Rediscover Elvis Presley's second album and four key 1956 singles with a new STEREO mix!
The stereo mixes newly created for this CD allow you to find the naturalness of the original recordings and give the impression of being in the heart of the studio with Elvis and his musicians.
With Mono II Stereo fans can embrace a new way of listening to old albums, rediscovering 'The Young Man with the Big Beat' all over again.
The Stereo 'Bonus Singles', Love Me Tender, Anyway You Want Me, Too Much, Hound Dog, Don't Be Cruel, Playing For Keeps, My Baby Left Me, I Want You, I Need You, I Love You all add to the interest
EIN's Piers Beagley investigates what can be discovered from these new Stereo versions. |
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In 1956 when Scotty, Bill and D.J were in RCA studios with Elvis “banging his box the way Arthur Crudup did” they were of course playing in “stereo”. It was RCA’s engineers such as Thorne Nogar who mixed the multiple microphone feeds down to MONO.
Elvis and the band were not playing to a single one-track microphone.
So if Elvis’ second album had been released in both a MONO and a STEREO version I would have bought the stereo version. To the delight of RCA’s accountants I would also have bought any mono singles from the time, but you can always learn more about how great music is created by listening to the individual musicians which is much harder to do in a mono mix. |
Luckily for inquisitive Elvis collectors, producer Anthony Stuchbury is back with his take on Elvis’ second album, 'Elvis Presley Rock ’n’ Roll No.2’ again on the French RDM label. It was released April 2024.
“Mono II Stereo” remixing needs a producer who understands what Elvis’ sessions were all about and producer Anthony Stuchbury is not only a super-collector of original vinyl but also a man who really knows his Elvis recordings. His work here is truly impressive.
(Please see EIN’s interview with Anthony Stuchbury about “Mono II Stereo”)
I am a true fan of Elvis’ fifties era and, like many collectors, I have particular sections or solos within any recording that really excite my auditory senses and often give me goose-bumps.
Some of my personal delights are the powerful break in the middle of ‘Anyplace Is Paradise’ before Elvis comes back in, the amazingly fast double-bass that Bill Black has to play on ‘How Do You Think I Feel’, Scotty’s guitar solo on ‘Too Much’, the back-of-guitar slap on ‘Don’t Be Cruel’, the power of Elvis’ vocal on ‘Hound Dog’ after 30+ takes, and what about the infamous squeak in the middle of ‘So Glad You're Mine’. These are all small parts that were still so important in the creation of rock’n’roll magic.
And what makes this ‘Mono > Stereo’ album such a treat is that in stereo every little bit of instrumentation is so much easier to pick out.
'Elvis Presley Rock ’n’ Roll No.2’ kicks off with Elvis’ all-important second LP. This was in fact Elvis' first genuine album recorded for RCA rather than a compilation from various different sessions. Wrapping up this stunning twenty track collection are eight sides of Elvis’ 1956 singles.
The Packaging
The front cover is a delightful homage to the UK HMV album ‘Elvis Presley No.2’ nicely contrasted with the original picture under the CD case.
Even the CD itself is manufactured in the cool look of 50's black-vinyl with a neat French twistdesign noting ARTISTE: ‘Elvis Presley with Rhythm Acc.’
The booklet again features an essay by David Parker which explains where and when the tracks were recorded as well as discussing the various different covers that were used for Elvis’ second album.
He rightly notes that the original US cover with Elvis strumming his acoustic guitar ...
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“It didn’t quite scream ‘rock ‘n’ roll’ in the same way as the Red Robertson image that adorned the cover of the debut album.
Perhaps this would explain why the cover art for the UK version of the album ‘Elvis Presley No.2’ which was released by HMV in April 1957, was significantly different to that of its US counterpart. A mustard yellow background was added to a black and white candid shot from September 1956 while a similar typeface the one used on the first album completed the rock’n’roll vibe.”
The Music
UK magazine Uncut described the importance of Elvis’ second album …
“After two months spent hanging around the set of Love Me Tender, Elvis was champing at the bit to remind the Cochrans and Vincents already snapping at his heels that he was The King. And on 'ELVIS', he'd take no prisoners.
