CD FTD: A Boy From Tupelo - Songliste (?)

[El Toro]

Laut FECC-Forum soll das die "official tracklist" sein:

Elvis: A Boy From Tupelo [Follow That Dream, 2012]


Disc 1: MRS Acetates, The Sun Masters & The RCA Masters

01 My Happiness 2:33
02 That's When Your Heartaches Begin 2:52
03 I'll Never Stand in Your Way 2:04
04 It Wouldn't Be the Same (Without You) 2:09
05 Harbor Lights 2:38
06 I Love You Because 2:43
07 That's All Right [45 RPM Master] 2:00
08 Blue Moon of Kentucky (45 RPM Master] 2:07
09 Blue Moon 2:44
10 Tomorrow Night 3:01
11 I'll Never Let You Go (Little Darlin') 2:27
12 I Don't Care If the Sun Don't Shine 2:32
13 Just Because 2:34
14 Good Rockin' Tonight 2:15
15 Milkcow Blues Boogie 2:39
16 You're a Heartbreaker 2:13
17 I'm Left, You're Right, She's Gone [Slow Version] 2:43
18 Baby Let's Play House 2:19
19 I'm Left, You're Right, She's Gone 2:38
20 I Forgot to Remember to Forget 2:31
21 Mystery Train 2:30
22 Tryin' to Get to You 2:36
23 When It Rains It Pours 2:06
24 That's All Right 1:59 [RCA single version]
25 Blue Moon of Kentucky 2:05 [RCA single version 78 RPM Master]
26 I Love You Because 2:45 [RCA LP version – spliced from takes 3 & 5]
27 Tomorrow Night 2:56 [RCA LP version – overdubbed and slowed down]

Tracks 1-2: Self-financed demo recorded July, 1953 at Sun Studio, Memphis.
Source for tracks 1-2: Digital transfer of acetate.

Tracks 3-4: Self-financed demo recorded January 4, 1954 at Sun Studio, Memphis.
Source for tracks 3-4: Digital transfer of acetate in very poor condition.

Track 5 possibly recorded July 5, 1954.
Tracks 6-7 recorded July 5, 1954 at Sun Studio, Memphis.
Sources for tracks 5-6: Original SUN tapes.
Source for track 7: 45 rpm SUN single (plastic).

Track 8: Recorded July 7, 1954 at Sun Studio, Memphis.
Source for track 8: 45 rpm SUN single (plastic).

Track 9: Likely recorded between August 15 and 19, 1954 at Sun Studio, Memphis.
Source for track 9: Original SUN tape.

Tracks 10-14 likely recorded between September 12-16, 1954 at Sun Studio, Memphis.
Sources for tracks 10, 11, 13 and 14: RCA reference tapes (30 ips)
Source for track 12: Digital transfer of SUN tape, with repairs from a digital transfer of a tape copy.

Tracks 15-16 recorded either mid-November or mid-December 1954 at Sun Studio, Memphis.
Sources for tracks 15-16: 78 rpm SUN single (shellac).

Track 17 Recorded between mid-November 1954 and mid-April 1955 at Sun Studio, Memphis.
The reel has March 5 written on it, but Elvis was at the Louisiana Hayride that day.
Source for track 17: Original SUN tape.

Track 18 likely recorded between January 30 and February 4, 1955 at Sun Studio, Memphis.
“I Got a Woman” and “Tryin' to Get to You” were also recorded, but have been lost.
Source for track 18: RCA reference tape (30 ips).

Track 19 likely recorded mid-April 1955 at Sun Studio, Memphis.
Source for track 19: RCA reference tape (30 ips), with first part of ending from RCA tape copy (15 ips) and last part of ending from digital transfer of the RCA EPA-965 production master tape.

Tracks 20-22 recorded mid-July, 1955 at Sun Studio, Memphis.
Source for track 20: SUN tape copy.
Source for track 21: SUN tape copy, with ending from digital transfer of 78 rpm RCA single.
Source for track 22: RCA reference tape (30 ips).

Track 23 recorded November 1-4, 1955 at Sun Studio, Memphis.
Source for track 23: Original SUN (vocal channel) slapback tape.
Elvis' 1957 re-recording of the song was released under the title “When It Rains, It Really Pours”

Source for track 24: RCA reference tape (30 ips).

Source for track 25: 'Elvis at Sun' master, derived from digital transfer of 78 RPM SUN single (shellac).

Track 26: Steve Sholes' original notes have these takes as 2 & 4
Source for track 26: RCA master tape.

Source for track 27: 1965 RCA work part tape for the “Elvis for Everyone” LPM-3450 production master tape.




