Fri Jul 01, 2016 5:01 pm
Chester Burton "Chet" Atkins (June 20, 1924 – June 30, 2001) was an American musician, occasional vocalist, songwriter and record producer who, along with Owen Bradley and Bob Ferguson, amongst others created the smoother country music style that came to be known as the Nashville sound, which expanded country's appeal to adult pop music fans as well. He was primarily known as a guitarist, but also played the mandolin, fiddle and banjo and earlier the ukulele.
Atkins' signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul and later Jerry Reed. His trademark picking style and musicianship brought him admirers within and outside the country scene, both in the United States and internationally. Atkins spent most of his career at RCA Victor and produced records for The Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Elvis Presley, The Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings and many others.
Among many honors, Atkins received 14 Grammy Awards as well as the Grammy Lifetime Achievement Award, nine Country Music Association Instrumentalist of the Year awards, and was inducted into the Rock & Roll Hall of Fame, Country Music Hall of Fame and Museum and the Musicians Hall of Fame and Museum.
Felice Bryant (born Matilda Genevieve Scaduto, August 7, 1925 – April 22, 2003) and Diadorius Boudleaux Bryant (February 13, 1920 – June 25, 1987) were an American husband and wife country music and pop songwriting team. They were best known for songs such as "Rocky Top," "Love Hurts," and numerous hits by the Everly Brothers, including "All I Have to Do Is Dream" and "Bye Bye Love."
Boudleaux Bryant was born in Shellman, Georgia in 1920 and attended local schools as a child. He trained as a classical violinist. Although he performed with the Atlanta Philharmonic Orchestra during its 1937-38 season, he had more interest in country "fiddling."
He joined Hank Penny and his Radio Cowboys, an Atlanta-based western music band. In 1945 Bryant met Matilda Genevieve Scaduto, whom he called Felice, while performing at a hotel in her hometown of Milwaukee, Wisconsin. She was born in the city in 1925 to an ethnic Italian family. She used to write lyrics to traditional Italian tunes. During World War II, she sang and directed shows at the local USO.
Bryant and Scaduto eloped two days after meeting. Their song, "All I Have To Do Is Dream," is autobiographical for Felice. She was working as an elevator operator at the Sherwood Hotel when she saw Bryant. She has said that she "recognized" him immediately; she had seen his face in a dream when she was eight years old, and had "looked for him forever." She was nineteen when they met.
Richard Edward "Eddy" Arnold (May 15, 1918 – May 8, 2008) was an American country music singer who performed for six decades. He was a so-called Nashville sound (country/popular music) innovator of the late 1950s, and scored 147 songs on the Billboard country music charts, second only to George Jones. He sold more than 85 million records. A member of the Grand Ole Opry (beginning 1943) and the Country Music Hall of Fame (beginning 1966), Arnold ranked 22nd on Country Music Television's 2003 list of "The 40 Greatest Men of Country Music."
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Sat Jul 02, 2016 11:48 am
stevelecher wrote:A song this 11 year old thought was very boring back in 1964 when I first got the album. Never really came around to it until listening one time to the Complete 50's Masters and, in a way, I really heard it for the first time. It's an understated beauty. I now wonder where did a 21 year old kid find that level of sadness and plaintiveness to come up with that heartbreaking vocal?
r&b wrote:Certainly one of my favorite ballads. Those beat ballads of the 50's cannot be beat (no pun intended). They were so different at the time, and to me, along with the other tracks from the LP, showed this man had the most unique & versatile singing voice of the 50's. This song certainly sets a somber mood almost as well as anything he ever did.
poormadpeter2 wrote:This always seemed to me to be a more mature attempt at the types of ballad that Elvis recorded at his first Sun session. There is that same sense of melancholy and longing that you find in Harbor Lights or I Love You Because, but the result of considerably more accomplished and shows Elvis to be a far more experienced singer. It's a shame we don't have a few more example of this type of material from the RCA era during the 1950s.
Sat Jul 02, 2016 4:21 pm
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Mon Jul 04, 2016 5:00 am
jbgude wrote:Alison Krauss & James Taylor do a superb version of this song;
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