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Chet Atkins Guitar Genius (10-CD)

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(Document) 19 original albums plus bonus tracks. more

Chet Atkins: Guitar Genius (10-CD)

19 original albums plus bonus tracks.

Article properties: Chet Atkins: Guitar Genius (10-CD)

  • Interpret: Chet Atkins

  • Album titlle: Guitar Genius (10-CD)


  • Genre Country

  • Year of publication 2018
  • Artikelart CD

  • EAN: 4053796002655

  • weight in Kg 0.4
Atkins, Chet - Guitar Genius (10-CD) CD 1
01 Third Man Theme
02 St Louis Blues
03 Lover Come Back to Me
04 Nobody's Sweetheart
05 Stephen Foster Medley
06 Hangover Blues
07 Black Mountain Rag
08 Galloping on the Guitar
09 South
10 Indiana (Back Home in Indiana)
11 Alabama Jubilee
12 Have You Ever Been Lonely
13 Red Wing
14 Old Man River
15 Caravan
16 Corrine, Corrina
17 The Birth of the Blues
18 A Gay Ranchero
19 Frankie and Johnnie
20 Honeysuckle Rose
Atkins, Chet - Guitar Genius (10-CD) CD 2
01 Arkansaw Traveller
02 Londonderry Air
03 Ochi Chornya (Dark Eyes)
04 La Golondrina
05 Blues in the Night
06 Tenderly
07 Little Rock Getaway
08 Tip-Toe through the Tulips with Me
09 Prelude Minuet
10 Intermezzo
11 Schön Rosmarin
12 Minute Waltz
13 Oh by Jingo
14 Indian Love Call
15 Memphis Blues
16 12th Street Rag
17 Gallopin' Guitar
18 St Louis Blues
19 Main Street Breakdown
20 Hello Ma Baby
21 Alice Blue Gow
22 Blue Gipsy
23 Black Mountain Rag
24 The 3rd Man Theme
Atkins, Chet - Guitar Genius (10-CD) CD 3
01 Swedish Rhapsody
02 Liza
03 In the Mood
04 Heartaches
05 Glow Worm
06 Dance of the Golden Rod
07 Petite Waltz
08 Adelita
09 Gavotte in D
10 Unchained Melody
11 Waltz in A-Flat
12 Malaguena
13 El Cumbanchero
14 Ain't Misbehavin'
15 Shadow Waltz
16 Anna
17 Yesterdays
18 Portuguese Washerwoman
19 Tiger Rag
20 Walk, Don't Run
21 Tara's Theme
22 Johnson Rag
23 Lullaby of the Leaves
24 Bouree
25 Avorada (Little Music Box)
Atkins, Chet - Guitar Genius (10-CD) CD 4
01 Say Si Si
02 Villa
03 Sophisticated Lady
04 Ay-Ay-Ay
05 Nagasaki
06 Yankee Doodle Dixie
07 April in Portugal
08 Jungle Drums
09 In the Chapel in the Moonlight
10 Martha
11 Czardas
12 You're Just in Love
13 I Know That You Know
14 Rainbow
15 Hello Bluebird
16 Siesta
17 Country Style
18 Show Me the Way to Go Home
19 I'm Forever Blowing Bubbles
20 Backwoods
21 Country Gentleman
22 Slinkey
23 Jessie
24 Piano Concerto in B-Flat Minor
Atkins, Chet - Guitar Genius (10-CD) CD 5
01 In the Good Old Summertime
02 Beautiful Brown Eyes
03 The Prisoner's Song
04 Titanic
05 Tennessee Waltz
06 Sweet Bunch of Daisies
07 John Henry
08 Birmingham Jail
09 Music! Music! Music!
10 Cold, Cold Heart
11 Bill Bailey
12 Goodnight Irene
13 Armen's Theme
14 Let It Be Me
15 Theme from Picnic
16 Theme from a Dream
17 Estrellita
18 Jitterbug Waltz
19 Little Old Lady
20 Theme from Limelight
21 The Three Bells
22 Santa Lucia
23 Greensleeves
24 Meet Mister Callaghan
Atkins, Chet - Guitar Genius (10-CD) CD 6
