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Man: All right, we have
a wide shot, so no one
can be in here.
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00:00:04,830 --> 00:00:06,950
Standing by.
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00:00:06,950 --> 00:00:08,450
9:12.
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00:00:08,450 --> 00:00:11,950
♪ ♪
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00:00:16,290 --> 00:00:18,870
Jerry Schilling:
The ' 68 Special
really showed
6
00:00:18,870 --> 00:00:22,500
Elvis's career in its entirety.
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00:00:22,500 --> 00:00:25,450
They took Elvis's
original songs
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00:00:25,450 --> 00:00:28,040
and they made 'em more modern.
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00:00:28,040 --> 00:00:31,290
Priscilla Presley:
This was bringing him
back to the beginning
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00:00:31,290 --> 00:00:34,000
but yet going into the future.
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00:00:34,000 --> 00:00:36,410
♪ Well, I quit my job
down at the car wash ♪
12
00:00:36,410 --> 00:00:38,370
♪ I left my mama
a goodbye note ♪
13
00:00:38,370 --> 00:00:42,000
Schilling:
There was the jam session
with his original musicians.
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00:00:42,000 --> 00:00:45,540
It had simplicity, spontaneity.
15
00:00:45,540 --> 00:00:48,870
And it also had
the choreographed pieces
16
00:00:48,870 --> 00:00:51,500
that really was
a reflection of the movies
17
00:00:51,500 --> 00:00:53,290
and the post-Army years.
18
00:00:53,290 --> 00:00:56,200
♪ But nobody wanted
to hire a guitar man ♪
19
00:00:56,200 --> 00:00:58,410
♪ ♪
20
00:00:58,410 --> 00:01:00,500
Steve Binder:
The real spine
of the special
21
00:01:00,500 --> 00:01:02,750
came from our writers.
22
00:01:02,750 --> 00:01:05,040
They locked themselves
in their office
23
00:01:05,040 --> 00:01:08,660
and played every Elvis record
you could find.
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00:01:08,660 --> 00:01:11,750
Chris Bearde:
We wove a story of Elvis
25
00:01:11,750 --> 00:01:14,700
from his beginnings
to being a superstar.
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00:01:14,700 --> 00:01:17,910
It gave everybody a look
at Elvis as a musician.
27
00:01:17,910 --> 00:01:20,250
♪ I'm hopin' I can
make myself a dollar ♪
28
00:01:20,250 --> 00:01:22,040
♪ Makin' music on my guitar ♪
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00:01:22,040 --> 00:01:24,700
Priscilla:
It's funny. It's telling
Elvis's story, yes,
30
00:01:24,700 --> 00:01:26,040
in a variety show.
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00:01:26,040 --> 00:01:28,500
It's got the girls.
It's got him playing guitar.
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00:01:29,410 --> 00:01:31,950
I look back now...
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00:01:31,950 --> 00:01:34,370
his life was so big,
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I don't know if you can
get it in an hour. (laughs)
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♪ ♪
36
00:01:42,750 --> 00:01:45,540
Elvis:
♪ Yes, I'm gonna walk ♪
37
00:01:45,540 --> 00:01:48,250
♪ On that milky white way ♪
38
00:01:48,250 --> 00:01:52,870
♪ Oh Lord, some of these days ♪
39
00:01:52,870 --> 00:01:55,580
Elvis:
I started out when I was
just out of high school,
40
00:01:55,580 --> 00:01:57,290
I started out
driving a truck,
41
00:01:57,290 --> 00:01:59,250
and, uh, I was training
to be an electrician.
42
00:01:59,250 --> 00:02:01,410
♪ Some of these days ♪
43
00:02:01,410 --> 00:02:03,620
♪ Well, well, well, well ♪
44
00:02:04,540 --> 00:02:05,910
One day at my lunch break,
45
00:02:05,910 --> 00:02:09,370
I went into this
little record company
to make a record.
46
00:02:09,370 --> 00:02:12,330
The guy put the record out,
and overnight, in my hometown,
47
00:02:12,330 --> 00:02:14,580
people were saying,
you know, "Who is he?"
48
00:02:14,580 --> 00:02:19,160
♪ I'm gonna walk
on that milky white way ♪
49
00:02:19,160 --> 00:02:21,200
♪ Oh Lord, some of these days ♪
50
00:02:21,200 --> 00:02:24,040
I started to play
little nightclubs
and little football fields.