It's evident from the opening, twitchy hi-hat stutter prompting Little Richard's 'Rip It Up', moments before Elvis utters the immortal blue collar war cry of a young buck hell-bent on good livin', "Well, it's Saturday night and I just got paid!" Compared to the ropey hurtle through Richard's 'Tutti Frutti' on his first album, 'Rip It Up' was a vastly superior performance, and not just from Elvis. Scotty Moore complemented the hedonistic urgency of the vocal with a biting guitar break while D.J. Fontana was just as audibly eager, his crash-bang-walloping rhythm akin to a one-man street brawl. Their first group session in two months, both in song and in spirit, 'Rip It Up' announced that Elvis and his boys were very much back in town.”
The CD kicks off with ‘Rip It Up’ and immediately from that described DJ Fontana “twitchy hi hat stutter” coming at you from the left hand channel, Elvis’ war-cry dead centre, with Bill Black and Gordon Stoker’s piano right hand channel hitting the down-beat, this is rock’n’roll sounding great in stereo and you know it’s going to be a wonderful ride. Scotty Moore doesn’t make his mark until his right-channel solo half-way through but now you can also examine DJ Fontana trying to keep up and to be honest it’s a bit of a mess! (check out around 00:58)
But this is all part of the ELVIS excitement and why spontaneity always trumped over perfection.
‘Love Me’ in stereo is super-cool letting you listen to Bill Black’s lovely walking double-bass (right) and DJ’s tender percussion (left). Elvis’ vocal is sublime with The Jordanaires singing right behind him. Collectors might suggest that The Jordanaires should be placed on the right-channel as they were in Bill Porter’s Stereo sixties recordings however this was the fifties and with so little other instrumentation they sound fine positioned behind Elvis.
‘When My Blue Moon Turns To Gold Again’ is fascinating in stereo letting you listen to all the various parts that made up the delightful original. Gordon Stoker’s piano (left) sounds way too basic while the middle break with Scotty Moore left, Bill Black centre and DJ hitting the hi-hat right channel, all sound superb. Elvis’ vocal (dead centre) sounds clearer now as The Jordanaires harmonise. The stunning thing with ‘Mono > Stereo’ is that you can now tune in to parts you have never heard before. Fans need to check out Scotty Moore’s playing around 01:53 as he is all over the place! As previously stated, spontaneity trumps perfection!
To be honest there are new delights to be discovered in almost every track..
Other personal stereo highlights
‘First In Line’ the original mono was always such an echoey mess – was Elvis singing in the bathroom? With Scotty Moore strumming left channel and Bill Black plucking deep-bass on the right, the musicians are dragged out of the echo-chamber. Elvis’ delicious and pleading vocal now sounds much more focused and better here.
‘So Glad You're Mine’ The lovely tinkling piano left , with tight DJ percussion right. That crazy unexplained “squeak” left channel before Scotty’s beautiful cutting guitar solo. Being in the centre Elvis’ vocal is also lifted, his “she cried, ooooooo, weee” gets you every chorus.
‘Anyplace Is Paradise’ again this really delights with the musicians dragged out of the original echo. Elvis’ solo intro before Scotty’s laid back guitar kicks in left channel, Bill Black walking a fabulous double-bass, the delightful piano placed right, this is magic. The middle break @01:30 is sensational with each solo shining in its own right.
‘How Do You Think I Feel’ I couldn’t wait to hear this in good quality stereo as there is so much going on as well as the crazy rhythm changes. Scotty’s guitar right, Bill Black banging the bass in the centre and DJ Fontana tapping that percussion right all create a stunning cut. On this track it’s the musicians that have to do the hard work rather than Elvis. Listening @0140 you can hear how hard Bill Black had to work and how he also added percussion to the overall mix.
‘Anyway You Want Me’ has always been one of my favourites, another track originally drowned in echo. Here Elvis’ vocal is paramount, while Scotty slowly strums (left) and DJ lightly taps the snare drum (right). It’s all so simple but combined with The Jordanaires harmonies creates a stunning master. No wonder they considered it the A-Side to ‘Love Me Tender’.
‘Too Much’ Not growing up in the 50s I was late in discovering this fifties gem. A true gem with Elvis and The Jordanaires sparing off each other and that out-of-sight Scotty Moore guitar solo here on the left channel making it even more enjoyable. DJ’s tight drumming – right - immaculately keeps the beat. There is a real attraction in that Elvis has to really push his vocal, however in this mix you can notice that his voice nearly cracks @01:56 and there is feeling of relief when he gets to the final sign-off.
