More of the Music of Chet Atkins

• Hometown Guitar makes its Hot Stamper debut with INSANELY GOOD Shootout Winning Triple Plus (A+++) grades throughout this original RCA pressing
• Both of these sides are sweet and rich with plenty of Tubey Magic, wonderfully breathy vocals, deep punchy bass, and a super extended top end
• Full-bodied and warm, exactly the way you want your vintage analog to sound – the guitar is surprisingly real here

This vintage RCA pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.

If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.

What The Best Sides Of Hometown Guitar Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1968
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange — with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional studio space

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Standard Operating Procedures

What are sonic qualities by which a record — any record — should be judged? Pretty much the ones we discuss in most of our Hot Stamper listings: energy, vocal presence, frequency extension (on both ends), transparency, spaciousness, harmonic textures (freedom from smear is key), rhythmic drive, tonal correctness, fullness, richness, three-dimensionality, and on and on down the list.

When we can get a number of these qualities to come together on the side we’re playing, we provisionally give it a ballpark Hot Stamper grade, a grade that is often revised during the shootout as we hear what the other copies are doing, both good and bad.

Once we’ve been through all the side ones, we play the best of the best against each other and arrive at a winner for that side. Other copies from earlier in the shootout will frequently have their grades raised or lowered based on how they sounded compared to the eventual shootout winner. If we’re not sure about any pressing, perhaps because we played it early on in the shootout before we had learned what to listen for, we take the time to play it again.

Repeat the process for side two and the shootout is officially over. All that’s left is to see how the sides of each pressing match up.

It may not be rocket science, but it’s a science of a kind, one with strict protocols that we’ve developed over the course of many years to insure that the results we arrive at are as accurate as we can make them.

The result of all our work speaks for itself, on this very record in fact. We guarantee you have never heard this music sound better than it does on our Hot Stamper pressing — or your money back.

What We’re Listening For On Hometown Guitar

• Energy for starters. What could be more important than the life of the music?
• Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
• The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
• Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
• Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
• Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Big Daddy
Sittin’ On Top Of The World
Huntin’ Boots
Blue Guitar
Cattle Call
Back To Old Smoky Mountain

Side Two

Sweet Georgia Brown
Blue Angel
Get On With It
Reed’s Ramble
Pickin’ Pot Pie
The Last Thing On My Mind

Chet Atkins

Chester Burton Atkins (June 20, 1924 – June 30, 2001), known also as “Mr. Guitar” and “The Country Gentleman,” was an American musician who, along with Owen Bradley and Bob Ferguson, helped create the Nashville sound, the country music style which expanded its appeal to adult pop music fans. He was primarily a guitarist, but he also played the mandolin, fiddle, banjo, and ukulele, and occasionally sang.

Rolling Stone credited Atkins with inventing the “popwise ‘Nashville sound’ that rescued country music from a commercial slump” and ranked him number 21 on their list of “The 100 Greatest Guitarists of All Time.” Among many other honors, Atkins received 14 Grammy Awards and the Grammy Lifetime Achievement Award. He also received nine Country Music Association awards for Instrumentalist of the Year. He was inducted into the Rock & Roll Hall of Fame, the Country Music Hall of Fame and Museum, and the Musicians Hall of Fame and Museum. George Harrison was also inspired by Chet Atkins; early Beatles songs such as “All My Loving” show the influence.

Atkins received numerous awards, including 14 Grammy awards and nine Country Music Association awards for Instrumentalist of the Year. In 1993, he was honored with the Grammy Lifetime Achievement Award. Billboard magazine awarded him its Century Award, its “highest honor for distinguished creative achievement,” in December 1997.

In 2002, Atkins was posthumously inducted into the Rock and Roll Hall of Fame. His award was presented by Marty Stuart and Brian Setzer and accepted by Atkins’s grandson, Jonathan Russell. The following year, Atkins ranked number 28 in Country Music Television’s “40 Greatest Men of Country Music.”

-Wikipedia