Background: Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 - March 5, 1963) was an American country music singer and part of the Nashville sound during the late 1950s and early 1960s. She successfully "crossed over" to pop music and was one of the most influential, successful, and acclaimed vocalists of the 20th century. She died at age 30 in the crash of a private airplane. Cline was known for her rich tone, emotionally expressive and bold contralto voice, and her role as a country music pioneer.
Context: Bill Peer, her second manager, gave her the name Patsy, from her middle name, Patterson. (Bill Peer, who had a country music band in Brunswick, MD, also had an infant daughter named Patsy). In 1955 he gained a contract for her at Four Star Records, the label he was then affiliated with. Four Star was under contract to the Coral subsidiary of Decca Records. Patsy signed with Decca at her first opportunity three years later.  Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting. Later, she expressed regret over signing with the label, but thinking that nobody else would have her, she took the deal. Her first record for Four Star was "A Church, A Courtroom & Then Good-Bye," which attracted little attention, although it led to appearances on the Grand Ole Opry. As these performances were not "records" per se, they were not governed by her contract, and she could sing what she wanted, within reason. This somewhat eased her "stifled" feeling.  Between 1955 and 1957, Cline recorded honky tonk material, with songs like "Fingerprints," "Pick Me Up On Your Way Down," "Don't Ever Leave Me Again," and "A Stranger In My Arms." Cline co-wrote the last two. None of these songs gained notable success. She experimented with rockabilly.  According to Decca Records producer Owen Bradley, the Four Star compositions only hinted at Patsy's potential. Bradley thought that her voice was best-suited for pop music, but Cline sided with Peer and the other Four Star producers, insisting that she could only record country songs, as her contract also stated. Every time Bradley tried to get her to sing the torch songs that would become her signature, she would panic, missing her familiar country fiddle and steel guitar. She often rebelled, only wishing to sing country and yodel. She recorded 51 songs with Four Star.
Question: Why did she regret signing with them?. Whats the answer?
Her first contract allowed her to record compositions only by Four Star writers, which Cline found limiting.