Review : A Boy From Tupelo : The Complete 1953-55 Recordings FTD Book & 3 CD Set

A Boy From Tupelo : The Complete 1953-55 Recordings is a solid 4.1 kg [9 pounds] hardcover book with a lift out containing three CDs [4.6 kg together in the solid slip case] with every single second of material known to exist of Elvis' SUN recordings. All the masters, many astonishing outtakes, rare live recordings.

 A Boy From Tupelo : The Complete 1953-55 Recordings : SOLD OUT

The Music : Quality

Immediately on hearing the first song I played [I started with disc 2] from the 'A Boy From Tupelo' set, [Harbor Lights, outtake] I just instantly felt - knew - I was hearing something for the first time, something very GOOD. I do not quite know at this time how to put words to what my ears are telling me, only that I trust my instincts, it is subtle, well a bit more than that really as it was an immediate impression, exciting is a good word, fresh?, clearer? more 'in the room with Elvis'? whatever it is the sound is sensational as is listening to the outtakes. The same applies to the masters on disc one and many of the live tracks, 'Little Mama' is actually really very good. We have the reason, the book explains that there was more than 1500 hours of restoration work on the audio and almost 200 hours of additional studio time for mastering. This is quite remarkable!!!

Ernst Jorgensen : 'Re. Sound: There is no magic trick, only endless hours of painstaking restoration work. Each recording represent a different issue, but I'm terribly proud of what Sebastian has achieved here. It's one of these!jobs that if you knew at the beginning how tough it would be, you might not have even started ...'

* The work carried out on the four pre-Sun acetates is very evident and it's doubtful if these could ever be improved further; Blue Moon Of Kentucky in it's new 45 rpm transfer is something of a revelation and in my eyes is one of the absolute highlights of the entire set; same with the previously unheard dry master of That's All Right; a fraction more of pre-recording room ambiance can be heard at the start of an improved I'll Never Let You Go (Little Darlin'); I Don't Care If The Sun Don't Shine offers greater depth and better bass definition than heard before; the unclipped Just Because is a delight to hear eventually and despite it's inferior source Milkcow Blues Boogie now sounds terrific; I don't hear much improvement with You're A Heartbreaker - arguably the poorest sounding of all the Sun masters; the slow version of I'm Left, You're Right, She's Gone packs a really clean punch and illustrates just how great the existing original Sun tapes sound. [End *] The material on the first disc will be familiar to Elvis fans, but it's nice to have it all in one place; you may have missed or forgotten some, and the chronological order of the tracks gives a new insight into Elvis' growing confidence, both musically and personally - he abandons any remaining genre boundaries and shakes off residual self-consciousness. It opens with the jumping That's All Right that showed Carl Perkins the boy was more than just a 'good ballad singer', but a kid who had the right blend of naivete and knowledge to mix blues, gospel, country, pop, and bluegrass into something entirely new. Elvis' minimal Blue Moon remains one of the most haunting tunes ever committed to vinyl - just a barely existent loping beat and inaudible guitar backs up his soothing croon and unearthly falsetto; even after repeated listenings, it still provokes goosebumps. ** Elvis omits the song's bridge - the optimistic portion of the original lyric -- instead substituting a wordless moan, somewhere in-between the perfect falsetto of Slim Whitman (heard just a few weeks earlier at the Overton Park Shell show) and the lonely cry of a prairie wolf. [End **] 'Blue Moon, you saw me standing alone, without a dream in my heart, without a love of my own'. Trying to Get to You and When It Rains It Pours are seductive, gospel-influenced numbers that show the boy's sweet tenor turning into a man's howl.

FTD wisely devoted the first disc to the original takes, dedicating the second to alternate takes and the third to the live recordings. This sequencing emphasizes the brilliance of this music.

Not only is listening to all 19 masters in a row quite breathtaking, but the second and third discs wind up as a revelatory experience, since they offer a kind of alternate history by following Elvis' pre-professional recordings from his Sun sessions to early live performances.

The Music : The Live Recordings

*** The live and radio recordings - this is truly where this set comes off aces. It is clear tremendous labour and dedication has been applied to these recordings, that range from excellent to mainly very rough audio sources. These recordings really set the picture in place of Elvis on the road and make a great audio support to the wealth of images contained within the book. The recordings are speed corrected and carefully restored.

