Chuck Berry in Fake Stereo

As you know from the long article “Chuck Berry in Stereo” on this blog, all of Berry‘s great hits from the 1950s were recorded and released as pure Mono. No multi-track studio tapes exist nor any two-track stereo releases.
In the second half of the 1960s, with the popularity of Stereo albums and FM radio, Mono records sounded outdated and dull. Record companies trying to re-sell 1950s hits therefore used a trick to create fake stereo versions of recordings originally made and only available in Mono.
The old recordings were “electronically reprocessed for stereo”. Technically the original mono signal was copied to both stereo channels. On one channel the higher tones were enhanced, on the other the lower tones. One channel was delayed a tiny fraction of a second and artificial echo and reverb were used to mask this delay. Unfortunately this distorts the original recording to an amount which makes them sound ugly when compared to the original mono mix.
During the 1970s many re-issues of Berry material contained such fake stereo which is why record collectors omit them to the most part. At least some of the fake stereo releases came with a tiny warning as shown in these cover segments.

Cover details of 1970s fake stereo releases

If you were following the hype around the Beatles’ “new” recording “Now and Then”, you learned that nowadays computers are able to separate John Lennon’s piano playing from his singing based on a source tape where these two blend into each other. The trick is to find notes and frequencies which are typical to a male singer and to find notes and frequencies which are typical to a piano. A human listener can do so easily and tell exactly what is singing and what is piano playing. Computers are not that good.
However, new computer techniques approximate the identification of a song’s parts. The trick is to have a computer analyze thousands or millions of piano recordings and to find patterns which are typical to piano playing. This is pure statistics, technically called machine learning, or for the marketing folks “artificial intelligence”. Given enough training data, you can teach the software to identify piano playing, male or female vocals, drums, guitar, saxes, and so on.
There is free and commercial software available which does a pretty good job at identifying and separating instruments from a recording mix. However, such a result is never perfect. Even a human listener might get fooled, when a talented vocalist mimics a saxophone solo. Certain sounds can be created using different instruments alike such as a bass line played on the lower strings of a guitar. Especially pianos are difficult to identify as they have a very wide range of tones which can sound like a guitar or even like some drum set segments. And of course it is very hard to separate two guitars or two pianos.
If you separate the musical instruments used during the original recording, you can re-use the extracted tracks to combine them with other recordings just like they did with the Beatles song. Or you can re-mix the individual elements at varying intensities and delays to two separate tracks which build the left and right channel of a stereo release.
Hit Parade Records of Canada for some time already uses this re-stereofication method to create fake stereo versions of 1950s hits. A first fake stereo version of a Berry hit (“Sweet Little Sixteen”) appeared in 2020.
In 2023 Hit Parade Records released the CD album “Chuck Berry Stereo: 27 Original Hits” containing 22 of such fake stereo versions. The other five songs are stereo versions originally released on the 1960s Chess albums. “Route 66” is fake stereo, even though a true stereo recording of an alternative take exists.

The CD cover does not mention the artificial nature of the versions. This “fake” aspect is hidden on the last page of the booklet.
So now we can listen to songs such as “Maybellene” or “Johnny B. Goode” in stereo. And just like in the 1970s, these fake stereo versions are much worse than the original releases. For the most part we hear the lead guitar at one end of the stereo range and the cymbals from the drum set at the opposite end. Everything else is more or less in the center with the vocals quite low in the mix. The marketing material shouts that “now you can hear guitar notes come to life that were previously buried in the mono mixes” but this goes with the consequence of other elements now getting buried instead.
As said, given the original mixed material a separation cannot be perfect. Here we hear notes from the same guitar sometimes from the left, sometimes from the center, sometimes even from the complete other side of the room which sounds as if there were more guitars present in the studio as there really were. On the other hand it sounds as if there were only cymbals on the drum kit but no drums at all, a woolly sound on the drums altogether. And especially problematic is the piano, which sounds as if it were moved around the studio during a song’s recording take. In general there is too much echo just like it were with the 1970s fake stereo releases. One positive note, though: What they did really good was the separation of Berry’s lead vocal and the chorus on “Almost Grown”. This sounds as if the vocal group is standing to the side as it probably was originally.
All in all these versions are nothing a collector would want. On the contrary: just as in the 1970s, where the original mono recordings were replaced by the fake “electronic stereo” variants, the same also applies here. As soon as streaming services or re-issuers learn of the existence of these so-called “true” stereo versions, how long will it be before the original mono versions are replaced?
Morten Reff adds: “Just to compare a little. I also bought the new “Chirping Crickets” (the first LP by Buddy Holly And The Crickets from 1958) on Rollercoaster Records in “stereo”, and they did a much better job of it. Clearer and better sound and better stereo effect. Although I must admit that I still go for the original mono versions.”