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This version is a transcription of Chet's 1964 version from the RCA album "Guitar Country". Chet had several other recordings of this tune: the ones that immediately come to mind are backing up Jimmy Dean's Vocal, his and Merle's recording of "The Atkins-Travis Travelling Show," and in early 1990's in a duet with Marcel Dadi on the album "A Celebration of Merle Travis." In 1968, Chet recorded an instructional LP with Wilber Martin Savage, where he played this, plus Windy and Warm, Hello Ma' Baby, and Redwing. I invite you to compare this version with my transcription of Merle Travis' Back Home version. To play along with Chet, be sure to put a capo on the third fret. Even though you're playing with E major chord forms, you're playing in the key of G. On the recording, I can hear Chet, a dobroist, a pianist, a bassist, and a rhythm guitarist (although he is really in the background.) My goal in this (and in all of my transcriptions is to figure out what the guitarist is doing, and put enough background to make the midi playback interesting. As the pianist did not take a solo, I transferred several of his endings to Chet's part (and marked it as such.) This really isn't out of character, as Chet plays a form of these endings in other parts. Also, when Chet plays the lead in the bass, the pianist is playing sort of a "canon." Row, row, row your boat is an example of a cannon. That is, he is playing the melody one measure behind Chet. I decided to make this a duet between Chet and the Bassist. The bass parts behind Chet's thumblick picking is transcribed pretty faithfully, but on the inside parts, I used the pianist's ideas, and later went on to write a walking bass line. The result is probably a little jazzier version than Chet's recording, very similar to the mood he sets up in his version of "So What's New?", that I transcribed earlier. Original 16 Measures after 33: These were played by a dobroist in the RCA recording; however, they were just 16 measures and pretty uninteresting to me. Since I couldn't find a dobro sound in the midi selection, I just deleted his part. If I can be allowed a criticism of the recording, I believe that the dobro part would have had a better effect it he were allowed 32 measures, and maybe a piano solo, or 16 for the dobro and 16 for the piano. With Chet playing 81 measures of lead and just a dobro part for 16, it doesn't have a balance. I believe it sounds better without the dobro part. . cx"&+05 %).38Chet Atkinstar c 5:?D5Bass cb #!*"'/+45555Percussion