This is so true.It's ridiculous to suggest that blacks don't support their classic artists.Frankie Beverly and Maze don't even need to put to put out a new album and thousands still go to their shows every year.I have seen audiences go wild at their shows.Same with an EW&F or an Isley Brothers show,and don't even get me started about P-Funk,lol.

thesoulbrother said:

I disagree. Go see a Maze show these days. Frankie Beverly can't even sing but all he has to do is get onstage and over 10,000 black folks are singing "Joy and Pain" for 20 minutes. Even at some of these legends shows like Ohio Players, Zapp, and the Manhattans where it's only one original member of the band, they got an arena having a good time and enjoying themselves.

Do you live in America? I'm just asking because,I go to alot of shows featuring legendary black artists and bands,and I can tell you that you are wrong.These artists get tremendous support from black audiences.Bands like Maze,EW&F,Zapp,etc. manage to sellout shows every year in the US.

MickyDolenz said:

Whites are more likely to support their veteran acts than black people in the US are.

SoulAlive said:

Do you live in America? I'm just asking because,I go to alot of shows featuring legendary black artists and bands,and I can tell you that you are wrong.These artists get tremendous support from black audiences.Bands like Maze,EW&F,Zapp,etc. manage to sellout shows every year in the US

I didn't say that blacks didn't support them at all, but whites are more likely to in a big way, especially with the younger white audience. I mentioned veterans get on Tom Joyner type package shows, but there's few that can tour by themselves like a Paul McCartney and draw a big audience. Maybe Lionel Richie can and that's how he can host American Idol. He's well known enough by the mainstream that a TV network will hire him. EWF is a crossover act. Maze & Zapp can't do a collabo tour with Chicago like EWF can. If a large amount of people really supported the veterans, many of these acts records wouldn't have gone out of print other than a Greatest Hits. They would get the same attention from the labels as the white acts and the crossover ones do. The Beatles & Pink Floyd continue to get written about in rock & pop magazines often. Does Vibe or The Source write about Zapp, Kurtis Blow, or New Edition in the same way? I can find hundreds of books about Elvis Presley including ones of just pictures or of women he's dated, but few if any about Little Richard or Sam Cooke. I can find a lot about Michael Jackson too. Even on MJ fansites The J5/Jacksons & Motown solo era does not get the same attention as the post Off The Wall solo stuff. All I'm saying mainstream acts get more support & documentation. I posted links to the R&B and funk halls of fame, yet people want them to get into the mainstream Rock N Roll Hall Of Fame. I guess R&B fans must want them to get into the Rock Hall for a reason. They want them now to induct acts the average reader of RS didn't notice much during their heyday. Green Day has been on the cover of RS, Guy hasn't. Remember RS wrote a letter basically saying that Michael Jackson wasn't worthy of getting a cover during Off The Wall, but would write an article about him. Implying that putting him on the cover wouldn't sell as well. Maybe R&B fans they don't think that a Funk Hall is enough, if they even know it exists. Maybe R&B fans should support and give more promotion to these museums and not only depend on the Rock Hall to recognize Rick James or whoever.

MickyDolenz said:

LittleBLUECorvette said:

An R&B act to even get recognized by the Rock Hall have to have had some type of cross over success. Someone like Maze or Slave who was big in the r&B world had very little success on the pop field will never get nominated. There may be 5 R&B bands in the Rock Hall. P-Funk, EWF, Isleys, Sly Family Stone, and the J5 if you count them as a band. Not the same on the other side of the pond.

I think it's likely that Destiny's Child will get in the 1st year they qualify. Maybe not for the group itself, but because of Beyoncé's success. I wonder if they will count LeToya & LaTavia or just Michelle. Beyoncé has won (22) and been nominated for more Grammys than a lot of those older R&B acts. Only Stevie Wonder has won more than her and if she wins 3 more she will be tied with him. She has to get 9 more to tie with 1st place with Georg Solti. It's like Lil Wayne has more Hot 100s than James Brown & Elvis Presley. So that might mean Wayne will eventually get in.

