Patsy Cline: On the Record

Discussion in 'Music Corner' started by musicfan1963, Jan 25, 2017.

  1. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    This thread is a new and improved place to discuss Patsy Cline's singles, EPs, albums and the like.

    I challenge our first posts to relate to Patsy's very first recording sessions beginning in 1955 and then continuing on, in chronological order, through her final sessions in February 1963.

    All enthusiastic, informative and respectful posts related to The Cline's recording career are welcome and celebrated hoss!
  2. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    After 27 takes of "This Old House", Patsy landed a record deal with Decca. Hard work pays off!
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  3. Terje Morewood

    Terje Morewood Forum Resident

    Too bad we havent got the chance to hear " This Old House " would be great if it was found one day
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  4. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    As we take a closer look at Patsy's recorded legacy, we will set out to provide an overview of each individual recording session, along with insight and other noteworthy tidbits. Of the songs discussed in each session, we will name a Greatest Hit (the song with the most notoriety and commercial success by way of chart performance, sales and popularity) as well as a Greatest Gem (the song of the highest quality and generally most appealing to die hard fans, critics and audiophiles.)

    It's time to begin. So come on in, sit right down and make yourself at home...

    After a whirlwind "audition" session in New York, Patsy inked her very first recording contract. The following session date, location and songs pertain to her very first session under contract with 4 Star Records.

    Date: June 1, 1955
    Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

    Hidin' Out - 2:30(Eddie Miller, W.S. Stevenson)
    Turn The Cards Slowly - 2:11(Sammy Masters)
    A Church, A Courtroom And Then Goodbye - 3:05(Eddie Miller, W.S. Stevenson)
    Honky Tonk Merry Go Round - 2:22(Frank Simon, Stan Gardner)

    These four songs would provide material for Patsy's first two singles. As the story goes, after playing each cut for the Texas Troubadour himself, Ernest Tubb, Patsy was encouraged to promote A Church, A Courtroom and The Goodbye as the first single's "A" side. It proved to be a unwise decision. Although Patsy found plenty of opportunities to plug her first single, including a performance during her first national television broadcast in Summer 1956 on NBC's "The Grand Ole Opry", the song failed to catch on substantially with radio stations and record buyers. A dynamic session, although traditionally country, it's striking to hear the maturity and clarity in Patsy's voice at such a young age. She's only 22. One can't help but wonder if Patsy's first single would have been more successful if a different song had been selected as the "A" side.

    Greatest Hit - A Church, A Courtroom and Then Goodbye
    Greatest Gem - Honky Tonk Merry Go Round

    **Note** As forum and thread participants may have different opinions on which songs should be considered Patsy's "Greatest Hit" and "Greatest Gem" - all of encouraged to share their own insights and opinions. The more participation, the better, as this thread will hopefully prove to be both entertaining and informative!
  5. beccabear67

    beccabear67 Musical Omnivore

    Victoria, Canada
    Patsy Cline is one of those rare artists who was great from start to finish in my estimation. The early Coral/4 Star titles, even when the selection is underwhelming, can still turn out to be something special.

    A few of my favorites, not always sure what was a 'hit' - There He Goes, I Can See An Angel (Walking), Always, If I Could See The World (Through The Eyes Of A Child), Back In Baby's Arms
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  6. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    I agree with your comments about maturity. The listener hears these tracks and easily understands that Patsy was already a fully formed talent when she began making records. If one didn't know better, one might be surprised to learn this was Patsy's first session. That's what impresses me about the first four. The material isn't great, but it's not the worst either, and Patsy's voice is strong, clear and confident. The quality of production is obvious, and the skilled musicians, producers, engineers, invited guests, etc., probably agreed that here is an artist "we think is going to do something real big. Let's keep an eye out and see what happens".

    The joy in Patsy's first recordings is the sense of youthful optimism and possibility that surrounds her performances like an aura. The potential is already there. The talent is already there. All she needs is a good song. The arrangements are conservative, styled in the fashion of Goldie Hill and Kitty Wells records, but the performances are tight and effective.

