On August 10, 2018 Sony used the classic RCA label to release "Where No One Stands Alone". The album was available on compact disc, vinyl (besides the usual black discs, there were also limited editions in blue and pink) and music cassette. Of course it was also available for download and stream. On Billboard's "Top Album Chart" the longplayer peaked at number 22, on the "Physical Album Chart", the "Christian Album Chart" and the "Vinyl Album Chart" it reached the number one spot. In Great Britain "Where No One Stands Alone" peaked at number 9, in The Netherlands and Australia it reached number 15. In Belgium and Germany the album at least entered the Top40. The album wasn't as successful as "The Wonder Of You" (2016), but considering that Elvis was gone for 41 years at the time and that the newness of remakes had worn off after three remake-albums in a row, "Where No One Stands Alone" did very well.

Today the album is available on the streaming palatforms in Hi-Res. It's less popular than the RPO albums since it accumulates just a tad over 21 million streams on Spotify.

After "If I Can Dream" (2015), "The Wonder Of You" (2016) and "Christmas" (2017) this was the 4th remake album in a row. But this time the approach was to create a more edgy and modern album. Therefore Lisa Marie took over from Priscilla and The Royal Philharmonic Orchestra was not used. But of course the procedure was the same. Elvis' vocals were separated from the original recordings and added to newly recorded music tracks. The instrumentalists on this album are Dennis Wage (piano and organ), Jason Webb (keyboard), Andy Childs (keyboard), Tom Hemby (guitar), Pat Cuchanan (guitar), Steve Mandile (guitar), James Lwry (guitar), Mike Bringnardello (bass), Jimmie Lee Sloas (bass), Ionnie Wilson (drums), Greg Morrow (drums), Jim Horn (saxophone), Scott Ducaj (trumpet) and Roy Agee (trombone). The harmony voices belong to Andy Childs, Shawnel Corley, Gus Gaches, Terry Franklin, Gale Mayes, Angela Primm, Robb Tripp and The Christ Church Choir. To fabricate some authenticity, the producers hired a few people, who actually had performed with Elvis. And so Terry Blackwood, Armond Morales and Jim Murray (former members of The Imperials), Donnie Sumner, Bill Baize, Ed Hill and Larry Strickland (former members of The Stamps), Cissy Houston (former member of The Sweet Inspirations) and Darlene Love (former member of The Blossoms) added their aged voices.

The arrangements were created by Gus Gaches (vocalists), Steve Mauldin  (The Christ Church Choir) and Jim Horn (brass). In contrast to Elvis, who preferred to record live with the band, the producers of "Where No One Stands Alone" captured the voices and instruments at different places.In Nashville they used The Ocean Way Recording Studios, Cool Tools Audio, Curb Studio B, The Tracking Room and Next Level Productions. In Los Angeles the sessions took place at The Village and EastWest. Other parts were recorded at The Power Station At Berklee in New York City. All tracks were mastered by Tony Castle, Andrew Mendelson and Ed Seay at Georgetown Masters and Pro Tools Audio in Nashville. Ed Seay was also responsible for the audio mix. The project was coordinated by Shannon Finnegan.

The first track offers a new intro, various breaks and brass sounds. The harmony vocals were also rearranged and cater to every cliche' of gospel music. The new incarnation of "I've Got Confidence" completely lacks the "garage rock" feeling of Elvis' original recording and sounds much cleaner. However, that doesn't mean, that I dont like the new version. It's quite different to what we were used to and interesting to hear.

The intro sounds very tame, but then the performance gains momentum. Lisa Marie harmonizes well with her father, her dark voice sounds good and adds something special.

Back in 1968 "Saved" was part of a gospel medley, which the king had recorded for his television special "SINGER presents Elvis". Because it wasn't a complete performance, the producers of this album had to do a lot of doctoring. The king's vocals were completely re-arranged, even an Elvis Ending (it's really called that way) was created. The new arrangement sounds powerful and features an organ solo. I like this track very much.

While "Saved" is interesting to hear, "Crying In The Chapel" sounds quite uneventful. It also lacks the charm of Elvis' original performance and to me it sounds somewhat "cheap", too.

The new incarnation was enhanced with several breaks and solos. It's a snappy arrangement and a nice alternative to the original.

The beautiful ballad now includes a piano intro. I also like the tasteful, solemn arrangement.

"Bosom Of Abraham" now includes a rhythmical intro and a nice, drums-driven bridge. Elvis' vocals were cleverly re-edited.

Compared to the original recording, they choir is arranged differently and sounds much more voluminous. The track certainly offers a great gospel-feeling and sounds very good.

The new incarnation of "I, John" features more instruments and also offers a driving beat. The choir uses more gospel elements than the original singers did back in 1971. I like this one very much.

While Elvis' original recording is full of emotion, the new version takes away a lot of the feeling. The music track is too smooth, too perfect. Everything is executed extremely well, but the result lacks soul.

The first part of the song is much tamer and more subtle than Elvis' original performance. The finale is very powerful and everyone is running at full throttle. It's a very good track, certainly one of the highlights of this album.

Here the new arrangement differs just slightly from the original one. It may sound a tad more modern.

Back in 1971 Elvis didn't put much effort in his sacred re-recording of "There Goes My Everything" and delivered a sloppy performance. The producers of this album re-arranged the harmony voices and used more singers to cover the king's shortcomings. It works very well, so I dare to say that I like this new edition better than Elvis' original recording.

For the finale the producers tried to come up with something innovative by changing the pitch. As a result the whole thing sounds somewhat weird, Elvis seems to miss a lot of notes. In the spring of 1971 his voice wasn't in the best condition, but it certainly didn't sound as bad as it does here. The album "The Wonder Of You" includes a previous remake of "Amazing Grace", which sounds much better than this one.