51
00:02:24,040 --> 00:02:27,040
Like a year and a half,
I was doing this,
I met Colonel Parker.
52
00:02:27,040 --> 00:02:30,370
♪ My mother howdy,
howdy, howdy... ♪
53
00:02:30,370 --> 00:02:34,000
In 1956, they arranged to,
uh, to put me on television.
54
00:02:34,000 --> 00:02:35,700
So they dressed me
in a tuxedo,
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00:02:35,700 --> 00:02:38,410
had me singing
to a dog on a stool.
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00:02:38,410 --> 00:02:42,200
♪ My mother howdy
when I get home ♪
57
00:02:42,200 --> 00:02:44,660
I went to Hollywood
and I did four pictures.
58
00:02:44,660 --> 00:02:46,790
I was really getting used
to the movie star bit.
59
00:02:46,790 --> 00:02:49,750
♪ I'm gonna shake
my mama's hand ♪
60
00:02:49,750 --> 00:02:51,910
Just overnight
it was all-- all changed.
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00:02:51,910 --> 00:02:54,500
♪ I will shake her hands
that day ♪
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00:02:54,500 --> 00:02:56,290
I got drafted.
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00:02:56,290 --> 00:02:58,290
♪ That's when we walk ♪
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00:02:58,290 --> 00:03:00,830
♪ On that milky white way ♪
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00:03:00,830 --> 00:03:03,120
♪ Oh Lord, one of these days ♪
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00:03:03,120 --> 00:03:06,450
Choir:
♪ On some of these days ♪
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00:03:06,450 --> 00:03:08,450
Warren Zanes:
Returning from the Army,
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00:03:08,450 --> 00:03:11,830
coming back home,
getting ready to perform again,
69
00:03:11,830 --> 00:03:14,500
it's obviously not the '60s.
70
00:03:14,500 --> 00:03:16,540
Those '60s haven't come yet.
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00:03:16,540 --> 00:03:19,580
This is pre-civil rights.
72
00:03:19,580 --> 00:03:21,290
Things are happening
in that regard,
73
00:03:21,290 --> 00:03:25,160
but it's not really
coming to a head yet.
74
00:03:25,160 --> 00:03:28,870
I'm sure he was aware
of how much had gone on.
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00:03:29,870 --> 00:03:34,000
He could've gone
in several directions.
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00:03:34,000 --> 00:03:35,910
Man:
Well, Elvis, now
you're really home.
77
00:03:35,910 --> 00:03:37,290
How does it feel?
78
00:03:38,790 --> 00:03:40,750
It's pretty hard
to describe, I'll tell ya.
79
00:03:40,750 --> 00:03:42,410
It's hard to get
used to it, you know?
80
00:03:42,410 --> 00:03:44,540
I mean, I've been looking
forward to it for two years,
81
00:03:44,540 --> 00:03:46,290
and, all of a sudden,
here it is.
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00:03:46,290 --> 00:03:47,580
It's, uh...
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00:03:47,580 --> 00:03:49,660
It's not easy
to adjust to it.
84
00:03:49,660 --> 00:03:51,950
Man: Elvis, do you think
the music has changed
85
00:03:51,950 --> 00:03:53,540
since you've been
out of the service?
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00:03:53,540 --> 00:03:55,870
I mean, since you've
been in the service.
87
00:03:55,870 --> 00:03:58,540
Possibly, yes.
I-I... I can't say really.
88
00:03:58,540 --> 00:04:00,500
I haven't been here
long enough to even know.
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00:04:00,500 --> 00:04:02,540
♪ ♪
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00:04:02,540 --> 00:04:05,120
Elvis:
The only thing I can say
is if it has changed,
91
00:04:05,120 --> 00:04:07,080
well, I would be
foolish not to...
92
00:04:07,080 --> 00:04:09,620
try to change
with it, you know?
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00:04:09,620 --> 00:04:12,250
♪ ♪
94
00:04:12,250 --> 00:04:14,540
John Jackson:
When Elvis gets back
from the Army,
95
00:04:14,540 --> 00:04:17,540
he was still
one of the biggest
stars on the planet.
96
00:04:17,540 --> 00:04:20,410
But rock and roll,
that force that happened
97
00:04:20,410 --> 00:04:23,000
between '54 and '59,
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00:04:23,000 --> 00:04:25,700
basically had evaporated
while he was away.
