Patsy Cline: On the Record

Interesting. I always wondered who that was and what they were saying during the song's introduction.

 

That performance is crazy good, but I found the live version on the box set to be markedly different, yet exceptionally powerful, too.


It's a regrettable historical loss that there's zero information available regarding this recording.


The stark organ arrangment and Patsy's vocal recital stop me in my tracks every time and convey an incredibly haunting, near-funereal atmosphere.


The piece is positively breathtaking and --- to these ears --- unlike anything else The Cline ever performed/recorded.

 

I recently purchased the patsy new recordings cd. Havent listened to it yet. was curious about the overdub stuff. I can see on the forum that larry jordan has not endeared himself to some....but like I said..I want to get a listen

 

I suspect the producers of the box set felt the same. Its position as the final track is appropriate. This is the only information I've been able to assemble for that performance:

Date: July 1, 1955
Location: Ryman Auditorium, 116 5th Avenue North, Nashville TN.
Wally Fowler's All-Night Gospel Sing

Wally Fowler (ldr), Patsy Cline (v), The Jordanaires (bkv), Opry Musicians (acc)

a. Just A Closer Walk With Thee - 4:31 (Traditional)
Kapp 45: 659 — Just A Closer Walk With Thee (1965)
Kapp LP: 3445 — Country Buddies (1965)
MCA Box Set: 4-10421 — The Patsy Cline Collection (1991)
Universal Music Special Markets CS/CD: 37050 — The Legendary Patsy Cline (1997)

This performance precedes Patsy's first Opry appearance by one month. Clearly a fully formed talent before most people knew who she was.

 

Patsy was a class act. She'd give the shirt off her back to support her peers, and confidence kept her from worry of competition. Perhaps she believed there was plenty of room for everyone on them charts

Extraordinary artist.

 

It's heartening to find out that the performance documentation wasn't lost to the mists of time.


However, the concept of thoroughly researching radio archives was apparently lost on the compilers of the MCA box set.


Thanks for sharing all of the details concerning this early Patsy broadcast!

 

Date: February 13, 1958 #2 [20:00-23:00]
Location: Bradley Studios, 804 16th Avenue South, Nashville TN.

Owen Bradley (pdr, vib), Patsy Cline (v), Grady Martin (acg, eb), Hank Garland (eg), Floyd Cramer (p), Bob Moore (b), Buddy Harman (d)

Session information courtesy of patsyclinediscography.com

Let The Teardrops Fall - 2:37 (Buster Beam, Lawton Jiles, W.S. Stevenson)
Never No More - 2:37 (Rita Ross, Alan Block)
If I Could Only Stay Asleep - 2:40 (Ethel Bassey, Wayland Chandler)

Round two of Patsy's February 1958 studio outing turned up the volume and emotion.

"Let The Teardrops Fall" kicked things off with a rousing start, brought to life by Hank Garland's rocking guitar. Next, Patsy immediately grabs the listener’s attention by exclaiming, “Let the teardrops fall…” and, from there, lets it all hang out during lines like, "Since you been gone, I've been so blue" and "so tell me you'll be mine." It's one of her strongest up-tempo efforts ever and one can certainly imagine Patsy up on a smoky bandstand, leaning back and wailing at some dive honky tonk roadhouse in the late 50s. Cool stuff.

Next came a song co-written by Alan Block who, along with Don Hecht, wrote “Walkin’ After Midnight.” Similar in feel and mood as “Walkin’”, “Never No More” is pure pop blues. When Patsy sings, “’cause I’ve got me somebody, who makes me happy when I’m blue” we’re reminded just why country blues was Patsy’s wheelhouse. Her vocals sell the song, helped in part by the Nashville A-team’s clean and driving backing. After each re-listen, one comes to the conclusion this was an underrated song in its time.

Lastly, is the eerily titled, “If I Could Only Stay Asleep.” A much darker and poignant song than its predecessors, it’s moody and somber feeling are a bit surprising seeing as Patsy was a lively 25 year old still in the prime of her life. Patsy pulls it off and her performance foreshadows her later work.

Overall, this session was one of Patsy’s strongest to date. Interestingly enough, it would be the last recorded only in mono. Big changes were on the horizon – both to the music and to Patsy’s own personal life – which would soon become as much a part of the music as the musicians themselves.

 

Woops. I got so caught up in this session... I almost forgot

Greatest Hit - Let The Teardrops Fall
Greatest Gem - Never No More

 

Really like Teardrops and Never No More. Your exactly right in that country blues is her wheelhouse. I was listening to her whole catalog last week and you can get a feel on her live performances that she enjoyed singing the blues. Noone growls like Patsy. Great review musicfan.

 

If it's not too much to ask, please include plenty of biographical information in your upcoming session analysis, when you deem it pertinent.


Specifically, I crave details of the nexus of Patsy's personal life and her art.


How exactly did life's drama --- or lack thereof --- impact her creative interpretation of the songs? Was she being transparent with her raw emotions (based on life experience) or just an incredibly gifted actress (with an obviously amazing set of pipes)?



Inquiring minds won't quit until they've read the truth...from you...and .crystalised..

 

I think this is about the time patsy got pregnant. She also could not get a hit record and struggled....

 

Thanks HoundsOBurkittsville! To set the record straight, Patsy's musical legacy is based on two things...
1. Her incredible artistic mastery including her influence as a solo female artist
2. The incredible timeless quality of a majority of her recorded works

The events of her personal life may or may not have played a significant role in Patsy's ability to convey sincere emotion and get lost in her songs. For the purposes of this thread - while there are times when noting the challenges or milestones in Patsy's own life (as they relate to her recordings) may be appropriate, personal life aside, Patsy was a masterful interpreter of song.

