Patsy Cline on Country Music News Blog

Nashville, she’s got you; the Patsy Cline Museum opening on Friday, April 7 will add another attraction to the “must-see” list for the city’s tourists and locals paying homage to the personal and professional life of the icon.   “In her short nine years as a recording artist from ‘55 to ‘63, she forever changed the voice of country music, the role of female artists and influenced performers across all genres,” says Founder Bill Miller. “To this very day, artists still cover her hits and you’ll hear her recordings used in motion pictures and TV series. She deserved her own museum as she continues to transcend generations of fans. We are honored to work with Patsy’s children to preserve her legacy.”   Located at 119 Third Avenue South, the Patsy Cline Museum houses the largest collection of Patsy Cline artifacts in the world featuring personal letters, photographs, costumes, clothing and household furnishings from her Nashville dream house that have been locked away for more than fifty years.   “I am very happy to speak on behalf of my brothers, Randy and Chip, and in honor of the legacy of my mother Patsy Cline,” says Julie Fudge. “Since the passing of our father, this is our first step together in continuing to share Mom’s music, life and story, as we feel Dad would have. We are thrilled to have the opportunity to partner with and experience what Bill will present to old and new fans alike.”   Guests will travel back to her humble beginnings in Winchester, VA and see family photos, possessions and even the very booth she waitressed as a teenager at Gaunt’s Drugstore. Never-before-seen costumes that exhibit her transition from western cowgirl to torch singing headliner will also be on display.  Many of the costumes exhibited are creations designed and sewn by her mother, Hilda. Guests will have the unique opportunity to step inside Patsy’s famed Rec Room, where many entertainers dropped in to jam and party in the dream home Patsy purchased on Nella Drive in Goodlettsville, Tenn. The room contains original furnishings owned and used by Cline and her husband Charlie Dick. A vintage jukebox broadcasts her mega-hit “Crazy,” highlighting its distinction as the most programmed jukebox song of all time. A bio film also documents Patsy’s career and is hosted by noted actress Beverly D’Angelo, who was nominated for a Golden Globe for her portrayal of Patsy Cline in the 1980 film “Coal Miner’s Daughter.” “Patsy Cline had the most profound impact on my life of anybody I never met,” says D’Angelo. The Patsy Cline Museum is located on the second level of the building which houses the world renowned Johnny Cash Museum. Guests are educated and entertained via cutting-edge audio and touch screen technology featuring Cline’s numerous audio and video performances. The museum is open daily from 9 AM – 7 PM CT.   Details on the museum are below:   Attraction: Patsy Cline Museum Address: 119 Third Avenue South, Nashville, TN 37202 Hours: Daily 9 AM Continue reading SWEET DREAMS COME TRUE FOR MUSIC CITY WITH THE OPENING OF THE PATSY CLINE MUSEUM

Special Compilation Patsy Cline On Air Available Now

Patsy Cline On Air Compilation Includes 14 TV Performances For the first time, 14 of Patsy Cline‘s greatest television performances are being released in one collection. Patsy Cline On Air provides audio recordings of her biggest performances from the 1960s. You’d be “Crazy” not to order this awesome compilation! Be sure to order your digital or CD copy today! Complete Track Listing of Patsy Cline On Air “Walking After Midnight” “Crazy” “She’s Got You” “Strange” “Imagine That”  “A Church, A Courtroom, Then Goodbye” “You’re Stronger Than Me” “So Wrong” “When I Get Through With You (You’ll Love Me Too)” “Why Can’t He Be You?” “Blue Moon Of Kentucky” “Leavin’ On Your Mind” “San Antonio Rose”   “I Fall To Pieces”

About 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; Kitty Wells had become a star several years before Cline’s big hits in the early ’60s. Brenda Lee, who shared Cline’s producer, did just as much to create a country-pop crossover at a time of the same sub-genre; Skeeter Davis briefly enjoyed similar success. Cline has the most legendary aura of any female country singer, however, perhaps due to an early death that cut her off just after she had entered her prime.

Cline started 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 both a classic and a Top 20 pop smash. Those who are accustomed to Cline’s famous early-’60s hits are in for a bit of a shock when surveying her ’50s sessions (which have been reissued on several Rhino compilations). At times she sang flat-out rockabilly; she 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 music from one publishing company.

Circumstances were not wholly to blame for Cline’s commercial failures. She would have never made it as a rockabilly singer, lacking the conviction of Wanda Jackson or the spunk of Brenda Lee. In fact, in comparison with her best work, she sounds rather stiff and ill-at-ease on most of her early singles. Things took a radical turn for the better on all fronts in 1960, when her initial record deal expired. With the help of producer Owen Bradley (who had worked on her sessions all along), Cline began selecting music 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. climbing to 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 important, it set a prototype for commercial Nashville country at its best. Owen Bradley crafted lush orchestral arrangements, with weeping strings and backup vox by the Jordanaires, that owed more to pop (in the best sense) than country.

The country elements were provided by the cream of Nashville’s session musicians, which included guitarist Hank Garland, pianist Floyd Cramer, and drummer Buddy Harmon. Cline’s voice sounded richer, more confident, and more mature, with ageless wise and vulnerable qualities that have enabled her records to maintain their appeal with subsequent generations. When k.d. lang recorded her 1988 record Shadowland with Owen Bradley, it was this phase of Cline’s career that she was specifically attempting to emulate.

It’s arguable that too much has been made of Cline’s crossover appeal to the pop market. Brenda Lee, whose records were graced with similar Bradley productions, was actually more popular in this area (although her records were likely targeted toward a younger audience). Cline’s appeal was undeniably more adult, but she was always more popular with country listeners. Her final four Top Ten country singles, in fact, didn’t make the pop Top 40.

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 music was supplied by fresh talent like Hank Cochran, Harlan Howard, and Willie Nelson (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 stature 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 shows. For those who could do without some of more elaborate arrangements of her later years, many of her relatively unadorned gigs on radio broadcasts have been thankfully preserved and released.