Paul McCartney’s Musical Curiosity: How Chet Atkins Inspired “Michelle”
A testament to his enduring creativity, Paul McCartney has consistently demonstrated a willingness to explore and incorporate diverse musical influences throughout his career. From the groundbreaking sounds of The Beatles to his extensive solo work, McCartney’s ability to synthesize disparate genres stems from a lifelong dedication to the craft of music – a practice that yielded the subtle country undertones in the iconic 1965 hit, “Michelle.”
McCartney’s approach isn’t groundbreaking in its concept; many artists draw inspiration from a wide range of sources. However, the resulting compositions, particularly those from The Beatles, are uniquely innovative. He has seemingly engaged with every musical genre, absorbing and reinterpreting them through his own artistic lens. While The Beatles openly acknowledged the impact of blues, classical, and Indian music on their sound, the influence of country music was less frequently discussed.
Despite this, country themes subtly appear in several Beatles songs, including a notable cover. Perhaps the most intriguing example is “Michelle,” a French-themed single from their experimental 1965 album, Rubber Soul. The song’s origins lie in the innovative finger-picking style of country music legend, Chet Atkins.
Chet Atkins: A Pioneer of the Nashville Sound
Chet Atkins wasn’t merely a country music icon; he was a foundational figure in all of modern music. He is credited with architecting the “Nashville Sound” and pioneering numerous contemporary recording techniques. McCartney himself recognizes Atkins’ profound influence, stating, “‘Michelle’ was a tune that I’d written in Chet Atkins’ finger-picking style.”
According to McCartney, Atkins’ song “Trambone” – characterized by a repetitive top line and simultaneous melody and bass line – was a revelation. “There is a song he did called ‘Trambone’ with a repetitive top line, and he played a bass line while playing a melody. This was an innovation for us; even though classical guitarists had played it, no rock’n’roll guitarists had played it,” he explained in the book Paul McCartney: Many Years From Now.
He further elaborated, “The first person we knew to use finger-picking style was Chet Atkins. I never learned it. But based on Atkins’ ‘Trambone’, I wanted to write something with a melody and a bass line in it, so I did.” The combination of French lyrical themes and Atkins’ country-inspired guitar technique in “Michelle” was, at the time, an unexpected and innovative fusion. It’s a testament to McCartney’s artistry that he could seamlessly blend these seemingly disparate elements into a timeless classic.