    Greatest Hit - Turn The Cards Slowly
    Greatest Gem - Hidin' Out

    "Turn The Cards Slowly" is the most issued performance from this session, next to "Honky Tonk Merry Go Round". It's obvious that Patsy is already familiar with the tune, and indeed she cut it at the Decca audition. It's fun, it's upbeat, it's direct (through metaphor), and Patsy must've enjoyed the song because she's pulling out all the stops. She's growling, she's yodeling, and you'd better sit up and pay attention to this mama because she's a-tellin' you how it's going to be, all while showing off an impressive vocal range that will deepen with time.

    "Hidin' Out" demonstrates Patsy's ability to get inside a lyric. She lives this performance, sounding just as full of shame and remorse as the song's lyrical subject. It's effective and sincere. "A Church A Courtroom and Then Goodbye" is the least prolific of the bunch, appearing on far fewer issues and yet best remembered, possibly due to its position as Patsy's first A-side and the promotion she was encouraged to provide for it by her label and her peers.

    Patsy's first appearance on the Purina Grand Ole Opry was January 7, 1956, while in town for her second recording session. This episode celebrates the music of Hank Williams and includes a guest appearance by another young artist who was just getting started - Mr. Tony Bennett. Although not a Hank Williams number, Patsy is asked to perform "A Church, A Courtroom and Then Goodbye" for what appears to be an impressed Ernest Tubb and an intimidated Little Jimmy Dickens, both veteran Opry performers. Patsy sings the tune with a powerful conviction that moves her fellow artists and captivates the audience. As the show ended and the audience filed out of the hall, those walls might well have heard whispering to the tune of "who is that Cline girl? She's good!"
    Last edited: Jan 27, 2017
  7. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    A former teacher of mine was the sister of Ted Swindley, creator of the stage musical, "Always, Patsy Cline". APC enjoyed a very successful run in Nashville beginning in 1994 at the Ryman Auditorium. I've always been fascinated with how the show was constructed; specifically, how the songs were chosen and the order in which they appeared. It's interesting. "Honky Tonk Merry Go Round" opens the show. It wasn't a big "hit" for Patsy but the fact the song was upbeat, represented her early career and provided a metaphor, made it a natural choice. APC not only went on to play for several years at the Ryman, it was revived 3 times with the original cast as late as 2011. In addition, it's one of the most performed musicals at regional and community playhouses across the U.S. By now, audiences, theater critics and performers all over the country have grown very familiar with the songs in the show. And when any individual sits down to enjoy another performance of APC, "Honky Tonk Merry Go Round" is the first song heard.

    Side note: Aside from a few exceptions, including the filming of the Patsy Cline biopic "Sweet Dreams" in late 1984, the Ryman sat quiet until 1994, hosting no musical events once the Opry was moved to Opryland in 1974. In 1993, renovations at the Ryman began and, a year later, APC was at the top of the bill for its reopening. In June 1993, just before renovations at the Ryman began, my family took trip to Nashville during which we took a "tour" of the Ryman. I use the word "tour" loosely since, once inside, visitors were permitted to randomly meander just about anywhere they damn well pleased. My sister and I (around ten and twelve years old at the time) ran around backstage and even stepped up to the vintage Altec birdcage Opry microphone and sang three songs! My father was a shutterbug and our home movies captured that day. But, I digress.
  8. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Date: January 5, 1956
    Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

    I Love You, Honey - 2:18 (Eddie Miller) Come On In (And Make Yourself At Home) - 2:06 (Virgil F. Stewart)
    I Cried All The Way To The Altar - 2:27 (Bobby Flournoy)
    I Don't Wanta - 2:24 (Eddie Miller, W.S. Stevenson, Durwood Haddock)

    Greatest Hit
    - Come On In (And Make Yourself At Home)
    Greatest Gem - I Love You, Honey

    Sonically, Patsy's second recording session is very similar to her first. Interestingly enough, by this point, Eddie Miller had either written or co-written half of the songs chosen by Patsy and her team. Best remembered for his songs "Release Me", "There He Goes" and "Thanks A lot", Eddie began his songwriting career in the mid 1930s by penning his first tune, "I Love You, Honey." Patsy's recording of "I Love You, Honey" just flat-out swings. She sounds bright and confident and the listener is captivated and engaged by the performance of the singer and musicians along with the Miller's witty lyrics. (example, "'re the sweetest thing on wheels.) It's a fun ditty and was as close to "novelty" as Patsy ever recorded.