99
00:04:25,700 --> 00:04:29,660
And you see,
immediately, the results
of the Colonel plotting--
100
00:04:29,660 --> 00:04:34,290
"How do I make him
as widespread as possible
and polish his image?"
101
00:04:34,290 --> 00:04:37,660
Get him on the path
towards being a Frank Sinatra
102
00:04:37,660 --> 00:04:38,830
or a Dean Martin,
103
00:04:38,830 --> 00:04:41,750
pop singers who have
very long careers.
104
00:04:43,540 --> 00:04:46,750
Alan Light:
This was a curious
crossroads in his career.
105
00:04:46,750 --> 00:04:48,580
It was open field to see
106
00:04:48,580 --> 00:04:51,410
what was he gonna do
and where was he gonna go.
107
00:04:51,410 --> 00:04:54,290
The work that he had done
during his time in the Army
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00:04:54,290 --> 00:04:57,040
broadens the scope
of the music
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00:04:57,040 --> 00:04:59,160
that he was interested in.
110
00:04:59,160 --> 00:05:01,580
Priscilla:
He didn't wanna
do the same music.
111
00:05:01,580 --> 00:05:03,370
He wanted to grow.
112
00:05:03,370 --> 00:05:05,080
He wanted to evolve in a way
113
00:05:05,080 --> 00:05:08,750
that he could offer something
different in his music.
114
00:05:08,750 --> 00:05:12,910
Ernst Jorgensen: With Elvis,
it was always about
the challenge, the motivation.
115
00:05:12,910 --> 00:05:16,250
He's already in
the recording studio
in Nashville
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00:05:16,250 --> 00:05:18,120
two weeks after coming home.
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00:05:18,120 --> 00:05:19,450
He knew what was at stake,
118
00:05:19,450 --> 00:05:21,790
so did the Colonel
and the engineers,
everybody.
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00:05:21,790 --> 00:05:25,790
There was this
tension in the room:
"What's it gonna be like?"
120
00:05:25,790 --> 00:05:27,660
Man:
You ready?
(guitar plays)
121
00:05:27,660 --> 00:05:28,870
Let's cut one.
122
00:05:28,870 --> 00:05:31,120
LTWB0081, take one.
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00:05:31,120 --> 00:05:35,500
(train whistling)
♪ ♪
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Elvis:
♪ I just got
your letter, baby ♪
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00:05:44,330 --> 00:05:47,950
♪ Too bad you can't
come home ♪
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00:05:47,950 --> 00:05:50,370
Jorgensen:
They all relaxed after
just a few takes
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00:05:50,370 --> 00:05:52,120
because he's so on top of it.
128
00:05:52,120 --> 00:05:55,620
He's been longing
for this moment--
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00:05:55,620 --> 00:05:57,700
both to get his
career started
130
00:05:57,700 --> 00:06:00,540
but also to express
a new range of music,
131
00:06:00,540 --> 00:06:02,410
his new understanding of music.
132
00:06:02,410 --> 00:06:04,830
Everything he could do.
133
00:06:04,830 --> 00:06:09,080
Elvis:
♪ I ain't slept a wink
since Sunday ♪
134
00:06:09,080 --> 00:06:13,620
♪ I can't eat a thing all day ♪
135
00:06:13,620 --> 00:06:17,410
Light:
Since the last Ed Sullivan Show
appearance in 1957,
136
00:06:17,410 --> 00:06:20,330
the Colonel decided to take
Elvis off of television.
137
00:06:20,330 --> 00:06:22,250
He didn't want
to give Elvis away
138
00:06:22,250 --> 00:06:25,040
when you could sell tickets
in a movie theater.
139
00:06:25,040 --> 00:06:26,700
Jorgensen:
But in the relaunch,
140
00:06:26,700 --> 00:06:28,080
he wasn't gonna gamble.
141
00:06:28,080 --> 00:06:31,330
He wanted exposure to make
sure they got a head start.
142
00:06:31,330 --> 00:06:33,500
Now it was time to deliver.
143
00:06:33,500 --> 00:06:36,370
Jackson:
The Colonel's plan was
get Elvis on television
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00:06:36,370 --> 00:06:38,200
in front of as many
people as possible
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00:06:38,200 --> 00:06:40,660
with the world's
other most famous singer.
