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Sue Thompson
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Key Information
Sue Thompson (born Eva Sue McKee; July 19, 1925 – September 23, 2021) was an American pop and country music singer. She is best known for the million selling 1961 hits "Sad Movies (Make Me Cry)" and "Norman", "James (Hold The Ladder Steady)" (1962), and "Paper Tiger" (1965).
Early life
[edit]Thompson was born in Nevada, Missouri in July 1925. By the age of 7, she was singing and playing the guitar on stage. She later moved with her family to live in San Jose, California.[1]
During World War II, she worked at a defense plant. She married when she was 17, and had a daughter at 20, but the marriage failed and she and her husband split up after three years. To keep supporting herself after her divorce, she returned to the nightclub scene in California, now using the name Sue Thompson. In San Jose, she won a talent contest, thus catching the attention of a bandleader and radio/TV host named Dude Martin (real name John Stephen McSwain), who invited her to sing with his band. This led to their marriage.[2] They recorded duets together, including "If You Want Some Lovin'", which helped her get a solo contract from Mercury Records in 1950.[1] She released numerous singles on Mercury between 1951 and 1954, with no chart action.
Recording career
[edit]Within a year, she divorced Martin, and married Hank Penny, a comedian and singer, in 1953.[2] Penny and Thompson hosted a TV show in Los Angeles together before eventually moving to Las Vegas. After her contract with Mercury ended, Thompson recorded for Decca Records from 1954–57, again without a commercial breakthrough. Thompson and Penny had a son, Greg Penny, but divorced in 1963.[2]
In 1960, Thompson signed on with Columbia Records, who renamed the singer "Taffy Thomas" and issued one non-charting single under this artist name. Thereafter, the Taffy Thomas moniker was quickly dropped, and Thompson signed with Hickory Records. In 1961, after having issued over a dozen non-charting singles in a decade-long recording career, Thompson's "Sad Movies (Make Me Cry)" became a No. 5 hit on the pop charts. She followed this up successfully with "Norman," which reached No. 3. Both of these hit singles were written by songwriter John D. Loudermilk. They both sold over one million copies, and were awarded gold discs. Both were also chart successes in Australia, reaching No. 3 and No. 8 respectively.[3]
In 1962, "Have a Good Time" was a Top 40 hit and in 1963, "Willie Can" was a minor hit. Her early-1960s hits made Thompson, then in her late 30s but with a much younger-sounding voice, a favorite among the teenage crowd and briefly a rival to the much younger Connie Francis and Brenda Lee.[1] Two additional hits, also written by Loudermilk, were "James (Hold the Ladder Steady)", and 1965's "Paper Tiger," her last Top 30 hit and her biggest hit in Britain and in Australia, where it reached No. 3.
Later career
[edit]In the late 1960s, she went back to country music and released the album This Is Sue Thompson Country in 1969.[4] Her singleThoughts with Roy Acuff Jr. reached No. 39 on the Canadian Country charts, November 8, 1969.[5] In 1971 she worked with country music singer Don Gibson on some albums, and they had minor hits with "I Think They Call It Love", "Good Old Fashioned Country Love", and "Oh, How Love Changes". She recorded further solo singles for the country charts, like "Big Mable Murphy", which made the Top 50 in 1975 and "Never Naughty Rosie", her last chart single in 1976. She also performed mainly at the Las Vegas casinos and at clubs in Hollywood, like the Palomino Club. In the 1990s, she settled in Las Vegas, and continued to periodically perform.[1]