‘Hound Dog’ in stereo again demonstrates how the simplest of arrangements - one cutting guitar (left), fantastic percussion (right) and those all-important Jordanaire handclaps and vocal- backing (right) along with Elvis’ full boar vocal - created rock’n’roll that would change the world. With Elvis’ centred vocal you can even more appreciate how throat-tearing the 31 takes must have been. Listen carefully at 01:40 “They said you were high-classed, well that was just a lie” and you can hear how Elvis, presumably jumping around in the studio, moves away from the mic. This is beautiful work.
‘Don't Be Cruel’ proves that you need someone who is an Elvis expert producing your "stereo" albums as, at last, Elvis’ back-of-guitar slap is centred where it should be. Other “stereo” versions have moved it away from Elvis’ mic position believing it to be DJ Fontana. With the rolling piano left channel, again you can hear how simple arrangements can create the best music.
‘My Baby Left Me’ another of my favourites very reminiscent of the Elvis’ SUN sessions. Scotty playing hard on the left channel, DJ Fontana and Bill Black driving the rhythm section right with Elvis’ pleading vocal centre “One of these mornings, lord it won’t be long” this is standout. The final “mystery train” type fade-out as The Blue Moon Boys keep chugging the beat in stereo is exquisite.
Note 1: I have played this CD on LOUD SPEAKERS and quality headphones as well as blasting it on the car stereo. It sounds fabulous on all systems and again I picked up different minor observations listening via each experience.
Note 2: Unfortunately for Australian & Kiwi (& possibly other non-EU fans) overseas shipping from RDM is twice the price of buying the actual CD. A cheaper option is to get a friend to order it in Europe and then post the CD (without the plastic case) as a regular letter postage. This saved me 20Euros!
Note 3: Right now, May 2024, RDM is offering the CD at a great discount. So get it now at a bargain price.
Overall Verdict: In 1956 Elvis’ ‘Rock ’n’ Roll No.2 album, along with his chart-topping 45rpms, were all crucial in establishing Elvis as a creative force and a Rock ‘n’ Roll superstar. These twenty recordings in cleverly reconstructed “Stereo” are truly worth revisiting as they allow fans to really explore how this small fifties combo created musical history. If the “stereo” session tapes were discovered tomorrow they would no doubt sound very similar. Once again, top marks to producer Anthony Stuchbury for the time and patience in creating such beautiful re-masters. More Please….
'Info and ORDER here at RDM' - and check out the great 'Sound Samples'.
Review by Piers Beagley.
-Copyright EIN May 2024 -
EIN Website content © Copyright the Elvis Information Network.
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'Elvis Presley Rock ’n’ Roll No.1’ "Stereo" CD Review:
Luckily for inquisitive Elvis collectors, producer Anthony Stuchbury is back with his take on Elvis’ first album ‘Rock ‘n’ Roll No.1’ - this time on the French RDM label.
Elvis’ very first LP had two key variations, the well-known classic RCA album and also the UK HMV version. This compilation starts with the 12 tracks from the RCA album then the extra five cuts from the HMV version plus the life-changing ‘Heartbreak Hotel’ single.
It’s a stunning selection of nineteen brilliant Elvis recordings.
“Mono II Stereo” remixing needs a producer who understands what Elvis’ sessions were all about and Stuchbury is not only a super-collector but also a man who really knows his Elvis recordings.
His work here is truly impressive.
With The Beatles releasing their early singles in DES stereo for 2023 Doncha' Think It's Time for RCA / SONY to do the same for Elvis.
EIN's Piers Beagley checks out the wonders of Elvis' first album in stereo
(CD Reviews, Source;ElvisInformationNetwork) |
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Anthony Stuchbury 'From Elvis At Sun' Interview: There are two new 'Mono II Stereo' releases about to come out from the Memphis Mansion label.
'From Elvis At Sun' features all of Elvis' SUN masters in new stereo versions while the 10" vinyl 'Best Of Elvis' is a neat stereo upgrade of the original HMV october 1957 UK album.
The question of whether Elvis' mono fifties classic recordings should be re-released in "new stereo" is hotly debated among hard-core collectors and so EIN wanted to ask Memphis Mansion's producer / audio engineer Anthony Stuchbury some key questions.
Questions including...
- Do we really need stereo versions of these mono classics?
- Since EMI are releasing The Beatles in "new stereo" perhaps it is time for RCA to do the same for Elvis..
