Patsy Cline, Crazy (1961)

Patsy_ClineShowcase

Artist: Patsy Cline
Title: Crazy
Description: single; EP track, Patsy Cline; album track, Patsy Cline Showcase
Label: Decca
Release date: 1961; 1962
First heard: 1990s

Though I’m a lot rock’n’roll, I can’t really even claim to be a little bit country. I’ve watched Nashville, both the classic 70s movie about the hub they call Music City, and the current, campy TV series, and I’ve long appreciated the Country & Western influence on much of the American rock of the 1960s that I hold dear. I have albums by Gram Parsons, the Flying Burrito Brothers and the Byrds that make perfect, bootlace-tie sense to my ears, I actually enshrined a song from Dylan’s Nashville Skyline into The 143, and if there is a lovelier, more plangent sound than a pedal steel, I’d like to hear it.

But Patsy Cline is a different order of “meat and three”. The first female artist to be inducted into the Country Music Hall Of Fame (in 1973; it only took them ten years after her untimely death at 30), Cline’s reputation and appeal travelled way beyond the parameters of her chosen genre and subculture. The longer-lived Dolly and Tammy self-evidently had longer careers, but it seems me – as a non-expert – that she towers over them all from beyond the grave. Beset by bad fortune like any self-respecting country singer, Cline’s life was not the self-destructive tragedy of near-contemporary Hank Williams, and she was enjoying all the fruits of success when her plane crashed in a Tennessee forest in 1963.

Crazy is hardly an obscurantist choice from Cline’s crossover repertoire, but for me, it shines brightest and interferes with my heart in a way that I might not expect from a genre whose mawkishness can be a barrier to my full immersion. Written by a then-unknown, clean-cut Willie Nelson, who recorded it himself a year later on his debut LP, it’s a unisex lament to the inevitability of a split-up. Fatalistic, as many classic love songs tend to be, for maximum yearnitude.

The protagonist – female in Cline’s impeccable reading – declares herself crazy for feeling so lonely and for feeling so blue, as she knew her partner would love her as long as he wanted, and then “someday”, leave her “for somebody new.” If she did know this, why did she go with him in the first place? Well, if you need that question answering, you have never been in love. Cline has. She’s “crazy for tryin’, and crazy for cryin’,” and “crazy, for lovin’ you.” The way she lets us in on this apres-relationship confession in that husky voice that is apparently a contralto (ie. low for a lady), almost makes her sound as if the loss and the inevitability are part of the experience. Better to have loved and lost, than to have loved and lost and not seen it coming.

A polite piano intro, augmented by the lazily ascending twang of a guitar, give the song a trilling, balmy porch setting, the better to stage Cline’s wistful but self-lacerating dissection, swept along by the brushes of whichever of the two drummers played on the parent Showcase album. It’s an idyllic backdrop to a gloomy conclusion about the fallibility of the heart. The velvety baritone backing of none other than Elvis’s partly-ordained Jordanaires gives such depth to the arrangement (they were still indentured to the King in 1961 but would later be too busy to join him in Vegas and handed over to the Imperials), but it’s Cline’s rich account that cuts through, the ends of each line quivering into the trees on the wind. In “crazy for feeling so blue,” it’s the word “feeling” that she hammers home: crazy for feeling so blue, the “blue” note held for longer than you might think feasible.

Each word Cline chooses to emphasise seems perfectly selected. It’s as if she had the ability to italicise with her tonsils, as she went along. I also love her more upbeat, clip-clop 1963 rendition of the Bob Montgomery-quilled Back In Baby’s Arms (introduced into the gumbo of Trent Reznor’s Natural Born Killers soundtrack with creditable plurality), but the career-defining ballad wins by a nose. I suspect if she’d lived, the KLF would have had her on a record in the 90s; as it is, airborne catastrophe immortalises her as a kind of guardian angel in perpetuity.

Not even a hit in the UK, Crazy found me somehow, somewhere along the long, lonesome line. There. I hope I sound like the country expert I’m not.

The Rolling Stones, Wild Horses (1971)

rolling-stones-sticky-fingers

Artist: The Rolling Stones
Title: Wild Horses
Description: US-only single; album track, Sticky Fingers
Label: Rolling Stones
Release date: 1971
First heard: 1992

I’ve got my freedom, but I don’t have much time …

I know; 1992 seems like a strange and horribly belated time to have first heard the classic ballad Wild Horses. But you will admire my candour. I didn’t own a Rolling Stones album until the mid-90s. My first was Let It Bleed, which I bought in one of those HMV sales where they offloaded a lot of old stock and you could pick up bona fide classics for a couple of quid (built most of my belated Dylan collection that way). It instantly became my favourite Rolling Stones album. Well, it would.