She also appeared on American Bandstand, Where the Action Is, The Buddy Deane Show, and The Lloyd Thaxton Show (1966 visit and performance of "Paper Tiger").[citation needed]
In 2009 Thompson's son, record producer Greg Penny, recorded her acoustic cover of her favourite song, the 1952 hit "You Belong to Me".[6] The demo was given its radio premiere during her 2010 interview on the South Australian radio show "The Doo Wop Corner" by Carmen Kaye.[6]
Death
[edit]Sue Thompson died at her daughter's home in Pahrump, Nevada, on September 23, 2021, at the age of 96.[6][7]
Discography
[edit]Albums
[edit]| Year | Album | Chart Positions | |
|---|---|---|---|
| US | US Country | ||
| 1961 | Meet Sue Thompson | — | — |
| 1962 | Two of a Kind | — | — |
| 1963 | Golden Hits | — | — |
| 1965 | Paper Tiger | 134 | — |
| The Country Side of Sue Thompson | — | — | |
| 1966 | Sue Thompson with Strings Attached | — | — |
| 1969 | This Is Sue Thompson Country | — | — |
| 1972 | The Two of Us Together (with Don Gibson) | — | — |
| 1974 | Sweet Memories | — | — |
| And Love Me | — | — | |
| 1975 | Oh How Love Changes (with Don Gibson) | — | 43 |
| Big Mable Murphy | — | — | |
Singles
[edit]| Year | Single | Chart Positions | Album | ||||||
|---|---|---|---|---|---|---|---|---|---|
| US [8] |
US Cashbox |
US Country | US AC | AUS | CAN[9] | UK[10] | |||
| 1961 | "Sad Movies (Make Me Cry)" | 5 | 5 | — | 1 | 6 | 30 | 46 | Meet Sue Thompson |
| "Norman" | 3 | 4 | — | — | 4 | 3 | — | ||
| 1962 | "Two of a Kind" | 42 | 37 | — | 8 | 40 | 36 | — | Two of a Kind |
| "It Has To Be" (flip side) | — | 150 | — | — | — | — | — | ||
| "Have a Good Time" | 31 | 31 | — | 9 | 45 | — | — | Golden Hits | |
| "If Only the Boy Knew" (flip side) | 112 | 143 | — | — | 45 | — | — | ||
| "James (Hold the Ladder Steady)" | 17 | 22 | — | — | 6 | 16 | — | ||
| "Willie Can" | 78 | 77 | — | — | 44 | 38 | — | ||
| 1963 | "What's Wrong Bill" | 135 | — | — | — | — | — | — | Paper Tiger |
| "Suzie" | — | 127 | — | — | — | — | — | ||
| "True Confession" (flip side) | — | 148 | — | — | — | — | — | ||
| "I Like Your Kind of Love" (with Bob Luman) | — | 142 | — | — | 26 | — | — | Non-album single | |
| 1964 | "Big Daddy" | 132 | — | — | — | — | — | — | |
| "Paper Tiger"A | 23 | 18 | — | — | 3 | 15 | 30 | Paper Tiger | |
| 1965 | "What I'm Needin' Is You" | — | — | — | — | — | — | — | |
| "Stop Th' Music" (flip side) | 115 | 135 | — | — | — | — | — | With Strings Attached | |
| 1966 | "Put It Back (Where You Found It)" | 131 | — | — | — | — | — | — | Non-album single |
| "What Should I Do" | — | 148 | — | — | — | — | — | ||
| 1972 | "What a Woman in Love Won't Do" | — | — | — | — | — | — | — | Sweet Memories |
| "Candy and Roses" | — | — | 72 | — | 76 | — | — | ||
| 1973 | "Find Out" | — | — | — | — | — | — | — | |
| 1974 | "Making Love to You is Just Like Eating Peanuts" | — | — | — | — | — | — | — | And Love Me |
| "And Love Me" | — | — | — | — | — | — | — | ||
| 1975 | "The Very Thought of You" | — | — | — | — | — | — | — | |
| "Any Other Morning" | — | — | — | — | — | — | — | Big Mable Murphy | |
| "Big Mable Murphy" | — | — | 50 | 40 | — | — | — | ||
| 1976 | "Never Naughty Rosie" | — | — | 95 | — | — | — | — | Non-album single |
Singles with Don Gibson
[edit]| Year | Single | Chart Positions | Album | |
|---|---|---|---|---|
| US Country | CAN Country [12][13][14] | |||
| 1971 | "The Two of Us Together" | 50 | — | The Two of Us Together |
| "Did You Ever Think" | 71 | — | ||
| "I Think They Call It Love" | 37 | — | ||
| 1972 | "Cause I Love You" | 64 | — | |
| "Go With Me" | 52 | 49 | ||
| 1973 | "Warm Love" | 53 | 52 | |
| 1974 | "Good Old Fashioned Country Love" | 31 | 29 | Oh, How Love Changes |
| 1975 | "Oh, How Love Changes" | 36 | — | |
| 1976 | "Get Ready, Here I Come" | 98 | — | |
References
[edit]- ^ a b c d "Sue Thompson Songs, Albums, Reviews, Bio & Mor..." AllMusic. Retrieved October 21, 2025.