MickyDolenz said:

This is what I'm talking about, the highest grossing tours in 2017 from Pollstar:

There's 3 acts who debuted in the 1960s (Paul McCartney, Rolling Stones, Roger Waters)
2 from the 1970s (Billy Joel, Tom Petty & The Heartbreakers)
6 from the 1980s (U2, Guns N' Roses, Metallica, Depeche Mode, Céline Dion, Red Hot Chili Peppers)
3 from the 1990s (Garth Brooks, Tim McGraw, Faith Hill)
The other 7 are from the 2000s (Coldplay, Bruno Mars, Ed Sheeran, Justin Bieber, Lady Gaga, The Weeknd, Ariana Grande)

The only act here that is R&B is The Weeknd and he's only been out a few years. It's interesting that the 1990s acts are country. The Chili Peppers mainstream popularity happened in the 1990s, but their debut album came out in 1984

LittleBLUECorvette said:

Destiney Child gettin in depends on groups like TLC or En Vogue gettin in. And then 70s-80s groups like Emotions, Pointer Sisters are not in. Would they just skip a whole genetation of female groups? Ronnets, Supremes, Vandellas, ect and 60s girls groups are in. 70s, 80s, early 90s missing. I mean Jackson 5 didn't get in first year bu Mike did. And DC while successful, Beyonce blows their success out the water. And it's not like DC influenced any one. Hie many girl groups have came out since DC debuted on the charts. Danity Kane lol. Pussy Cat Dolls. 2 groups.

Who did Percy Sledge influence? Also, they skipped Salt N Pepa & LL Cool J to induct Tupac & NWA. They put in Madonna before Donna Summer. Although there were female rappers before them, Salt N Pepa was the first to become popular in themselves rather thant having 1 or 2 songs to become hits. They also had crossover success and a lot of MTV play unlike Sha Rock, the Roxannes or The Sequence. There were punk groups before Green Day as well. Why not Fishbone? The 1970s punk groups didn't sell as well or get pop airplay like Green Day or Blink 182 did.

^^Also The Supremes & Ronettes are in. Mary Wells isn't. But not many females have been inducted period. Rock (and rap) are primarily considered male genres. I remeber when they had Album Oriented Rock (AOR) stations, few women were played and most were in a band with guys like Fleetwood Mac.

MickyDolenz said:

SoulAlive said:

Do you live in America? I'm just asking because,I go to alot of shows featuring legendary black artists and bands,and I can tell you that you are wrong.These artists get tremendous support from black audiences.Bands like Maze,EW&F,Zapp,etc. manage to sellout shows every year in the US

I didn't say that blacks didn't support them at all, but whites are more likely to in a big way, especially with the younger white audience. I mentioned veterans get on Tom Joyner type package shows, but there's few that can tour by themselves like a Paul McCartney and draw a big audience. Maybe Lionel Richie can and that's how he can host American Idol. He's well known enough by the mainstream that a TV network will hire him. EWF is a crossover act. Maze & Zapp can't do a collabo tour with Chicago like EWF can. If a large amount of people really supported the veterans, many of these acts records wouldn't have gone out of print other than a Greatest Hits. They would get the same attention from the labels as the white acts and the crossover ones do. The Beatles & Pink Floyd continue to get written about in rock & pop magazines often. Does Vibe or The Source write about Zapp, Kurtis Blow, or New Edition in the same way? I can find hundreds of books about Elvis Presley including ones of just pictures or of women he's dated, but few if any about Little Richard or Sam Cooke. I can find a lot about Michael Jackson too. Even on MJ fansites The J5/Jacksons & Motown solo era does not get the same attention as the post Off The Wall solo stuff. All I'm saying mainstream acts get more support & documentation. I posted links to the R&B and funk halls of fame, yet people want them to get into the mainstream Rock N Roll Hall Of Fame. I guess R&B fans must want them to get into the Rock Hall for a reason. They want them now to induct acts the average reader of RS didn't notice much during their heyday. Green Day has been on the cover of RS, Guy hasn't. Remember RS wrote a letter basically saying that Michael Jackson wasn't worthy of getting a cover during Off The Wall, but would write an article about him. Implying that putting him on the cover wouldn't sell as well. Maybe R&B fans they don't think that a Funk Hall is enough, if they even know it exists. Maybe R&B fans should support and give more promotion to these museums and not only depend on the Rock Hall to recognize Rick James or whoever.

