Patsy Cline: On the Record

Wow, you put a lot of thought into that list. I'm familiar with about 75 %, probably more if I heard them. There are 2 old standards that Doris Day covered that I would start my own list with. "I May Be Wrong (But I Think You Wonderful)" and "With A Song In My Heart." Add "My Buddy" too.
Good Stuff. I know your well versed in Patsy. Is she your favorite artist?

 

If I had to choose, I'd say that Patsy Cline, Peggy Lee and Nat King Cole are my favourites. Don Gibson, Margaret Whiting and Burl Ives are high on the list too - all are master intepreters of lyric.

With the right arrangement, a Patsy reading of "The Sand And The Sea" would be as captivating as "Sweet Dreams". I get goose pimples just thinking about it.

 

Update!

After listening to my new copy of the 2016 MCA Nashville version of the Greatest Hits LP (I picked it up at a Cracker Barrel store) I am happy to report it sounds very much like the 2003 Bob Ludwig remix. Humorously, I was able to recognize Ludwig remix because of the sound of "Back and Baby's Arms". The other tracks sound warm, balanced and clear. This is actually great news for fans who'd like an LP version of the Ludwig remixes.

(On a personal note, my apologies for the delay in posting...I welcomed a new puppy into my house this week. I've had my hands full!)

 

So refreshing to see "I've Moving Along" on your list! This is a such a fun and fabulous Patsy performance and is all but forgotten today. Thanks for making me smile

 

A companion album for PCGH titled... Patsy Cline's Greatest Gems. I love it!!

Here's my top 12 Patsy tracks that don't appear on Greatest Hits:

12. San Antonio Rose
11. Imagine That
10. When I Get Thru With You
9. He Called Me Baby
8. I Love You So Much
7. Always
6. Does Your Heart Beat for Me
5. Blue Moon of Kentucky
4. That's How a Heartache Begins
3. You Belong to Me
2. Lonely Street
1. You Took Him Off My Hands

Aside from #1 and #2, the others were very hard to put in "order". I did the best I could. (But ask me next week and the order could change again. Ha.)

 

Agreed, it is a fabulous performance. Altho I strugged with some of my gem choices, "I'm Moving Along" was a no-brainer for me.

 

Date: February 13, 1962 [19:15-22:45]
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

Owen Bradley (pdr), Patsy Cline (v), The Jordanaires (bkv), Randy Hughes (acg), Ray Edenton (rg), Grady Martin (eg), Walter Haynes (stg), Rita Faye Wilson (ahp), Floyd Cramer (p), Bill Pursell (org), Bob Moore (b), Harold Bradley (ebx), Buddy Harman (d), Charlie McCoy (h)

That's My Desire - 3:01 (Carroll Loveday, Helmy Kresa)
Half As Much - 2:27 (Curley Williams)

The next session produced a pair of timeless chestnuts recorded within a 3 1/2 hours period.

"That's My Desire" finds Patsy in a romantic and longing mood although, for most of the song, her passion is contained as she demonstrates restraint while slowly and delicately caressing the lyrics - which conjure up plenty of imagery in keeping with the theme of the Sentimentally Yours album. The listener is a bit caught off guard when, during the song's final moment, Patsy ends the song as she musically exclaims, "THAT'S MY DESIRE!"

"Half is Much" is Patsy's first song to feature harmonica, which would become a re-occuring theme over the next couple of sessions. Reminiscent of the old west, the song is in a notably higher key than many of her other recordings but rather than blowing the roof off of the Quonset Hut, Patsy proves her vocal prowess by excising complete restraint and control.

Greatest Hit - Half as Much
Greatest Gem - That's My Desire

 

Patsy overdoes it on "That's My Desire", and less would be more. Here she's tender at times and reflective at others, but she's too dynamic overall; the pensive lyric are better served with an understated reading from its singer. Patsy gives the song an emotional reading, and perhaps there was a personal connection to the sentiment of its lyric. There's a slow but steady vocal crescendo as the record progresses, and it culminates with a dramatic finish. The performance is a showpiece for the vocal prowess of this artist; if one listens in headphones, one can hear Patsy's final line bleeding into the microphones of the musicians that surround her in the studio. To sum up, Patsy gives an exciting performance on a song that, well, desires less drama and politely asks for a little more tenderness than what was given.

