Patsy Cline: On the Record

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

Thread Status:
Not open for further replies.
  1. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    My favorite line of the song also. Imagine that. Ain't that a kick in the head?
     
  2. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Also worth noting, Patsy's friend and fellow star Dottie West (who attended the February 4 session) was just announced as a 2018 inductee into the Country Music Hall of Fame. Much deserved and long overdue!
     
    Flybynight88 likes this.
  3. Richard--W

    Richard--W Forum Resident

    I've been enjoying this thread.

    Went to visit the patsymuseum.com in Nashville,

    Patsy Cline Museum Special Collection CD

    which evidently is a floor above the Johnny Cash Museum. Never been there, but the gift shop has some good CD's.

    [​IMG]

    Does the Museum Special CD contain any takes or versions not available on the regular CD's? Chances are I'll buy it regardless, I just want to know.

    Do the DVD's contain any sustained concert footage? or interview footage?
     
    melstapler and musicfan1963 like this.
  4. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Date: February 5, 1963 [19:00-22:00]
    Location: Columbia Studios, 804 16th Avenue South, Nashville TN

    Owen Bradley (pdr, mgr), Patsy Cline (v), The Jordanaires (bkv), Randy Hughes (g), Ray Edenton (rg), Grady Martin (eg, dir), Floyd Cramer (p), Bill Pursell (vib), Bob Moore (b), Harold Bradley (ebx), Buddy Harman (d), Byron Bach, Brenton Banks, George Binkley III, Cecil Brower, Howard Carpenter, Solie Fott, Lillian Hunt, Verne Richardson, Wilda Tinsley, Gary Williams (vn)

    Blue Moon Of Kentucky - 2:08 (Bill Monroe) / arr: Bill McElhiney
    Sweet Dreams (Of You) - 2:35 (Don Gibson) / arr: Bill McElhiney
    Always - 2:40 (Irving Berlin) / arr: Bill McElhiney

    Session information courtesy of patsyclinediscography.com

    On the second night of recordings for the Faded Love album, Patsy and the session players let it all hang out. I’ve often imagined had I’d been a fly on the wall at any single Patsy Cline session, this would have been the one.

    “Blue Moon of Kentucky” was the signature song of bluegrass king Bill Monroe and Patsy attacks the lyrics with the kind of full-throated, yodel filled vocals used in her roadhouse appearances. Juxtaposed with a unique mod – country flavored arrangement (cow bells and all!) – Patsy’s love of the tune is evident in both the excitement of her performance in the studio and on television a few weeks later. Posthumously released as a B-side after Patsy’s death, the song found new life when it was featured prominently in the 1985 Sweet Dreams biopic. One of Patsy’s most brilliant and popular upbeat recordings.

    It's interesting to consider Patsy Cline's most mesmerizing performance of all-time, “Sweet Dreams", was not even originally intended to be a single. The undeniable poignancy and mastery of this recording, however, begged for its release as an A-side after Patsy’s tragic death. What's not to love? The swell of the violins, Patsy’s delicate crescendo on the word sweet, the complimentary, almost heavenly-like choir of the Jordanaires – all conspire to create two minutes and thirty four seconds of pure magic. In the songs final dramatic moments, we hear the trickling violins - their downward decent eerily foreshadowing Patsy’s fateful trip aboard the airplane. Haunting on so many levels, the song was a career high-point for Patsy and stands today as my own personal favorite Patsy Cline recording.

    It’s said Irving Berlin heard and loved Patsy’s version of his standard, “Always”. Simplistic yet captivating, the song is also prophetic as Patsy sings, Days may not be fair, always. That’s when I’ll be there, always. Not for just an hour, not for just day and not for just a year but always. Owen Bradley featured the song with new, overdubbed instrumentation as the title track on 1980’s MCA LP, Always. Upon release as a single, the song made the top 20 on the country charts – nearly twenty years after her death.

    Greatest Hit – Sweet Dreams
    Greatest Gem – Always (note, although “Sweet Dreams” is the greater overall recording, whenever possible, I tried to designate separate songs as hits vs gems.)
     
  5. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Don't you think that would spoil the mystique of Patsy's greatest vocal performance? "Sweet Dreams" is perfect as is. I wouldn't want to be present to bear witness to the creative process, nor would I want to hear the rehearsal or any breakdowns. I can't imagine that any other attempt would be as good as the master, and hearing anything less would erode the magic, no?
     