- ^ a b c Kienzle, Rich (2013). Southwest Shuffle. Taylor & Francis. pp. 50–51. ISBN 9781136718892.
- ^ Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 140. ISBN 0-214-20512-6.
- ^ This Is Sue Thompson Country Album Information Archived 2012-06-30 at the Wayback Machine. AllMusic. Retrieved 13 October 2021.
- ^ "RPM Top 50 Country - November 8, 1969" (PDF). Collectionscanada.gc.ca.
- ^ a b c Genzlinger, Neil (2021-09-28). "Sue Thompson, Who Sang of 'Norman' and Sad Movies, Dies at 96". The New York Times. Archived from the original on 2021-09-29. Retrieved 2021-09-28.
- ^ Paul Cashmere, "Sue Thompson Dies At Age 96", Noise11, September 28, 2021 Archived September 28, 2021, at the Wayback Machine. Retrieved September 28, 2021
- ^ Whitburn, Joel (2011). Top Pop Singles 1955–2010. Record Research, Inc. p. 893. ISBN 978-0-89820-188-8.
- ^ "CHUM Chart results". Archived from the original on 2006-07-09.
- ^ Betts, Graham (2004). Complete UK Hit Singles 1952-2004 (1st ed.). London: Collins. p. 783. ISBN 0-00-717931-6.
- ^ "RPM Top 40&5 - February 1, 1965" (PDF). Collectionscanada.gc.ca.
- ^ "RPM Top 100 Country - April 28, 1973" (PDF). Collectionscanada.gc.ca.
- ^ "RPM Top 100 Country - December 8, 1973" (PDF). Archived (PDF) from the original on June 29, 2024. Retrieved June 24, 2024.
- ^ "RPM Top 50 Country - November 16, 1974" (PDF). Archived (PDF) from the original on June 29, 2024. Retrieved June 24, 2024.
External links
[edit]
Sue Thompson
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Biography
Early life
Eva Sue McKee, who later adopted the stage name Sue Thompson, was born on July 19, 1925, in Nevada, Missouri, a small town in the southwestern part of the state, amid the economic challenges that would soon define the Great Depression era.[2] Her father, Vurl McKee, worked as a laborer, while her mother, Pearl Ova (née Fields) McKee, was a nurse, providing a modest family background in rural America.[2] From an early age, McKee displayed a natural affinity for music, receiving a secondhand guitar at age seven and beginning to sing cowgirl songs inspired by Western stars like Gene Autry, often performing on makeshift stages at local events.[1] In 1937, during the height of the Great Depression, her family relocated to California seeking better opportunities, initially settling north of Sacramento before moving to the San Jose area, where economic hardship had forced many Midwestern families westward as fruit pickers and laborers.[2] The move marked a significant transition, exposing her to new environments during her formative years; she attended high school in San Jose, where she continued honing her musical skills by performing whenever possible in school and community settings.[1] At age 19 in 1944, McKee married Tom Gamboa, entering early adulthood amid World War II; the couple had a daughter, Julie, in 1945, but the marriage ended in divorce after three years in 1947. While her husband served in the military, she contributed to the war effort by working in a defense plant near Oakland, California, embodying the "Rosie the Riveter" spirit of wartime labor that supported the nation's industrial needs.[2] This period solidified her independence as she balanced family responsibilities with employment in a factory setting. Following her divorce, McKee began making initial informal appearances in local venues around San Jose, including talent contests and spots on regional radio and television programs like the Hometown Hayride, which provided her first taste of public performance before any professional recording contracts.[3] These early outings, often in high school assemblies or community gatherings, allowed her to build confidence with her guitar and vocals in front of small audiences, laying the groundwork for her musical aspirations without formal commitments.[2]Personal life
