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).

With no surviving tape reel, the progression of the session is a mystery. The best possible scenario comes from the recollection of Jimmie Lott, who played with Elvis on one session only. The result of this collaboration, 'I'm Left, You're Right, She's Gone' became Elvis' fourth single, released in May (9th?) 1955.

Lott also remembers working on a rhumbafied version of 'How Do You Think I Feel', and an instrumental rehearsal version can be heard on A Boy From Tupelo, among other releases since it's first release on the Bear Family box set The Sun Country Years 1950 - 1959. Lott also remembers rehearsing a version of 'You're A Heartbreaker', with drums, which has not survived. The tryout of 'You're A Heartbreaker' was possibly a warm up starting the session, setting levels etc with a song they all knew, as the song had already been released as a single (Sun 215) back in December 1954.

Just before the first 'How Do You Think I Feel' tryout Scotty Moore can be heard playing the 'Blues Stay Away From Me' riff used on the slow version of 'I'm Left, You're Right, She's Gone', so it could be that the slow version of 'I'm Left, You're Right, She's Gone' was recorded at this session too.

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')

'I'm Left, You're Right, She's Gone', the C&W side of the fourth single has never sounded anywhere near this good before. The main source was a Sony transfer of the recently found 30 ips RCA master tape that is at least one generation down, but not subjected to any bad processing at all. Since the song on the best tape isn't complete (last song on compilation tape), it was necessary to combine more than one source to produce the best result throughout. The now restored and beautifully matched original uncut ending is a thrill to hear - a personal favorite on Elvis At Sun considering the final, uniform result from combined sources.