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00:06:40,660 --> 00:06:42,120
Make it fun and exciting,
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00:06:42,120 --> 00:06:44,540
so that now the career
can continue.
(women screaming)
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00:06:48,040 --> 00:06:53,580
♪ I know that I ♪
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00:06:53,580 --> 00:06:56,450
♪ Held nothing ♪
150
00:06:56,450 --> 00:06:58,540
♪ Waa-ooh-waa-ooh ♪
151
00:06:58,540 --> 00:07:03,580
♪ If you should go away ♪
152
00:07:05,410 --> 00:07:07,000
♪ But to know ♪
153
00:07:07,000 --> 00:07:10,700
♪ That you love me brings ♪
154
00:07:10,700 --> 00:07:13,000
Bruce Springsteen:
The Sinatra show,
155
00:07:13,000 --> 00:07:16,000
it was a very conservative
move at the time.
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00:07:16,000 --> 00:07:17,870
It was just trying
to find his place
157
00:07:17,870 --> 00:07:20,540
after coming out of the Army.
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00:07:20,540 --> 00:07:22,370
He simply had to believe
in himself,
159
00:07:22,370 --> 00:07:24,080
and that's what Elvis did.
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00:07:24,080 --> 00:07:25,410
♪ ♪
161
00:07:25,410 --> 00:07:28,620
♪ Fame and fortune ♪
162
00:07:28,620 --> 00:07:31,750
♪ My way ♪
163
00:07:31,750 --> 00:07:35,330
♪ Ooh, ooh, ooh, ooh ♪
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00:07:35,330 --> 00:07:37,200
(women screaming)
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00:07:37,200 --> 00:07:40,410
Springsteen:
Elvis put himself forth
as somebody who was not
a flash in the pan
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00:07:40,410 --> 00:07:44,250
but who was in a long line
of a tradition of American
pop singers.
167
00:07:44,250 --> 00:07:47,540
They were saying there's
a life for Elvis after Elvis.
168
00:07:47,540 --> 00:07:49,830
Elvis...
(screaming continues)
169
00:07:49,830 --> 00:07:51,410
I tell ya something,
it was great!
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00:07:51,410 --> 00:07:55,120
Jon Landau:
I remember when he appeared
on the Frank Sinatra special.
171
00:07:55,120 --> 00:07:57,450
That show was
very much the opposite
172
00:07:57,450 --> 00:07:59,000
of The Steve Allen Show.
173
00:07:59,000 --> 00:08:02,370
There was
a collegial atmosphere.
174
00:08:02,370 --> 00:08:06,660
Frank Sinatra and Elvis
had two different styles
175
00:08:06,660 --> 00:08:10,500
but were in an incredibly
exclusive club.
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00:08:10,500 --> 00:08:13,250
♪ ♪
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00:08:15,250 --> 00:08:18,450
We work in the same way
only in different areas.
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00:08:18,450 --> 00:08:20,620
(laughter)
179
00:08:21,700 --> 00:08:23,540
♪ Love me tender ♪
180
00:08:23,540 --> 00:08:25,620
♪ Love me sweet ♪
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00:08:25,620 --> 00:08:28,700
♪ Never let me go ♪
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00:08:28,700 --> 00:08:31,080
Jackson:
Trading their own hits
with each other
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00:08:31,080 --> 00:08:34,410
is the big moment
that the Colonel
engineered for him.
184
00:08:34,410 --> 00:08:37,910
♪ Those fingers
in my hair ♪
(women screaming)
185
00:08:37,910 --> 00:08:40,450
Jackson:
You can hear the women
in the crowd start screaming.
186
00:08:40,450 --> 00:08:42,750
Elvis sexes it up a little bit.
187
00:08:42,750 --> 00:08:45,250
♪ That strips
my conscience bare ♪
188
00:08:45,250 --> 00:08:47,410
♪ It's witchcraft ♪
189
00:08:47,410 --> 00:08:49,580
♪ Love me tender ♪
(women screaming)
190
00:08:49,580 --> 00:08:50,830
♪ Love me true ♪
191
00:08:50,830 --> 00:08:53,000
Jackson:
Sinatra, he's fitting
"Love Me Tender"
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00:08:53,000 --> 00:08:55,910
into that swing thing.
He's born on the beat.
