home
Recording Sessions
Essential lists
Elvis The Man And His Music
Elvis Monthly
Elvis The Story
Video footage
Elvis website links
November 15 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  
Bass: Bill Black  

Milkcow Blues Boogie
U-140
  November 15 1954 (Mon)
Take NA M 2:37 (F2WB 8044) 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)°~Comp. Single Collection 1°~Memphis Recording Service
Volume 1°~Sunrise°~50's Box 1°

You're A Heartbreaker
U-141
  November 15 1954 (Mon)
Take NA M 2:12 (F2WB 8045) 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)°~Comp. Single Collection 1°~Memphis Recording Service
Volume 1°~Sunrise°~50's Box 1°

I'm Left, You're Right, She's Gone (Slow Version)
  November 15 1955 (Mon)
Take 1 Complete 2:59 (Listed as Take 7 in session logs)
(SPA1 4281)
A Boy From Tupelo 2 (FTD)°~Sunrise 2°~Complete Sun Sessions° (LP -
Listed as Take 7)~(CD - Listed as Take 7) (Tape Box #6)
Take 2 Complete 2:50 (Listed as Take 8 in session logs)
(SPA1 4282)
A Boy From Tupelo 2 (FTD)°~Complete Sun Sessions° (LP - Listed as
Take 8)
Take 3 Complete 2:51 (Listed as Take 11 in session logs)
(SPA1 4284)
A Boy From Tupelo 2 (FTD)°~Complete Sun Sessions° (LP - Listed as
Take 9)~(CD - Listed as Take 9)
Take 4 FS 0:09 (Listed as Take 10 in session logs)
(SPA1 4283)
A Boy From Tupelo 2 (FTD)°~Complete Sun Sessions° (LP - Listed as
Take 10)
Take 5 M 2:40 (OPA1 4196) A Boy From Tupelo 1 (FTD)°~A Boy From Tupelo 2 (FTD)°~Elvis At Sun°
~The Comp. Elvis Presley Masters 1 (Sony)°~Memphis Recording Service
Volume 2°~Sunrise 1°~50's Box 5° (Listed as Take 11)~Complete Sun
Sessions° (LP - Listed as Take 11)~(CD - Listed as Take 11)~Golden
Celebration 1° (Acetate - Listed as Take 5 by Ernst Jørgensen)
Take 6 Complete 2:40 (Listed as Take 12 in session logs)
(SPA1 4286)
A Boy From Tupelo 2 (FTD)°~Complete Sun Sessions° (LP - Listed as
Take 12)~(CD - Listed as Take 12)
Take 7 Incomplete 1:35 (Listed as Take 13 in session logs)
(SPA1 4285)
A Boy From Tupelo 2 (FTD)°~Complete Sun Sessions° (LP - Listed as
Take 13)

Notes

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).

This recording session may have taken place on November 15 or between December 12-20 1954. On November 16 1954, Elvis received a check for $82.50 that was a payment for "sessions 11-15-54". One thing that is certain is that it was focused on the recording of Elvis' third single (Milkcow Blues Boogie / You're A Heartbreaker) which came out on December 29 1954.

RCA never got the master tapes of Milkcow Blues Boogie and You're a Heartbreaker. Tape transfers of the SUN 78 RPM were used. Three clicks can be heard at the end of Milkcow Blues Boogie (The time between the clicks is 1/78 minute).

The only dating we have for the session for the slow version of I'm Left, You're Right, She's Gone is March 5 1955, but as Elvis was performing on the "Louisiana Hayride" in Shreveport on that Saturday, that cannot be correct.
The recording session for the slow version of I'm Left, You're Right, She's Gone may have taken place on November 15 1954, but other possibilities are that it was recorded between December 12-20 1954, March 6 1955, or even at the same session as the regular version of I'm Left, You're Right, She's Gone was recorded, in mid-April 1955.

On 'The Complete SUN Sessions' (LP & CD), RCA producer Gregg Geller misidentified the take Sam Phillips chose to put on acetate in 1955, for local DJ feedback, and listed what was in the vaults as Take 9 as being the master, when the master really should have been listed as Take 11. Basically, what is listed as being Take 11 in the Session Logs should have been listed as Take 9! Ernst Jørgensen has since labelled the takes originally listed as being 7 to 13 as now being takes 1 to 7.

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.

Explanation for the misidentfying of I'm Left, You're Right, She's Gone (My Baby's Gone).

When “My Baby’s Gone” was first discovered, on acetate, it didn’t have a ‘Take’ associated with it but was obviously considered by Sam to be a ‘Master’ as an acetate was cut of it.

It was this acetate that was first released on bootleg in the 1970’s and then finally released officially on the ‘Golden Celebration’ box set in 1984.