Your post is very interesting to read and I agree with a lot of what you said.

I read interviews from old-school R&B and funk artists too and they said they received more love and had a good following in Europe and Asia and I read articles about some of the 80s and 90s rappers stay touring in Asia countries because it helped their careers stay alive. I always thought funk music especially doesn't get the same and respect here in the States outside maybe the South region and the bigger cities like New York and LA.

I also agree I would love to see some women artists like Evelyn King and Stacy Lattisaw and Mary Jane Girls and Klymaxx in R&B and funk hall of fame unless they already there or even Rock & Roll Hall of Fame for at least Evelyn King as she went mainstream with a few of her songs.

MickyDolenz said:

^^Does a Maze tour make the same amount of money as the Stones, Paul McCartney or Bon Jovi today? Do they have Monopoly games, video games, dolls, Lego, clothes, etc like The Beatles or a KISS Kasket? Does Maze tour by themselves or on package shows. How many early rappers release new music at all? When was the last time Maze had a new record? Charlie Wilson still actively releases new stuff and has airplay on adult R&B stations for his new music, but he's an exception. The Isleys reached younger audiences awhile back with "Mr Biggs".

Friend... lets be real here. I can speak for many people and say that I could care less about playing with a Maze featuring Frankie Beverly Lego set or a Charlie Wilson doll! Yeah... that's real cute that the Stones, Macca, and Bon Jovi got those nice trinkets. Maze hasn't had a record in 25 years and can still have everyone in the Superdome on their feet and having a good time. Those acts that you mentioned have huge, corporate, money-making machines behind them and I am not knocking them at all. But I can guarandamntee you that at the end of a show, I have a snowball chance in hell of shaking Mick and Keith's hand. I love going to R&B and hip-hop shows because I walk away with memories. Yes, I had a damn good time seeing Eric B and Rakim recently. You know what made that experience one that I will never forget? Having these hip-hop LEGENDS take the time to show me love, personally thank me, AND sign my vinyl albums. I think it's pretty damn awesome to go to the Essence Fest in New Orleans and see Patti LaBelle in Popeyes eating a two-piece and signing autographs for fans. You mention the Tom Joyner cruise but guess what? My kinfolk went on one and came back with a camera full of pictures of everyone they met and hung out with from Charlie Wilson to the Isleys. Is Paul McCartney gonna sign my Abbey Road album? Please. I once saw Mint Condition at the Arena several years ago and had a chance to meet Stokley afterwards. You know what that man said to me? "We are going to a jazz cafe and woud love for you to come and hang out with us." I did just that and had a blast. I doubt like hell Keith Richards would personally invite me anywhere. Oh... but they'll take my hard earned dollars because they are playing stadiums. Man... it's not about all that bullshit. Give me an up close and personal experience with one of my favorite artists anyday of the week versus sitting up in a damn nosebleed seat for an overpriced seat!

MickyDolenz said:

LittleBLUECorvette said:

Destiney Child gettin in depends on groups like TLC or En Vogue gettin in. And then 70s-80s groups like Emotions, Pointer Sisters are not in. Would they just skip a whole genetation of female groups? Ronnets, Supremes, Vandellas, ect and 60s girls groups are in. 70s, 80s, early 90s missing. I mean Jackson 5 didn't get in first year bu Mike did. And DC while successful, Beyonce blows their success out the water. And it's not like DC influenced any one. Hie many girl groups have came out since DC debuted on the charts. Danity Kane lol. Pussy Cat Dolls. 2 groups.

Who did Percy Sledge influence? Also, they skipped Salt N Pepa & LL Cool J to induct Tupac & NWA. They put in Madonna before Donna Summer. Although there were female rappers before them, Salt N Pepa was the first to become popular in themselves rather thant having 1 or 2 songs to become hits. They also had crossover success and a lot of MTV play unlike Sha Rock, the Roxannes or The Sequence. There were punk groups before Green Day as well. Why not Fishbone? The 1970s punk groups didn't sell as well or get pop airplay like Green Day or Blink 182 did.