Sue Thompson's second marriage was to musician Dude Martin in December 1952, shortly after she joined his band for touring performances. The union lasted only about a year, ending in divorce in 1953, during which time the couple shared stages on musical tours across the West Coast.[4] In 1953, Thompson married comedian and singer Hank Penny, with whom she formed a collaborative band and co-hosted a television show in Los Angeles. Their partnership included joint musical endeavors, but the marriage concluded in divorce in 1963 after a decade together. The divorces from both Martin and Penny provided Thompson with greater mobility to pursue independent opportunities in the music industry, allowing her to transition from band-based work to solo recordings without familial obligations tying her to specific locations or ensembles.[4] Thompson had two children: a daughter named Julie Jennings, born in 1945 during her first marriage to Tom Gamboa, and a son, Greg Penny, born in 1955 during her marriage to Hank Penny. Greg Penny later became a noted music producer, collaborating with his mother on recordings in her later years, which highlighted ongoing family support in her professional life. Julie Jennings resided in Nevada, where Thompson eventually settled, fostering close familial ties in her later decades.[1] Following her divorces, Thompson's residence patterns shifted frequently in line with her career, initially moving to Las Vegas with Penny in the 1950s for lounge performances before returning to California. In 1993, she married Ted Serna, a high school acquaintance, and the couple moved to the Pahrump Valley area of Nevada, where they resided until his death in 2013; she continued living there for over 25 years, supported by her family including daughter Julie. Family dynamics remained positive, with Jennings describing her upbringing amid Thompson's fame as "fabulous," involving extensive travel and connections to prominent figures in music.[1][2]Career
Early recordings (1950s)
Sue Thompson signed her first solo recording contract with Mercury Records in 1950, following duets with bandleader Dude Martin that showcased her vocal talents.[5] Her debut solo single, released in 1951, was "What've You Got That Makes Me Love You So" backed with "You're Gettin' A Good Girl When You Get Me."[6] Over the next few years with Mercury, she issued several singles blending country and pop elements, including the 1952 release "You Belong to Me," which she claimed to be the first recording of the song that later became a standard for artists like Jo Stafford. In the early 1950s, Thompson toured extensively with her husband Dude Martin's western swing band, known as Dude Martin's Roundup Gang, performing on radio and television in the San Francisco Bay Area.[2] Their live shows featured her as the lead vocalist, delivering energetic performances that drew regional audiences and highlighted her clear, emotive style suited to western swing's lively arrangements.[7] This exposure built a local following but remained confined to the West Coast, reflecting the band's niche popularity in the burgeoning country scene.[5] Thompson transitioned to Decca Records in 1954, releasing singles such as "Walkin' In The Snow" and "Come A Little Bit Closer," the latter a duet with Hank Penny, whom she had married following her divorce from Martin.[6] Her work with Decca continued to explore country-leaning material, with Penny directing the orchestra on tracks like the 1957 single "Walkin' To Missouri."[8] This period marked a subtle shift toward stronger country influences, influenced by her collaborations and the era's western swing traditions, though her recordings maintained a pop accessibility. Throughout the 1950s, Thompson released approximately 12 singles across Mercury and Decca, none of which reached the national Top 40, underscoring her development as a versatile vocalist amid modest commercial results.[6] Frequent label changes and limited promotional support from the labels hindered broader breakthrough, yet her persistent touring and marital ties to influential bandleaders like Martin and Penny sustained her career trajectory into the next decade.[9]Pop success (1960s)