Disc 2: The Sun Studio Sessions

01 Harbor Lights (takes 1-2, level adjustments) 0:33
02 Harbor Lights (take 3/M) 2:53
03 Harbor Lights (take 4) 2:38
04 Harbor Lights (takes 5-6) 1:23
05 Harbor Lights (take 7) 2:25
06 Harbor Lights (take 0:26
07 I Love You Because (take 1) 0:23
08 I Love You Because (take 2) 3:28
09 I Love You Because (take 3) 3:36
10 I Love You Because (take 4) 0:40
11 I Love You Because (take 5) 3:28
12 That's All Right (takes 1-2) 0:20
13 That's All Right (take 3) 1:58
14 Dialogue 0:20
15 Blue Moon of Kentucky (slow tempo outtake) 1:08
16 Blue Moon (takes 1-3) 0:38
17 Blue Moon (take 4) 2:59
18 Blue Moon (take 5) 3:25
19 Blue Moon (takes 6-7) 0:53
20 Blue Moon (take 3:01
21 Blue Moon (take 9/M) 2:44
22 Dialogue fragment (before “Tomorrow Night”) 0:11
23 I'll Never Let You Go (Little Darlin') (incomplete take) 0:49
24 Good Rockin' Tonight (fragment from vocal slapback tape) 0:10
25 I Don't Care if the Sun Don't Shine (takes 1-2) 1:13
26 I Don't Care if the Sun Don't Shine (take 3/M) 2:35
27 I'm Left, You're Right, She's Gone (slow version, take 1) 3:00
28 I'm Left, You're Right, She's Gone (slow version, take 2) 2:51
29 I'm Left, You're Right, She's Gone (slow version, take 3) 2:51
30 I'm Left, You're Right, She's Gone (slow version, take 4) 0:10
31 I'm Left, You're Right, She's Gone (slow version, take 5/M) 2:40
32 I'm Left, You're Right, She's Gone (slow version, take 6) 2:40
33 I'm Left, You're Right, She's Gone (slow version, take 7) 1:35
34 How Do You Think I Feel (guitar slapback tape, rehearsal + take 1) 3:17
35 How Do You Think I Feel (guitar slapback tape, rehearsals) 1:14
36 When It Rains It Pours (vocal slapback tape, take 1) 1:37
37 When It Rains It Pours (vocal slapback tape, take 2 - rehearsal) 2:12
38 When It Rains It Pours (vocal slapback tape, takes 3-4) 2:14
39 When It Rains It Pours (vocal slapback tape, take 5/M) 2:02
40 When It Rains It Pours (vocal slapback tape, take 6-7) 1:40
41 When It Rains It Pours (vocal slapback tape, take 1:40

Tracks 1-6 possibly recorded July 5, 1954 at Sun Studio, Memphis.
Source for tracks 1-6: Original SUN tape.

Tracks 7-13 recorded July 5, 1954 at Sun Studio, Memphis.
Source for tracks 7-13: Original SUN tape.

Tracks 14-15 likely recorded July 7, 1954 at Sun Studio, Memphis.
Source for tracks 14-15: Digital transfer of SUN tape.

Tracks 16-21 likely recorded between August 15 and 19, 1954 at Sun Studio, Memphis.
Source for tracks 16-21: Original SUN tape.

Tracks 22-26 likely recorded between September 12 and 16, 1954 at Sun Studio, Memphis.
Source for track 22: RCA reference tape (30 ips) for “Tomorrow Night”.
Sources for tracks 23-26: Digital transfers of SUN tapes (also see source note for Disc 1, track 12).

Tracks 27-33 recorded between mid-November 1954 and mid-April 1955 at Sun Studio, Memphis.
The reel has March 5 written on it, but Elvis was at the Louisiana Hayride that day.
Source for tracks 27-33: Original SUN tape.

Tracks 34-35 recorded between mid-November 1954 and mid-April 1955 at Sun Studio, Memphis.
Source for tracks 34-35: Digital transfer of SUN (guitar channel) slapback tape.

Tracks 36-41 recorded between November 1-4, 1955 at Sun Studio, Memphis.
Source for tracks 36-41: Original SUN (vocal channel) slapback tape.