    Last edited: Mar 30, 2018
    Flybynight88 likes this.
  6. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Patsy asked Don [Gibson] for permission to record his song. Fully aware of Patsy's greatness, Don agreed on the condition that it would be an album cover and not issued as a single, because he knew Patsy would outsell his versions. Then Patsy died before the album came out, and Owen Bradley issued "Sweet Dreams" as her next single. Bradley may not have been aware of the agreement between these two great artists, or maybe he just didn't care. Who knows.
     
    Flybynight88 and musicfan1963 like this.
  7. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Boy, that may be true, but the Berlin estate sure doesn't place much value on Patsy's recording of the tune, unless they're getting paid handsomely for its use.
     
    Flybynight88 likes this.
  8. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    When one considers Patsy Cline's entire body of work, this session is as good as it gets. All three masters produced on this date have become classic examples of a timeless artist, yet in three very different styles, allowing one to appreciate Patsy's great versatility. The session begins with "Blue Moon of Kentucky", a song perfectly suited to 'Pert Patsy'. Her vocal performance is spirited, and the production sets an effective mood which allows the song to produce some wonderful imagery for the listener. The arrangement bears a striking resemblance to an earlier version recorded by Ray Charles (click here to listen). Both are soulful and effective, yet Patsy's version achieves an unmatched level of sophistication. The prominent cowbell provides a hint of rural flavouring to a production that is otherwise uptown with its bossa nova beat, understated strings, and muted but deliciously smoky guitar. A wonderful dichotomy, and perhaps a gamble that paid off. The tempo is not fast enough to swing, yet it is not slow enough to reach ballad territory; instead, it just sits there and smoulders while Patsy growls and yodels to her heart's content. The emphasis on the last word gives me chills. This is surely one of the lady's greatest performances.

    Patsy might have expected "Blue Moon of Kentucky" to be featured on her next single, considering that she performed it on television during her final Pet Milk appearance on February 18, 1963. Unlike the studio recording, she really swings this number in front of the lens, and her joy and verve are visually apparent. A telltale smile at 0:53 alerts the viewer to the fact that Patsy knows she's got this one in the bag. It ranks as one of my favourite television appearances, and it can be viewed here.

    "Sweet Dreams" has done for Patsy what "A Change Is Gonna Come" did for Sam Cooke. While the latter became a civil rights anthem, the former can be considered an anthem for unrequited love. Both compositions convey messages that are timeless and relevant in any era, and both performances feature epic arrangements that eerily foreshadow a tragic end for its respective artist. The arrangement of "Sweet Dreams" is symphonic in scope, and Patsy's vocals are otherworldly. This is truly Patsy's finest record, and no amount of rehearsal or retakes could have bettered this recording. The descending slides in the violins audibly conjure the feeling of falling tears, and the soft notes on the vibraphone lend a dream-like quality to the arrangement. It was probably difficult for the production to remain focused on getting a master take without breaking down to sobs. Truly an incredible feat, and a testament to the professionalism of everyone involved in the making of this record.

    "Sweet Dreams" was Patsy's first posthumous single, and it was issued April 15, 1963. The record peaked at #5 Country, #15 Adult Contemporary, and #44 Pop; all impressive standings when one considers that Patsy was not around to promote the song on radio and television or through personal appearances.

    Listeners familiar with Patsy's artistry know that she was unashamed to get sentimental in front of a microphone, and her performance of "Always" certainly lives up to this reputation. Patsy's haunting vocal is paired with an arrangement that has a gossamer quality; the heartfelt counterpoint and beautiful obbligato culminates just after the two minute mark, as Patsy delivers the line "that's when I'll be there, always" before the final verse. This performance certainly swells the heart of anyone who listens, and it sounds lovely when heard bright or mellow (a brighter mastering emphasizes the sixteenth notes on the ride cymbal, while mellower presentations lend a breathy, palpable render to Patsy's voice). This recording is the aural equivalent of a coral sunset and its promise of a beautiful tomorrow. Full of happy thoughts and warm memories, Patsy adds just a hint of sadness to acknowledge the inevitable passage of time, which sets a nostalgic, unforgettable mood.