Because it's a damn popularity contest, chief! Not to mention, the RRHOF plays it safe. It's all about crossover and popularity. I love NWA but Ice Cube makes comedies and Dre makes headphones now. They are safe. Public Enemy? You can thank Flava Flav and VH-1 for their induction. Tupac is now a t-shirt and Biggie sells Oreos. I could go on for days and days about artists that should be in the RRHOF but are not. Motley Crue and Living Colour should be in. Where's Bad Brains? They influenced the Beastie Boys! And the ladies? Please. Where's Janet Jackson? Should have been in years ago. Chaka Khan? Labelle? It's all a popularity contest, man. Didn't they just induct Nina Simone and Sister Rosetta Tharpe? Are you serious? And truth be told, I am sure a lot of R&B and hip-hop artists could care less about the RRHOF. That shit is like the damn Oscars. What did Phife Dawg say: "I never let a statue tell me how nice I am!" To hell with them shits, B.

thesoulbrother said:

Because it's a damn popularity contest, chief! Not to mention, the RRHOF plays it safe. It's all about crossover and popularity.

I already know that. That's what I've said all along. I was explaining to LittleBLUECorvette that's why the acts he posted in the OP are not likely to get in and also in the other thread about Rick James. It's not about popularity per se but partly about who Jann Wenner likes. It's a Rolling Stone museum. You can guess who is more likely to get in or not if you've ever read it for a period of time.

thesoulbrother said:

Friend... lets be real here. I can speak for many people and say that I could care less about playing with a Maze featuring Frankie Beverly Lego set or a Charlie Wilson doll! Yeah... that's real cute that the Stones, Macca, and Bon Jovi got those nice trinkets.

That's all well & good, but my point is that whites usually support older acts in ways blacks generally don't and buying a doll or a fancy box set are examples of that. It's like Michael Jackson is not likely to have video games, bubble gum, or a Cirque show if he hadn't crossed over big with Thriller. Not that people can get an autograph from Mick Jagger or shake his hand. I think the Stones audience is aware of that, and is not what they're going to their concerts for. Like there's CDs of various takes including studio chatter of The Beatles, Led Zeppelin, and Elvis Presley. That's not likely to happen with the average R&B act because there's probably not really much of an audience who is interested in hearing Teddy Pendergrass messing up a take. My point is that the labels put out these types of releases for rock & pop acts and many R&B albums are out of print in the US and you have to buy an expensive import from Japan. Classic rock is written & talked about more in the media than classic R&B. That is a way for new audiences to hear about them. Going to the Essence Fest or a Tom Joyner cruise is not the same thing as buying the acts albums today. The labels are about money and if old R&B albums sold today (or at least stream) like Elvis or Michael Jackson, then they are likely to give them the same type of attention. Zapp or Midnight Star are not likely to get releases like these.

A Boy From Tupelo: The Complete 1953-1955 Recordings
release: July 28, 2017

Legacy Recordings, the catalog division of Sony Music Entertainment, and RCA Records will release Elvis Presley – A Boy From Tupelo – The Complete 1953-1955 Recordings on Friday, July 28.

Available as a 3CD deluxe box set and a digital collection, A Boy From Tupelo – The Complete 1953-1955 Recordings is the most comprehensive collection of early Elvis recordings ever assembled, with many tracks becoming available for the first time as part of this package and one performance–a newly discovered recording of “I Forgot To Remember To Forget” (from the Louisiana Hayride, Shreveport, Louisiana, October 29, 1955)–being officially released for the first time ever.

A Boy From Tupelo – The Complete 1953-1955 Recordings includes–for the first time in one collection–every known Elvis Presley Sun Records master and outtake, plus the mythical Memphis Recording Service Acetates–“My Happiness”/”That’s When Your Heartaches Begin” (recorded July 1953) and “I’ll Never Stand in Your Way”/”It Wouldn’t Be the Same (Without You)” (recorded January 4, 1954)–the four songs Elvis paid his own money to record before signing with Sun. A Boy From Tupelo – The Complete 1953-1955 Recordings includes every Elvis live performance and radio recording known to exist from the period.