01 White Silver Sands
02 Boo Boo Stick Beat
03 Oh Lonesome Me
04 One Mint Julep
05 Take a Message to Mary
06 Teensville
07 Night Train
08 Come Softly to Me
09 Sleep Walk
10 Django's Castle
11 Till There Was You
12 Hot Toddy
13 Begin the Beguine
14 Sabrosa
15 Yours (Quiereme Mucho)
16 Siboney
17 The Streets of Laredo
18 Delicado
19 Peanut Vendor
20 El Relicario
21 Maria Elena
22 Marcheta
23 Tzena, Tzena, Tzena
24 Poinciana (Song of the Tree)
Atkins, Chet - Guitar Genius (10-CD) CD 7
01 It Ain't Necessarily So
02 My Dear Little Sweetheart
03 Stay As Sweet As You Are
04 Monte Carlo Melody
05 When Day Is Done
06 My Prayer
07 Rock-A-Bye Bay
08 Vanessa
09 Intermezzo
10 Hi-Lilly, Hi-Lo
11 East of the Sun (West of the Moon)
12 Goin' Home
13 Jingle Bell Rock
14 Winter Wonderland
15 Jolly Old St Nicholas
16 White Christmas
17 Blue Christmas
18 Jingle Bells
19 Silver Bells
20 Little Drummer Boy
21 The Coventry Carol/God Rest Ye Merry Gentlemen MEDLEY
22 The First Noel
23 Hark! The Herald Angels Sing
24 O Come All Ye Faithful
25 Deck the Halls
26 Silent Night
Atkins, Chet - Guitar Genius (10-CD) CD 8
01 The Bells of St Mary's
02 Centipede Boogie
03 Darling Je Vous Aime Beaucoup
04 Rubber Doll Rag
05 Peek-A-Boo Moon
06 Barber Shop Rag
07 Kentucky Derby
08 Mountain Melody
09 High Rockin' Swing
10 Dill Pickles Rag
11 Stephen Foster Medley
12 Walkin' on Strings
13 Lambeth Walk
14 The from A Summer Place
15 Whispering
16 In a Little Spanish Town
17 Sleep
18 Marie
19 Hot Mocking Bird
20 Lullaby of Birdland
21 Tammy
22 Goofus
23 Bonita
24 Whatever Will Be, Will Be (Que Sera, Sera)
Atkins, Chet - Guitar Genius (10-CD) CD 9
01 Mayan Dance
02 Yellow Bird
03 Wild Orchids
04 The Bandit
05 Jungle Dream
06 The Banana Boat Song
07 Montego Bay
08 The from Come September
09 Moon over Miami
10 Come to the Mardi Gras
11 The Enchanted Sea
12 Temptation
13 Salty Dog Rag
14 I Am a Pilgrim
15 Trambone
16 Steel Guitar Rag
17 Little Feet
18 Blue Steel Blues
19 Windy and Warm
20 I Ain't Gonna Work Tomorrow
21 Never On Sunday
22 The Girl Friend of the Whirling Dervish
23 Give the World a Smile
24 Tuxedo Junction
Atkins, Chet - Guitar Genius (10-CD) CD 10
01 Take My Hand Precious Lord
02 Amazing Grace
03 Will the Circle Be Unbroken
04 In the Garden
05 When They Ring the Golden Bells
06 Just As I Am
07 Further Along
08 Just a Closer Walk with Thee
09 The Old Rugged Cross
10 Lonesome Valley
11 God Be With You
12 Were You There
13 Boogie Man Boogie (Bonus Track)
14 Confusin' (Bonus Track)
15 Under the Hickory Nut Tree
16 The Old Buck Dance (Bonus Track)
17 Mister Sandman (Bonus Track)
18 Somebody Stole My Gal (Bonus Track)
19 Hybrid Corn (Bonus Track)
20 Hey Mister Guitar (Hey Mister Banjo) (Bonus Track)
21 Martinique (Bonus Track)
22 Hidden Charm (Bonus Track)
23 Colonial Ballroom (Bonus Track)
24 Downhill Drag (Bonus Track)
Chet Atkins The hands of the baker and candlestick maker are those of a skillful man The... more
"Chet Atkins"

