20 DAYS AND NIGHTS
This release by Audionics contains the dinner show performed in Las Vegas
on the 12th August 1970, which was one of six complete concerts
recorded during the filming of the documentary ‘That’s The Way It Is.’
Selections previously released from this show include Patch It Up, which was
featured on the TTWII album, Twenty Days And Twenty Nights from disc 3 of TTWII
Special Edition and Blue Suede Shoes + You Don’t Have To Say You Love Me, which
were both included on the FTD title: That’s The Way It Was. The full concert was
also issued as part of ‘The Complete Works’ box set, but the sound quality is
vastly superior here and in true stereo for the first time on this release.
Like the other releases in this series, it has been issued as an
attractive digipack with stunning artwork throughout. This time, however, there
is no booklet, but once again the design is a delight with all the photos being
particularly well chosen and evocative. From the notes on the fold-out insert,
it appears that the majority of photos used were taken during the actual show,
with additional shots included from stage rehearsals during August.
The sound quality is taken from a first generation copy of the original
stereo mastertape and is accordingly very good indeed. It also has an
interesting mix featuring James Burton’s guitar in the foreground and the drums
up-front, with the overall result so clear and punchy, it could easily be
mistaken for an official release - no kidding!
At the start of the CD Elvis can be heard teasing the audience with a
‘Hello’ over the public address system prior to the opening drum salvo. He
continues by playfully singing the line, ‘Love me tender, love me true’ in the
same tempo as That’s Alright Mama, which was the new opening song for this
engagement. This is followed by an enthusiastic performance of I Got A Woman,
which has an extended pause during the rhythm break at the end, after which he
growls out the closing refrain in a deliciously raw fashion, ending it with a
triumphant shout.
Hound Dog is introduced with all the usual quips and asides and is
followed afterwards by Heartbreak Hotel. This song features some outstanding
blues piano licks and runs from Glen Hardin which are heard to great effect on
this recording. Moreover the tempo is spot on and not rushed making this a great
version. Afterwards there is some dialogue concerning problems with the sound
system, which results in him grabbing four different microphones only to reject
two of them for being faulty. This sequence will be familiar because it was
included in the film.
Love Me Tender is even more protracted than usual, with much of it being
instrumental, while he leaves the stage to walk through the audience and greet
his fans. It ends with him commenting, “I’m sorry I couldn’t have made it up on
the balcony, but it would have taken us another hour,” adding as an aside, “I
wouldn’t mind, but they want you out in the casino.” I’ve Lost You is next,
where he appears impatient at the audiences initial response, so initiates
applause by asking, “How do you like it so far?”’ Afterwards he acknowledges the
presence of 400 workers for the Ford Motor Co and quips that he expects a new
I Just Can’t Help Believing proves especially dynamic, due to the drums
being high in the mix and is followed by Patch It Up, which was included as a
live cut on the TTWII album, but sounds
better in its proper context here. Even so, Elvis believes his performance could
be better as he calls out a wry “Almost” afterwards. The ‘Little Bitty Guitar
Routine’ is next, after which he announces that MGM are doing a movie called,
‘Elvis Shakes His Excess Off,’ alluding to his forceful and energetic stage
movements.
Twenty Days And Twenty Nights is introduced as, “A new song which…I don’t
really particularly dig singing, but it’s on the program and they’ve asked me to
sing it.” A false start ensues, which leads to the comment, “We were supposed to
learn fifty songs, but we only learned five….so anyway this is one we don’t
know.” It goes on to receive a good
performance, although he teases his backing group afterwards saying, “It’s a
long note to hold on to aint it?….and you didn’t do a good job of it either.”
You’ve Lost That Loving Feeling is immediately followed by Polk Salad
Annie, where the horns are heard to great effect, adding to the power of the
performance. The group introductions are next, which include the usual quips and
asides, along with some irritated comments directed at Charlie Hodge who he
describes as being, ‘like a devil on your shoulder.’ “I like him though,” he
adds hastily to soften the blow.
A raw sounding Blue Suede Shoes is next, which is immediately followed by
a great version of You Don’t Have To Say You Love Me. Afterwards he asks for
some water and calls out, “Ok, let’s get serious now,” as the cue for Bridge
Over Troubled Water. Suspicious Minds follows this and sounds particularly good
with the guitar higher in the mix on this recording. During the proceedings he
ad-libs, “Easy now....it takes a while to get back,” referring to his karate
posturing during the song.
Afterwards, without further ado, he thanks the audience and goes straight
into Can’t Help Falling In Love to close the show. Following this, around 50
seconds of intermittent dialogue between the stage crew can be heard before the
recording ends.
To sum up, this is another first class performance in excellent sound
quality with an equally first rate presentation. Furthermore, the packaging
alone ensures that this Audionics series will likely be regarded
as the ultimate collector’s edition of
multi-track concerts from this period, which makes each one an essential
inclusion for any collection.
SOUND RATING
******
Reviewed by Mike Sanders (