Disc 3: Live & Radio Performances

01 That's All Right 2:52
02 Blue Moon of Kentucky 2:23
03 Shake, Rattle and Roll 2:24
04 Fool, Fool, Fool 1:59
05 Hearts of Stone 2:02
06 That's All Right 1:52
07 Tweedlee Dee 2:51
08 Shake, Rattle and Roll 2:23
09 KSIJ Radio commercial with DJ Tom Perryman 0:16
10 Money Honey 2:43
11 Blue Moon of Kentucky 2:04
12 I Don't Care if the Sun Don't Shine 2:33
13 That's All Right 1:54
14 Tweedlee Dee 2:15
15 Money Honey 2:17
16 Hearts of Stone 1:37
17 Shake, Rattle and Roll 1:39
18 Little Mama 2:03
19 You're a Heartbreaker 2:06
20 Good Rockin' Tonight 2:36
21 Baby Let's Play House 2:22
22 Blue Moon of Kentucky 1:47
23 I Got a Woman 3:03
24 That's All Right 2:17
25 Tweedlee Dee 2:47
26 Interview with Mae Boren Axton 3:19
27 That's All Right 2:37
28 I'm Left, You're Right, She's Gone 3:16
29 Baby Let's Play House 3:19
30 Maybellene 3:09
31 That's All Right 2:49
32 Interview with Bob Neal 5:31

Tracks 1-2 recorded at Louisiana Hayride debut, Shreveport, Louisiana, October 16, 1954.
Source for tracks 1-2: RCA reference tape copy.

Tracks 3-4 recorded at KDAV Radio, Lubbock, Texas, January 6, 1955.
Source for tracks 3-4: Digital transfer of acetate.

Tracks 5-7 likely recorded at the Louisiana Hayride, Shreveport, Louisiana, January 15, 1955.
Source for tracks 5-7: Digital transfer of acetate in very poor condition.
Some parts duplicated and edited to create near-complete performances.

Track 8 recorded at WJOI Radio, Florence, Alabama January 19, 1955.
Source for track 8: Digital transfer of acetate in poor condition.

Track 9 recorded at KSIJ Radio, Gladewater, Texas, 1955.
Source for track 9: Digital transfer.

Tracks 10-13 likely recorded at the Louisiana Hayride, Shreveport, Louisiana, January 22, 1955.
Source for tracks 10-13: Digital transfer of acetate in very poor condition. Some parts duplicated and edited to create near-complete performances.

Tracks 14-19 likely recorded at the Louisiana Hayride, Shreveport, Louisiana, March 5, 1955.
Source for tracks 14-19: Digital transfer of fragments of acetate in very poor condition (which was destroyed in the process). Some parts duplicated and edited to create near-complete performances.

Tracks 20-24 likely recorded at the Eagles' Hall, Houston, Texas, March 19, 1955. Track 21 could be from a different performance the same week.
Source for tracks 20-24: RCA reference tape copy.

Track 25 recorded at Gladewater High School, Gladewater, Texas, April 30, 1955.
Source for tracks 25: RCA reference tape copy.

Track 26 recorded at motel in Jacksonville, Florida on either May 12 or July 28, 1955.
Source for track 26: Digital transfer of 1981 BBC broadcast tape copy.

Track 27 recorded at the Jimmie Rodgers Memorial Festival, Meridian, Mississippi, May 26, 1955.
Source for track 27: Broadcast tape.

Track 28 recorded at the Louisiana Hayride, Shreveport, Louisiana, July 2, 1955.
Source for track 28: Digital transfer of acetate in very poor condition. Some parts duplicated and edited to create near-complete performance.

Tracks 29-31 recorded at the Louisiana Hayride, Shreveport, Louisiana, August 20, 1955.
Source for tracks 29-31: RCA reference tape copies.

Track 32 recorded at WMPS Radio, Memphis Tennessee, between August 29-31, 1955.
Source for track 32: Digital transfer

Quelle: FECC-Forum

[Loverdoll]

HMMMM, ein üppiges Teil

[Olli1105]

[QUOTE=El Toro;887699]Laut FECC-Forum soll das die "official tracklist" sein:

Elvis: A Boy From Tupelo [Follow That Dream, 2012]


27 I’m Left, You’re Right, She’s Gone (slow version, take 1) 3:00
28 I’m Left, You’re Right, She’s Gone (slow version, take 2) 2:51
29 I’m Left, You’re Right, She’s Gone (slow version, take 3) 2:51
30 I’m Left, You’re Right, She’s Gone (slow version, take 4) 0:10
31 I’m Left, You’re Right, She’s Gone (slow version, take 5/M) 2:40
32 I’m Left, You’re Right, She’s Gone (slow version, take 6) 2:40
33 I’m Left, You’re Right, She’s Gone (slow version, take 7) 1:35


Auf der "The Sun Session CD" von 1987 gab es (angeblich) noch den Take 9 & 12 Waren diese Angaben völlig falsch und sind nun in die ersten Takes eingeflossen?

[Herbi]

..schau mal hier!!!

[Ciscoking]

Ich glaub, die hatten die takes damals falsch..anstatt 1-7, 7-13...
dann müsste 9 der 3. und 12 der 6. gewesen sein.

