Check out A Boy From Tupelo track listing

A Boy From Tupelo (concept cover art)

This has been another fantastic week of Elvis release news. Today, Follow That Dream Records revealed the track listing for the long-awaited A Boy From Tupelo: The Complete 1953-55 Recordings, FTD’s SUN boxed set that includes a 512-page book and three CDs. FTD, Sony’s collectors label for Elvis fans, will release the set next month.

It appears that Elvis Matters was the first site to break the track listing news, though I first read about it over on a For Elvis CD Collectors Forum thread started by Greg1995. On that thread, FECC member Good Time Charlie took the time to reformat the track listing to make it more palatable. I’ve used his version for the below, with a few very minor tweaks of my own. A big thank you to Charlie for allowing me to use his work.

Elvis Presley: A Boy From Tupelo – The Complete 1953-55 Recordings

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 SUN Master] 2:00
08) Blue Moon Of Kentucky [45 RPM SUN 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 [78 RPM SUN Master] 2:39
16) You’re A Heartbreaker [78 RPM SUN Master] 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 [78 RPM SUN 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 8) 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 8) 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 8) 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.

* * *

A Boy From Tupelo looks like it will indeed be the definitive SUN set. I’m most looking forward to hearing the original SUN 45 RPM version of “That’s All Right.” I’ve only heard the RCA version, which has added echo.

In Other News…

One of the many reasons I finally pounced on Elvis: The Complete Masters Collection was to obtain the Vic Anesini mastering of Elvis As Recorded At Madison Square Garden, which has been in dire need of an audio upgrade since its original CD release in the early 1990s. As soon as I placed the order, I thought, “Now everyone will have to thank me for finally buying it, as this will guarantee a Sony Legacy Edition release of Madison Square Garden in the near future.” This kind of thing happens to me all the time, you see.

Sure enough, Sony recently announced a Legacy Edition release of As Recorded At Madison Square Garden. So, you’re welcome!

The Legacy Edition, due in October for the US, will contain a remastered version (presumably, Anesini’s) of the original album using the vintage mix of the June 10, 1972, Evening Show. Sony will couple it with the June 10, 1972, Afternoon Show, previously released as An Afternoon In The Garden, to make a nice tw0-disc set. Since I already have the upgraded As Recorded At Madison Square Garden on The Complete Masters Collection, I’ll be skipping this Legacy Edition.

However, Sony is releasing another Madison Square Garden set at the same time. Prince From Another Planet: As Recorded At Madison Square Garden is a three-disc set consisting of two CDs and one DVD. The CDs will contain new mixes of both of the June 10 shows by Michael Brauer (i.e., this is not the vintage As Recorded At Madison Square Garden mix that will be on the Legacy Edition).

Since the historic mix has been properly preserved, this is a chance to do something different. I’m excited to hear what Brauer has come up with for these shows.

The 40-minute DVD will contain portions of Elvis’ Madison Square Garden press conference (a favorite of mine) and live performance material from the show. To date, no video footage of the Madison Square Garden shows has been officially released, so that alone makes Prince From Another Planet a must-have for fellow fans of this Elvis era.

So, something funny happened when I was Googling for more information on Prince From Another Planet. I found out that I named it!

Well, not really. However, I came across my own comment from July 3, 2011, on this very blog in the search results:

“[C]an you imagine… a 5 CD set, the 1972 equivalent of ‘Young Man With The Big Beat,’ containing the 3 CDs I mentioned above [the remaining April 1972 ‘Elvis On Tour’ shows], plus the two Garden shows to round out the other 2 CDs? Call it ‘A Prince From Another Planet.’ Then, the Garden shows could be a Legacy Edition as a separate release as well (much like the ‘Elvis Presley’ Legacy Edition is to the 1956 boxed set).”

I had forgotten all about this and was literally shocked to read my own words. I’m sure it’s a total coincidence, of course.

(In case it’s not a coincidence, though, and Sony is really reading this little blog – just give me a call, because I have plenty more Elvis ideas. I’ll be waiting by the phone.)