Knowing that some of these tracks come from fragmented sources and that the recordings have been salvaged as they have been is mind blowing. It is fantastic that these delicate recordings have been treated with the right respect to present the music as naturally eq'd as possible. The tones on the supporting piano on some numbers sound like a piano should, even through the noise. If you sit back, close your eyes and take these recordings in you can really put yourself into the experience. I could never get into the poor acetate recordings on 'Sunrise' but now I can finally enjoy and appreciate them. As for Little Mama? Amazing. [End ***]

The Music : Tracklisting Overview

The set contains all the masters including the RCA masters for That's All Right 1:59 [RCA single version], Blue Moon of Kentucky 2:05 [RCA single version 78 RPM Master, with added echo] and I Love You Because 2:45 [RCA LP version] along with a enticing selection of alternate takes of Harbor Lights, I Love You Because (5 takes), That's All Right (takes 1-2 ) 0:20, That's All Right (take 3) 1:58, That's All Right (Original SUN Single Master), Blue Moon (9 takes), I Don't Care if the Sun Don't Shine, I'm Left, You're Right, She's Gone (slow version, 7 takes), How Do You Think I Feel and When It Rains It Really Pours. On the third disc we have rare live recordings, with a first time ever release of the song Little Mama, a song recorded in 1954. The quality is inferior to any Sun release, but it's history nonetheless. Looking at the tracklisting in full reveals a set that is a must have ...

Listening to the alternate takes, the voice, so beautiful, so musically innocent, the producers ability to come, just so revealing and yet another example of one of those '50 Voices of Elvis Presley'.

The Music : Significance

This IS the holy grail of Elvis Presley, his genius moment, the very origin of modern music. A MUST HAVE ITEM.

When some future aesthete ponders the artistic high points of Western civilization, Elvis Presley's Sun Sessions will undoubtedly have a place of honor on the list. Nearly 60 years later, these recordings still sparkle with a sort of eternal innocence and infinite possibility. Peter Guralnick : 'If Elvis Presley had never made another record after his last Sun session in the fall of 1955, there seems little question that his music would have achieved much the same mythic status as Robert Johnson's blues. The body of his work at Sun is so transcendent, so fresh, and so original that even today you can scarcely listen to it in relation to anything but itself'. 'Like all great art its sources may be obvious, but its overall impact defies explanation'.

The Book

** The accompanying book [512 pages in 12' by 12' format] is, in essence, a fully-illustrated travelogue with 500 photos of which about 200 are previously unpublished. It thoughtfully details the birth of Elvis' career through facts, anecdotes, documentation, many rare photos, and a succinct narrative.

Independence Day 1954 is when this uniquely American saga begins, less than 24 hours before his first professional recording session, and it ends in December 1955, when the rights to Elvis' SUN tapes officially expire, and the singer leaves Sam Phillips to record for RCA. This is Elvis Presley before he becomes world-famous, and the mystery of how this amazing young man readies himself for stardom, achieving success on a level that no one could have dreamed possible.[End **]

In Conclusion

This set is a must have 'for a hundred thousand reasons' - It is limited to 3000 copies - and these will be gone before you know it and it will be a great regret to the many that don't take their chance to buy this set while they can/could. Just the outtakes of one song, make it worth the price of admission ::: I have been waiting 24 years to hear the delicious seven [7] outtakes of slow version of I'm Left, You're Right, She's Gone that were only released on the 'Sunrise' vinyl 2 LP set in 1988, not the CD version -- and I can say these truly are a delight ::: but of course I would not seriously suggest anyone buy the set for these, it is just one example of how there are just so many gems, so much to recommend, so much to love about both the book and the CDs.

* Text in paragraph from an anonymous FECC post.
** From the FTD press release that is accurate and there is no point trying to re-write perfection!!
*** FECC post by Matthew from New Zealand.

Buy 'A Boy From Tupelo'

The Feedback

Hi, David - I received the box on August 16 appropriately enough. It is simply unbelievable. From the sound quality to the book to the packaging to the music itself this is the finest reissue I have ever seen. My secretary (who was born in Viet Nam) came in and asked me who was singing because his sound was so unusual. Of course she knows Elvis but I explained about Sun Records and played her a few Sun tracks dating back to 'Rocket 88'. Thanks a million for making this wonderful package available. I appreciate your great service! Sam.

