Patsy Cline: On the Record

Date: May 23, 1957 #1 [15:00-18:00]
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.
Paul Cohen (pdr), Patsy Cline (v), Anita Kerr Singers (bkv), Jack Shook (acg), Hank Garland, Grady Martin (eg), Owen Bradley (p), Bob Moore (b), Harold Bradley (eb), Farris Coursey (d)

#1 [15:00-18:00]
Hungry For Love - 2:29 (Eddie Miller, W.S. Stevenson)
I Can't Forget - 2:27 (W.S. Stevenson, Carl Belew)

#2 [19:00-22:00]
I Don't Wanta - 2:22 (Eddie Miller, W.S. Stevenson, Durwood Haddock)
Ain't No Wheels On This Ship (We Can't Roll) - 1:56 (Wayland Chandler, W.S. Stevenson)

Recorded during two back-to-back three hour sessions, Patsy's final round of songs for inclusion in her (soon to be released) debut album offered an assortment of moods, tempos and styles.

"Hungry For Love" is an effective blues number with a hot and driving electric guitar solo. In it, Patsy exclaims, "I'm hungry for love, like a hobo for food." Priceless.

"I Can't Forget" is pleasant but, ironically, forgetable.

"I Don't Wanta" and "Ain't No Wheels On This Ship" are upbeat rockers in which Patsy is on fire. These are red-hot-mama performances and both show Patsy's ability to rock out (especially Ain't No Wheels On This Ship") Patsy and her label were still after a follow up hit and they continued experimenting with different approaches. The results are varied but differently interesting.

Patsy's debut album would be made up songs from this and the previous few sessions and included "Walkin' After Midnight" from November 1956. While the LP was a solid debut, it would prove to take over three years for another Patsy Cline LP to hit record shelves. Before Decca would commit to another album, they would need another Patsy Cline hit.

Greatest Hit - I Don't Wanta
Greatest Gem - Ain't No Wheels On This Ship

 

Greatest Hit - Hungry For Love
Greatest Gem - I Can't Forget

"I Don't Wanta" received promotion as the front side of Patsy's next single, although it did not chart. I've designated "Hungry For Love" to be the Greatest Hit from these sessions, since it appears on more issues and is probably better known. "Hungry For Love" is full of zest, although I prefer the Godfrey performance. The first take of "I Don't Wanta" is the superior recording of the two performances saved, although the vocal chorus is too loud and distracting in the mix. Patsy uses restraint and the arrangement expects otherwise (although she cuts loose on the second take, with its slightly faster tempo and relaxed instrumentation).

"I Can't Forget" features prominent guitar, piano and a haunting chorus arrangement. Although there's no drums on this recording, it has plenty of musical fills that make it sound complete. Lyrically, the song doesn't say much, although it has a pretty melody and Patsy gives a performance that is both sincere and convincing. Other vocalists would deliver the line "where are you darling / are you with someone new" with plenty of whine; thankfully, Patsy's clear diction and powerful delivery prevent such a mishap. A highlight can be found in the line "my memories haunt me / because I'll always LOVE you" near the song's end.

"Ain't No Wheels On This Ship" is Patsy's finest example of red-hot mama, full stop.

 

As always, session information is courteous of patsyclinediscography.com

 

Date: December 13, 1957
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.


Paul Cohen (pdr), Patsy Cline (v), Anita Kerr Singers (bkv), Hank Garland, Grady Martin (eg), Floyd Cramer (p, org), Owen Bradley (vib), Bob Moore (b), Farris Coursey (d)

Session information courteousy of patsyclinediscography.com

Stop The World (And Let Me Off) - 2:28 (Carl Belew, W.S. Stevenson)
Walking Dream - 2:18 (Hal Willis, Ginger Willis)
Cry Not For Me - 2:31 (Don Hecht, Jack Moon)
If I Could See The World (Through The Eyes Of A Child) - 2:52 (Sammy Masters, Richard Pope, Tex Satterwhite)

By December 1957, four months after the release of Patsy's first album, the label hoped the next batch of songs to be recorded would produce a hit.