    All three records are gems for this guy, although I will acknowledge that "Sweet Dreams" is the biggest hit of the session, and arguably Patsy's greatest vocal performance of all time.

    Greatest Hit - Sweet Dreams (Of You)
    Greatest Gems - Sweet Dreams (Of You), Always, Blue Moon of Kentucky
     
  9. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    A similar argument could be made for many of her other sessions. Since this was purely hypothetical - if I were forced to choose only one to attend, I would eagerly sign up for the February 5 date. While I would likely witness breakdowns, false starts, etc.... knowing what awaits as the finished "take" would make it worth it.
     
    Flybynight88 likes this.
  10. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Yeah, I've heard horror stories regarding the family. They are very greedy indeed.
     
    Flybynight88 likes this.
  11. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Thanks and welcome!

    "Patsy Cline: Special Collection" issued by the Patsy Cline Museum contains all previously released masters. However, the sound is good and the programming makes for a nice flow.

    As far as DVDs go, the discs available in the museum gift shop feature a variety of interviews from Patsy's friends, family, fellow musicians and other music artists/industry folks influenced by her music. The DVDs also feature biographical information, photos from her appearances, letters written by Patsy and clips from various black & white television performances (although there is no sustained concert footage that comes to mind.)
     
    Flybynight88 likes this.
  12. Flybynight88

    Flybynight88 Forum Resident

    Location:
    South Jersey
    Hi all. Still very much enjoying the thread when I have time to catch up. Just not a lot of time lately.
    Musicfan did bring up a something I've been meaning to ask for quite awhile. Is there any live concert footage at all of Patsy?
    You guys still knock me out with your great analysis and knowledge of Miss Cline.
    Keep on keepin' on!
     
    musicfan1963 and .crystalised. like this.
  13. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Thanks for hangin' in there with us Flybynight88!

    The only "live concert footage" I know to exist is a very brief, silent (in color!), clip of Patsy performing outdoors in the summer of 1956. The footage is available on youtube. It's likely there are dozens of other silent videos of various Patsy concerts buried in boxes in private attics, basements and vintage collectable stores across America. If only families and store owners knew what they had! Only time will tell...
     
  14. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Two sessions remain.
     
  15. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Date: February 6, 1963 [19:00-22:00]
    Location: Columbia Studios, 804 16th Avenue South, Nashville TN.

    Owen Bradley (pdr, mgr), Patsy Cline (v), The Jordanaires (bkv), Randy Hughes (g), Ray Edenton (rg), Grady Martin (eg, dir), Floyd Cramer (p), Bob Moore (b), Harold Bradley (ebx), Buddy Harman (d), Byron Bach, Brenton Banks, George Binkley III, Cecil Brower, Howard Carpenter, Solie Fott, Lillian Hunt, Verne Richardson, Wilda Tinsley, Gary Williams (vn)

    Does Your Heart Beat For Me - 2:37 (Mitchell Parish, Arnold Johnson, Russ Morgan) / arr: Bill McElhiney
    Bill Bailey, Won't You Please Come Home - 2:45 (Hughie Cannon) / arr: Bill McElhiney

    Session information courtesy of patsyclinediscography.com

    Having already completed half the songs for the planned Faded Love LP, Patsy and the musicians reassembled in Nashville on a cold and snowy Wednesday evening.

    The resulting four hour session produced two songs (instead of the usual three - perhaps due to experimentation with arrangements, although this is purely speculative.) In an interview, Owen Bradley once explained how Patsy’s rendition of “Does Your Heart Beat for Me” came about. The song was associated with band leader Russ Morgan who was the nephew of a senior executive at Decca Records’ New York office. The executive once suggested Owen record one of his nephew’s songs with Patsy. Owen held out until the timing was right and felt “Does Your Heart Beat for Me” was a perfect fit for Patsy and the album. Tender and understated, yet simultaneously lush and dramatic, the resulting romantic ballad is an underrated highlight in the Cline cannon. The song was posthumously released on the 1964 Decca LP A Portrait of Patsy Cline and rightfully appears as the final song, closing the album.

