had been urging Steve Sholes to sign Atkins as his style (because Merle Travis' success as a hit recording artist) was now in vogue. Atkins was tracked down in Denver by Sholes, A&R's country music director.

In 1947, he made his first RCA Victor recordings in Chicago, but they didn't sell. He did some studio work for RCA this year but had to move to Knoxville for the new Saturday night radio show The Tennessee Barn Dance and the popular Midday Merry Go Round on WNOX.

He left WNOX in 1949 to join Mother Maybelle and the Carter Sisters on KWTO. Maylle Carter and her daughters June, Helen, and Anita were included in this incarnation of the Carter family. The Grand Ole Opry's attention was drawn immediately to their work. In the mid-1950s, the company relocated to Nashville. On WSM-AM and the Opry, Atkins began recording sessions and appearing on WSM-AM and the Opry. In the 1950s, Atkins became an Opry member.

Although he didn't have a hit record for RCA Victory, his fame was increasing. When Sholes, a New York-based producer, wanted help organizing Nashville sessions for RCA Victor artists, he began assisting Sholes as a session leader. "Mr. Sandman" was Atkins' first hit song, followed by "Silver Bell," which he released as a duet with Hank Snow. His albums have also become more popular. In 1956 and 1958, he appeared on ABC-TV's The Eddy Arnold Show and on Country Music Jubilee in 1956 and 1958 (now Jubilee USA).

Atkins, a design consultant for Gretsch, which produced a widely used Chet Atkins line of electric guitars from 1955 to 1980, was more than just an audio engineer. He became the boss of RCA Victor's Nashville studios, which culminated in the construction of the iconic RCA Studio B, the first studio built specifically for the purpose of recording on the now-famous Music Row. Chet and Owen Bradley will also be instrumental in the construction of studio B's neighboring building, RCA Studio A later today.

Atkins, the RCA Victor's Nashville division, was taken over by Sholes in 1957, as a result of Elvis Presley's success, Atkins was hired by the artist. Atkins and Bob Ferguson took their cue from Owen Bradley's departure from rock and roll, eliminating fiddles and steel guitars as a means of bringing country singers and fans to pop fans. This became known as the Nashville sound, which Atkins said was a mark of fame established by the media for a style of recording during the time that was designed to keep the country (and their jobs) alive.

Atkins performed on hits such as Jim Reeves' "Four Walls" and "He'll Have to Go" and "Blue Blue Day" and "Blue Blue Day" and "Blue Blue Day" and Don Gibson's "Oh Lonesome Me" and "Blue Blue Day" as a result. It became more popular that a country crossed over to pop triumph. Bradley and Harrison virtually put the engineer in the driver's seat, influencing an artist's choice of music and musical history.

Atkins made his own music, mainly in pop standards and jazz, in a sophisticated home studio, often recording the rhythm tracks at RCA and adding his solo performances at home, refining the tracks until the results pleased him. Guitarists of all genres were lauding various Atkins albums for their unique musical concepts and in some cases experimental electronic music. He became well-known internationally as "Mister Guitar," spawning the creation of Mister Guitar, which was conceived by both Bob Ferris and Bill Porter, Ferris' replacement.

Porter took over as Chief engineer at RCA's Nashville studio in the space later known as Studio B after the plant was expanded with a second studio in 1960. (RCA's sole Nashville studio had no letter code at the time) Porter was able to assist Atkins with a cleaner reverberation sound from the studio's German effects unit, which was followed by an EMT plate reverb. Porter found the studio's acoustics to be hazy, and he designed a set of acoustic baffles to hang from the ceiling and then selected microphone positions based on resonant room configurations. The recordings' sound improved greatly, and the studio's string of successes followed. The Nashville sound became more vibrant. Atkins told Bradley, "It was Porter" in later years as he explained how he made his sound. When recording, Porter described Atkins as respectful of musicians; if someone was out of tune, he would not single out by name. Rather, he'd say, "We have a little tuning issue... Everybody check and see what's going on." Atkins would instruct Porter to ban the offending player from the team if that did not work. "The sound was never the same, never as good" when Porter left RCA in late-1964, Atkins said.

The thumb and first two or more fingers of the right hand are used in Atkins' trademark "Atkins style" of playing. He began listening to Merle Travis, occasionally on a primitive radio. He was certain no one could play it properly with just the thumb and index finger (which was exactly how Travis did), and he assumed it needed the thumb and two fingers; and that was the style he pioneered and mastered.

He loved jamming with fellow studio players, and they were invited to appear at the Newport Jazz Festival in 1960. The show was postponed due to rioting, but a live recording of the group (After the Riot at Newport) was released. Every US president from John F. Kennedy to George H. W. Bush was attracted to the White House by invitation. During the 1980s, Atkins was a member of the Million Dollar Band. He is also known for his song "Yankee Doodle Dixie," in which he performed "Yankee Doodle" and "Dixie" simultaneously on the same guitar.

Atkins had been vice president of RCA's country division before his mentor Sholes died in 1968. He cried over his promotion in 1987: "I wanted to be known as a guitarist and I suspected, too, that they give you titles like this in lieu of money." If they want to make you vice president, be aware. In the 1960s, Waylon Jennings, Willie Nelson, Connie Smith, Bobby Bare, Dolly Parton, Jerry Reed, and John Hartford were among the brand's original product designers who inspired and supported hundreds of others. During the mid-1960s, he put himself in danger by committing violence throughout South Africa by signing Charley Pride, the country's first African-American artist who performed rawer music than Atkins' smoother music.

