Patsy Cline

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风格: #传统乡村　#乡村　#纳什维尔之声　#山区乡村摇滚　#牛仔
地区: United States of America 美国

艺人介绍

被誉为上世纪50-60年代第一天后的佩茜·克莱恩原名Virginia Patterson Hensley；1932年9月8日出生于弗吉尼亚州的Winchester。她父亲是Samuel, Hensley，母亲是Hilda Hensley，有一弟一妹，名为Samuel及Sylvia Mae。她的童年并不幸福，16岁时便不得不离校工作，挣钱补贴家用，当时干的是出纳。她爱唱歌，那儿都唱。在街角，在教堂，在小洒铺，有时有乐队有时没有，挣个一毛两毛的，有时也能成块的挣，更多的时候是什么也没挣着。尽管这样，她还是觉得很开心。

她那时在俱乐部中唱的，都是怀旧通俗歌曲。唱时体态永远不肯安静，总是随着歌曲内容做着各种动作和表情。但克莱恩内心喜欢的还是乡村歌曲，很想成为WSM组织的Grand Ole Opry这个乡村歌手的‘麦加’中的一颗亮星。她无时无刻总哼唱着从电台听到的歌曲。一天，她鼓足勇气走进Winchester广播电台，看见一支乡村乐队正在演奏。她对乐队领队说：“让我跟你们一齐唱吧，我不要报酬。”乐队领队说：“你只要敢站到麦克风跟前去，我们就敢让你唱。” 这只不过是个开始，后来只要Winchester附近有知名的乡村歌手演唱，她随时都会去要求跟着唱，而且经常都能成功。

她1948年首次到纳须维尔，是和她的母亲、妹妹及一位家中执友一起开车去的。当时她手中的钱不够付旅馆的费用，在试唱的头天晚上，他们将车停在郊区的一个野餐场所，那夜她就睡在水泥长凳上。首次试唱是个星期五。当时Roy Acuff在电台里准备他自己的节目，听到了克莱恩歌声，当即请她在自己晚上的节目中演出。按常规，电台要求她多呆一天进行二次试唱，看能否成为Opry的常规演员，但克莱恩手中的钱只够回家的汽油钱而无法多呆一天。

不久，她在Winchester的WINC电台进行了首次播音演唱，电台经理Philip Whitney说：“她初来电台时只不过是个孩子。是眼睛睁得大大的，表现安静的那种类型。她唱得很好，但很明显缺乏经验。但她全身心投入，唱出了一种很优秀的风格，下过一番大力气是显而易见的。她愿意倾听别人的意见，而且认真对待。”

克莱恩第二次的职业性演唱，是在马里兰州的Brunswick和Bill Peer and His Melody Boys一起演出的。他们每个星期六晚上演出，持续了三年，然后她开始初露锋芒。那时她在华盛顿一家广播电台参加Jimmy Dean的‘Town and Country’节目中演出，同时开始在Grand Ole Opry作客坐演出，并和Opry的明星Faron Young，Ferlin及其它一些人一起作巡回演出。此时，克莱恩也和Four Star唱片公司的主任William McCall签了一纸录音合同。此人后来成了她的私人经理。她的首张唱片《A Church, A Courtroom, Then Goodbye》以及《Honky Tonk Merry Go Round》是Coral唱片公司1955年发行的。接着是《Turn The Cards Slowly》，《Hidin’ Out》，《Come Right In》等，然后又录了一曲《Walking After Midnight》。虽说这支歌曲当时并未发行，但这是克莱恩选择在Arthur Godfrey Show（演出节目）中所唱的歌。于是，她的名字一下子就传遍了美国。

1953年，克莱恩和Gerald Cline的婚姻三年后破裂。随后于1957年9月5日，她和一位同乡士兵Charles Dick结了婚。1958年她放弃了演出事业，开始尽家庭主妇和母亲的职责。他们有两个孩子。女儿Julia1958年8月25日出生，儿子Randy1961年1月21日出生。可是克莱恩是不能不唱歌的。Charlie心中明白得很，所以他们决定离开了Winchester而在美国的‘音乐城’建立了新家。