Chet Atkins

The hands of the baker and candlestick maker are those of a skillful man
The thread of the tailor, the ropes of the sailor are tied by knowing hands
The watchmakers eye and a light to see by and hands that are calm and sure
Make the tiniest springs do the tiniest things And long has the skill endured
It matters not the job you've got as long as you do it well
The things that are made by plans well laid the test of time will tell.
But how can you count, or know the amount of the value of the man
By the melodies played and the beauty made by the touch of Chet Atkins hands

 Johnny Cash, 4-15-70


"When asked recently which of his hundreds of recordings was his personal favorite, Chet's answer was soft, but emphatic.'I don't like any of them, nor do I like to hear them. I always notice some little thing I think I could have done better.'"

                          Unsigned Notes, 'Stringin' Along With Chet Atkins'


"I played pretty good back in those days -- the 50s and 60s," he says. "I was brave and ignorant and I played pretty well. I really was ahead of a lot of people in those days. Now I am trying to catch up with everybody, but back in those days it was nice. I was kind of an innovator and I could pull it off very well. I can see that now. At the time I thought I was terrible, but that kept me improving and trying to learn to play better."

                                                              Chet Atkins - Music City News, 1996


"He was the guitar player of the 20th Century."

  Garrison Keillor,



Bring Me A Dream

First a guitar he designed with his name on it. Then, a guitar course in his name, and finally, a hit single.

In 1955, eight years after Steve Sholes signed him to RCA Victor, Chet Atkins's instrumental rendition of the Chordettes' pop vocal hit Mister Sandman gave him the first hit single of his career. It didn't break the Top Ten, but it was a hit. Now the idol of country guitarists of all ages and persuasions, he was well along in his quest to become the world's best known country guitarist.

He was in his early thirties, and the next phase would make him one of the world's most influential guitarists. Period.


In 2002, a year after he died following a lengthy bout with cancer, Chet Atkins was inducted into the Rock and Roll Hall of Fame in their 'sideman' category. The honor recognized his work in Nashville's studios, including his behind-the-scenes roles in the early hits of Elvis Presley and his friends, the Everly Brothers. Twenty-nine years earlier, he'd been the youngest inductee to the Country Music Hall of Fame.

The rationale behind his induction into the Rock and Roll Hall of Fame actually went beyond that. It's impossible to wander through rock 'n' roll history without tramping on guitarists who drank from Chet's musical fountainhead. Early on, there was Scotty Moore, Eddie Cochran and Duane Eddy. The Ventures' Don Wilson and Bob Bogle owe their careers to one Atkins album cut. George Harrison invoked his style on Beatles tracks like I'm A Loser. His influence on John Fogerty and Mark Knopfler was obvious.

In country, Jerry Reed, Doc Watson, Paul Yandell, Marcel Dadi, Steve Wariner, Vince Gill, Odell Martin and Tommy Emmanuel traced at least part of their musical lineage to Chet. His jazz admirers included Lenny Breau, Johnny Smith, Les Paul, Earl Klugh and George Benson. Classical guitar luminaries Christopher Parkening and Chet's occasional collaborator Liona Boyd were friends and fans.

His penchant for electronic experimentation, cultivated as a teenager, yielded some profound innovations. The homemade electronic effects he created and used on some of his records might not have had names like 'wah-wah' or 'chorus,' but in the late 60s, Jimi Hendrix, Eric Clapton and others used foot-controlled versions miniaturized by transistors, readily available to anyone. To Chet's credit, he used them to enhance his music, not as shallow gimmickry.

If the 1946-54 phase of Atkins's recording career was a slow ramping up, the 1955-1960 era defined his future. It went beyond singles that sold better than they had at first. In an era when albums were little more than afterthoughts for most country acts, they became his primary medium. He wasn't just the first country instrumentalist to become a successful album artist; he sold to pop fans who wouldn't have considered listening to other country musicians.

During these six years, Atkins became a full-blown RCA producer. Then, just as he gained confidence in the control room, he faced the biggest challenge of his career as rock 'n' roll upended country music's rising popularity. How he handled the challenge became one of his most important legacies. It was no small irony that as he worked to revive country, that he, as part of his duties, played on and produced RCA rock sessions.

As a producer, Atkins's desire to find new sounds gave him a larger, broader palette. Even so, the fact remained that his RCA superiors expected results—records that sold and enhanced the corporate bottom line. All this impacted his own records as he sought new sounds and embarked on a quest to play every note flawlessly. Many were trailblazing; a few missed the mark. This collection includes everything: the brilliant, the great, the good and bad.

Considering how all this began, and the path, his triumphs are nothing short of miraculous.

Luttrell and points North:

"Everything that has ever happened to me, I consider a good break…even if I get fired. I think everything happens for the best."

                                            Chet Atkins,

 notes to 'Stringin' Along With Chet Atkins'

It was a journey that began humbly enough in East Tennessee's rural Union County, north of Knoxville amid the Great Smoky Mountains. James Arley Atkins, who worked the railroad and became a voice and piano teacher, had a son, Jim, born in 1912, and a daughter, Willard by his first wife. His second wife, Ida Sharp Atkins, bore him three children: Lowell, Niona, and on June 20, 1924, Chester Burton Atkins.

His childhood, spent on a farm near Luttrell, mixed music with poverty, illness and pain. Half brother Jim, 12 years older, became Chet's first musical hero. He took his guitar playing seriously and left home as a teenager to begin his professional music career. Chester heard the records of Jimmie Rodgers and the Carter Family and started plunking a ukulele.