A tape source was then found of this “Session” but none of the takes had count-ins. For some reason, RCA listed them as being Takes 7 to 13 and released them in 1987 on ‘The Complete SUN Sessions’ album.

Probably because the 'Master' of I'm Left, You're Right, She's Gone is listed as being Take 6, perhaps they thought the take numbering continued with the slow version of the song - Hence starting with Take 7, I don't know!

Anyway, now the confusion starts!

Gregg Geller wrongly thought that Take 9 on the tape RCA now had was the ‘Master’ that RCA had released on acetate in 1984 – even though a quick listen proves they are completely different, so he listed the following in the session logs:-

Take 7 Complete - 2:59 (SPA1 4281)
Take 8 Complete - 2:51 (SPA1 4282)
Take 9 M 2:36 (OPA1 4196 – 1984 Matrix Number) Not issued with new Matrix Number
Take 10 FS 0:14 (SPA1 4283)
Take 11 Complete 2:42 (SPA1 4284)
Take 12 Complete 2:36 (SPA1 4286)
Take 13 Incomplete 1:33 (SPA1 4285)

But the actual running order of the tape was as follows:-

Unknown Take (7): Complete - 2:59 (SPA1 4281)
Unknown Take (8): Complete - 2:51 (SPA1 4282)
Unknown Take (9): Complete 2:42 (SPA1 4284)
Unknown Take (10): FS 0:14 (SPA1 4283)
Unknown Take (11): M 2:36 (OPA1 4196 – 1984 Matrix Number)
Unknown Take (12): Complete 2:36 (SPA1 4286)
Unknown Take (13): Incomplete 1:33 (SPA1 4285)

So with Gregg Geller still thinking that Take 9 was the ‘Master’ he released the third track from the tape (SPA1 4284) as Take 9 on Side 3 of ‘The Complete SUN Sessions’ album.

It was only when Ernst Jørgensen came to the helm that this mistake was discovered, and rectified with the release of ‘The Complete 50’s Masters’, and the correct ‘Master’ was listed on disc 5 as Take 11.

Ernst has since changed the listing of Takes from 7 to 13 as now being Takes 1 to 7, as listed below:-

Take 1: Complete - 2:59 (SPA1 4281)
Take 2: Complete - 2:51 (SPA1 4282)
Take 3: Complete 2:51 (SPA1 4284)
Take 4: FS 0:10 (SPA1 4283)
Take 5: M 2:40 (OPA1 4196 – 1984 Matrix Number)
Take 6: Complete 2:40 (SPA1 4286)
Take 7: Incomplete 1:35 (SPA1 4285)

Elvis At Sun - Restoration (Courtesy of 'Master & Session')

The master tapes for Milkcow Blues Boogie and You're a Heartbreaker were never turned over to RCA, possibly because they had been recorded over by mistake. RCA made dubs of a Mint 78 RPM copy that were used to produce replacement masters for a late 1955 single re-release and for future use by RCA. Both were processed during this process and many artifacts from the shellac source have remained. All restoration efforts for later CD releases have been extremely poor and actually mainly had the opposite effect with introduction of extra distortion and elimination of ambiance. It is therefore a relief that it has been possible to replace both masters of the third single with fresh transfers from a huge selection of other 78 RPM's. If anybody thought that restoring old sources like this is equivalent to sitting in a nice air-conditioned office being served grapes and dinners while pressing buttons of a lot of luxury software to automate the process, think again. The result from a tedious, manual job on Milkcow Blues Boogie is stunning and simply has to be heard to be believed. 

The pitch is not that easy to solve, with guitar tuning in contradiction with original 78 RPM pitch and the 60 cycle hum distribution over time (such low frequencies needs ridiculously high FFT values to even measure with decent accuracy). It is presented at original speed, which if correct, could be the only SUN recording where Scotty's guitar wasn't carefully tuned. Going by guitar tuning only, the pitch would have had to be set slightly slower.

You're a Heartbreaker is a big improvement as well, but not quite as good as Milkcow Blues Boogie. The reason for this is that few copies were pressed, as it was the least successful SUN single and that the You're a Heartbreaker side appears to have been played a lot more than the R&B side by the few people who bought a copy. If an Unplayed/Mint copy of this side could be located, You're a Heartbreaker could have been presented with slightly less surface noise.

The rejected, slow I'm Left, You're Right, She's Gone (My Baby's Gone) is of course improved here as well with dropout repairs and absence of the digital BMG mastering with filtering and added echo that has haunted us until now. The other outtake that was released on 'Sunrise' merely suffered from dropouts and poor eq resulting in a 'hard' sound. 


Session Logs
Sun Tapes
Tape Boxes 1 - 15
Sun Tapes
Recording Information
RCA SUN Transfers - December 1955
SUN Transfers - November 1955
Recording Information
My Baby's Gone
My Baby's Gone


back