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September 12 - 16 1954
(+ means you need both    ~ means same material    °° means stereo or binaural    ° means mono)
(SFS = Short False Start | FS = False Start | LFS or BD (Breakdown) = Long False Start | PB (Playback) or Complete = Complete Take)

SUN Studio - Memphis, Tennessee
Engineer : Sam Phillips

Musicians:    
Guitar: Elvis Presley  
Guitar: Scotty Moore  
Snare Drum: Buddy Cunningham (Just Because ?)  
Bass: Bill Black  

Unknown
  September 12 - 16 1954 (Sun - Thur)
Take NA   0:11 (One second of unknown song -
Possibly 'Tomorrow Night' or
'I'll Never Let You Go'?)
A Boy From Tupelo 2 (FTD)°

Tomorrow Night
  September 12 - 16 1954 (Sun - Thur)
Take 1   2:55 "1. (Slow Tempo) bad start N.G." (Tape Box #7)
Take 2   3:04 "2. "  
Take 3   3:22 "3. (Fair)"  
Take 4   2:57 "4. (Weak)"  
Take 5   3:03 "5. "  
Take 6   2:56 "6. "  
Take 7 M 3:00 "7. 2:58" (F2WB 8115) A Boy From Tupelo 1 (FTD)°~Elvis At Sun°~The Complete Elvis Presley
Masters 1 (Sony)°~Sunrise°~Memphis Recording Service Volume 2°
~50's Box 1°+Reconsider Baby° (PPA5 2671)~The Sun Sessions (CD)°
(Edited)

I'll Never Let You Go (Little Darlin')
  September 12 - 16 1954 (Sun - Thur)
Take NA   2:20 "Band No. 8 (Slow Tempo & Fast)
N.G."
(Tape Box #7 - Continued)
Take NA M 2:25 "9. (Slow Tempo & Fast) 2:21 Fair."
(F2WB 8116)
A Boy From Tupelo 1 (FTD)°~Young Man With The Big Beat 1 (Legacy)°
~Elvis At Sun°~Elvis Presley (FTD)°~(DSD)°~The Complete Elvis Presley
Masters 1 (Sony)°~Country Roots (Franklin Mint Complete Masters
Collection 8)°~Memphis Recording Service Volume 2°~Complete Single
Collection 1°~Sunrise°~50's Box 1°
Take NA     "1. N.G." (Tape Box #12)
Take NA   2:27 "2. (2:27)"  

Satisfied
  September 12 - 16 1954 (Sun - Thur)
Take 1   1:15 "3. N.G." (Tape Box #12 - Continued)

I'll Never Let You Go (Little Darlin')
  September 12 - 16 1954 (Sun - Thur)
Take NA   2:21 "4. (Bdown" (Tape Box #12 - Continued)
Take NA     "5. (Breakdown)"  
Take NA     "6. (Breakdown)"  
Take NA   0:49 "7. (Breakdown)"
(Possibly on Tape Box #9 or #12) (OPA1 4197)
A Boy From Tupelo 2 (FTD)°~Good Rockin' Tonight° (Bopcat 101)
~Good Rockin' Tonight° (Bopcat 100)~Sunrise°~A Golden Celebration 1°

I Don't Care If The Sun Don't Shine
U-130
  September 12 - 16 1954 (Sun - Thur)
Take 1 Incomplete 0:42 (OPA1 4195) A Boy From Tupelo 2 (FTD)°~Sunrise°+Good Rockin' Tonight (Bopcat
101)°~Good Rockin' Tonight (Bopcat 100)° ~A Golden Celebration 1°
(Non RCA tape)
Take 2 FS 0:30 (OPA1 4195) A Boy From Tupelo 2 (FTD)°~Sunrise°+Good Rockin' Tonight (Bopcat
101)°~Good Rockin' Tonight (Bopcat 100)° ~A Golden Celebration 1°
(Non RCA tape)
Take 3 M 2:30 (F2WB 8042) A Boy From Tupelo 1 (FTD)°~A Boy From Tupelo 2 (FTD)°~Elvis At Sun°
~The Complete Elvis Presley Masters 1 (Sony)°~The Early Years
(Franklin Mint Complete Masters Collection 28)°~Sunrise°~Complete
Single Collection 1°~Memphis Recording Service Volume 1°+Good Rockin'
Tonight (Bopcat 101)°~(Bopcat 100)°~A Golden Celebration 1°

