best cd

im up to 8 channel MLP atm.

I like pro 5.1 DVD audio though-many cracking sounding DVD audio's done by some really skilled people out there.

whats the best cd for the orignal hit mixes not the remixed ones like on

elvis 1's

?

3.I was not pinpointing albums like Elvis is Back-i was refering to the stream of Mainstream Targeted albums during the 1990's that set an incredibly new low for EP like never before, failure after failure to enter even the top 50 uk album charts-no doubt you will say who cares about chart success-just like you say who cares about sound quality.

Simple - lack of promotion. But I think you are misrepresenting the situation a little. There was the greatest hits album in the 80s that went to number four. But what about From the Heart in 92 or so that got to number 4 or 5 and also charted highly the year after on re-release. And there was also the Essential Collection in about 94 that went top 5. I'm pretty sure there was another but it slips my mind. But what did these have in common with 40 greatest hits that was missing from the albums that didn't chart? Simple - promotion. Both were backed by television campaigns and had a good in-store presence. People bought them in sufficient numbers for them to chart highly, because they knew about them.

I didn't say I don't care about chart success. I also didn't say I don't care about sound quality. I just think it has nothing to do with whether or not the public does or doesn't go to the Elvis rack and make a purchase. The most obvious reason being that they don't even hear the sound quality before making the purchase.

5.Why do you think the public bought into PRESLEY THE ALL TIME GREATEST HITS?

Timing and, once again, promotion. It was the 10th anniversary and Elvis was everywhere. There were high profile tributes on both the main tv channels, as well as extensive news and print media coverage. This, coupled with promotion for the album itself, led to good sales.

For the same reason, the 2002 album sold big. It was high profile and yes helped hugely by ALLC. It would have sold well even without ALLC, but obviously not in the same huge quantities.

1985 Always on My Mind=Orignal Mixes Not Ernst

1987 PRESLEY ALL TIME GREATEST HITS=Original mixesNot Ernst

1992 From the Heart =Original mixes.Not Ernst

1995 The Essential Collection = original mixes.Not Ernst

what did these have in common with 40 greatest hits that was missing from the albums that didn't chart=promotion& original mixes.

No matter what discussion that you drag me into about degrees of promotion-my original points were the truth that Ernst and his crew change the mix-they change the sound.

Weather they recieve promotion or not-this is the case.

LOL detracting me from the point that i made at the very start.

Ernst & his crew mixes are terrible and the public know this.

Last edited by GERRY on Fri May 11, 2007 5:48 am, edited 1 time in total.

I lived through those 1990's i was regularly in those HMV VIRGIN WOOLWORTHS WHSMITH stores i saw those beautiful covers Such A Night Essential Elvis/Tomorrow Is A Long Time etc etc

Despite zero promotion the public still avoided them like the plague anyway-even when Elvis had a hit album recieving promotion.

Even during the hieght of E1.

Trust me the PUBLIC are not stupid they KNOW when something stinks.

Just listen to the CD's and tell the truth for once-i have.

This is the bottom line this is beyond contention-Sure FTD is a collectors label but they still are playing Dr Frankenstein changing the mixes.

And do not get me started on Ernst's other disasters like On Stage-TTWII se etc etc

I lived through those 1990's i was regularly in those HMV VIRGIN WOOLWORTHS WHSMITH stores i saw those beautiful covers Such A Night Essential Elvis/Tomorrow Is A Long Time etc etc

Despite zero promotion the public still avoided them like the plague anyway-even when Elvis had a hit album recieving promotion.

Even during the hieght of E1.

Trust me the PUBLIC are not stupid they KNOW when something stinks.

And tell me how they know this if they avoided them like the plague? How did they come to this conclusion without hearing them? The truth is that the public don't have the slightest bloody idea about the sound quality of various Elvis releases.

And do not get me started ...

Believe me, nobody wants to. The question is whether there's any hope you'll ever stop.

1985 Always on My Mind=Orignal Mixes

Trust me the PUBLIC are not stupid they KNOW when something stinks

Juan,

Lets elaborate on your point -after all the devil is in the detail isnt it.

The public are rather selective then on which EP releases that they buy into-

why is this?

Again i ask What was E1's main selling point?

The sound and Beatle's #1s still fresh with public.

I lived through those 1990's i was regularly in those HMV VIRGIN WOOLWORTHS WHSMITH stores i saw those beautiful covers Such A Night Essential Elvis/Tomorrow Is A Long Time etc etc

Despite zero promotion the public still avoided them like the plague anyway-even when Elvis had a hit album recieving promotion.