I don't believe "Half As Much" was in a higher key than usual for Patsy; the difference here is the composition itself. The tune features a melody line that reaches more than others. If transposed into a darker key, the lower notes of the melody would be difficult (if not impossible) for Patsy to reach. Although she demonstrates exceptional range with her expressive contralto, there are limitations to her instrument, same as any artist. The song is noteworthy for Patsy's different approach to its lyrical phrasing; whether this is due to its wide melodic range is unclear, although it makes for an interesting listen. This record has a pleasing arrangement, and if one listens carefully, one can hear the soft strains of the autoharp, especially during the introduction.

Neither performance enjoyed commercial success, and I award "Half As Much" gem status because the vocal performance is more suitable for the composition.

Greatest Hit - None
Greatest Gem - Half As Much

 

It's not really the key of "Half as Much" that is "higher" than other songs Patsy recorded (the song was recorded in the key of A) - the song's melody, as .crystalised. mentioned, features more upper notes than many of the others Patsy recorded. However, the lowest note of the song reaches a low E - a 1/2 step higher than the lowest note from another song from the February sessions ("Your Stronger than Me"). However, after plunking away at the piano, I realized Owen and the musicians would have had to place "Half as Much" in the key of A flat in order to take the edge off the high notes and A flat/G Sharp would have likely vetoed by the musicians as it's not a common key for instrumentation. Therefore, I can understand while the key of A was chosen - and Patsy sings her hind end off.

I agree "That's My Desire" would have benefited from a more straight-forward vocal reading. If the arrangement had been a bit more elaborate perhaps - and the song taken a slightly faster tempo, I can envision Patsy nailing a more understated delivery.

 

What a great thread!
I'm not sure I have much to add, but I really enjoy reading the thread.

 

Yes, the new standard weight Patsy Cline Greatest Hits LP is the remix version (it does sound very fine, but the Analog Productions is the original mixes, from the Decca 74854 1967 album master). I plan on hunting down the Analog Productions LP or the cleanest Decca original pressing I can find.

 

Agreed. musicfan1963 and .crystalised. have created a chronological history of Patsy Clines's recordings with a synopsis of each session, details of the musicians present and their well thought out and intelligent opinions of each performance. Their love for Patsy is obvious but does not effect their assessments. They welcome everyone's opinion just for the sheer joy of discussing the great Patsy Cline. A very enthusiastic and informative thread for even the casual Cline fan that hopefully stands for years on this forum

 

Thanks for your patience....we had family impact by Hurricane Harvey! More posts and discussion soon to come

 

Date: February 15, 1962 [19:15-23:45]
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

Owen Bradley (pdr), Patsy Cline (v), The Jordanaires (bkv), Randy Hughes (acg), Ray Edenton (rg), Grady Martin (eg), Walter Haynes (stg), Floyd Cramer (p), Bill Pursell (org), Bob Moore (b), Harold Bradley (ebx), Buddy Harman (d), Charlie McCoy (h), Brenton Banks, Cecil Brower, Solie Fott, Lillian Hunt, Verne Richardson (vn)

Session information courtesy of patsyclinediscography.com

Lonely Street - 2:32 (Carl Belew, Kenny Sowder, W.S. Stevenson) / arr: Bill Justis
Anytime - 1:57 (Herbert Lawson) / arr: Bill Justis
You Were Only Fooling (While I Was Falling In Love) - 1:57 (Larry Fotin, Billy Faber, Fred Meadows) / arr: Bill Justis
I Can't Help It (If I'm Still In Love With You) - 2:56 (Hank Williams) / arr: Bill Justis


The final session for songs to be included in the “Sentimentally Yours” album were recorded February 15, 1962. Unlike the sessions immediately preceding it, a string section consisting of five violins was added for a softening effect and to help create more pop-like sound. A significant turning point in her recording career, the date would prove to be significant in that strings would be added to all of Patsy’s subsequent recordings. The date is also unique in that it features the only songs Patsy ever recorded to feature both violins and harmonica, simultaneously. The results were magical.