    By the time Patsy got around to recording “Bill Bailey, Won’t You Please Come Home”, she had been performing the song in her live act for years. Frequently covered by a wide range of artists up until that point, it’s likely Owen Bradley desired to breathe new life into the song in order to ensure Patsy’s version of the Hughie Cannon standard stood apart from the pack. Instead of performing the entire song at the usual up-tempo pace done in her stage show, the jazzy arrangement starts off cool and laid back as Patsy mournfully injects each note with a bell-clear longing and pensiveness. With the bluesy and rousing entrance of acoustic guitar, the musicians get the party started on the final chorus, significantly upping the tempo and applying a red hot mama ending where Patsy and the gang let it all hang out. The song was a personal favorite of Patsy's and is notable as the very last song she ever sang on the Grand Ole Opry.

    Greatest Hit – Bill Bailey, Won’t You Please Come Home
    Greatest Gem – Does Your Heart Beat for Me
     
  16. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    There is magic in Patsy's reading of "Does Your Heart Beat For Me" that just can't be duplicated. A lovely number composed in 1936, when Patsy was still a tenacious little four year old, it is a tune that was popularized during the era of big bands, by leaders such as Russ Morgan, Freddy Martin, Wayne King and Guy Lombardo & His Royal Canadians. The McGuire Sisters also recorded the number for Coral during the mid-1950s. The arrangement given to Patsy's recording has a gossamer-like quality that establishes a hushed and romantic backdrop. There is an immediacy to Patsy's vocals that is simultaneously haunting and soulful, and I'm a captivated listener. The call-and-answer effect with the Jordanaires is, well, effective. Pure magic.

    "Bill Bailey" is a Tin Pan Alley tune from 1902. Patsy had been performing this at live concerts for years. If Owen Bradley asked her to record "Does Your Heart Beat For Me", it's very likely that she asked to record "Bill Bailey" as a compromise. No matter; I'll take this one to get the other.

    Greatest Hit
    - none
    Greatest Gem - Does Your Heart Beat For Me
     
    Last edited: Jun 23, 2018
  17. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    [​IMG]



    Date: February 7, 1963 [19:00-22:00]
    Location: Columbia Studios, 804 16th Avenue South, Nashville TN.

    Owen Bradley (pdr, mgr), Patsy Cline (v), The Jordanaires (bkv), Randy Hughes (g), Ray Edenton (rg), Grady Martin (eg, dir), Floyd Cramer (p), Bob Moore (b), Wayne Moss (ebx), Buddy Harman (d), Byron Bach, Brenton Banks, George Binkley III, Howard Carpenter, Solie Fott, Lillian Hunt, Martin Katahn, Mildred Onk, Verne Richardson, Gary Williams (vn)

    He Called Me Baby - 2:39 (Harlan Howard) / arr: Bill McElhiney
    Crazy Arms - 2:23 (Ralph Mooney, Charles Seals) / arr: Bill McElhiney
    You Took Him Off My Hands - 2:58 (Harlan Howard, Wynn Stewart, Skeets McDonald) / arr: Bill McElhiney
    I'll Sail My Ship Alone - 2:29 (Sydney Nathan, Henry Bernard, Morry Burns, Henry Thurston) / arr: Bill McElhiney

    Session information courtesy of patsyclinediscography.com

    Before the final session of what was intended to complete work on the Faded Love album, Patsy was in an especially good mood. Earlier in the day, Patsy reached out to friends and fellow singers Dottie West and Jan Howard, whose husband, Harlan, had written two of the four song Patsy was planning to record that evening. After insisting they attend the session, Dottie and Jan, along with Jimmy Dean, joined Patsy's husband Charlie as spectators in the studio that evening.

    The first of two original tunes recorded that night, “He Called Me Baby” had originally been written by Harlan Howard in 1961 who released the song in early 1962 as “She Called Me Baby”. Howard’s own version was a breakout hit in Texas although it did not chart nationally and was immediately followed by the first female version when wife, Jan Howard, recorded the song as “He Called Me Baby” and included it in her 1962 album Sweet and Sentimental. In January ’63, crossover artist Skeeter Davis also recorded the song at RCA studios but it was still in the can when Patsy set out to do her own version the following month. "He Called Me Baby" is both bluesy and sentimental - two of Patsy’s strongest wheelhouses – while the heartache in her vocal is echoed by a beautiful string arrangement and playful electric guitar work. The song was eventually released as a single in 1964 and became a modest, posthumous hit included in a Decca album later that year.