    "Come On In" is, by far, the most well known and also appears in the stage musical "Always, Patsy Cline". It was a song Patsy absolutely loved. Not only would it become her life-long show opener, but she would later go on to remake it in the studio as well. Even Arthur Godfrey was impressed by the song when she performed it on his radio and television shows in 1957, asking her after her performance, "Did you put that one on wax, Patsy?" (as if to say, "Folks, be sure to go out and buy that one!")

    "I Cried All the Way To The Altar" is a song very much in the style of "A Church, a Courtroom and then Goodbye" and sounds like a rejected Kitty Wells tune. Patsy sounds convincing, but the words "altar" and "falter" are just plain awkward to sing. The best moment in the song comes as Patsy sings, "Take a calendar and turn back all the pages..." At this early stage of her career, despite the quality of the songs and the lack of hits, moments like these must have made her producer and label executives confident Patsy had the chops and it was just "a matter of time" before the popularity of her recordings took off.

    "I Don't Wanta" was a song Patsy re-recorded as a "doo wop" rocker and released as single in 1957. Before the single version, however, the song closed the session on January 5, 1956. Perhaps it was considered a demo as this version of the song remained unreleased until MCA released the Patsy Cline Collection box set in 1991. (I prefer the remake, sans the "ooo yup"s.)

    As a collective group, the songs are a mixed bag. While none of the four would become hits, the session provided Patsy with her life-long show opener, so all was not lost. As far as her producers sticking with the traditional country formula...things would soon get interesting.
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  9. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    The spacing of the song titles was a bit off in the previous post.

    Here's the list as it should read...

    Date: January 5, 1956
    Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

    I Love You, Honey - 2:18 (Eddie Miller)
    Come On In (And Make Yourself At Home) - 2:06 (Virgil F. Stewart)
    I Cried All The Way To The Altar - 2:27 (Bobby Flournoy)
    I Don't Wanta - 2:24 (Eddie Miller, W.S. Stevenson, Durwood Haddock)
    melstapler likes this.
  10. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    Not much to say about this session, except that it's more of the same. It's clear that Paul Cohen was still hopeful that Patsy would fit into the traditional country mold and sell the same kind of records as Goldie Hill and Kitty Wells. Some mild chart action at this early stage might have been a possibility, if Patsy could access quality material. Instead, the terms of her contract stipulated that 4 Star owned the masters and Decca could only distribute what Patsy's contract holder deemed suitable for release. 4 Star only considered songs they published to be suitable for Patsy, so that's what she recorded.

    Greatest Hit - Come On In (And Make Yourself At Home)
    Greatest Gem - None

    None of the songs recorded at this session demonstrate any sort of progress with respect to Patsy's artistry, nor is there any effort by her label to pursue a hit-selling record. I skip these songs entirely, unless I'm listening to an anthology collection of Patsy. "I Love You, Honey" is certainly a cute novelty number, and Patsy probably enjoyed it for its hot-mama appeal, but she seems too mature for its lyrics and it sounds awkward to me. It was clever of the artist to select "Come On In" as her show opener. It may not be a great song, but it's upbeat, fun, unpretentious and welcoming. The identity of the chorus has long eluded me; I once believed it might be the musicians, but the group sounds professional. "I Cried All The Way To The Altar" is the most prolific song from this session, appearing on the most issues over time, although I consider it to be the worst composition of the bunch. The producers of The Patsy Cline Collection may have decided to exclude this number for one or both of these reasons. The song is readily available in the digital era, and does nothing to showcase Patsy's greatness.

