Patsy Cline

At 30 years old, Patsy Cline physical status not available right now. We will update Patsy Cline's height, weight, eye color, hair color, build, and measurements.

At age 15, Cline wrote a letter to the Grand Ole Opry asking for an audition. She told local photographer Ralph Grubbs about the letter, "A friend thinks I'm crazy to send it. What do you think?" Grubbs encouraged Cline to send it. Several weeks later, she received a return letter from the Opry asking for pictures and recordings. At the same time, Gospel performer Wally Fowler headlined a concert in her hometown. Cline convinced concert employees to let her backstage where she asked Fowler for an audition. Following a successful audition, Cline's family received a call asking for her to audition for the Opry. She traveled with her mother, two siblings, and a family friend on an eight-hour journey to Nashville, Tennessee. With limited finances, they drove overnight and slept in a Nashville park the following morning. Cline auditioned for Opry performer Moon Mullican the same day. The audition was well-received and Cline expected to hear from the Opry the same day. However, she never received news and the family returned to Virginia.

By the early 1950s, Cline continued performing around the local area. In 1952, she asked to audition for local country bandleader Bill Peer. Following her audition, she began performing regularly as a member of Bill Peer's Melody Boys and Girls. The pair's relationship turned romantic, continuing an affair for several years. Nonetheless, the pair remained married to their spouses. Peer's group played primarily at the Moose Lodge in Brunswick, Maryland where she would meet her first husband, Gerald Cline. Peer encouraged her to have a more appropriate stage name. She changed her first name from Virginia to Patsy (taken from her middle name "Patterson"). She kept her new last name, Cline. Ultimately, she became professionally known as "Patsy Cline".

In August 1953, Cline was a contestant in a local country music contest. She won 100 dollars and the opportunity to perform as a regular on Connie B. Gay's Town and Country Time. The show included country stars Jimmy Dean, Roy Clark, George Hamilton IV and Billy Grammer, and was filmed in Washington D.C. and Arlington, Virginia. She was not officially added to the program's television shows until October 1955. Cline's television performances received critical acclaim. The Washington Star magazine praised her stage presence, commenting, "She creates the moods through movement of her hands and body and by the lilt of her voice, reaching way down deep in her soul to bring forth the melody. Most female country music vocalists stand motionless, sing with monotonous high-pitched nasal twang. Patsy's come up with a throaty style loaded with motion and E-motion."

In 1954, Bill Peer created and distributed a series of demonstration tapes with Cline's voice on it. A tape was brought to the attention of Bill McCall, president of Four Star Records. On September 30, 1954, she signed a two-year recording contract with the label alongside Peer and her husband Gerald Cline. The original contract allowed Four Star to receive most of the money for the songs she recorded. Therefore, Cline received little of the royalties from the label, totaling out to 2.34 percent on her recording contract. Her first recording session took place in Nashville, Tennessee on January 5, 1955. Songs for the session were handpicked by McCall and Paul Cohen. Four Star leased the recordings to the larger Decca Records. For those reasons Owen Bradley was chosen as the session's producer, a professional relationship that would continue into the 1960s. Her first single release was 1955's "A Church, a Courtroom, Then Goodbye". Although Cline promoted it with an appearance on the Grand Ole Opry the song was not successful.

Cline recorded a variety of musical styles while recording for Four Star. This included genres such as gospel, rockabilly, traditional country and pop. Writers and music journalists have had mixed responses on Cline's Four Star material. Robert Oermann and Mary Bufwack of Finding Her Voice: Women in Country Music called the label's choice of material "mediocre". They also commented that Cline seemed to have "groped for her own sound on the label". Kurt Wolff of Country Music the Rough Guide commented that the music was "sturdy enough, but they only hinted at the potential that lurked inside her. Richie Unterberger of Allmusic claimed it was Cline's voice that made the Four Star material less appealing: "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."