Even during the hieght of E1.

Trust me the PUBLIC are not stupid they KNOW when something stinks.

And tell me how they know this if they avoided them like the plague? How did they come to this conclusion without hearing them? The truth is that the public don't have the slightest bloody idea about the sound quality of various Elvis releases.

That is true.

kevan and sebastian know how to master better than one else at rca period.
they still need to use the 1st generation masters to get the best sound not 4 or 5th copies.
copy of a copy of a copy doesn't sound as good as a 1st generation.
ignore my question is hound dog too fast on most releases?

Hello,

Gerry, you're absolutely right. "2nd To None" only did as well as it did because it rode the coattails of Bendeth's "30 #1 Hits." Poor song selection on "2nd To None" (I Forgot To Remember To Forget, etc.) doomed it from day one. They tried all these tricks to try to get people to buy "2nd To None" as much as "30 #1 Hits" (adding an unreleased song, a weaker remix song, the video clips via the program encrypted on the CD, lame coverart, poor song selection, egotistic CD title "2nd To None", etc.) but it just didn't work.

30 #1 Hits = 4 Million U.S.

2nd To None = 1 Million U.S.

If Bendeth were allowed to work on the followup instead of Jorgensen, that never would have happened.

In my opinion, "30 #1 Hits" obliterated the false notion some European fans have that American fans don't support Elvis as much as they do. How the he!! can the U.S. sell a third of the world's total sales (9 -10 Million) and be accused of not supporting Elvis. No other country even came close to 4 Million. This must have scared the **** out of Jorgensen, who could only dream of these type of sales numbers on a single disc compilation. So what did he do. He weaseled his way to force Bendeth out and then tried using Bendeth's engineer, Ray Bardani, trying to fool everybody into thinking "2nd To None" was coming from the same team as E1. Add to that the tricks I mentioned above to try to get the followup to sell only led to less sales. For someone who is credited on E1 for research, I have to wonder if Jorgensen did any considering the use of alternates on "A Fool Such As I", "A Big Hunk O' Love" and "The Wonder Of You." Or was it as someone else said, just a formality because Jorgensen was forced out of E1 from the beginning and he complained enough to a higher up that it wasn't fair, therefore the research credit is born. For Jorgensen not to catch the mistakes of using alternates reflects more on him rather than Bendeth/Bardani. It's almost as if Jorgensen was trying to sabotage the CD to fail on purpose. And for him to take credit of the idea of a number one hits package is he!!-bent absurd. The idea had been around since the 1987 Commemorative release "The Number One Hits" and the more recent 2000's Beatles "1". Hell, even Tunzi's "Elvis #1 book" predated the "30 #1 Hits" CD.

Ultimately, as I said before, "2nd To None" did marginally well, reaching #3 on Billboard's Album chart and selling 1 Million, due to riding the coattails of "30 #1 Hits." Ultimately, Ernst decided to remove Bardani as well and replaced him with Vic Anesini (once the Sony merger was completed) for mainstream releases.

THE TRUTH SERVED UP COLD AND RAW.

To quote Jack Nicholson in the film "A Few Good Men"

"You want the truth. You can't handle the truth."

Daryl

30 #1 Hits = 4 Million U.S.

2nd To None = 1 Million U.S.

If Bendeth were allowed to work on 2nd To None instead of Jorgensen, that never would have happened

Amen to that Brother Daryl

Is it just smoke and mirrors with you, Gerry, or do you ever intend to answer my questions? It’s time to put your money where your mouth is.

Per

Sorry Per i have been busy.

Get round to it as soon as i can.

30 #1 Hits = 4 Million U.S.

2nd To None = 1 Million U.S.

If Bendeth were allowed to work on 2nd To None instead of Jorgensen, that never would have happened

Amen to that Brother Daryl

No. The difference is twofold:

1. The timing of 30 #1 hits

2. The fact that 30 #1 hits had a worldwide smash in ALLC to attract buyers.

The second album was never going to sell as well. An additional point is that, in purchasing Elvis 30 #1 hits, very many buyers had in effect purchased their Elvis Greatest Hits album and were satisfied. A lot of times, casual admirers of an artist have that artist represented in their music collection by one greatest hits package. I have one Elton John greatest hits album, which totally satisfies me. I have no desire for more, as the monster hits which I'm familiar with are in my collection.

Sounds good, Gerry. Looking forward to that.

Per

I have one Elton John greatest hits album

I have greatest hits plus i have others such as :-Elton John - Dream Ticket
check it out you are missing out.

Of course promotion comes into the equation as to weather or not a release is a success.