In 1960, Thompson signed with Columbia Records, releasing a single under the pseudonym Taffy Thomas that failed to chart, prompting her quick move to Hickory Records in 1961 for improved promotional support.[10] Her debut single for Hickory, "Sad Movies (Make Me Cry)," written by John D. Loudermilk, became a breakthrough, peaking at No. 5 on the Billboard Hot 100 and No. 1 on the Adult Contemporary chart while selling over one million copies.[11] The song's poignant narrative of emotional release through tears resonated culturally, establishing Thompson's breathy, emotive style in the pop landscape.[12] Following this success, her second Hickory single, "Norman," another Loudermilk composition, climbed to No. 3 on the Billboard Hot 100 and also achieved million-seller status, earning a gold disc.[13] The track's playful yet dramatic storytelling about a romantic mix-up further solidified her novelty pop appeal, contributing to her commercial momentum.[14] Thompson's 1960s output included additional hits like "James (Hold the Ladder Steady)" in 1962, which reached No. 17 on the Hot 100, and "Paper Tiger" in 1965, peaking at No. 23 and lasting 10 weeks on the chart.[12][15] These releases, blending lighthearted lyrics with catchy melodies, highlighted her peak pop phase. Her debut album, Meet Sue Thompson (Hickory, 1961), featured 12 tracks including "Sad Movies (Make Me Cry)," "Norman," "Oh, Lonesome Me," "Tonight (Could Be the Night)," "Love Me to Pieces," and "Nine Little Teardrops," capturing her emerging pop sound with orchestral arrangements.[16] The follow-up, Two of a Kind (Hickory, 1962), expanded on this with songs like "James (Hold the Ladder Steady)," "That's Just Too Much," "Jealous Heart," "Afraid," and "Big Daddy," receiving positive notice for its polished production amid her rising profile.[16] By the mid-1960s, Thompson's solo pop singles had collectively sold over two million records, signaling a gradual evolution toward country influences.[12]Country transition and collaborations (1970s)
In the late 1960s, Sue Thompson pivoted fully to country music, releasing the album This Is Sue Thompson Country in 1969 on Hickory Records.[17] The record featured interpretations of country standards such as "Tennessee Waltz" and "Tears on My Pillow," alongside original material that highlighted her evolving style rooted in traditional themes of romance and nostalgia.[18] This release marked a deliberate genre shift, drawing on her early country influences while adapting her vocal delivery to Nashville's sound. From 1971 to 1976, Thompson formed a prominent partnership with established country artist Don Gibson, resulting in multiple duet projects that blended their voices on heartfelt ballads and uptempo tracks.[19] Together, they produced three collaborative albums on Hickory Records: The Two of Us Together (1973), Don Gibson & Sue Thompson (1974), and Oh, How Love Changes (1975).[20][21][22] These efforts yielded nine singles that charted on the Billboard Hot Country Songs survey, emphasizing themes of enduring love and partnership.[6] Among the duets, "Good Old Fashioned Country Love" achieved their highest placement, reaching No. 31 in 1974.[23] Earlier releases like "I Think They Call It Love" peaked at No. 37 in 1972, while "Did You Ever Think" entered the charts the same year.[24] Thompson also issued solo country singles during this era, including "Candy and Roses" (No. 72, 1972) and "Big Mable Murphy" (No. 50, 1975), which showcased her individual take on honky-tonk narratives.[12] Overall, her 1970s work encompassed three albums and around a dozen charting singles, solidifying her presence in country circles. Her prior pop achievements lent a distinctive crossover appeal to these recordings.[19]Later performances (1980s–2020s)
Following the release of her last charted single, "Never Naughty Rosie," which peaked at No. 95 on the Billboard Hot Country Songs chart in 1976, Sue Thompson transitioned away from new studio recordings toward a career centered on live performances. Building on her established reputation in country music from collaborations in the 1970s, she began appearing at Hollywood clubs, including the renowned Palomino Club in North Hollywood during its peak years as a country music venue. These engagements extended to Las Vegas casinos and showrooms, such as the Gold Spike Casino, starting in the late 1970s and continuing sporadically through the 1980s, where she performed her signature pop and country hits to enthusiastic audiences.[25][5][26] In the 1980s and 1990s, Thompson made periodic appearances at country music festivals and guest spots on radio and television, often in Nevada showcases that highlighted her enduring appeal in the West Coast country scene. Notable examples include a live television performance of "Norman" on the Canadian country program No. 1 West in 1991, accompanied by the Prairie Fire Band, which showcased her continued vitality as a performer. These outings, though less frequent than her earlier career, reinforced her legacy as a pioneer for women in country music, influencing subsequent generations of female singers through her blend of pop sensibility and country storytelling.