Your Tunes

Emily - Chet Atkins Arrangement

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This is a cover of Chet Atkins' arrangement of the beautiful and haunting tune "Emily" composed by Johnny Mandel in 1964. This version appeared on the Album "Chet Atkins Goes to the Movies" (1976).

On my version I'm am playing a Gretsch 6120 into a Fender Deluxe Reverb. Hope you enjoy it

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"Well, golly-bill Mr. Dillon"!! (Festus) That was just great!! Not just great pickin' but also great recording!! You are one of my "go-to" pickers on YouTube when I've heard and seen some "bad thangs" and need to clear my noggin'. Do another one. Steve

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Thank you Steve - that's one of the things I love about Chet's music - it puts you in a better place for listening to it. It's therapeutic for me too.

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Man....every time you post another Chet cover I think to myself "I wanna play like that when I grow up." I'm certain I couldn't crack a piece like that without a transcription. Nicely done, as always.

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Man....every time you post another Chet cover I think to myself "I wanna play like that when I grow up." I'm certain I couldn't crack a piece like that without a transcription. Nicely done, as always.

– Jim Krause

Thank you Jim - they do take a lot of listening to work out including the drums, rhythm guitar and piano bits. They can be even harder because Chet puts them so low down in the mix in the original. The piano bit I sort of had to make up based on what I could hear and knowing the chord progression. I think I got away with it lol.

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Well Andrew........you've succeeded in topping all your other recordings. This is absolutely superb. The difficulty in playing this tune is in having all aspects of it being as precise as a Rolex. The tempo is perfect and most importantly never wavers.

One of Chet's hallmarks was having the melody always be pronounced enough to stand out against his own accompanying harmonies and you've nailed it! Precision in this tune also allows the melody to truly tell the listener a story. For a slow romantic ballad such as this, for the interpretation and passion to relax and draw in the listener, precision has to be established and maintained and you've succeeded in spades!

Superb rendition of a lesser known but exceptionally interpreted Chet tune.

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Thank you Dave - so glad you liked it - makes it worthwhile.

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One of Chet's most beautiful covers, and superbly interpreted by you, Andrew. Love the tone.

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One of Chet's most beautiful covers, and superbly interpreted by you, Andrew. Love the tone.

– Richard Hudson

Thanks very much Richard. I abandoned my normal modelled amp sound - it was a bit too thin and shrill for my liking so I mic'd up an amp with a Rode NT2A condenser and a venerable SM57 dynamic. I think the real amp sounds a bit warmer and had more bass. I barely EQ'd it at all except for maybe a high and low pass filter at 40hz and about 16000hz.

Ideally it would be nice to have a ribbon microphone - I think that's what Chet often used. Maybe I'll get one for Christmas in a few years time

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Check out the APEX 205 ribbon microphone. Good and cheap! Read the reviews. Good mic for the money!! Steve

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That was lovely Andrew ,lovely tone sir!

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Check out the APEX 205 ribbon microphone. Good and cheap! Read the reviews. Good mic for the money!! Steve

– Steve Sanders

Thanks for the tip Steve - will check it out!

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That was lovely Andrew ,lovely tone sir!

– JCHiggy

Thanks JC!

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Thank you farmerbrown

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Well done Andrew! Sounds great. Gary

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Such a sweet and confident rendition Andrew. So much to enjoy here, especially in the matter of internal chord harmony motion where tiny movements reveal spectacular shifts in consonant colour. The fun gets going at 0:23 with the E7-9 with the altered extension in the middle of the chord- what a tease! And that chord at 0:38, is it Ab9#11 leading to the G aug7? Beautiful chromatic voice leading, throughout.

The piano is a great texture to introduce, it really brings a magical lift to the song. As always, you've got such a deft control of time and touch- your 3/4 is light and nimble. Hard as these pieces are to execute, they only really work if there's no apparent effort and like any magician, you make it all look so simple!

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Such a sweet and confident rendition Andrew. So much to enjoy here, especially in the matter of internal chord harmony motion where tiny movements reveal spectacular shifts in consonant colour. The fun gets going at 0:23 with the E7-9 with the altered extension in the middle of the chord- what a tease! And that chord at 0:38, is it Ab9#11 leading to the G aug7? Beautiful chromatic voice leading, throughout.

The piano is a great texture to introduce, it really brings a magical lift to the song. As always, you've got such a deft control of time and touch- your 3/4 is light and nimble. Hard as these pieces are to execute, they only really work if there's no apparent effort and like any magician, you make it all look so simple!

– ade

Thank you Gary L and thank you Ade

Re: 0:38 it's an Ab13Sus2No5 to GAug7. Glad you noticed the piano - sometimes the backing takes as much time as the guitar work.

I absolutely loved your Persian Queen track Ade - I hope you saw my comments. You are extremely clever and creative and I enjoyed all aspects of the song from the lyrics and poetry including the historical references, the mix, the fantastic guitar sounds - just brilliant.

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Neat playing Andrew, of a very sophisticated tune, I enjoyed it a lot, thanks :)

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The piano is great- it's such a wonderful tool of expansion. Bigger, wider, softer in lustre than a guitar can ever be, it opens up the song significantly at just the right moment.

That Ab chord sure has a catchy name! Love the way those two chords mesh together. It's not just about the chords though, the single line work in this piece is fantastic too.

Your comments on the Persian song are deeply appreciated and such a warm surprise. Thank you.

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Neat playing Andrew, of a very sophisticated tune, I enjoyed it a lot, thanks :)

– NSM

Thanks NSM and Adrian.

Time to get cracking on my next number


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