By 1962, “Lonely Street” had already proven its cross-over appeal as the song became a monster hit in 1959 when Andy Williams’ cover version of Carl Belew’s more country-inspired original, reached the top of the pop and R&B charts. Fellow Decca country artist Kitty Wells also recorded the song and included it in an album of the same name a year before. Interestingly enough, the song had been a 4-Star copyright which means Patsy could have recorded it even before inking her new exclusive Decca contract in 1960. But as fate would have it, Patsy did not get around to tackling the weeper until she recorded it for “Sentimentally Yours”. An all-around gorgeous interpretation with emphasis on the haunting melodic structure during lyrics such as “I’ve got a sad, sad tale to tell…” and “Where dim lights bring forgetfulness…”define the sentimental nature of the tune and the entire "Sentimentally Yours" album for that matter, while Patsy, the musicians, the Jordanaires and the arrangement are at their most poignant and pensive. Decca must have recognized the song to be special as the song ultimately became the final track to close the album.

Picking up the pace significantly, “Anytime” is a total reinvention of a song made popular by a handful of others artists, most notably Eddie Arnold in 1948. Patsy and the musicians really swing as Charlie McCoy’s bluesy harmonica and a jazzy, hip, percussion courtesy of Buddy Harman, added to the songs unique and "uptown" arrangement.

Similarly paced, “You Were Only Fooling” is light and airy while Patsy sounds as though she is taking an early morning stroll in the sunshine. The song’s structure is similar to other Cline classics such as “You Made Me Love You”, “Have You Ever Been Lonely” and "Your Cheatin' Heart" as it allows Patsy to kick things off in a matter-of-factually kind of way before coloring and shading her dynamics and phrasing on the remainder of the song until building to a dramatic finale.

To end the session, came Hank Williams’ simplistically beautiful, “I Can’t Help It” which, lyrically, demonstrates the same timeless theme of struggling to move on from a broken heart as “I Fall To Pieces” and many of Patsy's other classics. In “I Can’t Help It” Patsy uses a very soft and understated reading to effectively compliment the similar arrangement backing her in order to convey a fragile state of being and heartbreak. Her voice swells with raw emotion on lines like “It’s hard to know another's lips will kiss you…” and “Oh, heaven only knows how much I miss you…” A textbook example of the mastery of Patsy Cline.

The “Sentimentally Yours” Decca LP would be released on August 7, 1962 and, unbeknownst to everyone at the time, would become the final album released during Patsy’s lifetime.

Greatest Hit – Anytime
Greatest Gem –Lonely Street

 

This is actually a REMARKABLY well programmed album. Nearly all of the songs on side 2 are ballads - but it sets a mood. And it's a mood I like

 

"Anytime" is a fun number, and the song clips along so well that it's finished before the listener has a chance to settle down and let it "sink in". Decca issued the performance as a single in 1968, and it was Patsy's final chart showing until the instrumental overdubs began a decade later. This record stalled at #73 Billboard Country and did not chart Pop, perhaps surprising Decca ("Heartaches" and "Anytime" presumably have the least "country" sound of Patsy Cline's records). Regardless, our singer cuts loose and really brings the song home, yet it begs the production for an extra verse. It's an effective performance, although its brevity keeps it from being overly memorable.

"You Were Only Fooling" probably holds the title for "most jazz inspired" of the arrangements given to a Patsy Cline record. Its syncopated rhythm and Floyd Cramer's comp chords lend a midtown "supper club" feel that is well-suited to Patsy and the song itself, and the arrangement is probably the closest example to what might have been if Patsy had the chance to perform at an East Side venue in Manhattan. An older composition that was first popularized by Kay Starr, "You Were Only Fooling" became Starr's first solo hit (and popularized her, in turn, when it reached #16 in 1948). Patsy quoted Starr as a musical influence, and the decision to wax this number was doubtlessly influenced by the younger singer's appreciation for "Starr-tistry"). The three-tracks of this session contain excess reverb and distortion, a condition that doesn't affect the mono counterparts. The instrumental solo of "Fooling" is particularly nice when one hears the single; the violins are completely dry, giving more of a chamber effect when compared to the stereo mix.