    Patsy's performance of "I Don't Wanta" is lacklustre. She's off-key in several places and sounds awkward throughout, as if uncertain what to do with this song. Perhaps the session lacked proper direction, and it certainly makes me eager to move on and consider the progress to come.
    Last edited: Jan 29, 2017
  11. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Date: April 22, 1956
    Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

    Stop, Look And Listen - 2:21 (George London, W.S. Stevenson)
    I've Loved And Lost Again - 2:35 (Eddie Miller)
    Dear God - 2:32 (Virgil F. Stewart)
    He Will Do For You - 2:17 (Virgil F. Stewart)

    By now, Paul Cohen must have sensed something was amiss. After two sessions, eight songs and three singles, a hit song with Patsy alluded him.

    Now what? More of the same? Should Cohen keep "plugging away" at the same traditional formula already established during Patsy's first couple of sessions? Or, should he scrap the approach all together, in favor of a completely different genre or sound? His answer to both questions, interestingly enough, was yes.

    "Stop, Look and Listen" abandons the Kitty Wells-like sound completely in favor of full-on rock-a-billy. With an emphasis on rhythm and rocking guitar work, the song is a major departure from weepers like "I Cried All the Way to the Alter" and "A Church, a Courtroom and then Goodbye." The song is not generally included among the songs considered as Patsy Cline classics; however, its significance can not be overstated. Cohen and his label clearly understood Patsy's potential for tackling other genres outside of the traditional country format. They must have been confident it was a style she could pull off and recording her this way was a gamble they were willing to take. The results are convincing; although an "about face" in marketing Patsy this way would be a challenge.

    For all the steps forward "Stop, Look and Listen" make have taken Patsy's musical direction, "I've Loved and Lost Again" found her back to square one. In the same vein as her previous unsuccessful ballads, I've always wanted to love this song. And I just can't get into it. Patsy is very much constricted to the beat and the arrangement is old fashioned. Though her phrasing hints at her later mastery, the overall results are lack luster. She would go on to promote this song heavily onstage and on TV through 1956 and 1957. When performing the song on the Opry in Summer 1956, she changed a line in the song from "They say you're out of style, unless you've 'had' three or four" to "They say you're out of style, unless you've lost one or more". Obviously, this change was at the request of the tight-ass Opry management.

    "Dear God" is an interesting change in direction. Although Patsy had experience singing spiritual songs on stage, "Dear God" would be her first on record. It is a heartfelt performance. And while the production and lyrics are anything but groundbreaking, the performance shines. In fact, it should be considered as the most emotive of any performance Patsy had given on record up to this point. "Dear God" is an intimate prayer between Patsy and her creator. An underrated Cline classic.

    "He Will Do For You" combines the best and worst of "Dear God" and "I've Loved and Lost Again". A heartfelt performance where Patsy is very much restricted in her phrasing, the results are not as successful as "Dear God" but aren't entirely terrible.

    Overall, the session covered the spectrum- traditional country, gospel and rock, all in one session. The presence of multiple styles and genres in a single session would be a recurring theme.

    Greatest Hit - "I've Loved and Lost Again"
    Greatest Gem - tie "Stop, Look and Listen" and "Dear God"
  12. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    Greatest Hit - I've Loved and Lost Again
    Greatest Gem - Dear God

    Indeed, this is where things get interesting. "Stop, Look and Listen" is an experiment in rockabilly that would not be revisited at a Patsy Cline session for another year. This performance signals the beginning of Decca's uncertainty with respect to Patsy's artistic direction, a saga that would endure for the next four years. The song is a litmus test for listeners - "let's try this, but carefully. If it makes some noise on a flip side, we'll consider other styles for Patsy." Two takes were saved, and the difference between the two effectively demonstrates the improvised nature of the arrangements for this new style of music, and is testament to the quality of the first call musicians (Nashville's "A-Team"). The tune ventures into uncharted territory, but the production is having fun and perhaps feeling hopeful that "Stop, Look and Listen" holds promise of things to come.

    "Dear God" proves that Patsy is a one take wonder. Her sermon is captivating, and is sure to make even the most pious of ministers retire to golf. Patsy's vocal qualities are apparent on earlier records, but this performance may be the first time such qualities are put to effective use. Consider the line "we're sinnin' and lyin' and forgetting the faith..." Her use of dynamics and oral/aural teardrops (those little half-yodels that catch in her throat) are in full swing. Both spirituals recorded at this date were penned by Pappy Stewart.

