Patsy Cline

One of the greatest singers in the history of country music, Patsy Cline also helped blaze a trail for female singers to assert themselves as an integral part of the Nashville-dominated country music industry. She was not alone in this regard; <a href="spotify:artist:4fxdqujwhb2NIQyr7qnnPX">Kitty Wells</a> had become a star several years before Cline's big hits in the early 1960s. <a href="spotify:artist:4cPHsZM98sKzmV26wlwD2W">Brenda Lee</a>, who shared Cline's producer, did just as much to create a country-pop crossover during the same era; <a href="spotify:artist:5b2OzvLaL6nyxw5pbVbSdy">Skeeter Davis</a> briefly enjoyed similar success; but Cline endured as an icon of the scene, perhaps partly due to an early death that cut her off just after she had entered her prime.

Cline began recording in the mid-'50s, and although she recorded quite a bit of material between 1955 and 1960 (17 singles in all), only one of them was a hit. That song, "Walkin' After Midnight," was a Top 20 pop smash that endured as a classic. During these '50s sessions (which were later reissued on several Rhino compilations), she at times sang flat-out rockabilly and also tried some churchy tear-weepers. She couldn't follow up "Walkin' After Midnight," however, in part because of an exploitative deal that limited her to songs from one publishing company.

Things took a radical turn for the better on all fronts in 1960, when her initial contract expired. With the help of producer <a href="spotify:artist:5xH1vVLhBdyOmP2UVoQr3b">Owen Bradley</a> (who had worked on her sessions all along), Cline began selecting material that was both more suitable and of a higher quality than her previous outings.

"I Fall to Pieces," cut at the very first session where Cline was at liberty to record what she wanted, was the turning point in her career. Reaching number one in the country charts and number 12 pop, it was the first of several country-pop crossovers she was to enjoy over the next couple of years. More importantly, it set a prototype for commercial Nashville country at its best. <a href="spotify:artist:5xH1vVLhBdyOmP2UVoQr3b">Owen Bradley</a> crafted lush orchestral arrangements, with weeping strings and backup vocals by <a href="spotify:artist:6CXezToiGS8K6jr9kr8Muv">the Jordanaires</a>, that owed more to pop (in the best sense) than country.

The country elements were provided by the cream of Nashville's session musicians, including guitarist <a href="spotify:artist:0u6DJDoOcJlWRaXBnEZxaU">Hank Garland</a>, pianist <a href="spotify:artist:6DQ6mdEhxCgHPqfX1niZZK">Floyd Cramer</a>, and drummer <a href="spotify:artist:2I27rljOgvfuEoOSjZN7yo">Buddy Harmon</a>. Cline's voice sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that enabled her records to maintain their appeal with subsequent generations. When <a href="spotify:artist:6W1BHDF0T4a4KYcSwzD586">k.d. lang</a> recorded her 1988 album Shadowland with <a href="spotify:artist:5xH1vVLhBdyOmP2UVoQr3b">Owen Bradley</a>, it was this phase of Cline's career that she was specifically attempting to emulate.

Despite a severe auto accident in 1961, Cline remained hot through 1961 and 1962, with "Crazy" and "She's Got You" both becoming big country and pop hits. Much of her achingly romantic material was supplied by fresh talent like <a href="spotify:artist:3cdiZRuVefVGALfDhnYxoE">Hank Cochran</a>, <a href="spotify:artist:4434X6OAEmeOF5FNnApZ6F">Harlan Howard</a>, and <a href="spotify:artist:5W5bDNCqJ1jbCgTxDD0Cb3">Willie Nelson</a> (who penned "Crazy"). Although her commercial momentum had faded slightly, she was still at the top of her game when she died in a plane crash in March of 1963, at the age of 30. She was only a big star for a couple of years, but her influence was and remains huge. While the standards of professionalism on her recordings have been emulated ever since, they've rarely been complemented by as much palpable, at times heartbreaking emotion in the performances. For those who could do without some of more elaborate arrangements of her later years, many of her relatively unadorned appearances on radio broadcasts were preserved and have been issued. ~ Richie Unterberger, Rovi