193
00:08:55,910 --> 00:08:59,410
♪ Oh my darling,
I love you ♪
194
00:08:59,410 --> 00:09:01,660
♪ And I always will ♪
195
00:09:01,660 --> 00:09:03,870
♪ It's such
an ancient pitch ♪
196
00:09:03,870 --> 00:09:05,830
(women screaming)
197
00:09:05,830 --> 00:09:08,950
♪ One I wouldn't switch ♪
198
00:09:08,950 --> 00:09:11,500
♪ 'Cause there's
no nicer witch ♪
199
00:09:11,500 --> 00:09:14,040
♪ Than witchcraft ♪
200
00:09:14,040 --> 00:09:16,410
♪ I love you ♪
201
00:09:16,410 --> 00:09:18,580
♪ And I always will ♪
202
00:09:18,580 --> 00:09:20,830
♪ ♪
203
00:09:20,830 --> 00:09:24,450
(harmonizing)
♪ For my darling ♪
204
00:09:24,450 --> 00:09:28,040
♪ I love you ♪
205
00:09:28,040 --> 00:09:30,580
Man, that's pretty.
(laughter)
206
00:09:30,580 --> 00:09:36,200
Both:
♪ And I always will ♪
207
00:09:36,200 --> 00:09:39,040
Jackson:
He's embraced
by the community
208
00:09:39,040 --> 00:09:41,500
that had previously
put him down,
209
00:09:41,500 --> 00:09:43,870
and that signaled
he was now ready
210
00:09:43,870 --> 00:09:47,750
to take on this role
of cultural icon.
211
00:09:47,750 --> 00:09:49,080
Jorgensen:
You get this new Elvis,
212
00:09:49,080 --> 00:09:51,040
the Elvis that
Colonel Parker wanted,
213
00:09:51,040 --> 00:09:54,700
the Elvis that had grown up
exactly the same way
214
00:09:54,700 --> 00:09:57,660
that his core audience
had grown older.
215
00:09:57,660 --> 00:10:00,540
They were gone
from being teenagers
to being young adults.
216
00:10:00,540 --> 00:10:04,700
So for him, it was
the perfect launch.
217
00:10:04,700 --> 00:10:06,910
The public widely
accepted that,
218
00:10:06,910 --> 00:10:09,620
but, obviously,
this was a transition.
219
00:10:12,620 --> 00:10:15,080
♪ ♪
220
00:10:17,620 --> 00:10:21,500
Elvis:
♪ You gave me love to enjoy ♪
221
00:10:21,500 --> 00:10:27,700
♪ Like a bright shiny toy
to a baby ♪
222
00:10:27,700 --> 00:10:30,750
♪ ♪
223
00:10:30,750 --> 00:10:34,620
♪ No matter what
you would do ♪
224
00:10:34,620 --> 00:10:37,660
♪ I depended on you ♪
225
00:10:37,660 --> 00:10:40,910
♪ Like a baby ♪
226
00:10:40,910 --> 00:10:44,040
♪ ♪
227
00:10:44,040 --> 00:10:46,700
Priscilla:
He knew that next album
was important.
228
00:10:46,700 --> 00:10:48,580
He gave it a lot of thought.
229
00:10:48,580 --> 00:10:53,500
Light:
The Elvis is Back! album
reveals new influences,
230
00:10:53,500 --> 00:10:56,450
new interests,
new arrangements.
231
00:10:56,450 --> 00:10:58,790
Jackson:
He had been getting
ready for this mentally
232
00:10:58,790 --> 00:11:00,500
while he was in Germany.
233
00:11:00,500 --> 00:11:03,870
There's a little bit of R&B,
there's a little bit of pop,
234
00:11:03,870 --> 00:11:05,790
ballads, country.
235
00:11:05,790 --> 00:11:07,750
♪ ♪
236
00:11:07,750 --> 00:11:10,370
Light:
New songs that represented
a different vocal approach
237
00:11:10,370 --> 00:11:12,750
than anything
he had tried before that.
238
00:11:12,750 --> 00:11:15,450
Elvis:
♪ I was blind,
'cause I just ♪
239
00:11:15,450 --> 00:11:18,370
David Briggs:
His voice was very much
in tune always,
240
00:11:18,370 --> 00:11:21,160
and that's because he didn't
have to fight the band.
241
00:11:21,160 --> 00:11:23,750
Those guys were soft
and they didn't push him,
242
00:11:23,750 --> 00:11:25,700
and they weren't too busy.