EIN's Piers Beagley asked the questions..
(Interviews, Source;ElvisInformationNetwork)
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'From Elvis at Sun' Stereo CD Review: A new ‘From Elvis at Sun’ “Mono II Stereo” release from the Danish Memphis Mansion label.
The compilation includes the five classic SUN SINGLES plus the other nine alternate cuts that RCA would purchase from Sam Phillips.
Keen Elvis fans must surely have a serious fascination about how Elvis' early ground-breaking recordings were created.
Why do Elvis' classic rock’n’roll singles sound so good, especially given the low quality recording equipment of the time? And how were they laid down in the studio?
One way to discover the wonders of 50’s rock’n’roll inventiveness is to examine "stereo" versions of the old mono recordings and it is only since the creation of the cutting-edge audio process DES (Digitally Extracted Stereo) that we can do this.
Previous Mono <> Stereo versions have not quite made their mark. So is it possible that this new 2023 set can help fans appreciate the real magic and brilliance of Elvis at SUN?
EIN's 2,600 word review by Piers Beagley looks in-depth at whether new upgrades in "DES" software can help create something special from these old SUN classics...
(CD Reviews, Source;ElvisInformationNetwork) |
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‘Elvis Reborn: New Mono to Stereo’ CD In-Depth Review: The publicity notes, "Hear 30 classic Elvis songs like you've never heard them before... in STEREO! These are NOT "overdubs". All of the sounds you hear are the original musicians backing Elvis, but with a clarity that exposes for the first time sounds you never heard before!"
The MONO vs STEREO debate is a fascinating discussion, so we need to get some facts straight before we investigated the possibilities of this new Elvis "Stereo" release.
The earliest recordings of the sound era were recorded in MONO with the singer and orchestra carefully positioned around one microphone. But even in Sun Studios it was actually Sam Phillips who created Elvis' classic mono recordings.
Elvis and the Blue Moon Boys were not playing "mono" - nor were they recorded via one microphone. So listening in "Fake Stereo" can fans really learn anything new about how some of these life-changing songs that Elvis recorded in the studio were created?
Is it truly possible that these "DES Stereo" versions actually sound better than their original classic mono vinyl releases?
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'ELVIS: Closing Night 1972' MRS CD Review: This MRS 2CD set features a live performance recorded on 4 September 1972,during the last night of Elvis’ seventh engagement in Las Vegas at the Hilton Hotel.
The show is presented in stereo. A bonus CD of remastered rehearsal tracks, recorded days before the engagement began, is also included.
While Elvis is perhaps not as full-blast as on the 'Opening Night' here MRS's 'Studio D' engineer has done some brilliant audio remastering, removing the bad cassette-tape-hiss of all previous releases. Emphasising the instrumentation with this "Stereo remaster" not only elevates Elvis and the musicians' performance but also places the listener right into the audience.
This night Elvis rocked into 'Johnny B. Goode' and even performed the golden-oldies with some real respect.
It's a great show.
Go here as EIN's Piers Beagley discovers something new in this re-release - the near perfect bookend to MRS' examination of Elvis’ 1972 Summer Festival.
(CD Reviews, Source;ElvisInformationNetwork) |
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MRS 'Elvis: Mono To Stereo 1956' CD Review: At the end of last year the UK based MRS label released their Double CD/ Book 'Elvis: Mono To Stereo - The Complete RCA Studio Masters 1956'.
The set contains the complete 1956 RCA studio master recordings in mono and (DES extracted) stereo versions. These were thirty classic RCA recordings that would help change the future of popular music.
The accompanying 20-page booklet includes photographs and memorabilia plus introductory notes.
While 'DES Stereo' remastering can sometimes reveal new details about classic MONO studio recordings, trying to create believable stereo from echoey mono masters is not that easy, even when using "highly advanced sound processing techniques".
EIN's Piers Beagley put on some quality headphones to provide an in-depth review of this recent MRS release.
(CD Reviews, Source;ElvisInformationNetwork)
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See EIN review of 'Young Man With The Big Beat'.
See EIN review of 'Elvis Is Back!' Legacy Edition review:
See EIN review of 'The Complete Elvis Presley Masters' in-depth Review
See EIN review of 'On Stage' 40th Anniversary LEGACY in-depth review:
See EIN review of From Elvis In Memphis (40th Anniversary Legacy Edition)
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