The goal of this thread is to provide a historical account and review of Patsy Cline's sessions, in chronological order, in order to educate and celebrate the artistic mastery many have come to revere. The intent of this discussion isn't to sensationalize or revel in speculation. While there may be factual tidbits about Patsy’s life that provide relevant, clarifying context and perspective, at the end of the day, the songs speak for themselves and should be the focus of this thread. For more information into the private life of Patsy Cline – I encourage you to seek out one of the many biographies currently in publication. Or better yet, tune into PBS in exactly one week when she is featured on the award winning biography television series, American Masters.

Thank you all again for your thoughtful posts and support! I look forward to our continued celebration of the FABULOUS music of Miss Patsy Cline!

 

Patsy's strongest and most creative session to date was not commercially successful; the lack of promotion and careless programming of its resulting singles were most likely the cause. "Let The Teardrops Fall," "Never No More" and "Just Out Of Reach" were wasted on flip sides, and "If I Could Only Stay Asleep" remained unissued in Patsy's lifetime. Instead, a novelty remake was featured on the artist's next single; this decision requires explanation when one considers that a previous recording of "Come On In" with a more suitable arrangement did nothing to provoke sales.

The recordings from this date are full of verve and bear a distinctive sound quality. Some of the instruments are far-miked to provide a sense of space, giving "air" and richness to the recordings, and a pleasing reverb is used to "set a mood" and enhance the overall presentation. Hank Garland's solo on "Let The Teardrops Fall" is dynamite, and Patsy responds in kind, giving an explosive performance of her own. Her yodel at the line "I've been so blue-ooh" is on point. The master is a solid performance from start to finish, and the result is a dynamic record that exhilarates the listener. Owen Bradley might well have called for the piano tuner after this ditty.

"Never No More" is a dusty, smoky, gritty work of art. This is one of Patsy's finest performances, and its bluesy delivery is of utmost quality, ranking alongside "Walkin' After Midnight," "Blue Moon Of Kentucky" and others. The combination of its straightforward arrangement and Patsy's impeccable phrasing make "Never No More" a characteristic example of the style, grace and charm that would allow the artist to reach legendary status in following years.

Perhaps fittingly, Patsy sounds tired on "If I Could Only Stay Asleep," the final master recorded during a long day that produced the only sessions of 1958. Wisely, Patsy uses restraint in her delivery of sensitive lyrics that would easily burden with excess sentiment, and the arrangement is lovely.

Although "Never No More" is featured on slightly more issues, I give "Let The Teardrops Fall" greatest hit status because "Never No More" is crown jewel. These performances are essential Patsy Cline, and worthwhile anthologies most certainly include both recordings.

Greatest Hit - Let The Teardrops Fall
Greatest Gem - Never No More

 

Perfectly said.

 

Thanks

 

The events of her personal life may or may not have played a significant role in Patsy's ability to convey sincere emotion and get lost in her songs. Musicfan.

While I have said I appreciate your blow by blow account of Patsy's recording sessions. You better believe that her personal life, struggles including the fact that the women gigged about 7 nights a week for years has everything to do with the emotion she layed down in song. There are quite a few people with god given talent to sing a song. Then there are generational talents that are above the rest. Patsy not only had god given talent but also worked at her craft night after night. I think maybe you have to be a musician to understand the emotional part of the process.

 

How was this info found? How was the recording found? I have the MCA box, and I always wondered how they had a track with no info.

 

I saw recently on youtube, two duets with Bobby Lord and Patsy. They are fantastic imo. Are they on any cd? Love patsys solo.

YouTube

 

I actually am musician too...so I definitely get it. The purpose of my previous post was just to reiterate that Patsy's recordings should be enjoyed for their musical significance without the required so called "need" of knowledge of her life. I hope everyone enjoys the upcoming accessment of Patsy's first Stereo Recordings! It's going to be interesting for sure....

 

Musicfan1963 is a vocalist, and understands the emotional connection a performer can have with his or her art. You misinterpreted his message. It's obvious that Patsy's hectic performing schedule, her quality of life, relationships, setbacks and any other experiences would influence her art, and it would be foolish to suggest otherwise.

That said, I never met Patsy Cline, and I have no desire to publicly analyze or speculate upon her personal life. The purpose of this thread is to discuss her performances on record. There are several biographies available which provide a sensationalist perspective if that is what is desired.

 

It was pieced together from several sources listed on my website, and is considered tentative. The producers of the box probably didn't want to publish information that could not be verified. I cannot speak to the source of the recording as I was not involved with the project. The performance was first issued on a Kapp single in 1965.

 

I get it guys...and I have read enough about her life and its not what i'm looking for. a lot of it is speculative anyway. I don't care how many times she slugged it out with her hubby if at all, but I do have some interest is she slugged it out with her producer...if she had a say on the music or was just told to sing and we will take care of the rest...lol. maybe there is no documentation of that. Carry on guys.

 

"Live At The Cimarron Ballroom" is an enjoyable performance recorded in Tulsa, Oklahoma in 1961. On this night, she is backed by western swing legend Leon McAuliffe & His Cimarron Boys. Patsy had just been released from the hospital (after the car accident) and Leon's band bring a unique and energetic approach to her material.

Born in 1917, Leon was a virtuoso steel guitarist and band leader who played with western swing greats such as the Light Crust Doughboys and Bob Wills And His Texas Playboys. During his years in the Navy, Leon also played with Tex Beneke's Navy Band. Leon was known as a regional figure around Oklahoma, although he did appear with Bob Wills on Merle Haggard's album tribute to Bob Wills. Sadly, Leon perished at the age of 71 in 1988.

 

hey why did Patsy have so few albums out while alive? Am i wrong in thinking she only had 2 or 3???

 

3 I think Hutch