    "I've Loved and Lost Again" is focus. With ten takes to get it right, the song presumably required the bulk of session time. This recording should not be considered a setback; it's not a great song but Patsy's performance is sincere and convincing. Here is an early example of the vulnerability Patsy allows to seep through her microphone and into wax, delivered with just a hint of understatement, but later used to great effect on "I Fall To Pieces" and others.
    Last edited: Jan 31, 2017
  13. Marc Bessette

    Marc Bessette Forum Resident

    Fascinating....thank you...
    This is what this forum is all about.
  14. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Beautifully said!
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  15. Price.pittsburgh

    Price.pittsburgh Forum Resident

    Patsy is a Country Music legend but her vocals were much more than that of a country singer.
    Not knocking the genre because I love traditional and honky tonk Country music.
    But Patsy had the voice of a traditional pop singer.
    She could have nailed the American songbook and standards.
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  16. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    Interesting comments. I hadn't considered "He Will Do For You" to be a stylistic hybrid of the other two, but I do agree that it falls somewhere in the middle. This recording has yet to receive a proper mastering for digital.
  17. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Let's hope a nice digital mastering turns up soon :)
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  18. Eric Weinraub

    Eric Weinraub Forum Resident

    Sadly most of her stuff is LONG out of print including the CD box set, which I thought was stellar. Someday, me hopes, a serious vinyl box set will really dig deep into the voluminous amounts of recording she did.
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  19. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Thank you all for your participation so far! We've had some very insightful and thought provoking comments.

    Before we move ahead, I'd like to personally recognize G.E. Hewitt and his incredibly comprehensive and informative Patsy Cline discography. The session information for this thread is courtesy of G.E. Hewitt's discography and is available online at Patsy Cline Discography ยป

    (PS....It's the most accurate and complete Patsy Cline discography in me!)
  20. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Date: November 8, 1956
    Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

    Walkin' After Midnight - 2:32 (Don Hecht, Alan Block)
    The Heart You Break May Be Your Own - 2:33 (Tiny Colbert, Bob Geesling)
    Pick Me Up On Your Way Down - 2:15 (Burton Levy, Glenn Reeves, Mae Boren Axton)
    A Poor Man's Roses (Or A Rich Man's Gold) - 2:44 (Bob Hilliard, Milton DeLugg)
    (Session information courtesy of

    By now, there was enormous pressure for Patsy, her producer and the label to deliver a hit. The had tried four times and although there was no denying Patsy's appeal or talent, the song quality was, by now, the elephant in the control room.

    "Walkin' After Midnight" was originally dismissed by Patsy as a "little ol' pop song." Turns out this this pop song contained all of the elements need to showcase Patsy's style and wide-base appeal.

    1. A little bit country, a little bit not
    2. A bluesy delivery
    3. A driving beat to which Patsy's phrasing danced around
    4. Appealing lyrics

    And while her team had already started experimenting at the session previous to this one, they had not yet tried this particular formula. And it worked. After performing "Walkin' After Midnight" on CBS television's "Arthur Godfrey's Talent Scouts" and winning the contest, sales and airplay for WAM took off. Patsy had her first hit record. And it was a smash everywhere - crossing over to the top of the country AND pop charts. The song evokes a smoky, dimly lit, nightclub where Patsy is leaning back and effortless singing her story to a mixed audience. Her performance was a game changer for her career - and a huge part of her legacy.

    "The Heart You Break May Be Your Own" is not nearly as timeless - but is still enjoyable. It's worth noting, even though some of Patsy's earliest songs may not have risen to the critically acclaimed level of some of her later work, the early songs Patsy recorded still outshine 99% of all other popular music in existence. The chorus, "You used my heart like a'll be sorry...just WA-EET and see. One DA-EE you'll find you are lonely. And the first one you'll think of is me" is a testament to her abilities as a singer at the young age of 24 and foreshadows the musical heartbreak she would bring to her later records.

    "Pick Me Up on Your Way Down" is a cleverly written song recorded in a traditionally country arrangement. It is a nice performance and, again, highlights the increasingly emotive and restrained style of singing Patsy would find even later and greater success with.