Sonically, Patsy's December 1957 session differs quite significantly from all the others. Perhaps the studio was experimenting with different acoustics or was in the midst of an upgrade or equipment changes. At any rate, the results are noticably different. Nine days later, fellow Decca artist Bobby Helms (of "My Special Angel" fame) recorded a handful of songs including his hit, "Jacqueline", and the sound of Bobby's December 1957 songs sound very similar to Patsy's. The chorus voices provided by the Anita Kerr Singers are dramatically louder and even somewhat distorted. "Stop The World" is a solidly written tune featuring Patsy's powerful voice, which is in full-force. The production, however, suffers from overly-complicated arrangements. Perhaps the oompth in Patsy's delivery was merely an attempt to be heard. One wonders just how loud the studio musicians were at the time or if their sound was more a result of the gentlemen in the control booth. "Walking Dream" is a sprited teeny bopper tune in which Patsy seems to be having a ball even thought the lyrics are somewhat corny (ie, "'cause you're so lovey, turtle dovey, walkin' dream.")

"Cry Not For Me" is special for many reasons. Not only was it one of Patsy personal favorite songs she had ever recorded, it was also co-written by Don Hecht. Layering in the fact it was a standout track from the session, the song should have been a hit but was not immediately released. Years later, Patsy would express her bitterness toward Bill McCall's decision to withhold "Cry Not For Me" to the song's writer, Don Hecht. In addition, Patsy explained the lyrics held a very special place in her heart and was how she would "like to be remembered."

The final song recorded that day was "If I Could See The World". A fan favorite, the song has grown in popularity through the years and was featured in the stage play, "Always, Patsy Cline." One can hear the personal connection Patsy had to the lyrics. When she sings "If I could see the world through the eyes of a child..." one can hear the longing for innocence and a childhood Patsy likely never had.

The resulting songs, despite their overly produced sound, were strong when compared to other Four Star copyrights. Unfortunately, none would chart.

Greatest Hit - If I Could See the World
Greatest Gem - Cry Not for Me

 

Greatest Hit - Stop The World (And Let Me Off)
Greatest Gem - Cry Not For Me

"Stop The World" was the first master produced at the December 13, 1957 session and it bears the highest take count, suggesting that a good measure of effort was spent for its creation. Released as the front side of Patsy's next single, "Stop The World" was clearly the focus of the session. As musicfan1963 describes, the song's arrangement is overly complicated and somewhat noisy, further exacerbated with audible distortion that is heard throughout the session. "Stop The World" features an intrusive vocal chorus and unrelenting percussion - the result is a dizzying array of distraction that only serves to obliterate Patsy. Perhaps overoptimism caused the production to complicate this arrangement, or perhaps the song's title was taken literally. Regardless, "Stop The World" appears on many issues, and this is perhaps the reason for its banishment from The Patsy Cline Collection box set.

Apparently "Cry Not For Me" scored Patsy a mild Cash Box country hit, peaking at #59 in 1959 when issued as the flip side of "Yes, I Understand." The tune is another early example of Patsy's successful approach to love songs. Remarkably, "Cry Not For Me" continues to be ignored by Patsy's label since its first release - a reality that is especially incomprehensible when one considers the song's chart activity and also its kinship to "Walkin' After Midnight."

Extant studio chatter reveals that the musicians are instructed to "watch the tempo, don't let it run off" during the second and master take of "Walking Dream." Perhaps the first attempt was an incomplete breakdown. Despite the silly lyrics, this recording is a fine example of Nashville rockabilly, and the arrangement is fun and catchy for a song that is unremarkable. Patsy is full of growls here, and the artist makes a conscious effort to infuse a vitality within her performance, perhaps to atone for the insipid composition imposed upon her listeners.

"If I Could See The World" might have been more compelling if recorded in stereo. Indeed, if recorded later with an arrangement featuring rhythm guitar, winds and strings (similar to Louis Armstrong's "What A Wonderful World"), the song could be more appealing and memorable than what is otherwise presented with organ and vocal chorus. The arrangement matters little, however, for here's a vocal performance with a full commitment from Patsy, and yet another impressive example of a live studio recording done in one take.

 

Date: February 13, 1958 #1 [15:00-19:00]
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

Owen Bradley (pdr), Patsy Cline (v), Anita Kerr Singers (bkv), Hank Garland (eg), Grady Martin (bnj, eb), Bob Moore (b), Buddy Harman (d), Bill McElhiney (t), Beverly LeCroy (tb)

Just Out Of Reach - 2:27 (Virgil F. Stewart)
I Can See An Angel - 2:24 (Kay Adelman)
Come On In (And Make Yourself At Home) - 1:51 (Virgil F. Stewart)

Patsy's only session in 1958 occured on a cold Thursday in February and spand several hours in the afternoon and evening. Before breaking and coming back for the final portion of the session, Patsy and Owen Bradley laid down three cuts in four hours.

