RCA received tapes from Sam Phillips
in December 1955, and where no tapes existed they
used dubs from SUN singles for their 'Masters' (See
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
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
Explanation for the misidentfying
of I'm Left, You're Right, She's Gone (My Baby's
When My Babys Gone
was first discovered, on acetate, it didnt
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 1970s 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
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
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
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
It was only when Ernst Jørgensen
came to the helm that this mistake was discovered,
and rectified with the release of The Complete
50s 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'