Up to that point, I’d been – to borrow a phrase – aware of their work. I knew and liked the singles which were constantly played. Friends had albums of theirs, but I never even thought to borrow them and tape them. To me, in that heady post-punk reverie, I didn’t need the Beatles or the Stones to put marrow in my bones. They’d done their work. Sure, the Stones were still a going concern, but they felt to me like they belonged to the past. (Actually, in 1982, I found my interest piqued by the opening bars of Under My Thumb on my older friend Vaughan’s copy of the live album Still Life, but mostly due to Duke Ellington’s Take The ‘A’ Train, and the thwack of Charlie’s first drumbeat. It was a pretty limited sortie into their vast and aromatic back catalogue, but the ignition was there.) Anyway, then I grew up.

Even as a cub reporter for the NME, my knowledge of the Rolling Stones was basic; enough to get by. (I knew way more about Led Zeppelin, whose runaway blues-metal had turned my head.) And then I interviewed The Sundays, in 1992, on the cork-popping occasion of their belated return to our empty lives with second album Blind. I discussed Wild Horses in a Camden boozer with Harriett Wheeler and Dave Gavurin, a couple, and they told me what it meant to them and why they’d recorded it as a B-side. (Also, now I think of it, the Dylan tune Corrina, Corrina came up, which drove me to Freewheelin’ – I’m happy when synapses crackle in this way.) I loved their Wild Horses, knew it to be a cover, but had never heard the original. I don’t think I told them this.

But ain’t this often the way? Unless you were born before World War II, you’re bound to have heard occasional cover versions before originals in the pop era. For instance, I assumed the Flying Lizards to have written Money, then later found out it was a Beatles tune, then later still found out it was Barrett Strong’s. This is archaeology, and we should embrace it. The Sundays gave me the Rolling Stones.

Don’t worry. I have all the Rolling Stones albums now, and know them intimately. I prefer many of them to the Beatles’, and particularly favour Sticky Fingers, Exile On Main Street, Beggars Banquet, Some Girls and – still, after all these years – Let It Bleed. In order to sum up their effortless, smoky, unstoppably ragged glory (and let’s face it, their story is what makes them so good; their longevity feeds their legend where it might ordinarily leech it away), I took particular notice of a jukebox playing Forty Licks, I’m guessing, in an unassuming studenty pub in Tunbridge Wells. It played You Can’t Always Get What You Want, Sympathy For The Devil, Tumbling Dice, and it made me consider Have You Seen Your Mother Lately, and Brown Sugar, and Happy, which almost squeaked it. But there is no Rolling Stones song that delivers the emotional rescue of Wild Horses. (Also, Happy is a Richards vocal, and that don’t seem right.)

Jagger’s woundedly plaintive lyric was written, so I discovered after a cursory Wikipedia search, some time after splitting from Marianne Faithful (it was recorded in 1969), so not directly about her; meanwhile Richards reckons it’s borne of that loneliness you get when you’re on tour, of being “a million miles from where you want to be”. (This information comes from the sleeve notes to the Jump Back compilation.) What a monster breakup it evokes: “A faith has been broken, tears must be cried … no sweeping exits or offstage lines.” And waa-ah-ahhhh-ahhhhld horses couldn’t drag him away. Sticky Fingers, lest we forget, was the first album without Brian Jones, so some profound sadness is expected.

It’s a little bit country, a little bit rock’n’roll, and that combination of acoustic and electric guitars is enough to break anybody’s heart. That it was recorded, like Brown Sugar, in the soulful stewpot of Muscle Shoals, Alabama may explain the blues notes. (Were the Stones the first white rockers to rock up there? Fable says it’s so.) Hear it in situ on “Side One” of the LP, between the raw, metallic Sway and the urgently rockin’ Can’t You Hear Me Knockin’, and Wild Horses takes on an even balmier aspect; it cleanses the palate. I twin it with the resonant, Albatross-like Moonlight Mile, the album’s closer.

Hard to imagine that I had no Rolling Stones albums in 1992. Thank God for the Sundays.