Between 1955 and 1956, Cline's four singles for Four Star failed to become hits. However, she continued performing regionally, including on the Town and Country Jamboree. In 1956, she appeared on ABC's Country Music Jubilee, Ozark Jubilee. It was at one of her local performances that she met her second husband, Charlie Dick. In 1956, Cline received a call to perform on Arthur Godfrey's Talent Scouts, a national television show she had auditioned for several months prior. She accepted the offer, using her mother Hilda Hensley as her talent scout for the show. According to the show's rules, talent scouts could not be family members. For those reasons, Cline's mother lied in order to appear on the show. When Arthur Godfrey asked if Hensley had known Cline her entire life, she replied, "Yes, just about!"

Cline and Mrs. Hensley flew into LaGuardia Airport in New York City on January 18, 1957. She made her debut appearance on the program on January 21. The day of the show, she met with the show's producer Janette Davis. Cline had chosen "A Poor Man's Roses (Or a Rich Man's Gold)" to perform on the program, but Davis preferred another song she had recorded, "Walkin' After Midnight". Cline initially refused to perform it, but ultimately agreed to it. Davis also suggested Cline wear a cocktail dress instead of the cowgirl outfit created by her mother. She performed "Walkin' After Midnight" and won the program's contest that night. The song had not yet been released as a single. In order to keep up with public demand, Decca Records rush-released the song as a single on February 11. The song ultimately became Cline's breakthrough hit, peaking at number 2 on the Billboard Hot Country and Western Sides chart. The song also reached number 12 on the Billboard pop music chart. The song has since been considered a classic in country music since its release.

Music critics and writers have positively praised "Walkin' After Midnight". Mary Bufwack and Robert Oermann called the song "bluesy". Richie Unterberger noted "it's well-suited for the almost bemused aura of loneliness of the lyric." The success of "Walkin' After Midnight" brought Cline numerous appearances on shows and major networks. She continued working for Arthur Godfrey over the next several months. She also appeared on the Grand Ole Opry in February and the television program Western Ranch Party in March. The money she had earned from her numerous engagements totaled out to ten thousand dollars. Cline gave all the money to her mother, which she used to the pay the mortgage on her Winchester house. In August 1957, her debut studio album was issued via Decca Records.

Cline's follow-up singles to "Walkin' After Midnight" did not yield any success. This was partially due to the quality of material chosen for her to record. Cline was dissatisfied with the limited success following "Walkin' After Midnight". Bradley recounted how she often came to him saying, "Hoss, can't you do something? I feel like a prisoner." Around the same time, Cline was fired from her regular slot on Town and Country Jamboree. According to Connie B. Gay, she ran late for shows and "showed up with liquor on her breath." In September 1957, Cline married Charlie Dick and he was soon sent to Fort Bragg, North Carolina on a military assignment. Cline also gave birth to her first daughter Julie. In hopes of restarting her career, Cline and her family moved to Nashville, Tennessee.

Cline's professional decisions yielded more positive results by the early 1960s. Upon moving to Nashville, she signed a management deal with Randy Hughes. She originally wished to work with Hubert Long, however, he was busy managing other artists. Instead, she turned her attention to Hughes. With the help of Hughes, she began working steadier jobs. He organized fifty dollar bookings and got her multiple performances on the Grand Ole Opry. In January 1960, Cline officially became a member of the Opry. When she asked general manager Ott Devine about a membership he replied, "Patsy, if that's all you want, you're on the Opry." Also in January 1960, Cline made her final recording sessions set forth in her contract with Four Star Records. Later that year, her final singles with the label were released: "Lovesick Blues" and "Crazy Dreams". Leaving Four Star, Cline officially signed with Decca Records in late 1960, working exclusively under Bradley's direction. Insisting on receiving an advance, she received $1,000 from Bradley once she began at the label.