Two years after his parents' 1930 divorce came a new stepfather, Willie Strevel, who owned two guitars. Chester swapped him some rifles for a guitar and began playing obsessively, a balm for the pain of poverty around him. He taught himself to play a fiddle given him by an uncle, and for a time he, Lowell, and Niona had a small band.  Chester once amazed Strevel, who tried to emulate the guitar work on blues records by Blind Lemon Jefferson, when he outdid his stepdad.

Nineteen-thirty-six brought Chester another trauma: an asthma attack so severe that James Atkins returned to take Chester to the more favorable climate of his rural Georgia farm. For a shy kid, it was a rough transition. But he adjusted and, when offered the chance to return home, decided to stay in Georgia. When he wasn't in school, he drank in music wherever he could. Fascinated by electronics, he built a radio. He could hear Jim Atkins, who'd worked on Chicago's 'WLS National Barn Dance,'playing rhythm guitar with Les Paul's Trio in New York on Fred Waring's NBC radio show. He also enjoyed Chicago guitar ace George Barnes.

One night in 1939, Merle Travis's syncopated thumb and index finger guitar style, broadcast live from WLW in Cincinnati, came through his radio and changed his life. He assumed--incorrectly—that Travis used the right hand thumb and two fingers. By teaching himself to pick that way, he sowed the seeds of the Atkins approach to fingerstyle guitar.

After his 1942 high school graduation in Georgia, he got a job at WNOX in Knoxville, playing fiddle with singer Bill Carlisle and comic Archie Campbell. After station boss Lowell Blanchard heard him picking on a borrowed guitar, Chester became featured guitarist on the station's noontime 'Mid-Day Merry Go-Round.' Blanchard encouraged his insatiable appetite for music by slipping him a key to WNOX's music library. He heard Andres Segovia's classical guitar playing and discovered Belgian gypsy jazz guitarist Django Reinhardt, his newest hero.

Leaving WNOX in mid 1945, he spent six months at WLW and met two fellow Djangophiles: guitarist Homer Haynes and mandolinist Jethro Burns, better known as comics Homer & Jethro. He also met singer Leona Johnson, and married her a year later. Travis, living in California, visited WLW and heaped praise on his young disciple, beginning a lifelong friendship.

Laid off late in 1945, Atkins worked briefly in Raleigh, North Carolina with Johnnie and Jack then moved to Chicago bent on landing a job with Red Foley, about to bolt the 'National Barn Dance' for the Opry. When he debuted on the show in April 1946, Atkins was his guitarist, allowed an instrumental solo on Foley's Opry spots. The Nashville stay was brief. When the ad agency made Foley eliminate Atkins' solo, Atkins quit. Before leaving town, he recorded Guitar Blues for Nashville-based Bullet Records.

A move to WRVA in Richmond, Virginia lasted only a month. By 1947 he was at KWTO in Springfield, Missouri, where station booking agent and producer Si Siman started calling him 'Chet.' He and Leona now had a daughter Merle, named for Merle Travis. With Travis himself having hit singles featuring his picking, Siman sent transcription discs of Chet's playing to various record companies, assuming one of them might want their own Travis. He then left on vacation.

A bureaucrat filling his spot decided Chet played too much pop for a country guitarist and fired him. Chet moved to Denver and played with Shorty Thompson's Western Swing band when Siman struck paydirt. Steve Sholes, RCA's country A&R head was interested. Chet got a call in Denver and verbally accepted an RCA contract to sing and play. Thompson insisted on going along to sing. When Chet demurred, Thompson fired him.

Chet did his first RCA session in Chicago in August, 1947. He and Sholes became friendly. By 1948, Chet was back at WNOX, performing on their Saturday night 'Tennessee Barn Dance'with Homer & Jethro, who backed him on many of his 1949-1953 RCA recordings like Galloping On The Guitar and Main Street Breakdown. The vocals went by the wayside.

In 1949, Chet joined Mother Maybelle and the Carter Sisters, led by original Carter Family member (and country guitar great) Maybelle Carter and her daughters June, Helen and Anita. They settled at KWTO, where they played showdates, recorded for RCA and for Siman's RadiOzark Transcription service. After an early 1950 Opry guest appearance, WSM's Jack Stapp offered the Carters an Opry spot. The Carters. Not Chet.

Stapp explained to Ezra 'Pop' Carter, Maybelle's husband and the act's manager, that Nashville guitarists didn't want Chet competing with them. Carter, a tough Virginian who considered the Atkinses part of their extended family, was equally firm. Everyone came, or no one did. It went back and forth until WSM gave in. Chet, Leona and Merle arrived with the Carters in Nashville in June, 1950.

Chet Atkins Mr. Guitar 1955-1960 (7-CD)
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