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Soundtrack Sessions for M.G.M.: Harum Scarum, February 24-26, 1965 |
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Studio : |
RCA Studio B, Nashville, Tennessee |
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Musical Director : |
Fred Karger, Gene Nelson |
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Engineer : |
NA |
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Unknown |
C2001-C2003 |
February 24 (Wed.): 23:30 - 03:30 |
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Take 01 |
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C2001. Guessing instrumental before Elvis arrived. |
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Take 02 |
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C2002. Could for instance refer to: |
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Take 03 |
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C2003. Tambourine (movie version intro, track)? |
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C2004-C2041 |
February 24 (Wed.): 23:30 - 03:30 |
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Take 01 |
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C2004 |
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Take 02 |
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C2005 |
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Take 03 |
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C2006 |
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Take 04 |
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C2007 |
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Take 05 |
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C2008 |
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Take 06 |
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C2009 |
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Take 07 |
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C2010 |
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Take 08 |
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C2011 |
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Take 09 |
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C2012 |
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Take 10 |
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C2013 |
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Harum Scarum FTD |
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Take 11 |
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C2014 |
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Take 12 |
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C2015 |
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Take 13 |
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C2016 |
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Take 14 |
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C2017 |
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Take 15 |
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C2018 |
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Take 16 |
Complete |
2:10 |
C2019 |
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Harum Scarum FTD/Come What May° |
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Take 17 |
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C2020 |
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Take 18 |
FS |
0:21 |
C2021 |
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Harum Scarum FTD/Come What May°(released as "take 21") |
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Take 19 |
FS |
0:15 |
C2022 |
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Harum Scarum FTD/Come What May°(released as "take 22") |
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Take 20 |
FS |
0:31 |
C2023 |
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Harum Scarum FTD/Come What May°(released as "take 23") |
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Take 21 |
C2024 |
| Harum Scarum FTD | ||
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Take 22 |
C2025 |
| Harum Scarum FTD | ||
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Take 23 |
C2026 |
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Take 24 |
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C2027. Used for spliced master |
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Take 25 |
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C2028 |
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Take 26 |
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C2029 |
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Take 27 |
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C2030 |
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Take 28 |
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C2031 |
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Take 29 |
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C2032 |
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Take 30 |
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C2033 |
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Take 31 |
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C2034 |
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Take 32 |
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C2035 |
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Take 33 |
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C2036 |
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Take 34 |
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C2037 |
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Take 35 |
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C2038. |
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Take 36 |
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C2039 |
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Take 37 |
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C2040 |
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Take 38 |
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C2041. Used for spliced master |
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Spliced |
M |
2:05 |
Spliced from takes 24 & 38 (C2027 & C2041) |
SPA3 6752 |
Harum Scarum LP/Double Features |
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C2042-C2045 |
February 25 (Thu.): 22:15 - 03:30 |
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Take 01 |
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C2042 |
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Take 02 |
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C2043 |
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Take 03 |
Complete |
3:07 |
C2044. Used for spliced master |
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Come What May°(released as "take 4")+"tape" |
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Take 04 |
Complete |
3:17 |
C2045. Used for spliced master |
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Collectors Gold°°/Come What May°(released as "take 5")+"tape" |
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Spliced |
M |
3:02 |
Spliced from takes 3 & 4 (C2044 & C2045) |
SPA3 6754 |
Harum Scarum LP/Double Features/Command Performances |
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C2046-C2057 |
February 25 (Thu.): 22:15 - 03:30 |
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Take 01 |
LFS |
1:05 |
C2046 |
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Come What May°(released as "take 6") |
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Take 02 |
FS |
0:18 |
C2047 |
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Harum Scarum FTD/Come What May°(released as "take 7") |
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Take 03 |
Complete |
1:55 |
C2048 |
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Harum Scarum FTD/Come What May°(released as "take 8") |
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Take 04 |
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C2049 |
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Take 05 |
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C2050 |
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Take 06 |
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C2051 |
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Take 07 |
Complete |
2:08 |
C2052 |
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Today, Tomorrow and Forever°°(take 7?) |
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Take 08 |
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C2053 |
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Today, Tomorrow and Forever(dialogue only) |
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Take 09 |
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C2054 |
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Take 10 |
Complete |
1:59 |
C2055 |
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Come What May°(released as "take 5")+"tape" |
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Take 11 |
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C2056 |
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Take 12 |
M |
1:49 |
C2057 |
SPA3 6761 |
Harum Scarum LP/Double Features |
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C2058-C2062 |
February 25 (Thu.): 22:15 - 03:30 |
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Take 01 |