    Picking up the pace a bit, next came “Crazy Arms”. Originally a monster hit for Ray Price in 1956, Owen Bradley and team totally re-invented the song with a very modern Latin beat similar to “Blue Moon of Kentucky.” The results were fresh and exciting.

    The third song recorded during the evening was “You Took Him Off My Hands”, a mournful ballad in which Patsy pleads to great effect “Don’t leave the job half done. Leave nothing behind. You took him off my hands, now please take him off my mind.” It is a gorgeous ballad with a dramatic and lush arrangement. (It has always been, and continues to be, one of my very favorite Patsy Cline songs. ) If a listener is curious to hear the musical and artistic evolution of an artist like Patsy Cline, I strongly recommend listening first to “A Church, A Courtroom and then Goodbye” followed immediately by “You Took Him Off My Hands”.

    To close the session, Patsy chose to cover a song made famous by Moon Mullican in 1950. “I’ll Sail My Ship Alone” tells the story of someone who’s picking up the pieces from a broken heart and courageously venturing out onto life’s ocean alone. Ironically upbeat, Patsy included the number in her act, and it’s also rumored to have been the closing song during her final live appearance on Sunday, March 3, at Memorial Hall in Kansas City, Kansas.

    During the listening party held in the studio, Jan Howard recalls Patsy rushing into Owen Bradley’s assistant’s office and returning with a 45 rpm record of her first single, “A Church, a Courtroom and then Goodbye”. While the tapes from the night's session played, Jan recalls Patsy holding up the record and announcing, “Well, here it is, folks. The first. And the last.”

    Greatest Hit – He Called Me Baby
    Greatest Gem – You Took Him Off My Hands


    While the February 7, 1963 session brought to a close Patsy’s time as a recording artist– it was far from the end of her career. Quite the contrary, after Patsy's tragic death in a plane crash on March 5, 1963, the recognition of her achievements and strong record sales continued into the 70s, ballooned in the 80s, and rose to legendary status in the 90s - and beyond. The Faded Love album intended for release in Spring, 1963, was ultimately scrapped in favor of the double LP The Patsy Cline Story featuring the posthumous single “Sweet Dreams” b/w “Back in Baby’s Arms” along with 22 previously released singles and album cuts culled from Showcase and Sentimentally Yours . In 1964, Decca released the A Portrait of Patsy Cline LP that featured many of the songs recorded during the sessions intended for Faded Love. It was followed by That’s How a Heartache Begins later the same year and 1967’s Greatest Hits. In 1973, ten years after her death, Patsy Cline became the first solo female artist inducted into the Country Music Hall of Fame. This historical feat was followed by the 1980 and 1985 films "Coal Miner's Daughter" and "Sweet Dreams" in which Patsy's music was introduced to a whole new generation. And, today, the music is as spellbinding as ever. That instantly identifiable tone and phrasing. That raw emotion and universal appeal. It's fascinating how the music of Patsy Cline remains simultaneously timeless and a reminder of a time gone by. My life is richer because I discovered Patsy Cline. I hope she can do the same for you. But don't take my word for it. Listen for yourself :)
     
    Last edited: Jun 23, 2018
    McLover, Ken K, JohnO and 5 others like this.
  18. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Here's a clip of Nat King Cole singing this marvelous song. I can picture Patsy singing it with a lush arrangement similar to "Sweet Dreams" or "You Took Him Off My Hands". (I can even envision Jessica Lange performing to a Patsy version of this tune in the penultimate Memorial Hall scene of Sweet Dreams.)

     
    The Killer likes this.
  19. Flybynight88

    Flybynight88 Forum Resident

    Location:
    South Jersey

    Im a big fan of "Does your heart beat for me" also. Patsy was really refining her vocal and sound in last year. I often think what could have been when I listen to her late recordings.
    Bill Bailey. Loved most of the many live recordings of this tune, not so much this recorded version. I dont believe they captured the hot mama feel that is IMO, required for this tune the way Patsy performs it live despite the up-tempo finish.
     
    musicfan1963 and .crystalised. like this.
  20. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    The stereo remake is even better. The beauty that Patsy would bring to this song would be an otherworldly experience.
     
    musicfan1963 likes this.
  21. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Owen's fault, not Patsy's. She wanted to swing it from start to finish and Owen wanted to do it slow and mournful throughout. So they comprised and picked up the pace midway through.