"Just Out Of Reach" was a tasteful ballad and would later become a hot property, recorded by a variety of artists throughout the 1950s and 60s. Patsy's recording of the Virgil Stewart classic stands as one of the earliest on record. Patsy's is in her lane on this one and the melody and lyrics strongly suit her clear and expressive alto. A fine performance from The Cline. "I Can See An Angel" is another fine performance from Patsy, although the arrangement of the Anita Kerr Singers' backing vocals are a bit intrusive. There is a strong and steady beat throughout to mimic the "walking" referenced in the song's lyrics.

Finally, "Come On In" is a remake of the 1956 original; however, the results are distincly different. Gone is the traditional "down home" country feel and in its place...Alexander's Ragtime Dixieland Band. Patsy's delivery is convencing and the results are quite memorable - if a bit out of step with her other recordings up to that point.

Greatest Hit - Come On In
Greatest Gem - Just Out Of Reach

 

Pappy Stewart wrote and recorded "Just Out Of Reach" in 1953, and the song was a #10 hit for Faron Young that same year. Several artists covered the tune, including Patsy Cline and Don Gibson, although Solomon Burke's recording for Atlantic Records was the most successful. Burke's rendition spent 19 weeks on the R&B charts in 1961, peaking at #7 and crossing over to reach #24 Pop.

Appealing guitar riffs and a propulsive tempo are deftly applied to Patsy's version, and the results are effective and compelling. Each line swells with palpable hurt and regret, and Patsy's performance enchants to such a degree that it makes the listener desire for more (not to be provided at this session, alas). Despite its lack of commercial success, compilation producers rightly understand that "Just Out Of Reach" is quintessential Patsy; the song appears on many issues and has since become associated with the artist.

Greatest Hit - Just Out Of Reach
Greatest Gem - Just Out Of Reach

 

After further consideration, I'm struck by the similarities between Patsy's vocal performance in "Just Out Of Reach" and her later recording of "So Wrong." The former is more frantic, but it contains all the richness of emotion that is found in the latter. Such a realization is proof that Patsy already knew how to sell a lyric, she merely required access to a record-selling formula that combined quality material with timeless arrangements.

 

Dont stop guys..im enjoying the blow by blow examination of patsy's recordings. Kinda new to the forum

 

My Patsy Cline collection is woefully small and consists only of two 1988 MCA discs; 12 Greatest Hits and Live at the Opry, both of which I picked up for pence, the SQ on 12 GH is excellent, the Live at the Opry CD is a Country Music Foundation release and all the discs I have released through them are worthwhile.

My main point in posting was regarding a tour of the Ryman Auditorium I did a couple of years back, the guide made a point of telling us how supportive Patsy Cline was of other female country singers and went into a bit of detail about how she worked, I was impressed with her attitude.

So not only is she a wonderfully expressive singer she was also a champion of others and an inspiration. I should get some some more stuff of hers.

 

Welcome to the conversation! Please stay with us.....it's gonna be a fun ride!

 

Glad you could join us and I'd definitely recommend you further dive into Patsy's recordings. What are some of the songs and/or albums of hers you are already familiar with?

 

Well, 12 Greatest Hits is probably pretty well known to anyone with even a passing interest in Patsy Cline. The track list as we all know is...

1 Walkin' After Midnight
2 Sweet Dreams (Of You)
3 Crazy
4 I Fall To Pieces
5 So Wrong
6 Strange
7 Back In Baby's Arms
8 She's Got You
9 Faded Love
10 Why Can't He Be You
11 You're Stronger Than Me
12 Leavin' On Your Mind

So, pretty sparse selection but well known and all very essential recordings. Obviously there's tough competition for definitive versions of some of these country standards but her version of Crazy is the one. Sweet Dreams is another where hers is arguably the best version, I'm a bit torn on this one as I really like Don Gibson's. Howard and Cochran's I Fall to Pieces is a fantastic song covered by a host of great singers and again Cline's version is sublime. For me I don't think there's a weak track track n this record (hardly likely really on an album such as this). All in all this is a great Greatest Hits album, the sound quality (to my ears) is first rate. Best 24p CD I ever bought, that's not fair really as I'd have happily paid a lot more for quality like this.

Not quite the detail you guys are going into but I'm afraid my forum style doesn't stretch to in-depth on your scale!