But the point that you made applies to other lesser artists moreso but to the king it's a different story when the sound is upgraded people want to buy into it so that they can appreciate the King. People want to appreciate the King but on their terms.

The word was spread regarding E1 and Bendeth's special project well before it was onsale anywhere-it had never been done before.

We were all waiting in anticipation to hear how much better these tracks would sound.

2nd to none was just a half hearted attempt to extract as much off the coattails of E1 as possible-without putting the work in-it was nothing like E1-the public knew it.

2nd to none didnt have the bells and whistles.

George Martin Giles Martin product package comes with all the Bells and whistles that they realise the public want.

Rubberneckin was a bland remix like a lot of his remixes-check them out and find out the truth-people know this as well.

When will you guys realise that the public are not stupid?


THERE CAN ONLY BE ONE
Rock and Roll Hall of Fame, the Country Hall of Fame, and the Gospel Hall of Fame,And Taking his place alongside Jackie Chan,Bruce Lee,Chuck Norris-Martial Arts Hall Of Fame,United States Kenpo hall of fame.

Last edited by GERRY on Sat May 12, 2007 11:42 pm, edited 1 time in total.

Oh and im not Darly-(seen the other thread)you dont notice sound quality and you dont notice daryl's writing is 100times superior to mine either so we cannot possibly be the same person.

But my points are still made albeit with poor writing skills-if i may say so myself,my skills lie in other fields.


You dont have to be a fan of Ernst to post here.

Oh and Matthew,i can confirm the 16 tracks.

Schmidlin had 16 track masters that he digitally remixed to attain separations of music that we hadnt heard before-imo one thing he forgot was the band-he was caught in the same old trap to show the golden voice off at the expense of the other musicians-they are thinned out a little to allow that golden voice more prominence.

One example i have all different versions of Patch It Up and Scheffs bass is deeper than it is in TTWII se it has been thinned out.

That said i can forgive this because of the quality and separation that is in these new remixes.


THERE CAN ONLY BE ONE
Rock and Roll Hall of Fame, the Country Hall of Fame, and the Gospel Hall of Fame,And Taking his place alongside Jackie Chan,Bruce Lee,Chuck Norris-Martial Arts Hall Of Fame,United States Kenpo hall of fame.

1-Elvis at the International
2-Polk Salad Annie
3-Elvis Aloha from Hawaii Deluxe Edition
4-The Nashville Marathon
5-The Jungle room Sessions

Dont confuse how good Elvis is with how cr@p the mix is.







THERE CAN ONLY BE ONE
Rock and Roll Hall of Fame, the Country Hall of Fame, and the Gospel Hall of Fame,And Taking his place alongside Jackie Chan,Bruce Lee,Chuck Norris-Martial Arts Hall Of Fame,United States Kenpo hall of fame.

Hi All,

I would say " Imports" are the best. Seems they always put out better material than official releases.

Hello,

TJ wrote:

1. The timing of 30 #1 hits

Hogwash!!! Ernst would have known that the '68/Aloha DVDs were coming out in 8 months (June 2004) from the actual release date of 2nd To None (October 2003). Wasn't he given a formality credit on those DVDs as well. Ernst would have been better off releasing the followup at the same time as the DVDs. It would have made a bigger splash, rather than the more obscure "Elvis At Sun."

2. The fact that 30 #1 hits had a worldwide smash in ALLC to attract buyers.

Fact: David Bendeth began working on ideas for a followup to ALLC even while 30 #1 Hits was hot on the charts before he was weaseled out. In fact one of his ideas was recently used (Idol Gives Back-Celine Dion duet...albeit with a different song).

Fact #2: So did "Elvis By The Presleys" and so did "Hitstory." But it still didn't help sell either. Speaking of which, if 2nd To None was indeed a great success in your eyes, why didn't BMG follow up with a third installment stand-alone rather than repackaging E1 and E2 with 2/3 of a followup, "Hitstory." In fact there were songs that didn't make "Hitstory" that probably deserved to be on E2, namely "Blue Christmas" which still gets incredible radio airplay during the holiday season.

Daryl

Hello,

TJ wrote:

1. The timing of 30 #1 hits

Hogwash!!! Ernst would have known that the '68/Aloha DVDs were coming out in 8 months (June 2004) from the actual release date of 2nd To None (October 2003). Wasn't he given a formality credit on those DVDs as well. Ernst would have been better off releasing the followup at the same time as the DVDs. It would have made a bigger splash, rather than the more obscure "Elvis At Sun."