Re. Sound: There is no magic trick, only endless hours of painstaking restoration work. Each recording represent a different issue, but I'm terribly proud of what Sebastian has achieved here. It's one of these jobs that if you knew at the beginning how tough it would be, you might not have even started. On the other hand, with Sebastian, he might have done it anyway. It's also terribly expensive – arghhh!! Ernst.

My copy of 'A Boy from Tupelo' arrived on Thursday 16 - very fitting! It made my day (the Express Post parcels always take an extra day to make it out to the northern suburbs of Perth). I opened the package, had a good look through the excellent 'encyclopaedia', listened to CD 1 (great sound). Given the well-timed delivery, I wanted to pass on my appreciation to Elvis Australia for bending over backwards to get the Tupelo sets here in time for the anniversary. You do such a great job. Regards, Jeff.

What can I say about Boy From Tupelo. It is simply amazing and it is going to take weeks to get through all of the book.  Incredible detail and the photos look amazing.  The CD's are terrific as well with a top sound. Thanks again! Always for Elvis, Grant.

What an awesome publication! Michael.

Below : Photo and Audio Samples

Except from the book, A Boy From Tupelo about Dewey Phillips and Elvis Presleys firest record.

SUN 209.

Elvis Presley : Backstage : Tyler : January 25, 1955.

Elvis Presley : Backstage : Gilmer : January 26, 1955

Elvis Presley : Backstage : Gilmer : January 26, 1955.

Elvis Presley : February 26, 1955 : Ad for Cleveland concert.

Elvis Presley : Gilmer : September 26, 1955.

More Preview Images : A Boy From Tupelo : The Complete 1953-55 Recordings : Book & 3 CD Set

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

1. My Happiness 2:33
2. That's When Your Heartaches Begin 2:52
   Source for tracks 1-2: Digital transfer of acetate.
   Self-financed demo recorded July, 1953 at Sun Studio, Memphis.
3. I'll Never Stand in Your Way 2:04
4. It Wouldn't Be the Same (Without You) 2:09
   Source for tracks 3-4: Digital transfer of acetate in very poor condition.
   Self-financed demo recorded January 4, 1954 at Sun Studio, Memphis.
5. Harbor Lights 2:38
6. I Love You Because 2:43
7. That's All Right [45 SUN RPM Master] 2:00 [Original SUN sound as released in 1954]
   Sources for tracks 5-6: Original SUN tapes.
   Track 5 possibly recorded July 5, 1954.
   Tracks 6-7 recorded July 5, 1954 at Sun Studio, Memphis.
   Source for track 7: 45 rpm SUN single (plastic).
8. Blue Moon of Kentucky (45 SUN RPM Master] 2:07 [Original SUN sound as released in 1954]
   Source: 45 rpm SUN single (plastic). Recorded July 7, 1954 at Sun Studio, Memphis.
9. Blue Moon 2:44
   Source: Original SUN tape. Likely recorded between August 15 and 19, 1954 at Sun Studio.
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
    Sources for tracks 10, 11, 13 and 14: RCA reference tapes (30 ips).
    Tracks 10-14 likely recorded between September 12-16, 1954 at Sun Studio, Memphis.
    Source for track 12: Digital transfer of SUN tape, with repairs from a digital transfer of a tape copy.
15. Milkcow Blues Boogie 2:39
16. You're a Heartbreaker 2:13
    Sources for tracks 15-16: 78 rpm SUN single (shellac).
    Recorded either mid-November or mid-December 1954 at Sun Studio, Memphis.
17. I'm Left, You're Right, She's Gone [Slow Version] 2:43
    Source: Original SUN tape. Recorded between mid-November 1954 and mid-April 1955 at Sun Studio. The reel has March 5 written on it, but Elvis was at the Louisiana Hayride that day.
18. Baby Let's Play House 2:19
    Source: RCA reference tape (30 ips). Likely recorded between January 30 and February 4, 1955 at Sun Studio. 'I Got a Woman' and 'Tryin' to Get to You' were also recorded, but have been lost.
19. I'm Left, You're Right, She's Gone 2:38
    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.
    Likely recorded mid-April 1955 at Sun Studio, Memphis.
20. I Forgot to Remember to Forget 2:31
    Source: SUN tape copy. Recorded mid-July, 1955 at Sun Studio.
21. Mystery Train 2:30
    Source: SUN tape copy, with ending from digital transfer of 78 rpm RCA single.
    Recorded mid-July, 1955 at Sun Studio, Memphis.
22. Tryin' to Get to You 2:36
    Source: RCA reference tape (30 ips). Recorded mid-July, 1955 at Sun Studio.
23. When It Rains It Pours 2:06
    Source: Original SUN (vocal channel) slapback tape. Recorded November 1-4, 1955 at Sun Studio. Elvis' 1957 re-recording of the song was released under the title 'When It Rains, It Really Pours'.
24. That's All Right 1:59 [RCA single version] RCA reference tape (30 ips). [With RCA added echo]
    Source: RCA reference tape (30 ips). [With RCA added echo]
25. Blue Moon of Kentucky 2:05 [RCA single version 78 RPM Master]
    Source: 'Elvis at Sun' master, derived from digital transfer of 78 RPM SUN single (shellac).
26. I Love You Because 2:45 [RCA LP version : spliced from takes 3 & 5]
    Source: RCA master tape. Steve Sholes' original notes have these takes as 2 & 4.
27. Tomorrow Night 2:56 [RCA LP version : overdubbed and slowed down]
    Source: 1965 RCA work part tape for the 'Elvis for Everyone' LPM-3450 production master tape.