[Olli1105]

Wirklich schade, dass es kaum noch Takes von anderen Songs gab. Und wenn dann nur noch von solchen (für mich) absoluten Gurken "Harbor Lights" und "I Love You Because":traurig: Freue mich trotzdem sehr, obwohl das Erscheinen der Liveversion von "I Forgot..." bei mir irgendwie wieder so ein Unvollständigkeitsgefühl auslöst

[PatrickVaals]

Elvismatters meldet bereits brachten wir die Nachricht, mit der komplette Trackliste von "A BOY FROM TUPELO". Die Überraschung auf dem Set ist die Acetat-Version von Little Mama, einem Lied, das im Jahr 1954 aufgenommen und sich im Besitz von Sammler Sherif Hanna befindet. Die Qualität ist weit entfernt von jeder SUN Fassung, sie ist aber historisch wertvoll. Elvis nahm wohl die Melodie von den "Clovers", die einen Hit mit ihrer Version hatten.

[Joe S.]

Ist die Louisiana Hayride Show vom MRS durch diese VÖ überflüssig?

[King77]

Little Mama stammt nicht von 1954 obwohl Elvis den Song auch schon 1954 live gesungen hat.Hier wird uns ein comp. Hayride Auftritt vom 5.3.55 geboten.Alle Songs von diesem Datum waren bis jetzt unveröff.also Tweedle Dee,Mones Honey,Hearts Of Stone,Shake,Rattle And Roll,Little Mama,You're A Heartbreaker.
Dann haben wir noch That's All Right vom 26.5.55 als neue Aufnahme u. Shake,Rattle And Roll vom 19.1.55.
Dann noch die Out-Takes von Blue Moon,Harbor Lights u. When It Rains.Hier gibt es übrigens einige neue Erkenntnisse was die Take Angaben betrifft.Hier sieht man mal wieder dass die Angabenin diversen Büchern bei den Sun Sessions alle unrichtig u. zum vergessen sind.Hier müssen wir alle wieder ein wenig umdenken weil alle Angaben was die Master u. Takes betrifft bis jetzt falsch waren.

[RADER]

Ist die Louisiana Hayride Show vom MRS durch diese VÖ überflüssig?

Die von Dir erwähnte Show ist vom 15. Dezember 1956, die Box aber heißt .... 1953-1955.

[TheKing]

Was bedeuten denn diese IPS Angaben was ist das?

[TheKing]

Qualität der Aufnahme...Inch per second..ist das die Bandgeschwindigkeit? War jetzt mal geraten...

[burroughs]

was genau hat die qualität mit der laufgeschwindigkeit zu tun

[Elvis1967]

Wirklich schade, dass es kaum noch Takes von anderen Songs gab. Und wenn dann nur noch von solchen (für mich) absoluten Gurken "Harbor Lights" und "I Love You Because":traurig: Freue mich trotzdem sehr, obwohl das Erscheinen der Liveversion von "I Forgot..." bei mir irgendwie wieder so ein Unvollständigkeitsgefühl auslöst

Ey,Mann was heißt hier Gurken.Es sind SUN Aufnahmen und da sollte man doch glücklich sein,über jeden Zentimeter Ton, den man aus dieser Zeit bekommt.Auch ich höre " That`s all right " , oder " Mystery train " lieber als " Harbor lights ", oder " I love you because ", aber ich freue mich über diese Aufnahmen genauso, als würde ich einen Outtake von " That`s all right " bekommen.Seien wir doch froh,nach so langer Zeit endlich mal wieder SUN Outtakes und unveröffentliche Liveaufnahmen aus dieser wichtigen Elvis Zeit zu bekommen.Nur, dann wird wohl auf Jahre, oder überhaupt nichts mehr aus der SUN Zeit kommen,denn es ist nun mal so,wenn Ernst erstmal ein Thema ( sei es eine bestimmte Session,LP, oder Konzertreihe - siehe FTD Another saturday night - ) so zu sagen auf FTD herausgebracht hat,dann ist dieses Thema sozusagen für ihn " erledigt ".Auf eine weitere Glücksspule, wie " I forgot to remember to forget ", wage ich nicht mehr zu glauben. ( Aber hoffen,das so etwas nochmal passiert - youtube - darf man ja.)

[Dr.Nic]

was genau hat die qualität mit der laufgeschwindigkeit zu tun

ne ganze Menge...
gleiche Informationen auf wenig Platz oder viel Platz unterbringen
heißt entweder eine hochwertige Kompression mittles Encoder im Highendbereich zu nutzen
oder aber nach damaligen Verhältnissen eben auf einer Bandspule die Infos nebeneinander in höherer Dichte zu schreiben, dass das beim Auslesen bzw. Abspielen für Schwierigkeiten sorgt bzw. für schlechteren Klang, weil sich die magnetisierten Partikel gegenseitig stören