"Lonely Street" and "I Can't Help It" are about as sentimental as Sentimentally Yours gets. The pair features complimentary arrangements with similar moods and sentiment, yet both are strong enough to stand alone. Patsy gives the former a shamelessly emotional delivery, perfectly suited to its lyrical premise. Conversely, she gives the latter a delicate reading that holds wider appeal, perhaps owing to its more subtle of sensibilities. The subject of "Lonely Street" has abandoned all hope for her lost love; meanwhile she still carries a torch for the failed romance of "I Can't Help It".

Patsy sounds weary, as if physically exhausted from carrying the emotional weight of "I Can't Help It". The way she caresses those lyrics and wails at key moments "it's hard to know another's lips will kiss you / and hold you just the way I used to do" and that emotional punch just in time for the song's climax "oh, heaven only knows how much I miss you" allow the listener to brood with a lonely cocktail, and consider old flames of his own. Patsy is crying at the song's end, but you feel those tears more than you actually hear them, which gives a mysterious and irresistible quality to the record. Much is left to the imagination, and the listener is not forced to relate to this sentiment; it happens naturally, because the song allows for us to draw from our personal experiences with unrequited love to make its point.

Arrangements for this session are credited to Bill Justis. "Lonely Street" and "I Can't Help It" feature lovely accents of rhythm guitar, tremolo, violins, harmonica and exceptional support from The Jordanaires, all blending to create a harmonic tapestry which highlights two of Patsy's finest performances. "Lonely Street" brings a haunting end to a lovely album. Yet, I award gem status to "I Can't Help It" because it reaches a level of sophistication and refinement that "Lonely Street" just can't meet.

Greatest Hit - Anytime
Greatest Gem - I Can't Help It

 

Date: February 28, 1962 [19:15-23:45]
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

Owen Bradley (pdr), Patsy Cline (v), The Jordanaires (bkv), Randy Hughes (acg), Ray Edenton (rg), Grady Martin (eg), Floyd Cramer (p), Joseph Zinkan (b), Harold Bradley (ebx), Buddy Harman (d), Brenton Banks, Cecil Brower, Lillian Hunt, Verne Richardson (vn), Howard Carpenter, Ed Tarpley (vl), Byron Bach (vc)

session information courtesy of patsyclinediscography.com

You're Stronger Than Me - 2:38 (Hank Cochran, Jimmy Key) / arr: Bill McElhiney
When I Get Through With You (You'll Love Me Too) - 2:37 (Harlan Howard) / arr: Bill McElhiney
Imagine That - 2:54 (Justin Tubb) / arr: Bill McElhiney
So Wrong - 3:04 (Carl Perkins, Danny Dill, Mel Tillis) / arr: Bill McElhiney


In less than two weeks after wrapping up her final session of songs to be included in the next album, Patsy was back in the Quonset Hut to work on a batch of original tunes penned from some of Nashville’s A-list writers. No doubt eager to nail down a successful follow-up to her third consecutive cross-over smash, Patsy brought four demos with her to the studio that cold Wednesday night in February ‘62. Given the complexity of the arrangements and the varied style of each, the fact all four songs were recorded within a single session and have each gone on to become Cline classics is a testament to the musical geniuses who ruled the studios in 60s Nashville.

When she recorded “You're Stronger Than Me” at this particular session, it was Patsy’s second attempt at a song she considered a personal favorite. It’s likely both she and Owen hoped they could come up with a version to please the Decca offices in New York. Her original recording of the Hank Cochran tune, recording during her sessions for “Showcase”, featured a tasteful country shuffle and arrangement similar to “I Fall to Pieces”. But perhaps the original treatment was too similar to “Pieces”, and so, the ’61 version stayed on the shelf for the remainder of Patsy’s career. While the ‘62 remake was taken at a slower pace similar to “She’s Got You” and featured a beautiful string arrangement, Decca likely considered it the superior version at the time. This version of the song, unlike it original country cousin, would make its way onto the B-Side of a single release by the end of summer.

Harlan Howard has said he wrote the upbeat, teen-aged flavored, “When I Get Through With You” for Patsy since she was “selling to kids”. Ultimately becoming Patsy’s next A-side, the slow twister is pure early ‘60s bubblegum fun and noticeably an audible departure from the string of ballads preceding it. Perhaps due to is more obviously “dated” sound, the song has since been all but forgotten compared to the many other hits now considered to be more “timeless”. (Perhaps this is the reason it isn’t featured on nearly as many greatest hits compilations as some of her lesser hits. It’s interesting to note “When I Get Through With You” charted at #10 on the country charts – higher than several other songs featured on “Greatest Hits”, - yet the song was omitted from the compilation.)