Essential to the understanding and appreciation of Elvis and his explosive impact on pop music and culture, A Boy From Tupelo – The Complete 1953-55 Recordings presents–in the best possible sound– every known Presley recording from his early career, when the world’s first atomic singer fused blues, pop and hillbilly country swing to create an electrifying new music that changed the world.

A Boy From Tupelo – The Complete 1953-1955 Recordings also includes a 120-page book formatted as an illustrated travelogue and datebook chronicling the genesis of Elvis’ early career via facts, anecdotes, memorabilia and many rare photos. Independence Day 1954 is when this unique American saga begins, less than 24 hours before his first professional recording session, and it ends in December 1955, when the singer leaves Sun Records to record for RCA. The material is organized by calendar entries. During the months July through October 1954, the majority of the calendar is empty, as Elvis had his daytime job with Crown Electric, and music making was confined to the weekends and evening hours. This is Elvis Presley before he becomes world-famous, and an account of how this amazing young man readies himself for stardom, a young man on the pinnacle of an unprecedented level of success. “A boy from Tupelo” would become much more than a world-famous superstar, he would become ELVIS!

Behind the making of A Boy From Tupelo – The Complete 1953-55 Recordings lie more than 1,500 hours of restoration work and nearly 200 hours of additional studio time devoted to the painstaking remastering of the material. The results are stunning.

A Boy From Tupelo – The Complete 1953-55 Recordings is produced, researched and written by Ernst Mikael Jørgensen.

Disc one of A Boy From Tupelo – The Complete 1953-1955 Recordings covers the masters Elvis recorded for Sun Records, some variations, and the four sides he paid for himself. Disc two covers all known outtakes, even just the smallest surviving fragments. Disc three covers all the live and radio recordings known to exist.

On July 28th, Legacy Recordings will also release A Boy From Tupelo: The Sun Masters, a single disc 12″ vinyl package that chronicles the rise of Elvis Presley before he became The King of Rock and Roll. Recorded with producer Sam Phillips, guitarist Scotty Moore and bassist Bill Black during his first incredible year as a professional recording artist (July 1954-July 1955), this collection includes Elvis’ complete single A and B-sides for Sun Records, plus additional songs recorded at Sun Studio and released on his landmark self-titled debut album in 1956.

Disc 1
1 My Happiness
2 That’s When Your Heartaches Begin
3 I’ll Never Stand in Your Way
4 It Wouldn’t Be the Same (Without You)
5 Harbor Lights
6 I Love You Because (unprocessed master edit)
7 That’s All Right (45 rpm master)
8 Blue Moon of Kentucky (45 rpm master)
9 Blue Moon
10 Tomorrow Night
11 I’ll Never Let You Go (Little Darlin’)
12 I Don’t Care if the Sun Don’t Shine
13 Just Because
14 Good Rockin’ Tonight
15 Milkcow Blues Boogie
16 You’re a Heartbreaker
17 I’m Left, You’re Right, She’s Gone (slow version)
18 Baby Let’s Play House
19 I’m Left, You’re Right, She’s Gone
20 I Forgot to Remember to Forget
21 Mystery Train
22 Tryin’ to Get To You
23 When It Rains It Pours
24 That’s All Right (RCA single version)
25 Blue Moon of Kentucky (RCA single version)
26 I Love You Because (RCA LP version)
27 Tomorrow Night (RCA LP version)