Charles轻易地在纳须维尔的一家报纸印刷公司找到了工作。克莱恩则自由自在地出现在GrandOle Opry上，先是在整个美国南部，然后便是全国。1960年，克莱恩和Charlie的光芒真正开始放射，克莱恩成为Grand Ole Opry的正式成员，和Decca唱片公司签订了新的合同。她在Decca公司录的第一支歌曲《I Fall To Pieces》成为一支大大成功的上榜曲。然而于1961年6月14日《I Fall To Pieces》正开始走红时，又出现了悲剧；克莱恩出了严重车祸，住了好几个月医院，是柱着拐出院的。不过上榜曲也跟着不断出现。如《Crazy》，《She’s Got You》，《Heartaches》等。然后又到拉斯维加斯、纽约、加里福尼亚等地去演唱。可是每星期六晚，多数都能见到她在the Grand Ole Opry一位明星Ryman Auditorium舞台上。

此时，她挣够了可以令周围的人使用的钱。她为母亲，弟弟，妹妹都买了房子和车。给她自己和Charlie买了一辆Cadillac；还有一套洗澡间墙上有真金闪闪发光的新房子。孩子们的储衣间里挂满了衣服；有着足够为朋友们买礼物的钱。还有更重要的－孩子们的教育基金，妈妈和Charlie的年金保险。克莱恩的生活可以说是上了轨道。

1963年3月3日的星期日，the Grand Ole Opry成员Billy Walker，Cowboy Copas，Wilma Lee，还有Stoney Cooper，Randy Hughes，Hawkshaw Williams及克莱恩一起到堪萨斯为一位他们都认识的唱片播音员Jack McCall的未亡人进行义演。Wilma Lee和Stoney因星期一另外在明尼苏达还有场演出，所以自己开车去。Cowboy，Hank，克莱恩，Randy则趁Randy的飞机去。因为这架飞机只能坐四个人，所以Billy单独趁民航机去。

然而三天之后，即3月6日清晨，在田纳西州Camden的山顶上找到了这架失事的飞机。电台的一位播音员接到这条消息，踌躇了一阵才报导说：“女士，先生们，我实在不愿开这个口，飞机上没有生还者。”

The Grand Ole Opry的经纪人Ott Devine说：“我们失去了这样的朋友后该说什么呢？我们可以通过娱乐界，反映出他们曾为我们大家做出的爱的奉献。我们可以想像他们为数百万条生命带来的欢愉，让他们知道原来的意愿已然完成而感到安慰。”

在the Grand Ole Opry WSM广播电台工作的Trudy Stamper说：“我一直记得我最后见到克莱恩的形象。她出意外前几天到过我办公室，和我谈起了她的新专辑。那时在我们的录音棚中有许多老年人来访问。我问她愿不愿意进去为他们唱几曲。她说：“没问题，便直接进去为那些老年人演唱。她的歌声中充满了爱，这就是克莱恩给我的印象。我想她也会希望你们这样去感觉她。”

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 during the same era; 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 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 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 songs 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 contract expired. With the help of producer Owen Bradley (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 important, it set a prototype for commercial Nashville country at its best. Owen Bradley crafted lush orchestral arrangements, with weeping strings and backup vocals 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, including 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 album 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 successful 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 successful 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 material 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 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 have been thankfully preserved and issued.

Patsy Cline　佩茜·克莱恩 / Virginia Patterson Hensley

艺人介绍

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最新简评（共69条）

Patsy Cline 佩茜·克莱恩 / Virginia Patterson Hensley

艺人介绍

热门评论

最新简评（共69条）

Patsy Cline　佩茜·克莱恩 / Virginia Patterson Hensley