I don't understand your point. My point was that timing did make the difference. By that I mean it was the 25th anniversary and it was released just after a worldwide number one. It was a high profile period for Elvis and the album was given huge amounts of both paid and free promotion as a result. You seem to be saying that it wasn't the best time to release 2nd To None, yet disputing my point about timing, so forgive me if I haven't a clue what you mean.

2. The fact that 30 #1 hits had a worldwide smash in ALLC to attract buyers.

Fact: David Bendeth began working on ideas for a followup to ALLC even while 30 #1 Hits was hot on the charts before he was weaseled out. In fact one of his ideas was recently used (Idol Gives Back-Celine Dion duet...albeit with a different song).

Again I'm not sure what you're getting at. I meant that the success of ALLC naturally bumped both awareness of Elvis and sales of 30# 1 hits on which it appeared. Whether Bendeth conceived a remix of similar quality or not is irrelevant to my point. Such a remix didn't surface. Instead we had the fairly bland Rubberneckin' which failed to interest many Elvis fans, let alone casual buyers. Anyway, I do think ALLC was a one off. It's easy to criticise Rubberneckin, but I think it would have been a tall order to come up with a remix that was going to match the popularity of ALLC.

Daryl

Fact #2: So did "Elvis By The Presleys" and so did "Hitstory." But it still didn't help sell either. Speaking of which, if 2nd To None was indeed a great success in your eyes, why didn't BMG follow up with a third installment stand-alone rather than repackaging E1 and E2 with 2/3 of a followup, "Hitstory." In fact there were songs that didn't make "Hitstory" that probably deserved to be on E2, namely "Blue Christmas" which still gets incredible radio airplay during the holiday season.

I think Elvis by the Presleys had respectable sales for the DVD in particular, which was the main part of the project. I don't see anywhere in my posts where I said 2nd to None was a great success. It did sell well compared to the standard sales figures for previous compilations, but not in the same league as 30# 1 hits obviously. Again, this is in large part explained by timing, the ALLC factor and the fact that many were happy with one compilation.

To be clear, I'm not suggesting that sound quality played absolutely no role in the sales of 30# 1 hits. Of course it did. I just think you and Gerry are overstating it. For long time fans in particular, who already had all the tracks on original and compilation albums, there was a sense of anticipation about what would be achieved when we knew the songs were being revamped. That for sure meant that some who wouldn't ordinarily have purchased yet another compilation did decide to buy that one. However, that doesn't explain 4 million sales in the US or 9 million worldwide. It's more the big fans who got excited about a possible advance in sound quality. Most who purchased the CD probably had little to even compare it to - some nothing at all. If you think there are 9 million people in the world who care about or are even aware of sound debates regarding Elvis releases, you are seriously mistaken.

TJ wrote,

My point was that timing did make the difference. By that I mean it was the 25th anniversary and it was released just after a worldwide number one. It was a high profile period for Elvis and the album was given huge amounts of both paid and free promotion as a result

You keep harping on and on about the fans allready having the damn tracks when you should surely know that it was the public and not the remnants of the EP fanbase that made E1 the sales success that it was.

I dont think the public gave a **** about it being the 25th anniversary.

There was a buzz around about what Bendeth was doing.

The remix was great and that Nike Add....But that would not be enough on it's own..it took Bendeth as well.

Now onto Elton John---at the start of 2003 if you were to ask someone which Elton John track would make a comeback, I'm sure that lost disco classic "Are You Ready For Love" would hardly have been at the top of their list.

Dont you remember Elton John ,Are you ready for love?- It was remixed by Fatboy Slim, and was advertising Sky Sports' football coverage, so you just knew it's was going to be a No. 1 hit.

Football is very popular europe.

Fatboy Slim was responsible for making Elton John cool again.

Now back to Elvis

If you think there are 9 million people in the world who care about or are even aware of sound debates regarding Elvis releases, you are seriously mistaken.

Answer= --it was the whole package dude-the remix and Nike Add and that remix being on the album caught peoples attention, the sound upgrade David Bendeth's work sealed the deal.You gotta have it all-the public demand it.

Plus opportunist buyers plus other buyers for their family-like

gee look it's had a massive sound upgrade i'll buy that for uncle Albert he likes Elvis-or a sister or mother or someone else.Why didnt they pick one of Ernst Elvis cd's from the shelf when they bought E1?

The sound gave them the reason to buy E1.

There aint no getting away from it-E1's main selling point was David Bendeths work on the sound and all the trouble that he was going to.

Last edited by GERRY on Sun May 13, 2007 6:16 am, edited 1 time in total.