Disc 2
1 Harbor Lights (takes 1-2, 3/M)
2 Harbor Lights (take 4)
3 Harbor Lights (takes 5-8)
4 I Love You Because (takes 1-2)
5 I Love You Because (take 3)
6 I Love You Because (takes 4-5)
7 That’s All Right (takes 1-3)
8 Blue Moon of Kentucky (slow tempo outtake)
9 Blue Moon (takes 1-4)
10 Blue Moon (take 5)
11 Blue Moon (takes 6-8)
12 Blue Moon (take 9/M)
13 Dialogue (fragment before “Tomorrow Night”)
14 I’ll Never Let You Go (Little Darlin’) (incomplete take)
15 Good Rockin’ Tonight (fragment from vocal slapback tape)
16 I Don’t Care if the Sun Don’t Shine (takes 1-3/M)
17 I’m Left, You’re Right, She’s Gone (slow version, take 1)
18 I’m Left, You’re Right, She’s Gone (slow version, take 2)
19 I’m Left, You’re Right, She’s Gone (slow version, take 3)
20 I’m Left, You’re Right, She’s Gone (slow version, take 4-5)
21 I’m Left, You’re Right, She’s Gone (slow version, takes 6-7)
22 How Do You Think I Feel (guitar slapback tape, rehearsals + take 1)
23 When It Rains It Pours (vocal slapback tape, take 1)
24 When It Rains It Pours (vocal slapback tape, take 2 – rehearsal 1 – takes 3-4)
25 When It Rains It Pours (vocal slapback tape, take 5/M)
26 When It Rains It Pours (vocal slapback tape, take 6-8)


Disc 3
1 That’s All Right
2 Blue Moon of Kentucky
3 Shake, Rattle and Roll
4 Fool, Fool, Fool
5 Hearts of Stone
6 That’s All Right
7 Tweedlee Dee
8 Shake, Rattle and Roll
9 KSIJ Radio commercial with DJ Tom Perryman
10 Money Honey
11 Blue Moon of Kentucky
12 I Don’t Care if the Sun Don’t Shine
13 That’s All Right
14 Tweedlee Dee
15 Money Honey
16 Hearts of Stone
17 Shake, Rattle and Roll
18 Little Mama
19 You’re a Heartbreaker
20 Good Rockin’ Tonight
21 Baby Let’s Play House
22 Blue Moon of Kentucky
23 I Got a Woman
24 That’s All Right
25 Tweedlee Dee
26 That’s All Right
27 I’m Left, You’re Right, She’s Gone
28 Baby Let’s Play House
29 Maybellene
30 That’s All Right
31 Interview with Bob Neal
32 I Forgot To Remember To Forget

MickyDolenz said:

thesoulbrother said:

Friend... lets be real here. I can speak for many people and say that I could care less about playing with a Maze featuring Frankie Beverly Lego set or a Charlie Wilson doll! Yeah... that's real cute that the Stones, Macca, and Bon Jovi got those nice trinkets.

That's all well & good, but my point is that whites usually support older acts in ways blacks generally don't and buying a doll or a fancy box set are examples of that. It's like Michael Jackson is not likely to have video games, bubble gum, or a Cirque show if he hadn't crossed over big with Thriller. Not that people can get an autograph from Mick Jagger or shake his hand. I think the Stones audience is aware of that, and is not what they're going to their concerts for. Like there's CDs of various takes including studio chatter of The Beatles, Led Zeppelin, and Elvis Presley. That's not likely to happen with the average R&B act because there's probably not really much of an audience who is interested in hearing Teddy Pendergrass messing up a take. My point is that the labels put out these types of releases for rock & pop acts and many R&B albums are out of print in the US and you have to buy an expensive import from Japan. Classic rock is written & talked about more in the media than classic R&B. That is a way for new audiences to hear about them. Going to the Essence Fest or a Tom Joyner cruise is not the same thing as buying the acts albums today. The labels are about money and if old R&B albums sold today (or at least stream) like Elvis or Michael Jackson, then they are likely to give them the same type of attention. Zapp or Midnight Star are not likely to get releases like these.

A Boy From Tupelo: The Complete 1953-1955 Recordings
release: July 28, 2017

Legacy Recordings, the catalog division of Sony Music Entertainment, and RCA Records will release Elvis Presley – A Boy From Tupelo – The Complete 1953-1955 Recordings on Friday, July 28.

Available as a 3CD deluxe box set and a digital collection, A Boy From Tupelo – The Complete 1953-1955 Recordings is the most comprehensive collection of early Elvis recordings ever assembled, with many tracks becoming available for the first time as part of this package and one performance–a newly discovered recording of “I Forgot To Remember To Forget” (from the Louisiana Hayride, Shreveport, Louisiana, October 29, 1955)–being officially released for the first time ever.

