http://www.ravenrecords.com.au
Four albums, four fantastic pickers, lots of twists and turns as first off you have fellow technique genius Les Paul partner Chet (Guitar Monsters, 1978), followed by Mark Knopfler as the two generations combine to make great music, his work with Jerry Reed (Sneakin' Around, 1992) has both a top of top-class picking and entertainment value to it. Chet Atkins’ work both as picker and producer on/of a host of 1960s and beyond country acts is legendary, and of those he discovered and brought to Nashville in the first place. Here is how he sounded on his own records. While technically they are all superb, the tunes and arrangements are of the kind I find on occasions to be lacking in edge. Wonderful though the efforts of Chet and the boys may be, I am forever hankering to see a change up in tempo, and production on some. While on others strip things back (some people aren't aver satisfied I guess).
Rounding off the quartet of records, Chet calls on the dazzling work of Down-Under fellow guitar ace, Australian Tommy Emmanuel (The Day Finger Pickers Took Over The World, 1997). What a joy Atkins work is. Emmanuel’s stage act too is something special, and well worth traveling to see. Atkins is especially good on the occasions he spices it up, by way of banter shared with fellow pickers Reed and Paul, and off the cuff innovative licks to die for. It is on the likes of “I’m Your Greatest Fan” (w/ Paul), “Here We Are”, and with Atkins’ sobering tones “Gibson Girl” (both with Reed) that I am made. Yes, the technical stuff is great, but I need to be in the mood for it. You also have them duet on electric guitar for Jerry’s tune “The Claw”.
His album with Mark Knopfler helped give Chet Atkins C.G.P a new audience, while his record with Emanuel was beneficial to both acts; for one it gave Chet a needed challenge and helped Tommy become better known to country followers (plus friends and fans of Atkins). With exquisite taste, sublime licks from both men the record with Dire Straits front man, Knopfler (a long-time fan of the legendary figure) Neck And Neck (1991 Best Country Collaboration Grammy winner; with their effort, “So Soft Your Goodbye” picking up Best Country Instrumental) provides a regal mix of sounds, and is seriously good. Arguably better still are tracks “Poor Boy Blues”, “Some Changes Made” plus Knopfler's easy paced vocal version of Don Gibson's “Just One Time” and with a little bit bounce to it, “I'll See You In My Dreams”, he is also in top form on “The Next Time I'm Back In Town”. Masterclass..., it most certainly is! And in Mark's case very much a dream come true getting to record with Chet.
Getting back to Tommy Emmanuel and their 1997 album The Day Finger Pickers Took Over The World (based on the song “The Day Bass Players Took Over the World”), solid throughout, the record is arguably one of the best Chet ever made. The admiration from both acts to the other comes over strongly, as experienced on among other tracks, “Mr. Guitar” and the tune that closes their album, “Smokey Mountain Lullaby”.
Maurice Hope