Lorrie Morgan photo by Russ Harrington, courtesy of Webster & Associates, LLC.

Today, a typical recording is done with each musician recording on a separate "track," correcting any errors by overdubbing until the part is played to perfection. Similarly, a singer’s "performance" is often assembled by having the vocal recorded several times and piecing together the best parts from each. Pitch errors or other mistakes are corrected with overdubbing.

For the sessions that became A Moment in Time, Lorrie Morgan was having none of that. She remembered that her favorite records by artists such as Patsy Cline, Brenda Lee, Elvis Presley and, yes, George Morgan were all created live in the studio. Back in the day, there was no such thing as overdubbing.

The catalogs of Nashville’s song publishing companies are crammed with beloved standards. For Lorrie, putting the repertoire together for A Moment in Time was beyond daunting.

"Are you kidding? I was going crazy. We went through, probably 200 songs trying to narrow it down. Finally, I gave Wally a list. I said, ‘You narrow it down. Any of these 50 are good with me. You pick them.’

"I listen to these kinds of songs all the time. I didn’t really have to learn any of them. I just went right in and sang them.

"I picked them because these were all songs that made me fall in love with music in the first place. My life has been all about music. I wanted to be able to sing songs that I remembered hearing and feeling a tingle in my skin or my heart beating faster. These are those songs."

Patsy’s "Leavin’ on Your Mind," Brenda’s "Break it to Me Gently," Elvis’ "Are You Lonesome Tonight" and George’s "All Right (I’ll Sign the Papers)" were all given new life on A Moment in Time. Lorrie has long cited the late Tammy Wynette as an inspiration, so "’Til I Get it Right" was a natural choice. Sometimes the selections had been gigantic hits – Glen Campbell’s "By the Time I Get to Phoenix," Merle Haggard’s "I’m Always on a Mountain" and Johnny Ray’s "Cry," for example. But Lorrie’s quest for songs also led her to material associated with the lesser known honky-tonk singer Mel Street, "Borrowed Angel" and "Lovin’ on Back Streets."

"Misty Blue" has been memorably sung by Eddy Arnold, Dorothy Moore, Joe Simon and hundreds of others. But Lorrie remembered it from its very first version, by 1960s country singer Wilma Burgess. She recalled Faron Young’s recording of "Wine Me Up," but really chose the rhythmic song for her album because she has recently become a wine connoisseur.