A Boy From Tupelo – The Complete 1953-1955 Recordings includes–for the first time in one collection–every known Elvis Presley Sun Records master and outtake, plus the mythical Memphis Recording Service Acetates–“My Happiness”/”That’s When Your Heartaches Begin” (recorded July 1953) and “I’ll Never Stand in Your Way”/”It Wouldn’t Be the Same (Without You)” (recorded January 4, 1954)–the four songs Elvis paid his own money to record before signing with Sun. A Boy From Tupelo – The Complete 1953-1955 Recordings includes every Elvis live performance and radio recording known to exist from the period.

Essential to the understanding and appreciation of Elvis and his explosive impact on pop music and culture, A Boy From Tupelo – The Complete 1953-55 Recordings presents–in the best possible sound– every known Presley recording from his early career, when the world’s first atomic singer fused blues, pop and hillbilly country swing to create an electrifying new music that changed the world.

A Boy From Tupelo – The Complete 1953-1955 Recordings also includes a 120-page book formatted as an illustrated travelogue and datebook chronicling the genesis of Elvis’ early career via facts, anecdotes, memorabilia and many rare photos. Independence Day 1954 is when this unique American saga begins, less than 24 hours before his first professional recording session, and it ends in December 1955, when the singer leaves Sun Records to record for RCA. The material is organized by calendar entries. During the months July through October 1954, the majority of the calendar is empty, as Elvis had his daytime job with Crown Electric, and music making was confined to the weekends and evening hours. This is Elvis Presley before he becomes world-famous, and an account of how this amazing young man readies himself for stardom, a young man on the pinnacle of an unprecedented level of success. “A boy from Tupelo” would become much more than a world-famous superstar, he would become ELVIS!

Behind the making of A Boy From Tupelo – The Complete 1953-55 Recordings lie more than 1,500 hours of restoration work and nearly 200 hours of additional studio time devoted to the painstaking remastering of the material. The results are stunning.

A Boy From Tupelo – The Complete 1953-55 Recordings is produced, researched and written by Ernst Mikael Jørgensen.

Disc one of A Boy From Tupelo – The Complete 1953-1955 Recordings covers the masters Elvis recorded for Sun Records, some variations, and the four sides he paid for himself. Disc two covers all known outtakes, even just the smallest surviving fragments. Disc three covers all the live and radio recordings known to exist.

On July 28th, Legacy Recordings will also release A Boy From Tupelo: The Sun Masters, a single disc 12″ vinyl package that chronicles the rise of Elvis Presley before he became The King of Rock and Roll. Recorded with producer Sam Phillips, guitarist Scotty Moore and bassist Bill Black during his first incredible year as a professional recording artist (July 1954-July 1955), this collection includes Elvis’ complete single A and B-sides for Sun Records, plus additional songs recorded at Sun Studio and released on his landmark self-titled debut album in 1956.

Disc 1
1 My Happiness
2 That’s When Your Heartaches Begin
3 I’ll Never Stand in Your Way
4 It Wouldn’t Be the Same (Without You)
5 Harbor Lights
6 I Love You Because (unprocessed master edit)
7 That’s All Right (45 rpm master)
8 Blue Moon of Kentucky (45 rpm master)
9 Blue Moon
10 Tomorrow Night
11 I’ll Never Let You Go (Little Darlin’)
12 I Don’t Care if the Sun Don’t Shine
13 Just Because
14 Good Rockin’ Tonight
15 Milkcow Blues Boogie
16 You’re a Heartbreaker
17 I’m Left, You’re Right, She’s Gone (slow version)
18 Baby Let’s Play House
19 I’m Left, You’re Right, She’s Gone
20 I Forgot to Remember to Forget
21 Mystery Train
22 Tryin’ to Get To You
23 When It Rains It Pours
24 That’s All Right (RCA single version)
25 Blue Moon of Kentucky (RCA single version)
26 I Love You Because (RCA LP version)
27 Tomorrow Night (RCA LP version)