243
00:11:25,700 --> 00:11:29,450
Jorgensen:
The band had the ability
to play all this music
244
00:11:29,450 --> 00:11:32,080
that came from
so many different sources.
245
00:11:32,080 --> 00:11:33,500
Elvis:
♪ Like a baby ♪
246
00:11:33,500 --> 00:11:35,000
Jorgensen:
That was the true magic
247
00:11:35,000 --> 00:11:37,330
of Elvis combining
with this band.
248
00:11:37,330 --> 00:11:39,790
They perfectly
understood each other.
249
00:11:39,790 --> 00:11:44,330
(Elvis vocalizing)
250
00:11:44,330 --> 00:11:47,500
Red West:
Those musicians
were incredible.
251
00:11:47,500 --> 00:11:49,660
Bobby Moore on bass,
252
00:11:49,660 --> 00:11:51,660
Floyd Cramer on piano.
253
00:11:51,660 --> 00:11:54,000
Man, those guys
heard a demo once
254
00:11:54,000 --> 00:11:56,000
and bam,
they were ready to go.
255
00:11:56,000 --> 00:11:58,080
Briggs:
They were a real tight group.
256
00:11:58,080 --> 00:11:59,790
Nobody played anything
that didn't go
257
00:11:59,790 --> 00:12:01,620
with what the other one
was playing.
258
00:12:01,620 --> 00:12:03,450
Elvis:
♪ I need soul ♪
259
00:12:03,450 --> 00:12:05,120
Briggs:
DJ and Scotty
were still there,
260
00:12:05,120 --> 00:12:07,330
but they began to play
a lesser and lesser role
261
00:12:07,330 --> 00:12:09,200
and that made it
a little more sophisticated.
262
00:12:09,200 --> 00:12:11,790
Elvis:
♪ Then I broke down
and cried ♪
263
00:12:11,790 --> 00:12:13,870
Priscilla:
He liked the way
the music sounded.
264
00:12:13,870 --> 00:12:16,660
Technology, it evolved
while he was gone.
265
00:12:16,660 --> 00:12:19,950
Jackson:
RCA Studios got
a three-track recorder.
266
00:12:19,950 --> 00:12:23,500
That immediately adds
a technical professionalism
267
00:12:23,500 --> 00:12:26,410
as recording technology
is moving into the future.
268
00:12:26,410 --> 00:12:28,950
Elvis:
♪ Like a baby ♪
269
00:12:28,950 --> 00:12:31,080
Priscilla:
He started feeling confidence,
270
00:12:31,080 --> 00:12:34,040
because these were
his song choices.
271
00:12:34,040 --> 00:12:37,120
These were songs that
he was singing in Germany.
272
00:12:37,120 --> 00:12:39,120
That's the freedom
that he wanted.
273
00:12:39,120 --> 00:12:40,700
That's what
he was looking for.
274
00:12:40,700 --> 00:12:42,000
Elvis:
♪ Like a baby ♪
275
00:12:42,000 --> 00:12:44,250
Priscilla:
And that's why
it was so successful.
276
00:12:45,370 --> 00:12:47,370
Just blew people away.
277
00:12:49,160 --> 00:12:51,410
Landau:
Elvis, when he came back,
278
00:12:51,410 --> 00:12:55,750
clearly in finding the songs
and making the records,
279
00:12:55,750 --> 00:12:57,540
was very driven.
280
00:12:57,540 --> 00:12:59,500
His vision was very intact,
281
00:12:59,500 --> 00:13:02,000
and I don't think
he could be distracted.
282
00:13:02,000 --> 00:13:05,410
Zanes:
Elvis was so attuned
to the emotional.
283
00:13:05,410 --> 00:13:10,580
He was always on the search
for emotional music.
284
00:13:10,580 --> 00:13:11,870
Priscilla:
I asked him one day,
285
00:13:11,870 --> 00:13:14,410
"What makes you
pick out your songs?"
286
00:13:14,410 --> 00:13:17,750
He said, "I wanna be able
to reach and feel
287
00:13:17,750 --> 00:13:20,250
what we all go through
as human beings."
288
00:13:20,250 --> 00:13:22,410
♪ Ooh ♪
289
00:13:22,410 --> 00:13:24,450
Zanes:
This is the mysterious
part about music.
