The Very Best of Sue Thompson

The Very Best of Sue Thompson

by Sue Thompson


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Product Details

Release Date: 08/12/2003
Label: Varese Sarabande
UPC: 0030206648324
catalogNumber: 066483
Rank: 68878

Album Credits

Performance Credits

Sue Thompson   Primary Artist,Vocals
Floyd Cramer   Piano
Don Gibson   Vocals
Grady Martin   Guitar
Anita Kerr Singers   Background Vocals
Buddy Harman   Drums
Boots Randolph   Saxophone

Technical Credits

Don Gibson   Composer
Glenn Barber   Composer
Felice Bryant   Composer
Boudleaux Bryant   Composer
Dallas Frazier   Composer
John D. Loudermilk   Composer
Cary E. Mansfield   Producer
Ted Daffan   Composer
Bill Dahl   Liner Notes
Earl Sinks   Composer
Bill Pitzonka   Art Direction
Bobby Montgomery   Composer
Steve Massie   Producer
M. Myrie   Composer
Bobby Bond   Composer
James White   Composer
Phyllis Powell   Composer

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The Very Best of Sue Thompson 4 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
Varese’s latest treasure hunt from Nashville’s Hickory Records catalog spotlights a vocalist who found chart success in the early ’60s with sweet, Brenda Lee styled pop, and again in the ’70s, with light country fare that paired her with the legendary Don Gibson. Perhaps the most surprising aspect of her hits are the heavyweight songwriters who supplied the songs: John D. Loudermilk, Felice & Boudleaux Bryant, Roy Orbison and Dallas Frazier. ¶ All sixteen of these sides were produced by Hickory head-honcho, Wesley Rose, using Nashville studio pickers and orchestration to create a poppier version of the Nashville Sound. Thompson’s vocals were surprising youthful, given her mid-30s age in the early ’60s, not to mention the decade of experience that preceded her tenure at Hickory. In addition to live work in talent shows, and on radio and television, Thompson recorded a number of country and western swing tunes as part of Dude Martin’s entourage in the ’50s. ¶ Her earlier work at Mercury (not anthologized here) found her moving in a pop direction, with several sides backed by the label’s house orchestra, under the direction of David Carroll. It was a direction that would pay dividends, especially when matched up with the teen-oriented material of John D. Loudermilk. Thompson’s first hit, "Sad Movies (Make Me Cry)," is a keenly produced story of teenage infidelity, with a twangy bass played against swirling strings and a ’50s-styled saxophone. She followed up with the cute, march-tempo, "Norman," featuring an insidious title hook and a pep-band horn arrangement. Her 1962 hit, "James (Hold the Ladder)," has a similar, showtune-styled step to it. ¶ Ballads, such as "Two of a Kind," lean back to the country side of the Nashville Sound, with Floyd Cramer’s laconic slip-key piano and the Anita Kerr singers setting the mood. Thompson also sang torch tunes, like the Bryants’ "Have a Good Time," though they don’t match her young-sounding voice as well as the more treacly teenage material. Similarly, "Bad Boy" sounds more like an Elvis movie tossoff than a song from the pen of Roy Orbison. Thompson closed out her pop-hit career in 1965 with Loudermilk’s "Paper Tiger," combining a bluesy harmonica with a vocal that sounds like Haley Mills channeling Ann-Margret. ¶ The early ’70s found Thompson’s commercial fortunes revived via a series of duets with Don Gibson. Gibson’s own "The Two of Us Together" kicked off a short string of successes, setting his relaxed vocal against Thompson’s still young sounding voice. Though there are pop touches (the electric sitar of "I Think They Call it Love"), these are more decidedly country productions than Thompson’s earlier work on the label. Her solo single, "Big Mable Murphy," mixing Roaring 20s jazz with Dixieland-styled horns, rang up #50 on the country chart. ¶ This is a nicely balanced collection of Thompson’s Hickory years, pulling together her earlier pop singles with her later country successes. Now all we need is for someone to put together a collection of her pre-Hickory work! ¶ 3-3/4 stars, if allowed fractional ratings.