Disc 2: The Sun Studio Sessions

1. Harbor Lights (takes 1-2, level adjustments) 0:33
2. Harbor Lights (take 3/M) 2:53
3. Harbor Lights (take 4) 2:38
4. Harbor Lights (takes 5-6) 1:23
5. Harbor Lights (take 7) 2:25
6. Harbor Lights [take 8] 0:26
   Source for tracks 1-6: Original SUN tape. Possibly recorded July 5, 1954 at Sun Studio, Memphis.
7. I Love You Because (take 1) 0:23
8. I Love You Because (take 2) 3:28
9. 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
    Source for tracks 7-13: Original SUN tape. Recorded July 5, 1954 at Sun Studio, Memphis.
14. Dialogue 0:20
15. Blue Moon of Kentucky (slow tempo outtake) 1:08
    Source for tracks 14-15: Digital transfer of SUN tape. Likely recorded July 7, 1954 at Sun Studio.
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
    Source for tracks 16-21: Original SUN tape. Likely recorded between August 15 and 19, 1954.
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
    Tracks 22-26 likely recorded between September 12 and 16, 1954 at Sun Studio, Memphis.
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
    Source for tracks 27-33: Original SUN tape. Recorded between mid-November 1954 and mid-April 1955 at Sun. The reel has March 5 written on it, but Elvis was at the Louisiana Hayride that day.
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
    Source for tracks 34-35: Digital transfer of SUN (guitar channel) slapback tape.
    Recorded between mid-November 1954 and mid-April 1955 at Sun Studio, Memphis.
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
    Source for tracks 36-41: Original SUN (vocal channel) slapback tape.
    Recorded between November 1-4, 1955 at Sun Studio, Memphis.

Disc 3: Live And Radio Performances

1. That's All Right 2:52
2. Blue Moon of Kentucky 2:23
   Source for tracks 1-2: RCA reference tape copy.
   Recorded at Louisiana Hayride debut, Shreveport, Louisiana, October 16, 1954.
3. Shake, Rattle and Roll 2:24
4. Fool, Fool, Fool 1:59
5. Hearts of Stone 2:02
6. That's All Right 1:52
7. Tweedlee Dee 2:51
8. Shake, Rattle and Roll 2:23
9. 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
    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. Likely recorded at the Louisiana Hayride, Shreveport, Louisiana, March 5, 1955.
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
    Source for tracks 20-24: RCA reference tape copy. Likely recorded at the Eagles' Hall, Houston, Texas, March 19, 1955. Track 21 could be from a different performance the same week.
25. Tweedlee Dee 2:47
    Source for tracks 25: RCA reference tape copy.
    Recorded at Gladewater High School, Gladewater, Texas, April 30, 1955.
26. Interview with Mae Boren Axton 3:19
    Source for track 26: Digital transfer of 1981 BBC broadcast tape copy.
    Recorded at motel in Jacksonville, Florida on either May 12 or July 28, 1955.
27. That's All Right 2:37
    Source for track 27: Broadcast tape.
    Recorded at the Jimmie Rodgers Memorial Festival, Meridian, Mississippi, May 26, 1955.
    Source for track 26: Digital transfer of 1981 BBC broadcast tape copy.
    Recorded at motel in Jacksonville, Florida on either May 12 or July 28, 1955.
28. I'm Left, You're Right, She's Gone 3:16
    Source for track 28: Digital transfer of acetate in very poor condition.
    Some parts duplicated and edited to create near-complete performance. Recorded at the Louisiana Hayride, Shreveport, Louisiana, July 2, 1955.
29. Baby Let's Play House 3:19
30. Maybellene 3:09
31. That's All Right 2:49
    Source for tracks 29-31: RCA reference tape copies.
    Recorded at the Louisiana Hayride, Shreveport, Louisiana, August 20, 1955.
32. Interview with Bob Neal 5:31
    Source for track 32: Digital transfer.
    Recorded at WMPS Radio, Memphis Tennessee, between August 29-31, 1955.