    "A Poor Man's Roses" is a little more pop-oriented than "Walkin' After Midnight" but lacks the same dark, bluesy feel. A wonderfully written song in its own right, it was a favorite of Patsy's, who initially preferred it to "Walkin' After Midnight". As the B-Side to WAM, the songs appeal help it become popular with radio stations and on jukeboxes in the summer of 1957. The driving piano and guitar provide the most elaborate arrangement of any song Patsy had recorded to date.

    With a hit record under her belt, Patsy and her producer, at long last, finally had an idea of the type of songs, performance and arrangements the public connected with. With the formula seemingly in place, radio, television and record buying audiences would clamor for more. Or so they thought.

    Greatest Hit - Walkin' After Midnight
    Greatest Gem - Walkin' After Midnight
    Last edited: Feb 1, 2017
  21. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    Greatest Hit - Walkin' After Midnight
    Greatest Gem - A Poor Man's Roses

    Patsy wanted to perform "A Poor Man's Roses" on the Talent Scouts broadcast, but the producers convinced her to sing "Walkin' After Midnight" instead. The pairing of Patsy's next single was the result of a compromise with her label. "A Poor Man's Roses" is not a 4 Star copyright, although it was a means of getting Patsy's voice on "Walkin' After Midnight" because she initially disliked the song. The single was a two-sided smash. "Walkin' After Midnight" reached #2 Country and #12 Pop, and "A Poor Man's Roses" climbed to #14 Country, also a significant hit. After the disc started making noise, Mercury rushed Patti Page into the studio to record a cover of "A Poor Man's Roses" and Page's version peaked at #14 Pop. The success of "A Poor Man's Roses" was eclipsed by its front side, however, and the tune became a forgotten hit for Patsy.

    Apparently "Walkin' After Midnight" was written for Kay Starr. Patsy was a fan of Kay's music, and vice-versa. Starr was an excellent blues singer, but her label rejected "Walkin' After Midnight," or so the story goes. Depending on when the song was originally written, that label could be Capitol or RCA Victor. Heretofore, Patsy hadn't recorded a blues song, and perhaps it was too soon for anybody to realize that she'd go on to create an entirely new genre of "country blues." Patsy might have been a country girl, but "Walkin' After Midnight" is proof that she was a blues singer at heart. This B-flat composition is a perfect match for her vocals, and the record-buying public agreed. The arrangement is percussive and willful; Patsy sounds confident and assertive, and uses tight phrasing that never strays too far off course. The result is a strict delivery and a straightforward performance that is simple and catchy. There's no vocal tricks here, just Patsy telling a gritty story with sonic layers and textures that are both delicious and irresistible.

    "A Poor Man's Roses" is a fine record and a sincere performance by Patsy. Its recording marks the first time that popular music elements were used on a Patsy Cline record, and the results are effective (or at least Mercury thought so). The songs with fiddles would remain unissued in Patsy's lifetime and rightfully so; neither could follow a blues hit with pop appeal. Thanks to the success of "Walkin' After Midnight," the fiddles were replaced entirely with guitars on future Patsy Cline sessions - a step in the right direction.
    Last edited: Feb 2, 2017
  22. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    In a word...timeless.
  23. .crystalised.

    .crystalised. Forum Resident

    Edmonton, Alberta
    I dare say that Patsy Cline invented the word.
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  24. Kkfan

    Kkfan Forum Resident

    Music City, USA
    The Bear Family box set that was in the works and we were all longing for, but was supposedly canceled, would have been the one-stop-shop for the best masterings of all of Patsy's music. This is to say nothing of the fantastic book, in true BF tradition, that would have accompanied the CDs.

    The cancellation is a remarkable tragedy!

    I sincerely hope that the project sees a resurrection before too long.
  25. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    I wish they had arranged "The Heart You Break..." differently. I'd have love to have heard it done more like "A Poor Man's Roses" or even done at a later session entirely - perhaps at her "doo wop" sessions in New York. In my opinion, there is a beautiful melody in THYBMBYO but it's overpowered by the steel and fiddle. (Imagine if this song were done like "Fingerprints" :shh:)
    melstapler likes this.

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