[27][5] During the 2000s and 2010s, Thompson's activities became more selective, focusing on rare interviews and tributes that underscored her loyal fan base despite limited public documentation. In October 2010, she participated in a multi-part radio interview on Adelaide's Three D Radio, reflecting on her career highlights and personal anecdotes from decades in the industry. Compilations of her work, such as the 1991 Greatest Hits and the 1995 Golden Classics on Collectables Records, kept her music accessible to new listeners, while fan-driven tributes at oldies events celebrated her contributions without new original releases. Her influence persisted, with younger country artists citing her as an early trailblazer for female vocalists navigating pop-country crossovers.[28][29][30][5]Later years and death
Health and residence
In the mid-1990s, Sue Thompson relocated from Las Vegas to Pahrump, Nevada, a move encouraged by her daughter Julie Jennings to escape the city's growth; she settled there with her fourth husband, Ted Serna, whom she had married in 1993 after reconnecting as childhood acquaintances.[5][1] Thompson resided in the Pahrump Valley for over 25 years, maintaining a private life focused on family amid the quiet desert community.[1] Following Serna's death in 2013, Thompson moved into her daughter's home in Pahrump, where Jennings served as her primary caregiver for the next eight years, supported by her son, record producer Greg Penny.[5][2] This family arrangement provided stability during her retirement, with Thompson surrounded by eight grandchildren and 12 great-grandchildren.[1] Public documentation of her daily routines remains sparse from the 1980s through the 2000s, reflecting a deliberate shift to seclusion after decades in the public eye.[1] In her later years, Thompson faced age-related health challenges, most notably Alzheimer's disease, which progressed to the point where she became unable to walk or speak but endured with characteristic warmth and smiles toward loved ones.[2][5] Her son Penny captured her singing in her 80s, preserving a personal connection to music within the home, though she withdrew from formal engagements.[1] Family care enabled occasional family-oriented moments, underscoring the close-knit support that defined her final decade.[5]Death
Sue Thompson died on September 23, 2021, at the age of 96, at her daughter Julie Jennings' home in Pahrump, Nevada.[2][1] The cause of death was complications from Alzheimer's disease.[2][1] She was survived by her daughter Julie Jennings, son Greg Penny, eight grandchildren, and twelve great-grandchildren.[1] A celebration of life was held on November 12, 2021, at 10 a.m. at the Church of Jesus Christ of Latter-day Saints, located at 921 W. Wilson Road in Pahrump.[1] In lieu of flowers, the family requested donations to the Desert Haven Animal Society at 1511 Siri Lane.[1] Following her passing, family friend and local figure Jacki Freeman paid tribute to Thompson's pioneering contributions to country music, noting her appearances on shows like Hee Haw and her enduring influence as a performer who bridged pop and country genres.[1] In the years after her death, Thompson's legacy continued to be celebrated through posthumous releases, including the anthology album Sad Movies issued on June 18, 2024, which compiled 59 tracks from her early career spanning 1950 to 1962, drawn from labels such as Mercury, Decca, Columbia, and Hickory.[31] The collection featured her signature hits like "Sad Movies (Make Me Cry)" and "Norman," accompanied by detailed liner notes and a sessionography highlighting her versatile voice and role in transitioning from pre-rock to post-rock eras.[31] No additional major recognitions or releases were reported as of 2024.[31]Discography
Albums
