I Forgot To Remember To Forget (LIVE)10/01/55 UNRELEASED !

[elvis-fan]

Anyone know how this recording and the other live recordings of That's All Right and Blue Moon of Kentucky (Lucky Strike from 1954) sound so good compared to other Elvis recordings we have from the Hayride? Were there several mics set up to capture the sound? Why weren't other performances recorded in a similar manner?

[Greg1995]

It is two months away from the 10th anniversary of this miraculous unreleased 1955 live track seeing the light of the day.

I want to give it one more time a PRAISE!

For me, it is the best Elvis find in the last 10 years! Let's cherish it one more time and feel the same way we all had felt 10 years ago when we first heard this wire recording on YouTube. And we were stunned....

Keep'em coming!

[drjohncarpenter]

It is two months away from the 10th anniversary of this miraculous unreleased 1955 live track seeing the light of the day.

I want to give it one more time a PRAISE!

For me, it is the best Elvis find in the last 10 years! Let's cherish it one more time and feel the same way we all had felt 10 years ago when we first heard this wire recording on YouTube. And we were stunned....

Keep'em coming!

If future such tracks come along at the same pace, in 110 years we'll have enough for an album release.

The 10-29-1955 (Sat) wire recording of "I Forgot to Remember to Forget" at the "Hayride" is lovely, but the "best Elvis find"?

This one, released on FTD's A Boy From Tupelo project in 2012, offers SIX phenomenal performances from Shreveport:


3-05-1955 (Sat)
Tweedlee Dee
Money Honey
Hearts of Stone
Shake, Rattle and Roll
Little Mama
You’re a Heartbreaker


The same set also includes previously-unheard Sun Studio recordings, the last known to date. That's crucial stuff and makes 2012's A Boy From Tupelo far and away the most important release of the past decade.

For the later fans, who can forget the three collections from FTD of the 1969 American Sound sessions, across six discs, is astounding. Or the definitive release of the session work for the Elvis Is Back! album and singles, also on FTD. Both offered previously-unheard material.

[pmp]

The wonderful thing about the IFTRTF find is the sound quality, and that is came out of nowhere. No-one was looking for it, because no-one knew it existed. That's quite unlike most of the live tracks that premiered on the Boy from Tupelo set which, though great to have from a historical perspective, are certainly not performances I want to listen to on a regular basis due to the sound issues. It's telling that the best sounding live songs from the Sun years were the ones we have had for a long time - and the discovery of the wire recording. We're lucky that the Vegas set, Little Rock, and final Hayride appearance from 1956 are in such good sound (considering how they were recorded).

[drjohncarpenter]

Anyone know how this recording and the other live recordings of That's All Right and Blue Moon of Kentucky (Lucky Strike from 1954) sound so good compared to other Elvis recordings we have from the Hayride? Were there several mics set up to capture the sound? Why weren't other performances recorded in a similar manner?

The October 1954 songs were captured on an in-house reel-to-reel. The October 1955 performance was made by a wire recorder connected in-line to the broadcast. The August 1955 recording is also from a tape source. All the rest come from acetates in varying condition.