"Yakety Axe," an homage to his mentor, the saxophonist Boots Randolph, was Atkins' biggest hit single in 1965. He rarely excelled in those days and eventually recruited other RCA engineers, such as Bob Ferguson and Felton Jarvis, to reduce his workload.

Atkins became more strained by his executive positions in the 1970s. He had less success in the 1970s pop hit "And I Love You So" but could also have hits such as Perry Como's 1973 pop hit "And I Love You So". Jerry Reed, a close friend and fellow picker, had a long career as a hit artist in his own right, and he recorded extensively with him. Atkins' 1973 diagnosis of colon cancer led him to reimagining his position at RCA to allow others to handle administration while still playing with Reed or even Jethro Burns from Homer and Jethro (his brother-in-law) after Homer's 1971 death. Atkins will hand over his administrative duties to Jerry Bradley, Owen's uncle, in 1973 at RCA.

After stepping down, Atkins did no production work at RCA, and in fact, the label had recruited designers in the 1960s, including Bob Ferguson and Felton Jarvis. Atkins, a recording artist, became disillusioned with RCA in the late 1970s. He was angry because the record company refused to allow him to pursue jazz. Lenny Breau, a colleague and protege, had also released late '60s jazz albums. Les Paul, Chester & Lester, and Guitar Monsters' mid-1970s collaborations reflected this ardent admiration; Chester & Lester, one of Atkins' finest-selling records, represented him. At the same time, he became dissatisfied with Gretsch's (no longer family-owned)'s course and refused their permission for them to use their names and began building guitars with Gibson. Atkins ended his 35-year association with RCA in 1982 and signed Columbia Records, for whom he released his debut album in 1983.

Jazz had always been a lover of his, and he was often mocked by "pure" country musicians for his jazz influences in his career. He also stated on several occasions that he didn't like being branded a "country guitarist," insisting that he was "a guitarist, period." Despite the fact that he played by ear and was a masterful improviser, he was able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested that he record and perform with a female singer in 1991, he did so with Suzy Boggs.

For albums he produced with Mark Knopfler and Jerry Reed, he returned to his country roots. Knopfler had long referred to Atkins as one of his earliest influences. Tommy Emmanuel, the Australian guitar legend, was also collaborating with Atkins. Django Reinhardt was named one of the twentieth century's top ten most influential guitarists, as well as himself on the list.

He returned to radio in later years, appearing on Garrison Keillor's Prairie Home Companion radio station and also on American Public Media radio, as well as performing numbers like "Corrina, Corrina" and Willie Nelson's "Seven Spanish Angels" on the campus of Pomona College.

Later career

Atkins became more distraught with his executive duties in the 1970s. He released fewer records, but he could also make out hits like Perry Como's 1973 pop hit "And I Love You So" that became a hit. Jerry Reed, a close friend and fellow picker, became a hit artist in his own right, was a prolific mixer on tape. Atkins had to reimagine his position at RCA to let others handle administration while still playing with Reed or even Jethro Burns from Homer and Jethro after Homer died in 1971. Atkins would hand over his administrative duties to Jerry Bradley, son of Owen, in 1973 at RCA.

Atkins ceased manufacturing production at RCA after stepping down, but the company had recruited designers in the 1960s, including Bob Ferguson and Felton Jarvis. Atkins, who was a recording artist, became disillusioned with RCA in the late 1970s. Since the record company refused to encourage him to participate in jazz, he was furious. Lenny Breau, a Canadian guitarist, also made late 1960s jazz recordings, as a mentor and protege. Les Paul, Chester & Lester, and Guitar Monsters, two of Atkins' mid-1970s collaborations, expressed that admiration; Chester & Lester was one of Atkins' best-selling records. He became dissatisfied with Gretsch's (no longer family-owned) course, but also banned them from using their names and began making guitars with Gibson. Atkins' 35-year career with RCA began in 1982 and he signed with Columbia Records, for whom he released his first album in 1983.

Jazz had always been a huge fan of his, and he was often mocked by "pure" country musicians for his jazz influences early in his career. He also claimed that he didn't like being called a "country guitarist" on several occasions, claiming that he was "a guitarist, period." Despite the fact that he played by ear and was a masterful improviser, he was still able to read music and even performed some classical guitar pieces. When Roger C. Field, a friend, suggested to him in 1991 that he record and perform with a female singer, he did so with Suzy Bogss.

He returned to his country roots for his albums, including Mark Knopfler and Jerry Reed. Knopfler had long referred to Atkins as one of his earliest influences. Tommy Emmanuel, the Australian guitar legend, attracted Atkins also. When asked to name the ten most influential guitarists of the twentieth century, Django Reinhardt ranked first and also placed himself on the list.

On American Public Media radio, he went back to radio, appearing on Garrison Keillor's "Corrina," and Willie Nelson's "Seven Spanish Angels" on a 1985 television broadcast of the show at the Bridges Auditorium on the campus of Pomona College.

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