Her first release under Decca was 1961's "I Fall to Pieces". The song was written by newly established Nashville songwriters Hank Cochran and Harlan Howard. "I Fall to Pieces" had first been turned down by Roy Drusky and Brenda Lee before Cline cut it in November 1960. At the recording session, she worried about the song's production, particularly the background vocals performed by The Jordanaires. After much arguing between both Cline and Bradley, they negotiated that she would record "I Fall to Pieces" (a song Bradley favored) and "Lovin' in Vain" (a song she favored). Released as a single in January 1961, "I Fall to Pieces" attracted little attention upon its initial issue. In April, the song debuted on the Hot Country and Western Sides chart. By August 7, the song became her first to top the country chart. Additionally, "I Fall to Pieces" crossed over onto the Billboard Pop chart, peaking at number 12.

On June 14, 1961, Cline and her brother Sam Hensley, Jr. were involved in an automobile accident. Cline had brought her mother, sister and brother to see her new Nashville home the day before. On the day of the accident, Cline and her brother went shopping to buy material for her mother to make clothing. Upon driving home, their car was struck head-on by another vehicle. The impact threw her directly into the car windshield, causing extensive facial injuries. Among her injuries, Cline suffered a broken wrist, dislocated hip and a large cut across her forehead, barely missing her eyes. Friend Dottie West heard about the accident via the radio and rushed to the scene, helping to remove pieces of broken glass from Cline's hair. When first responders arrived, Cline insisted the driver in the other vehicle be treated first. Two of the three passengers riding in the car that struck Cline died after arriving at the hospital. When she was brought to the hospital, her injuries were life-threatening and she was not expected to live. She underwent surgery and survived. According to her husband Charlie Dick, upon waking up she said to him, "Jesus was here, Charlie. Don't worry. He took my hand and told me, 'No, not now. I have other things for you to do.'" She spent a month recovering in the hospital.

Cline returned to her career six weeks after her 1961 car accident. Her first public appearance was on the Grand Ole Opry where she assured fans she would continue performing. She said to the audience that night, "You're wonderful. I'll tell you one thing: the greatest gift, I think, that you folks coulda given me was the encouragement that you gave me. Right at the very time I needed you the most, you came through with the flying-est colors. And I just want to say you'll just never know how happy you made this ol' country gal."

Cline's follow-up single to "I Fall to Pieces" was the song "Crazy". It was written by Willie Nelson, whose version of the song was first heard by Dick. When Dick brought the song to Cline she did not like it. When Dick encouraged her to record "Crazy", Cline replied, "I don't care what you say. I don't like it and I ain't gonna record it. And that's that." Bradley liked the song and set the date for its recording for August 17. When Cline got to Bradley's studio, he convinced her to record it. She listened to Nelson's version of "Crazy" and decided she was going to perform it differently. Nelson's version included a spoken section that Cline removed. She cut additional material on August 17 and when she got to "Crazy", it became difficult to perform. Because Cline was still recovering from the accident, performing the song's high notes caused rib pain. Giving her time to rest, Bradley sent her home while musicians laid down the track without her. A week later she returned and recorded her vocal in a single take.

"Crazy" was released as a single in October 1961, debuting on the Billboard country charts in November. It would peak at number 2 there and number 9 on the same publication's pop charts. "Crazy" would also become Cline's biggest pop hit. Her second studio album Patsy Cline Showcase was released in late 1961. The album featured both major hits from that year and re-recorded versions of "Walkin' After Midnight" and "A Poor Man's Roses (Or a Rich Man's Gold)".

"Crazy" has since been called a country music standard. Cline's vocal performance and the song's production have received high praise over time. Cub Koda of AllMusic noted the "ache" in her voice that makes the song stand out: "Cline's reading of the lyric is filled with an aching world weariness that transforms the tune into one of the first big crossover hits without even trying hard." Country music historian Paul Kingsbury also highlighted her "ache," saying in 2007, "Cline's hit recording swings with such velvety finesse, and her voice throbs and aches so exquisitely, that the entire production sounds absolutely effortless." Jhoni Jackon of Paste Magazine called the recording "iconic", highlighting the emotional "pain" Cline expressed in her voice.

