CHET ATKINS, "MIDNIGHT" + THREE OTHER TRACKS (SUNDAZED/RCA SEP 272, REL. 4/2013)

 

Things have been incredibly dead around here this week! I hope someone sees this post. Twice this week the daily post has had zero views. I hope you’re okay, handful of people who may or may not see this message.

For any ghosts who are bored, here is an EP released a decade ago by Sundazed, a quality US reissue label, for Record Store Day, that odd ritual that I don’t take part in. Every day is Record Store Day in my book and I’m not big on standing in line for a long time. Makes my lower back hurt.

Here are four tracks of vintage guitar goodness by Chet Atkins. Three had not seen release prior to this 2013 EP; the fourth is a notorious track that appeared on a budget LP issued by RCA-Victor on their Camden imprint. I’ve retained the two-songs-per-side format of the handsome release which was pressed on see-thru red vinyl. Here is the front cover:

And here’s the music…

Side A brings us an instrumental take on “Midnight,” a classic country song co-composed by Atkins and lyricist Boudleaux Bryant. Red Foley recorded it for Decca Records in 1952; it’s been recorded many times since. Its bluesy melody is memorable, and Atkins enjoys playing his own music on this 1957 track, with Buddy Harman on drums, Floyd Cramer on piano and Marvin Hughes on electric organ.

An alternate take of “Boo Boo Stick Beat,” a classic percussive item from 1959. John D. Loudermilk composed this sparse, moody item and is heard on acoustic classical guitar, his instrument of choice, though Chet’s intense guitar lead dominates. Buddy Harman, Nashville drummer of note, has a bigger role than usual. The master take appeared on Atkins’ 1960 LP Teensville and as a regular 45-rpm release.

Hear it >>>>> HERE. <<<<<

Loudermilk was also responsible for “Black Jack,” a jaunty ode to…police brutality? Organized crime? This was recorded alongside our previous track. It’s peculiar and bit disturbing.

We cleanse our palate with a lively take on “Blue Moon of Kentucky,” a 1960 track with an unfortunate vocal chorus but ample examples of Atkin’s unique guitar style—a much-imitated approach. Harman’s drumming and Cramer’s piano are also excellent, and I’ll tolerate the vocal chorus, as they’re not aggressive in the mix. The clarity of all four sides attests to Atkins’ skill as a music producer—and to the excellence of RCA’s sound quality.

Hear it >>>>> HERE. <<<<<

Tomorrow: will anyone show up for Soulful Sunday? You’ll have to wait and see what we’ll play—if, indeed, you exist.