“Imagine That” was a song Patsy heard and immediately wanted to record, exclaiming, “That tears me up, hoss” when she heard the song’s writer singing it backstage before a show in winter, 1962. Her performance of the Justin Tubb stunner is cool and laid back – while the arrangement is fresh and modern for ’62, featuring sultry electric guitar work and subtle strings. Even Patsy must have sensed how well the recording was going because she felt at ease enough to laugh aloud on the final line of the song before asking the listener, “Ain’t that a laugh?” Even though it became the B-side of her next release, the song would still chart, just missing the top 20.

The final tune recorded during the 4 ½ hour marathon session was the Carl Perkins, Danny Dill and Mel Tillis penned, “So Wrong”. To Patsy, it was love at first listen and she demanded to be allowed to record the mournful ballad. Sophisticated and expressive, the song’s uptown jazz and pop flavorings coupled with the “I-done-you-wrong” lyrics were the perfect vehicle for Patsy. The song would be released as the A-side of a single by the end of summer and would feature “You’re Stronger than Me” on the flip-side.

Patsy was at her commercial zenith. This session of four originals (recorded in a matter of hours!) stands as a testament to the musical giants of the day.

Greatest Hit – When I Get Through With You
Greatest Gem – Imagine That

 

A date with golden slippers. Arthur Godfrey spoke truth when he told Patsy "there's surely stardust on you".

This was Patsy's most commercially successful recording session, since all four of its performances enjoyed some degree of chart activity. The least successful of the bunch was "You're Stronger Than Me", first recorded in August 1961. Originally a shuffle, the tune's walking bass and Hank Garland riffs are replaced with violins and a piano arrangement that steps all over this ballad version. Patsy gives the "new" recording more tenderness with obvious vulnerability, which, unfortunately, lacks all of the resilience and emotional understatement of the original. Issued as the flip side of "So Wrong", this performance is determined to remain heard in a mono presentation only, since it's a multi-track without a stereo mix. Decca chose to issue the earlier recording on The Patsy Cline Story and Greatest Hits albums after Patsy's death - a decision that finds me in agreement, since the original is the superior performance. However, I'm left to wonder if the 1961 recording might remain unissued if Patsy had lived, since it's likely that Story and Greatest Hits wouldn't exist (or if they did, both albums would surely contain different programming).

"When I Get Through With You" really gets the listener's attention with its rubato verse and violins that slowly creep in behind Patsy. The preamble quickly develops into a slow and seductive twister party that eventually fades to silence. Patsy gives a performance that is equally soulful and sentimental. Perhaps the corny lyric and dated arrangement would be dispensable if not for Patsy's charm and sincerity. Yet, no matter one's musical preference, Patsy gives the listener something to love. "When I Get Through With You" was Patsy's 7th largest hit, and her reluctance to sing it on the Grand Ole Opry is probably because it wouldn't seem right. Notably, MCA Nashville has included this record on four compilations within the past decade.

"Imagine That" is a fine example of country blues, and it just simmers from start to finish. Patsy's faith in the quality of its lyric is communicated well - her delivery is steady, sincere and playful. The arrangement is enhanced by the quality of Nashville musicians, and Grady's electric guitar lends an irresistible, sassy quality to a great record. Ray Edenton is heard playing rhythm very faintly - his acoustic guitar can only be heard if one listens in headphones, and his manner of playing on this number is a nod in the direction of the great Freddie Green. Any song this bluesy is a guaranteed success when it lands upon the music stand of this Virginia gal. Patsy loved "Imagine That", and promoted it often.