A Boy From Tupelo : The Complete 1953-55 Recordings.

Photo Preview

We're proud to show you some extra pictures of the upcoming SUN : Bible A Boy From Tupelo : The Complete 1953-55 Recordings : Book & 3 CD Set, Ernst Jorgenson's masterpiece. The book is loaded with unseen pictures. It's hard to believe that so many photos were taken prior to 1956, in an era where photography was 'new technology'. Well, all the pictures are here for the first time with the exact dates and exact names of posing fans such as - see picture in the middle - Marileon Hopkins. Also note both pictures below. On the left is Onie Wheeler, on the right is Elvis. Notice something special? Indeed, Onie allowed Elvis to wear his country style jacket for one night. Same jacket, but a world of difference. And that's even without the 3 CD's!Our advice: since there won't be a reprint, we recommend that you pre order your copy, so you don't have to worry about paying too much afterwards.

Close Up : A Boy From Tupelo ...  

Preview : A Boy From Tupelo : The Complete 1953-55 Recordings : Book & 3 CD Set.

The accompanying book [512 pages in 12" by 12" format] is, in essence, a fully-illustrated travelogue with 500 photos of which about 200 previously unpublished. It thoughtfully details the birth of Elvis' career through facts, anecdotes, documentation, many rare photos, and a succinct narrative.

Independence Day 1954 is when this uniquely American saga begins, less than 24 hours before his first professional recording session, and it ends in December 1955, when the rights to Elvis' SUN tapes officially expire, and the singer leaves Sam Phillips to record for RCA.

This is Elvis Presley before he becomes world-famous, and the mystery of how this amazing young man readies himself for stardom, achieving success on a level that no one could have dreamed possible.

All audio has been re-mastered and restored as best we could, but Disc 3 has pretty rough audio. The book is 512 pages in 12' by 12' format and includes more than 500 photos of which about 200 are previously unpublished. If you are not an expert in this period of Elvis' career, a lot more photos will be new to you. Many familiar photos will be seen in best ever quality, but since this is a historical document, there will also be many images of less quality, included for their rarity value and support of the story. The book also includes, for the first time, Steve Sholes' original notes on the Sun tapes. The project will come in a slip case (like 'Young Man With The Big Beat') that holds both the book and the CD holder (a double album type package).

FTD have advised us that they have 'had to gamble on the print run for 'A Boy From Tupelo' as reprints seem financially impossible, so in that way this is a limited edition, and only a miracle can change that'. Just from feedback since our just announcing the release date, we can surely predict this will be FTDs biggest selling book set, and also their very fastest selling item. So as with 'Fashion For A King', released only last year, and now sold out, 'A Boy From Tupelo' could easily be sold out just as quickly. So get your pre-order in now!!.

Preview : A Boy From Tupelo : The Complete 1953-55 Recordings : Book & 3 CD Set.

A Boy From Tupelo : The Complete 1953-55 Recordings

© Copyright 2024 by www.elvis.com.au & www.elvispresley.com.au

https://www.elvis.com.au/presley/reviews/review-a-boy-from-tupelo-the-complete-1953-55-recordings-ftd-book-3-cd-set.shtml

No part of any article on this site may be re-printed for public display without permission.