The date of this recording session
is unknown, but it was held sometime between September
12 and 16 1954.
RCA received tapes from Sam Phillips
in December 1955, and where no tapes existed they
used dubs from SUN singles for their 'Masters' (See
The masters of Tomorrow Night
and I'll Never Let You Go were found on the
same RCA tape copy, made in 1956, meaning that both
are likely to have been copied from Sun box #7.
These are usually believed to have been recorded
in September, 1954, but Lee Cotten's assumption
based on aural evidence goes against this. Cotten
writes in the second edition of the book 'All Shook
Up-Elvis Day By Day' from 1998, that these three
songs share the same tape delay echo that are not
found on other recordings at this time.
The version of Tomorrow Night
(PPA5 2671) that was released on the 'Reconsider
Baby' album and again on 'The Sun Sessions' was
an edited version of the original master where the
solo was cut and a small part repeated. It was spliced
from 0:00-1:28, 1:49-1:54, 0:10-0:25 and 1:47-2:58
of the original version. The originally released
version was overdubbed and slowed down on March
18 1965 (See below
The incomplete outtake of I'll
Never Let You Go as released by RCA comes from
a copy of the "Good Rocking Tonight" LP
(Bopcat 100). A recent new transfer of the original
master tape has revealed that the dialogue previously
thought to come from before the outtake of I'll
Never Let You Go actually comes from before
the alternate version of Blue Moon Of Kentucky
(July 7 1954), which can
be found on the release by 'Follow That Dream' of
the ultimate Sun collection - 'A Boy From Tupelo'.
The two incomplete outtakes and the
master of I Don't Care if the Sun Don't Shine
were finally mastered from the original(?) tape
on 'Sunrise' in 1999. All previous RCA/BMG releases
came from a copy of the Good Rocking Tonight LP
(Bopcat 100). Stereo clicks could be heard between
the takes. These recordings were later re-issued
on "Good Rockin' Tonight" (Bopcat 101)
in April 1983. Note that the complete version actually
is the master. The sound quality of the second Bopcat
LP implies that the tape used could be first generation.
The same song sounds extremely noisy and distorted
on the '50's Box'. It could be 2% too fast as well.
RCA never received the master, but used a tape transfer
of a SUN 78 RPM.
Just Because is available in
complete form for the first time on FTD's 'A Boy
From Tupelo' set, where on all previous releases
the intro was clipped. How FTD did this was to use a small part from Good Rockin' Tonight to reconstruct the intro of Just Because.
In Ernst Jørgensen's 'A Life
in Music' it can be found that Sholes' notes indicated
that RCA received 1 take of Satisfied, 10
takes of I'll Never Let You Go, 3 takes of
I Don't Care If The Sun Don't Shine, 17 takes
of Just Because and 2 takes of Good Rockin'
Tonight. According to the same source, a slow
version of Just Because was recorded
after the master. If so, this would explain why
one version out of three of that particular song
was mentioned by name instead of RCA matrix number.
In March of 2007, Sony decided to go through all of Elvis' masters. They retransferred everything and remastered all tracks including repairing as many clicks, pops, bad edits and dropouts as they could. They have used these newly mastered recordings on their new releases since 2007 including budget soundtracks, 'Legacy' releases, the 30 disc 'Complete Elvis Presley Masters' collection and the Franklin Mint package. These 2007 remasters were not used
on FTD's 'A Boy From Tupelo', the masters were all
remastered again from scratch on that set.
Thanks to Gary Hibbs for identifying the splice on the intro of Just Because on FTD's 'A Boy From Tupelo'.
Elvis At Sun - Restoration (Courtesy
of 'Master & Session')
The 50's Box digital masters of the
nice 1956 RCA tape copies of Tomorrow Night
and I'll Never Let You Go have been replaced
by flat Sony transfers on 'Elvis at SUN' - well
suited here since these masters were finalized by
Sam Phillips in the first place. This new transfer
lacked a little high end and this was only compensated
for by as much as the source could handle.
A completely different sound was recorded
on the September 1954 session that produced the
second SUN single Good Rockin' Tonight (R&B
side), I Don't Care if the Sun Don't Shine
(C&W side) and the rejected master Just Because,
to be used for the first RCA LP in 1956. The early
generation master tape of I Don't Care if the
Sun Don't Shine has finally been identified
as a recovered master this time of course and the
glitch is repaired as good as could be done. A pitch
analysis implies that the recovered tape runs a
little too slow on 'Sunrise', according to Scotty
Moore's highly accurate guitar tuning during the
SUN days. This observation is in accordance with
the pitch of original SUN single, but yet Elvis'
vocals may sound slightly too fast. On 'Elvis at
SUN' the pitch has been set to that of the original
SUN single and the tuning of Scotty's guitar since
most threads point in that direction.
On 'Elvis at SUN' Good Rockin'
Tonight is from a new Sony transfer from the
recently found RCA 30 ips tape. Just Because
is a Sony transfer as well, but from the only, badly
filtered, 1956 RCA copy that exists, apart from
the album master of LPM 1254. Regardless of the
now existing, best sources of each of these songs,
traces of the same original tape curve problems
are evident on all the three uptempo September 1954
recordings. They were recorded with way too much
signal in the high end, especially in the 16 kHz
region and with too little signal in the lower,
so important 100-200 Hz region. Possibly a noise
reduction curve on top of the NAB curve, or simply
poor calibration, but it should be pointed out that
this 16 kHz peak can be identified on some other
SUN artists recordings between late 1954 and early
RCA must have detected this but missed
the target a little and filtered more in the 14-15
KHz region instead on Good Rockin' Tonight,
which is close actually and not a problem today.
On Just Because, RCA filtered out just about
everything in the 9-10 kHz region, where there were
no problems at all, leaving a black hole sacrificing
much of the damped acoustic guitar that was recorded
via the reverb tape machine. On 'Elvis at SUN' all
three songs have been calibrated with 16 kHz reduction
and just a slight lift of the 100-200 Hz to compensate
a little for what is considered to have been lost
in the first place due to the wrong tape curve calibration.
The black hole on Just Because has been carefully
raised, but not all the way of course, while the
14-15 kHz reduction on Good Rockin' Tonight
was found best left untouched after several blind