Sue Thompson released approximately eight solo studio albums during her career, spanning pop and country genres, though none achieved top-10 positions on the Billboard 200; her highest charting effort was Paper Tiger at No. 134 in 1965.[32] Her early albums capitalized on her pop hits, while later works reflected a transition to country music, often featuring covers and original songs with nostalgic or romantic themes. Collaboration albums with Don Gibson highlighted duet performances but were not solo endeavors. Her debut album, Meet Sue Thompson (Hickory Records, 1962), compiled her breakthrough singles and became a commercial success through association with million-selling tracks like "Sad Movies (Make Me Cry)" and "Norman." Key tracks included "Oh Lonesome Me," "Tonight (Could Be the Night)," and "Love Me to Pieces," showcasing her breathy vocal style in pop arrangements.[33][34] The follow-up, Two of a Kind (Hickory Records, 1962), continued her pop focus with selections like the title track and "Bonaparte's Retreat," emphasizing lighthearted, teen-oriented tunes that aligned with her chart momentum. Sue Thompson's Golden Hits (Hickory Records, 1963), a compilation of early successes, reinforced her pop identity but did not introduce new material.[35] In 1965, Paper Tiger (Hickory Records) marked a playful shift with its novelty title track, a minor hit, alongside songs like "Big Daddy" and "That's Just Too Much," blending pop with emerging country influences; it peaked at No. 134 on the Billboard 200. With Strings Attached (Hickory Records, 1966) featured orchestral versions of her repertoire, highlighting lush arrangements for standards and hits.[33][36] Thompson's country transition began with The Country Side of Sue Thompson (Mercury Wing, 1966), an early exploration of traditional country fare. Her dedicated country album, This Is Sue Thompson Country (Hickory Records, 1969), fully embraced the genre with mature, heartfelt covers and originals. The track list includes: Side A: "Who's Gonna Mow Your Grass," "Here's to Forever," "Tennessee Waltz," "Funny, Familiar, Forgotten Feelings," "Tears on My Pillow," "A Pair of Broken Hearts"; Side B: "You Two-Timed Me One Time Too Often," "Lost Highway," "Thanks to Rumors," "Take Me As I Am (Or Let Me Go)," "Because You Love Me." It received positive notes for its authentic shift, though commercial impact was modest.[17][19] Later solo efforts included Sweet Memories (Hickory Records, 1974), focusing on nostalgic ballads; ...And Love Me (Hickory Records, 1974), with romantic country selections; and Big Mable Murphy (MGM/Hickory Records, 1975), featuring storytelling songs like the title track. These albums solidified her country phase but saw limited chart presence.[35] Collaboration albums with Don Gibson, such as The Two of Us Together (Hickory Records, 1973), included joint tracks like "Cause I Love You" and "I Think They Call It Love," emphasizing harmonious country duets without solo emphasis. A follow-up, Oh, How Love Changes (Hickory Records, 1975), continued this partnership with love-themed songs.[20] Compilations like Best of the Best (Federal, 1999) gathered hits from her pop and country eras, while 1980s reissues, such as expanded editions of her Hickory catalog, offered remastered tracks and unique bonus content for collectors.[35]Singles
Sue Thompson began her recording career with a series of solo singles on Mercury Records in the early 1950s, none of which achieved significant chart success but laid the groundwork for her later pop prominence. Notable early releases include "(I Was) Just Walking Out the Door" backed with "I'll Hate Myself in the Morning" in 1951, "Tadpole" with "Junior's a Big Boy Now" in 1952, and "You Belong to Me" paired with "You're an Angel on the Outside (A Devil on the Inside)" later that year.[37] Additional Mercury singles followed, such as "I'm Not That Kind of Girl" b/w "I Long to Tell You" in 1953 and "Donna Wanna" with "Gee But I Hate to Go Home Alone" in 1954, before she briefly recorded for Decca with "Walkin' to Missouri" in 1957.[6] After signing with Hickory Records in 1960, Thompson achieved her breakthrough with pop hits in the early 1960s, including the million-selling "Sad Movies (Make Me Cry)," written by John D. Loudermilk, which peaked at No. 5 on the Billboard Hot 100 and No. 1 on the Adult Contemporary chart in September 1961, spending 14 weeks on the pop chart.[12] This was followed by another million-seller, "Norman," which reached No. 3 on the Hot 100 in December 1961 and remained on the chart for 14 weeks.