Disc 2
1 Harbor Lights (takes 1-2, 3/M)
2 Harbor Lights (take 4)
3 Harbor Lights (takes 5-8)
4 I Love You Because (takes 1-2)
5 I Love You Because (take 3)
6 I Love You Because (takes 4-5)
7 That’s All Right (takes 1-3)
8 Blue Moon of Kentucky (slow tempo outtake)
9 Blue Moon (takes 1-4)
10 Blue Moon (take 5)
11 Blue Moon (takes 6-8)
12 Blue Moon (take 9/M)
13 Dialogue (fragment before “Tomorrow Night”)
14 I’ll Never Let You Go (Little Darlin’) (incomplete take)
15 Good Rockin’ Tonight (fragment from vocal slapback tape)
16 I Don’t Care if the Sun Don’t Shine (takes 1-3/M)
17 I’m Left, You’re Right, She’s Gone (slow version, take 1)
18 I’m Left, You’re Right, She’s Gone (slow version, take 2)
19 I’m Left, You’re Right, She’s Gone (slow version, take 3)
20 I’m Left, You’re Right, She’s Gone (slow version, take 4-5)
21 I’m Left, You’re Right, She’s Gone (slow version, takes 6-7)
22 How Do You Think I Feel (guitar slapback tape, rehearsals + take 1)
23 When It Rains It Pours (vocal slapback tape, take 1)
24 When It Rains It Pours (vocal slapback tape, take 2 – rehearsal 1 – takes 3-4)
25 When It Rains It Pours (vocal slapback tape, take 5/M)
26 When It Rains It Pours (vocal slapback tape, take 6-8)


Disc 3
1 That’s All Right
2 Blue Moon of Kentucky
3 Shake, Rattle and Roll
4 Fool, Fool, Fool
5 Hearts of Stone
6 That’s All Right
7 Tweedlee Dee
8 Shake, Rattle and Roll
9 KSIJ Radio commercial with DJ Tom Perryman
10 Money Honey
11 Blue Moon of Kentucky
12 I Don’t Care if the Sun Don’t Shine
13 That’s All Right
14 Tweedlee Dee
15 Money Honey
16 Hearts of Stone
17 Shake, Rattle and Roll
18 Little Mama
19 You’re a Heartbreaker
20 Good Rockin’ Tonight
21 Baby Let’s Play House
22 Blue Moon of Kentucky
23 I Got a Woman
24 That’s All Right
25 Tweedlee Dee
26 That’s All Right
27 I’m Left, You’re Right, She’s Gone
28 Baby Let’s Play House
29 Maybellene
30 That’s All Right
31 Interview with Bob Neal
32 I Forgot To Remember To Forget

Ok, baby. You have a great day. Be blessed, now!

thesoulbrother said:

MickyDolenz said:

^^Does a Maze tour make the same amount of money as the Stones, Paul McCartney or Bon Jovi today? Do they have Monopoly games, video games, dolls, Lego, clothes, etc like The Beatles or a KISS Kasket? Does Maze tour by themselves or on package shows. How many early rappers release new music at all? When was the last time Maze had a new record? Charlie Wilson still actively releases new stuff and has airplay on adult R&B stations for his new music, but he's an exception. The Isleys reached younger audiences awhile back with "Mr Biggs".

Friend... lets be real here. I can speak for many people and say that I could care less about playing with a Maze featuring Frankie Beverly Lego set or a Charlie Wilson doll! Yeah... that's real cute that the Stones, Macca, and Bon Jovi got those nice trinkets.

yeah I agree.That stuff doesn't mean much to me,either.I only care about the music and the shows.Let those rock bands have those silly gimmicks,lol.

SoulAlive said:

yeah I agree.That stuff doesn't mean much to me,either. I only care about the music and the shows. Let those rock bands have those silly gimmicks,lol.

Merchandising like dolls & games or jackets with a band logo on them helps those classic rock acts to continue to release music and not really have to worry about selling a lot of their new albums or having a radio hit. Same for people like Eddie Van Halen who has a guitar series for sale. B.B. King had a Lucille model to buy a museum, and music nightclubs to make money. Some of those veteran R&B & funk bands don't have a record deal and recording time is expensive. Ringo Starr still releases an album every 2 or 3 years, he doesn't have to tour or release anything if he doesn't want to. Few if any early rappers release new music even if they do shows.