Catalog Number(s):
LSP-4276 (Stereo LP)

Released: December, 1969
Peaked: Didn’t Chart

Recorded: May and September 1969 at RCA Victor Studio, Nashville, TN
Producer: Danny Davis and **Chet Atkins
Recording Engineer: Tom Pick and Al Pachucki
Recording Technicians: Les Ladd and Roy Shockley
* Arranged by Bill McElhiney

Singles Released From Album:
74-0239 Don’t Say A Word / Clinging To My Baby’s Hand – 09-69
47-9792 I Heard Our Song / Makin’ Memories – 01-70

Side One

• 1. I Heard Our Song (Sandy Mason)
• 2. Thank You, Baby (Martha Sharp)
• 3. Clinging To My Baby’s Hand* (Red Lane – Dottie West)
• 4. With Pen In Hand (Bobby Goldsboro)
• 5. Puttin’ Pain On Paper** (Mildred Burk)
• 6. Don’t Say A Word* (Les Reed – Geoff Stephens)

Side Two

• 7. Makin’ Memories (Dottie West)
• 8. You Didn’t Stop To Say Hello (Alex Zanetis)
• 9. You Fool (Martha Sharp)
• 10. Long Black Limousine (Bobby George – Vern Stovall)
• 11. Her Hello Was My Goodbye** (Quinn Garton)

Reviews

Liner Notes

Ever Gentle on the Ear…Dottie West

At nearly one o’clock in the morning in RCA’s famed Nashville Studios Dottie West was singing, and it made for a memory. Dottie had been singing all night—well, since 10:00 P.M.—and many had dropped by the pleasantly relaxed studio to hear her—Waylon Jennings, Chet Atkins, and others. Again and again that night, and the next night at another ten-until-one session, you had the feeling that Dottie West is truly one of the great ladies of country music, as well as a dedicated talent, ever gentle on the ear. After one of these three-hour sessions, the lovely lady had time to talk about her art and about country music. A composer in her own right with over 250 songs, Dottie said she likes songs that deal with reality and also have, as she phrased it, “a pretty melody.” She added that as a singer she seeks to get a feeling of what the writer is saying and than tries to project that feeling. Dottie believes one reason for the increasing popularity of country music is its characteristic of having “an easy-to-understand story with a simple melody that can be done with a lot of class.” In conversation Dottie West is a fine example of the well-reared Southern girl: courteous, dignified, yet gifted with a pleasing sense of humor. Quite frankly, any time a hard-bitten writer (Me!) can have an interview with a beautiful singer at 1:30 in the morning in a recording studio and talk about a subject as vital as country music, that has to be “a memory.” According to Dottie, this is album No. 12 on the RCA label. It was produced by Danny Davis, creator of The Nashville Brass, and the songs are sometimes nostalgic, sometimes sentimental, but always high quality. Class is the word for this luscious, former McMinnville, Tennessee, country girl—first class, that is. Take the Dottie West voice, with its lilt, its range, its feeling. Then look at how aptly she has chosen her material. It’s easy to remember but hard to forget, this vocalising of Dottie West, and also the backing up of husband Bill West on steel guitar, who, incidentally, belongs in the good-guy category. They say we only remember that which is pleasant—which may or may not be true—but it is probably correct that we only want to remember that which makes for happiness. Of course, it is impossible to describe what music sounds like; it is better heard and felt. However, Dottie’s work here shows her genuine love of life and deep affection for people and her willingness to communicate and share. These are also hallmarks of the complete lady—a wholesome, outgoing person—and Lady Dottie makes you happier than you were before you listened to the songs she sings for you now. MAKIN’ MEMORIES for you is Dottie at her most delightful.

Jesse Burt
Columnist, editor, author
Nashville, Tennessee