 

Happy to know our posts are being enjoyed...welcome to the forums

 

Gibson is another master storyteller. There's plenty to enjoy in his reading of "Sweet Dreams." Amazingly, he recorded a total of six studio versions plus an alternate take, bringing the count to seven.

It may interest you to know that some of Patsy's greatest hits were not included on the Greatest Hits album. Instead, a few songs that bubbled under the chart replaced bigger hits - "Strange," "You're Stronger Than Me," "Why Can't He Be You" - classic performances that are just as memorable and timeless as the big hits. It's a great album with excellent programming.

If you've started with Greatest Hits and Live at the Opry, allow me to recommend Live, Vol. 2 next. It contains a dozen of Patsy's radio transcription recordings, and includes three performances that she never recorded commercially. Some of the Opry performances were also radio broadcasts (others are live from the stage of the Ryman) but the transcriptions found on Live, Vol. 2 feature a more relaxed and less formal musical environment.

 

Well it was easy enough to rectify not having Vol 2 in my collection although I really blew the average price paid by forking out nearly £3.50 to get it, thanks for the tip off. I have had the 4 CD box on my radar for a while, probably about time I caved in and bought it.

 

Oops. It contains five performances that Patsy didn't record. It's been a while since I looked at the track listing. "When Your House Is Not A Home" is a particular highlight, and "Strange" is pretty awesome too.

 

The box set is the most comprehensive collection of Patsy Cline to date, even though it doesn't contain all of Patsy's studio recordings. The sound quality is decent enough, and the package contains a nice booklet with an essay, photos and a basic discography. It includes a few live performances and radio transcriptions not available elsewhere, and the alternate take of "Stop, Look and Listen." The set is out of print, but used copies might be found online for a reasonable price.

The Arthur Godfrey transcriptions are also interesting, so if you come across The Birth of A Star for a decent price, grab it.

 

Hi guys...I have a question. On the "live at the opry cd. I have the 2003 version and not sure if its been remastered, no mention of it on the cd. Anyway, Patsy's vocal on i fall to pieces in my opinion is at least as good as the studio vocal she layed down on the original...really stunning. I also love the stripped down musical backup with the piano in the forefront instead of the guitar..and from me thats saying a lot since I am a guitar player. Is there a remastered version of this particular track on another LP of hers or am I listening to the best sounding version?

 

Are you referring to the performance with the introduction by Hank Snow? The LP and CD versions sound a little different because of the mastering. The LP sounds warmer, smoother and more natural to my ears, and that makes me suspect the mastering favoured the LP release. It's also on the Commemorative Collection, but that's just a 3-in-1 two disc bundle of Greatest Hits, The Last Sessions and Live at the Opry. The mastering is probably the same as it is for the standalone disc, although I've never owned a copy so I can't say with certainty.

The only other issue that contains this performance to date is a Reader's Digest set from 1997. I don't recall how it sounds by comparison as I no longer own a copy of that set.

 

Yes crystalised..the hank snow intro performance...her vocal is great and I fall to pieces was not one of my favs by patsy....TY for the references..ill be sure to look them up

 

And I'd also recommend Sentimentally Yours and A Portrait of Patsy Cline. These contain many masterful recordings from 1962-1963 not featured on Greatest Hits. I agree with .crystalised on Live, Vol. 2. I love everything about this album..especially the cover art and the programming!

 

I agree the Live at the Opry version of "I Fall to Pieces" (recorded during a radio episode of Petmilk's "Friday Night Frolics" in May 1961) is a great performance from Patsy. In fact, her voice is even more smooth and restrained in this particular performance than in many of her studio and other live cuts. This could have been the result of Patsy making double sure her vocal performance demonstrated the pop cross-over appeal of "Pieces" in order to market the song to a wider audience. The version from Live at the Opry sounds as if achieving this goal, at the time, was of utmost importance to Patsy and her team. In fact, listen closely to the first few bars of the musical opening after Hank Snow's introduction and you can hear Randy Hughes instructing Patsy to "Sell it. Sell it."

I also love her live performance of "I Fall to Pieces" from August 1961 on Country Music Time (a country music radio program sponsored by the United State's Airforce recruiting service.) This is (I believe) available to listen to on YouTube.

 

And just to add....Patsy's version of "Just a Closer Walk With Thee" from Live, Vol. 2 is one of her finest performances live, studio or otherwise.

 

Agreed!