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C2058 |
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Take 02 |
Complete |
1:53 |
C2059 |
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Come What May°(released as "take 9") |
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Take 03 |
Complete |
2:04 |
C2060 |
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Harum Scarum FTD |
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Take 04 |
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C2061 |
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Take 05 |
M |
1:56 |
C2062 |
SPA3 6760 |
Harum Scarum LP/Double Features |
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C2063-C2067 |
February 25 (Thu.): 22:15 - 03:30 |
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Take 01 |
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C2063 |
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Take 02 |
Complete |
2:16 |
C2064 |
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Come What May°(released as "take 4") |
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Take 03 |
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C2065 |
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Take 04 |
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C2066 |
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Take 05 |
M |
2:11 |
C2067 |
SPA3 6758 |
Harum Scarum LP/Double Features |
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C2068-C2072 |
February 25 (Thu.): 22:15 - 03:30 |
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Take 01 |
FS |
0:22 |
C2068 |
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Out in Hollywood°° |
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Take 02 |
Complete |
2:27 |
C2069 |
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Out in Hollywood°° |
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Take 03 |
Complete |
2:40 |
C2070 |
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Harum Scarum FTD°° |
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Take 04 |
FS |
0:07 |
C2071 |
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Come What May°(released as "take 1") |
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Take 05 |
M |
2:21 |
C2072 |
SPA3 6759 |
Harum Scarum LP/Double Features/Come What May°(released as "take 2") |
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C2073-C2088 |
February 26 (Fri.) |
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Take 01 |
FS |
0:15 |
C2073 |
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Come What May°(released as "take 3") |
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Take 02 |
LFS |
0:55 |
C2074 |
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Come What May°(released as "take 4") |
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Take 03 |
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C2075 |
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Take 04 |
Complete |
1:57 |
C2076 |
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Come What May°(released as "take 6") |
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Take 05 |
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C2077 |
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Take 06 |
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C2078 |
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Take 07 |
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C2079 |
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Harum Scarum FTD |
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Take 08 |
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C2080 |
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Harum Scarum FTD |
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Take 09 |
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C2081 |
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Take 10 |
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C2082 |
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Take 11 |
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C2083. Used for spliced master |
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Take 12 |
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C2084 |
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Take 13 |
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C2085 |
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Take 14 |
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C2086 |
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Take 15 |
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C2087 |
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Take 16 |
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C2088. Used for spliced master |
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Spliced |
M |
1:56 |
Spliced from takes 16 & 11 (C2088 & C2083) |
SPA3 6753 |
Harum Scarum LP/Double Features |
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C2089-C2094 |
February 26 (Fri.) |
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Take 01 |
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C2089 |
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Take 02 |
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C2090 |
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Take 03 |
LFS |
1:42 |
C2091 |
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Come What May°(released as "take 1") |
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Take 04 |
Complete |
2:15 |
C2092 |
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Come What May°(released as "take 2") |
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Take 05 |
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C2093 |
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Take 06 |
M |
2:15 |
C2094 |
SPA3 6757 |
Harum Scarum LP/Double Features |
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C2095-C2096 |
February 26 (Fri.) |
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Take 01 |
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Probably recorded with vocals |
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Harum Scarum FTD |
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Take 02 |
(M) |
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Harum Scarum FTD |
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C2097-C2099? |
February 26 (Fri.) |
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Take 01 |
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Take 02 |
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Take 03 |
(M) |
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C2100-C2104? |
February 26 (Fri.) |
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Take 01 |
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Take 02 |
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Take 03 |
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Take 04 |
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Take 05 |
(M) |
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Musicians: |
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Guitar : |
Scotty Moore |
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Guitar : |
Grady Martin |
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Guitar : |
Charlie McCoy |
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Bass : |
Henry Strzelecki |
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Drums : |
D.J. Fontana |
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Drums : |
Kenneth Buttrey |
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Piano : |
Floyd Cramer |
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Tambourine : |
Hoyt Hawkins |
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Congas : |
Gene Nelson |
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Flute : |
Rufus Long |
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Oboe : |
Ralph Strobel |
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Backup Vocals : |
The Jordanaires: Gordon Stoker, Hoyt Hawkins, Neal Matthews and Ray Walker |
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Assuming continuous numbering of takes regardless of songs on this session. The reason is unknown, but may have something to do with MGM paying for a soundtrack session recorded in Nashville. |
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The released, spliced master of So Close, Yet So Far may be a little too slow. It is edited like this: |
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0:00 - 1:33: Take 3 (C2044) |
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1:33 - 3:02: Take 4 (C2045) ("I reach out for you...") |
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The MGM soundtrack
reveals dry vocals recorded in RCA Studio B, Nashville (the
studio with "natural echo"). The added, light echo on the
original RCA release is very different from BMG's 90's
remaster on Double Features. Again, instruments, clarity and
dynamic range are great on BMG's remix from 3-track. Bass
and vocal presence suffer more when listening through
headphones than speakers. Do they use micro-delay of
frequencies in combination with digital echo/reverb? Anyway,
the Double Features will always sound 1990's and not
1960's. |
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