Just Because
  September 12 - 16 1954 (Sun - Thur)
Take NA   2:17 "1. N.G." (Tape Box #10)
Take NA   2:14 "2. N.G."  
Take NA   2:13 "3. Bad in spots"  
Take NA   2:15 "4. Not as good as # 3"  
Take NA   2:24 "5. Best"  
Take NA M 2:32 "1. OK" (F2WB 8118) A Boy From Tupelo 1 (FTD)° (Complete)~Young Man With The Big Beat 1
(Legacy)°~Elvis At Sun°~Elvis Presley (FTD)°~(DSD)°~The Complete
Elvis Presley Masters 1 (Sony)°~The Early Years (Franklin Mint Complete
Masters Collection 28)°~Memphis Recording Service Volume 2°~Complete
Single Collection 2°~Sunrise°~50's Box 1° (Tape Box #3)
Take NA   2:35 "2. ? Bad Start twice"  
Take NA   2:23 "3. Talk at end"  
Take NA   2:23 "4. Bad Start"  

Good Rockin' Tonight
U-131
  September 12 - 16 1954 (Sun - Thur)
Take 1   0:06 "1. 2:18 N.G." A Boy From Tupelo 2 (FTD)° (Fragment) (Tape Box #9)
Take 2 M 2:30 "2. 2:34 Fair" (F2WB 8043) A Boy From Tupelo 1 (FTD)°~Elvis At Sun°~The Complete Elvis Presley
Masters 1 (Sony)°~The Early Years (Franklin Mint Complete Masters
Collection 28)°~Elvis 75 - Good Rockin' Tonight 1 (Legacy)°~Complete
Single Collection 1°~Memphis Recording Service Volume 1°~Platinum 1°
~Sunrise°~50's Box 1° (Also on Tape Box #3 ?)

Just Because
  September 12 - 16 1954 (Sun - Thur)
Take NA   2:53 "3. Fair" (Tape Box #9 - Continued)

I'll Never Let You Go (Little Darlin')
  September 12 - 16 1954 (Sun - Thur)
Take NA   2:21 "4. N.G." (Tape Box #9 - Continued)
Take NA   3:21 "5. "  

Just Because (Slow Version)
  September 12 - 16 1954 (Sun - Thur)
Take NA     "2. Break Down" (Tape Box #3 - Continued)
Take NA     "3. "  
Take NA     "4. Break Down"  
Take NA     "5. Break Down"  
Take NA   2:28 "6. N.G"  
Take NA     "7. Slower"  

Notes

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 below).

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.

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.

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 1955. 

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 A-B tests.


Session Logs
Recording Information
RCA SUN Transfers - December 1955
SUN Transfers - November 1955
Recording Information
Tomorrow Night (Overdub) - Mar. 18 1965
Tomorrow Night (Overdub) - March 18 1965
Sun Tapes
Tape Boxes 1 - 15
Sun Tapes

Steve Sholes' Written Notes
Tomorrow Night
Tomorrow Night
Steve Sholes' Written Notes
I'll Never Let You Go (Little Darlin')
I'll Never Let You Go (Little Darlin')
Steve Sholes' Written Notes
Just Because
Just Because

Steve Sholes' Written Notes
Tape Box 9
Tape Box 9
Steve Sholes' Written Notes
Tape Box 3
Tape Box 3
Music Sheet
I'll Never Let You Go (Little Darlin')
Music Sheet - I'll Never Let You Go (Thanks to Glen Johnson)

 
Music Sheet
Just Because
Music Sheet - Just Because (Thanks to Glen Johnson)

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