    I actually like the arrangement a lot. I'm just not fond of the song itself.
     
    musicfan1963 likes this.
  22. musicfan1963

    musicfan1963 Forum Resident Thread Starter

    Ditto. It's nice hearing Patsy surrounded by jazz-tinged arrangements. She really could sing anything. Case in point, many of the Four Star songs she recorded were actually lemons in their lyrical content. But I've never heard anyone quite like Patsy who could turn a mediocre song into a masterpiece.
     
    McLover and .crystalised. like this.
  23. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    "He Called Me Baby" is certainly the most sexual composition in Patsy's repertoire. Apparently she remarked to Harlan Howard that it was a "dirty" song. No matter. As usual, Patsy brings a level of sophistication and dignity to the lyrics that no other artist could. The arrangement is seductive, and Patsy sings the number as if she's still in bed, or still aroused, perhaps, from the events that took place in a bedroom some night before. This was the last major hit of Patsy's original recordings, and it peaked at #23 Billboard Country in late 1964. The excellent guitar work is best heard in the stereo mix of the original Decca LP That's How A Heartache Begins, and "He Called Me Baby" is the featured hit of that album. Unfortunately, MCA Records decided against reissuing this album on CD in favour of creating new compilations that include its songs, and so it appears instead on the Songwriters' Tribute compilation of 1986. Charlie Rich took this song all the way to number one in September 1974, and was one of the few male artists to cite Patsy as an influence on his artistry.

    A Ray Price fan, Patsy had been familiar with "Crazy Arms" for years, and performed it live on occasion. One biographer even believes that it was one of the four performances Patsy recorded at the demo session in 1954, which secured her contract with Decca in the first place. It's a wonder that it had taken Patsy so long to wax her own version, although it was worth the wait. The arrangement is fresh and modern, with big and exciting percussive elements, and a delicious tremolo in the bass guitar. The recording remains remarkably current to this day, despite a bossa-nova beat that could have just as easily locked it into 1963.

    "I'll Sail My Ship Alone" has never been one of my favourites. I'm not fond of the arrangement, and it's not that great of a composition. The melody line is catchy and remains cheerfully optimistic despite the song's message, yet the lyrics rely too heavily on metaphor, and there's no wind in these sails to carry the listener anywhere. The whole thing comes off as corny and old-fashioned to my ears. If Patsy had sung the second verse, it might sound more complete and, thus, less disposable today:

    I'm just like a ship at sea
    That's lost without a sail,
    The dark clouds hide the sun from up above.
    And even with these broken dreams
    My heart will never fail,
    For deep inside there's only one true love.


    Finally, "You Took Him Off My Hands" is one of the most unashamedly emotional numbers in Patsy's arsenal. The string arrangement is in a high register, which lends the recording a certain edgy quality that gives way to feelings of anxiety or premonition, not unlike Sam Cooke's "A Change Is Gonna Come". This is certainly Patsy at her haunting best, simultaneously distressing and breathtaking. She makes the listener believe the lyrics "don't leave the job half done / leave nothing behind" because she really didn't leave anything behind, neither unsung nor unsaid. It's as if Patsy knew this song would be her last chance to give two hundred percent, and she really does, as she had so many times before.

    Greatest Hit - He Called Me Baby
    Greatest Gem - You Took Him Off My Hands
     
    Last edited: Jul 2, 2018
    musicfan1963 and Rick Bartlett like this.
  24. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    I've been listening to a lot of Bobby Helms lately. If Patsy had the chance to record any duets while at Decca, there's no doubt in my mind that she would've been paired with Bobby. Both artists had crossover appeal, and both received a variety of musical arrangements on their records. Their vocals are different enough that it would make for a pleasant contrast, and their phrasing is compatible. My favourite Bobby Helms track is the Mel Tillis penned "I Want To Be With You". What a fun duet it would have been with Patsy, and in that glorious early stereo sound with The Jordanaires. "Yesterday's Champagne" would be another killer duet between the two.

     
    musicfan1963 and PhantomStranger like this.
  25. melstapler

    melstapler Reissue Activist

    Noticed there is a recent Patsy Cline CD set entitled "3 Classic Albums Plus" which has been released by a label called AVID.