"Crazy" and Cline's further Decca recordings have received critical praise. Mary Bufwack and Robert Oermann noted "Her thrilling voice invariably invested these with new depth. Patsy's dramatic volume control, stretched-note effects, sobs, pauses and unique ways of holding back, then bursting into full-throated phrases also breathed new life into country chestnuts like "San Antonio Rose", "Blue Moon of Kentucky", and "Half as Much". Richie Unterberger of AllMusic commented that her 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." Kurt Wolff of Country Music the Rough Guide reported that Owen Bradley recognized potential in Cline's voice and once he gained studio control, he smoothed arrangements and "refined her voice into an instrument of torch-singing glory."

In November 1961, she was invited to perform as part of the Grand Ole Opry's show at Carnegie Hall in New York City. She was joined by Opry stars Minnie Pearl, Grandpa Jones, Jim Reeves, Bill Monroe, Marty Robbins, and Faron Young. Despite positive reviews, New York Journal-American columnist Dorothy Kilgallen commented, "everybody should get out of town because the hillbillies are coming!" The comment upset Cline but did not affect ticket sales; the Opry performance sold out. By the end of year, Cline had won several major industry awards including "Favorite Female Vocalist" from Billboard Magazine and Cashbox Magazine's "Most Programmed Female Artist".

Also in 1961, Cline was back in the studio to record an upcoming album. Among the first songs she recorded was "She's Got You". Written by Hank Cochran, he pitched the song to Cline over the phone. Insisting to hear it in-person, Cochran brought the recording over to her house, along with a bottle of alcohol. Upon listening to it again, she liked the song and wanted to record it. Owen Bradley also liked the song and she recorded it on December 17, 1961. "She's Got You" became her third country-pop crossover hit by early 1962. "She's Got You" would also be her second number 1 hit on the Billboard country chart. It was also Cline's first entry in the United Kingdom singles chart, reaching number 43. The cover by Alma Cogan, one of Britain's most popular female artists of the 1950s, performed notably as well.

In 1962, Cline had three major hits with "When I Get Through with You, "So Wrong", and "Imagine That". Cline's career successes helped her become financially stable enough to purchase her first home. She bought a ranch house located Goodlettsville, Tennessee, a suburb of Nashville. The home was decorated by Cline and included a music room, several bedrooms and a large backyard. According to Dottie West, "the house was her mansion, the sign she'd arrived." Cline called it her "dream home" and often had friends over to visit. After her death, the house was sold to country artist Wilma Burgess.

In the summer of 1962, manager Randy Hughes got her a role in a country music vehicle film. It also starred Dottie West, Webb Pierce and Sonny James. After arriving to film in DeLand, Florida, the producer "ran off with the money," according to West. The movie was never made. In August, her third studio album Sentimentally Yours was released. It featured "She's Got You", as well as several country and pop standards. According to biographer Ellis Nassour, her royalties "were coming in slim" and she needed "financial security." Therefore, Randy Hughes arranged Cline to work at the Merri-Mint Theatre in Las Vegas, Nevada for 35 days. Cline would later dislike the experience. During the engagement, she developed a dry throat. She also was homesick and wanted to spend time with her children. By appearing at the engagement, Cline became the first female country artist to headline her own show in Las Vegas.

During this period Cline was said to have experienced premonitions of her own death. Dottie West, June Carter Cash, and Loretta Lynn recalled Cline telling them she felt a sense of impending doom and did not expect to live much longer. In letters, she would also describe the happiness of her new career successes. In January 1963, her next single "Leavin' on Your Mind" was released and debuted on the Billboard country chart soon after. In February, she recorded her final sessions for Decca Records. Among the songs recorded were "Sweet Dreams", "He Called Me Baby", and "Faded Love". Cline arranged for friends Jan Howard and Dottie West to come and hear the session playbacks. According to Howard, "I was in awe of Patsy. You know, afterward you're supposed to say something nice. I couldn't talk. I was dumbfounded."

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