"So Wrong" is so Manhattan, and features Patsy's most sophisticated and modern arrangement to date. A beautiful composition that fits Patsy like a glove, and a performance worthy of its place on Greatest Hits, even though it stalled at #14 on the charts. Actually, it's quite surprising that a song with such a "mod" feel scored higher on the country charts in 1962 than it did pop or adult contemporary. Here's proof that Patsy wasn't alienating her country fans, and perhaps the success of this record provided assurance that its musical path was not unworthy of further exploration. The strings are silk and the rhythm is honey; the tremolo guitar adds a richness of tone that lends a hip, contemporary sound to an already irresistible record. The vibrato in Patsy's voice as she delivers the final line a cappella is everything; it gives me chills. Wail, baby, wail. Highly recommended.

Greatest Hit - When I Get Through With You
Greatest Gem - So Wrong

 

It was up to Bradley, not NY. He was A&R for Decca's country division by that time, with full control over programming. Perhaps Patsy wanted to make a recording that pleased Owen.

Including the unissued version of "You're Stronger Than Me" in a compilation album immediately following Patsy's death is remarkable. Maybe they argued about the arrangement, and he felt bad about it. Who knows.

 

By this time, were Owen and maybe Patsy solely responsible for what was released? I recall Brenda Lee giving an interview once where she indicated, around 1962, the "label" was pushing her away from rock n' roll and into adult contemporary. I never took this to mean Owen only. (But maybe that's what she actually meant )

 

I have a feeling that the answers we seek are lost to history. Regardless, I'm a little frustrated that the production wasted time recording a lesser second recording of a song because that's one less Patsy Cline single we have today. Ditto for the stereo versions of "A Poor Man's Roses" and "Walkin' After Midnight".

 

True. Three additional new tunes would have been ideal - but at least we got stereo versions of 1957 hits out of it. (I'm not sure how well Owen Bradley could have re-purposed the mono WAM to complete the overdubs for "Sweet Dreams"...)

 

Been indisposed for awhile. But lots to read and catch up on. I don't have much to add as you guys really critique it well. Some of her best songs are in these last couple of sessions. Patsy was flying high. Lonely street, anytime, so wrong, I can't help it, when I get through with you, imagine that, your stronger than me, etc. Wow

 

I have a question, I'm looking for the best remastered compilation cd's of the 4 star years...any suggestions?

.crysalised., is the bear family patsy box that was planned a complete dead issue now?

 

Welcome back to the thread Flybynight88! As far as the "best sounding" CDs featuring the 4 Stars tracks, I'd recommend the following compilations:

• Walkin' After Midnight: The Original Sessions Vol. 1 (Dual Tone 2003) --- Tracks sound clear, warm and balanced.

• 25 All-Time Greatest Recordings: The 4-Star Sessions, 1955-1960 (Varese 2000) -- overall, solid sounding

• Stop, Look and Listen - Gonna Shake this Shack Tonight (Bear Family 2007) -- more uneven that the others and this collection has somewhat polarized fans -- some like it, some don't. I personally like it OVERALL because of the remastered live tracks and outtakes/alternate versions previously unreleased. Also, many songs sound clear to my ears. However, .crystalized might have different recommendations for these tracks and that's just fine

While we're on the subject of compilation CDs, I recently picked up two newer ones comprised of material from the Decca years. Both are "exclusives" to the respective businesses selling them. First is "Patsy Cline: Favorites" currently available through Cracker Barrel. The sound of the tracks, overall, is quite good. Especially good sounding are "You Belong to Me", "Back in Baby's Arms" and "Why Can't He Be You". BIBA definitely sounds better on this CD than the 2003 Greatest Hits remaster. Also, I think WCHBY appearing on the Cracker Barrel set rivals the 2003 GH set, but it's close.

The other CD I recommend is a bit harder to come by since it's only available at the Patsy Cline Museum gift store located in Nashville. Living in Nashville myself, I am lucky enough to have already visited this WONDERFUL place and to have picked up a copy of this disc. "Patsy Cline: The Special Collection" is available on the museum's website and is highly recommended. Overall, the sound is warm, vibrant with minimum distortion and the programming is especially nice too. (The CD opens with "So Wrong" for goodness sake!) In addition to the programming, standout tracks are "Leavin' On Your Mind", "She's Got You", "So Wrong", "When I Get Through With You", "Does Your Heart Beat for Me","You Made Me Love You", and "Someday". The sound of these tracks on this disc rivals any other Patsy CD I've heard. At least to MY ears!

All of the CDs mentioned above are highly recommended if you can locate a copy and afford them.