    AVID Country continues with its Classic Country Albums series with a re-mastered 2CD release by Patsy Cline, complete with original artwork, liner notes and personnel details.
    “Patsy Cline”; “Showcase”; “Sentimentally Yours” plus 2 EP’s “Patsy Cline” and “Songs By Patsy Cline” and 12 Bonus Singles
    In many ways Patsy Cline is as much defined by her tragic death as she was by her music. In this respect she joins the likes of Buddy Holly, Hank Williams and Jim Reeves in the “what could have been” game. In pure musical terms, however, Patsy Cline was already a huge star when she died in that awful plane crash in 1963. Unlike Hank Williams, who was pure country, “The Cline” had taken a similar route to Jim Reeves into the pop crossover market. In fact most of her greatest hits were in that category, from “Crazy” to “I Fall To Pieces” to “Walking After Midnight”. In the rare footage of her she cuts a tragic figure probably because we know what would happened to her but in fact her life was largely happy and successful. She was married twice and had two children. She was certainly a feminist pioneer, in all respects from her strength of character, her clothes, her attitude, her support for other female singers such as Loretta Lynn and Dottie West. Her famous “no dough no show” contract with promoters meant she had control over her own career, quite remarkable in those days. But of course all this is forgotten when you drop the needle and listen to that voice. Which it is now time to do, so settle back “Hoss”, and enjoy the show, oh, and I assume you have paid your dough??!!
    [​IMG]
    CD1
    1-12: ‘Patsy Cline’
    1. That Wonderful Someone
    2. In Care Of The Blues
    3. Hungry For Love
    4. Too Many Secrets
    5. Don’t Ever Leave Me
    6. Ain’t No Wheels On This Ship
    7. I Can’t Forget
    8. I Don’t Wanna
    9. Three Cigarettes In An Ashtray
    10. Walking After Midnight
    11. Fingerprints
    12. Then You’ll Know
    13-24: ‘Showcase’
    13. I Fall To Pieces
    14. Foolin’ Around
    15. The Wayward Wind
    16. South Of The Border (Down Mexico Way)
    17. I Love You So Much It Hurts Me
    18. Seven Lonely Days
    19. Crazy
    20. San Antonio Rose
    21. True Love
    22. Walking After Midnight
    23. A Poor Man’s Roses (Or A Rich Man’s Gold)
    24. Have You Ever Been Lonely (Have You Ever Been Blue)
    25. Honky Tonk Merry Go Round from Songs By Patsy Cline (EP)
    26. A Church, A Courtroom, Then Goodbye from Songs By Patsy Cline (EP)
    27. Turn The Cards Slowly from Songs By Patsy Cline (EP)
    28. Hidin’ Out from Songs By Patsy Cline (EP)

    CD2
    1. I Fall To Pieces from Patsy Cline (EP)
    2. Lovin’ In Vain from Patsy Cline (EP)
    3. Lovesick Blues from Patsy Cline (EP)
    4. There He Goes from Patsy Cline (EP)
    5-16: ‘Sentimentally Yours’
    5. She’s Got You
    6. Heartaches
    7. That’s My Desire
    8. Your Cheatin’ Heart
    9. Anytime
    10. You Made Me Love You (I Didn’t Want To Do It)
    11. Strange
    12. You Belong To Me
    13. You Were Only Fooling (While I Was Falling In Love)
    14. Half As Much
    15. I Can’t Help It (If I’m Still In Love With You)
    16. Lonely Street
    17. Stop, Look And Listen (Bonus Single)
    18. I’ve Loved And Lost Again (Bonus Single)
    19. I Love You, Honey (Bonus Single)
    20. Come On In (Bonus Single)
    21. Try Again (Bonus Single)
    22. Today, Tomorrow And Forever (Bonus Single)
    23. A Stranger In My Arms (Bonus Single)
    24. Stop The World (And Let Me Off) (Bonus Single)
    25. Walking Dream (Bonus Single)
    26. Let The Teardrops Fall (Bonus Single)
    27. If I Could See The World (Through The Eyes Of A Child) (Bonus Single)
    28. Just Out Of Reach (Of My Two Open Arms) (Bonus Single)
     
Thread Status:
Not open for further replies.

Share This Page

molar-endocrine