[12] These two 1961 releases marked her commercial peak, each certified as million-sellers by industry standards of the era, though no formal RIAA certifications were issued.[38] Subsequent Hickory singles like "James (Hold the Ladder Steady)" (No. 17 pop, 1962) and "Paper Tiger" (No. 23 pop, 1965) also charted, reflecting her signature breathy vocal style and novelty themes.[12] In the 1970s, Thompson transitioned toward country music with solo releases on Hickory and MGM, yielding modest chart entries. Her final solo single, "Never Naughty Rosie," peaked at No. 95 on the Hot Country Singles chart in February 1976.[12] Over her career from 1950 to 1976, Thompson released more than 20 solo singles, with 15 achieving Billboard chart positions, primarily in pop during the 1960s and country in the 1970s.[6] The following table summarizes her charting solo singles, including peak positions, debut dates, and weeks on chart where available:| Year | Title | Pop Peak (Billboard Hot 100) | Country Peak (Hot Country Singles) | AC Peak (Adult Contemporary) | Weeks on Pop Chart | Label |
|---|---|---|---|---|---|---|
| 1961 | Sad Movies (Make Me Cry) | 5 | - | 1 | 14 | Hickory |
| 1961 | Norman | 3 | - | - | 14 | Hickory |
| 1962 | Two of a Kind | 42 | - | 8 | 8 | Hickory |
| 1962 | Have a Good Time | 31 | - | 9 | 9 | Hickory |
| 1962 | James (Hold the Ladder Steady) | 17 | - | - | 12 | Hickory |
| 1963 | Willie Can | 78 | - | - | 5 | Hickory |
| 1964 | Big Daddy | 132 | - | - | 2 | Hickory |
| 1965 | Paper Tiger | 23 | - | - | 9 | Hickory |
| 1972 | Candy and Roses | - | 72 | - | - | Hickory |
| 1975 | Big Mable Murphy | - | 50 | 40 | - | Hickory/MGM |
| 1976 | Never Naughty Rosie | - | 95 | - | - | Hickory/MGM |
Singles with Don Gibson
Sue Thompson began recording duet singles with country singer Don Gibson in 1971 under the Hickory Records label, marking a significant shift in her career toward collaborative country projects that revitalized her presence in Nashville during the 1970s. Their partnership produced seven singles between 1971 and 1976, several of which were penned or co-written by Gibson himself, blending harmonious vocals with traditional country themes of love and longing. This collaboration extended Thompson's recording career beyond her earlier pop successes, earning respectable airplay on country radio and contributing to three joint albums that showcased their chemistry.[14][39] The debut single, "The Two of Us Together" backed with "Oh Yes, I Love You," both written by Gibson, entered the Billboard Hot Country Songs chart at No. 50 in 1971, introducing their duo to audiences with its gentle, sentimental style.[39] Subsequent releases built on this foundation, though chart performance varied. Their most successful effort, "Good Old Fashioned Country Love" (written by Glenn Barber and Jim Mundy), reached No. 31 on the Billboard Hot Country Songs chart in 1974, backed by the classic "Ages and Ages Ago" (Fred Rose, Gene Autry, and Ray Whitley); the track's nostalgic appeal resonated in Nashville, highlighting their vocal interplay during live performances and radio play.[39] Other notable duets included "'Cause I Love You" (Gibson), which peaked at No. 64 in 1972, and "Oh, How Love Changes" (Dewayne Orender), achieving No. 36 in 1975. The full list of their singles from this period is as follows:| Year | A-Side / Writer(s) | B-Side / Writer(s) | Label / Catalog | Peak Chart Position (Billboard Country) |
|---|---|---|---|---|
| 1971 | The Two of Us Together / Don Gibson | Oh Yes, I Love You / Don Gibson | Hickory 1607 | 50 |
| 1972 | 'Cause I Love You / Don Gibson | My Tears Don't Show / Carl Butler | Hickory 1654 | 64 |
| 1974 | Good Old Fashioned Country Love / Glenn Barber, Jim Mundy | Ages and Ages Ago / Fred Rose, Gene Autry, Ray Whitley | Hickory/MGM 324 | 31 |
| 1975 | No One Will Ever Know / Fred Rose, Mel Foree | Put It Off Until Tomorrow / Dallas Frazier, Doodle Owens | Hickory/MGM 342 | — |
| 1975 | Oh, How Love Changes / Dewayne Orender | Sweet and Tender Times / Don Gibson, Shel Silverstein | Hickory/MGM 350 | 36 |
| 1976 | Get Ready, Here I Come / Dewayne Orender | Once More / Doodle Owens | Hickory/MGM 367 | 98 |
| 1976 | Let's Get Together / Jerry Abbott | You've Still Got a Place in My Heart / Leon Payne | Hickory/MGM 373 | — |