Born in Tennessee in 1924, Chet Atkins started by playing ukulele and later took up violin and guitar. A prodigious talent, he turned professional in the early 1940s and developed his own technique on acoustic and electric guitar using a thumbpick and fingernails, which enabled him to play fingerstyle with great versatility.

A chopped, rolling bass is one of his most characteristic sounds, often with muting and echo-supporting flexible harmonized melody notes, chords, and single lines that are supple, snappy and incisive. Atkins also plays deft, quickly rolled arpeggiated chords similar to a banjo roll, and uses touches of pitch variation and vibrato on notes, with a tremolo arm. An early instrumental composition, "Guitar Blues" (1946), highlights his individual style. Played on electric guitar, it features tight rhythmic bass notes with luminous, bright, chipped chords, ringing harplike tones, sliding chords, and single-note passages.

In 1947, Atkins' prolific career took off with his close association with RCA in Nashville. He made many recordings and worked with artists who included the Carter Sisters and Hank Williams. Among his own recordings, his solo instrumental "Black Mountain Rag" (1952) uses a DGDGBD tuning and is full of invention, with swirling legato lines, powerful bass, and tremolo arm producing a steel-guitar type sound, with echo. The number "Oh by Jingo" (1953) also features a great deal of echo, and its gliding effortlessness with lively, dancing playing exudes optimism. For this number he makes use of arpeggiation with sharp, inventive bass, twangy tones, banjo rolls, and tremendous raunchy smoky-textured chordal figures.

The number "Kentucky Derby" (1953) simulates a horse race, with climbing figures and fast galloping single lines, while "Dill Pickle Rag" (1953) contains a variety of sparkling arpeggio techniques, fast chord changes, doubled notes, staccato chords, and fast descending legato lines. The instrumental "Mr. Sandman" (1955), which features his muted bass underpinning the plucked upper chord melody, was a hit.

As a guitarist, producer, and arranger, Atkins played a major role in developing the smooth Nashville Sound. During the late 1950s, he started working in the studio, adding guitar parts to Elvis Presley and the Everley Brothers' recordings. He also made a major contribution to the growing rock 'n' roll and pop sound.

Atkins extended his range on his own recordings, bringing his distinctive tone and touch to "Get on with it"(1959), which has flamenco and classical flavors. His ability to mix country with popular styles can be heard on "Windy and Warm" (1962), which starts with jaunty descending chords and has a western-style theme melody. "Yakety Axe," with its bending and "chicken pickin'" staccato lines, is full of humor.