290
00:13:24,450 --> 00:13:27,200
How do we know when
we're listening to a song
291
00:13:27,200 --> 00:13:29,370
that someone means it?
292
00:13:29,370 --> 00:13:30,410
We just know.
293
00:13:30,410 --> 00:13:32,910
Elvis:
♪ Are you lonesome tonight ♪
294
00:13:32,910 --> 00:13:34,250
Zanes:
And the people who mean it
295
00:13:34,250 --> 00:13:37,250
are generally the ones
who are processing
296
00:13:37,250 --> 00:13:41,450
some kind of loss
through music,
297
00:13:41,450 --> 00:13:45,540
and we can hear them
negotiating their loss,
298
00:13:45,540 --> 00:13:48,410
and we connect to it.
299
00:13:48,410 --> 00:13:53,450
Elvis:
♪ Does your memory stray ♪
300
00:13:53,450 --> 00:13:58,160
♪ To a bright summer day ♪
301
00:13:58,160 --> 00:14:00,790
♪ When I kissed you ♪
302
00:14:00,790 --> 00:14:04,870
♪ And called you sweetheart? ♪
303
00:14:04,870 --> 00:14:08,830
David Porter:
Those who are truly
a recording artist,
304
00:14:08,830 --> 00:14:11,450
you go into
the artistic aspect
305
00:14:11,450 --> 00:14:13,200
of what makes
whatever you're doing
306
00:14:13,200 --> 00:14:15,870
alive and unique
for that song.
307
00:14:15,870 --> 00:14:19,120
So he would lose himself
in an artistic way
308
00:14:19,120 --> 00:14:21,870
in order for people to feel it.
309
00:14:21,870 --> 00:14:23,700
Elvis:
♪ And picture me ♪
310
00:14:23,700 --> 00:14:26,450
Porter:
That's called soul.
311
00:14:26,450 --> 00:14:31,200
Elvis:
♪ Is your heart
filled with pain? ♪
312
00:14:31,200 --> 00:14:36,160
♪ Shall I come back again? ♪
313
00:14:36,160 --> 00:14:38,660
♪ Tell me, dear ♪
314
00:14:38,660 --> 00:14:43,830
♪ Are you lonesome tonight? ♪
315
00:14:45,830 --> 00:14:48,120
Man:
Usually when we chat, Elvis,
we ask you to, uh,
316
00:14:48,120 --> 00:14:50,250
select your favorite song
of all your recordings.
317
00:14:50,250 --> 00:14:52,330
What's the current
favorite of yours?
318
00:14:52,330 --> 00:14:54,540
Elvis:
I think, uh,
"Now or Never."
319
00:14:54,540 --> 00:14:56,500
It's "Now or Never."
320
00:14:56,500 --> 00:14:58,910
♪ Ooh ♪
321
00:14:58,910 --> 00:15:02,540
♪ ♪
322
00:15:02,540 --> 00:15:05,950
♪ Ooh, ooh, ooh ♪
323
00:15:05,950 --> 00:15:08,370
♪ ♪
324
00:15:08,370 --> 00:15:11,330
Elvis:
♪ It's now or never ♪
325
00:15:11,330 --> 00:15:14,790
Jorgensen:
Everything was
a level up on the '50s.
326
00:15:14,790 --> 00:15:17,700
The three singles,
"Stuck on You,"
"It's Now or Never"
327
00:15:17,700 --> 00:15:21,040
and "Are You Lonesome Tonight?"
were number one hits.
328
00:15:21,040 --> 00:15:22,910
It was a true triumph
329
00:15:22,910 --> 00:15:26,540
and a whole new ballgame
of what pop music was.
330
00:15:26,540 --> 00:15:31,000
Elvis:
♪ Tomorrow will be too late ♪
331
00:15:31,000 --> 00:15:33,700
Landau:
Rhythmically,
his sense of time,
332
00:15:33,700 --> 00:15:37,540
his phrasing, musicality,
Elvis was impeccable.
333
00:15:38,790 --> 00:15:41,370
Elvis:
♪ When I first saw you ♪
334
00:15:41,370 --> 00:15:42,750
Priscilla:
He loved opera singers.
335
00:15:42,750 --> 00:15:44,750
He loved the range
of an opera singer.
336
00:15:44,750 --> 00:15:47,200
"It's Now or Never"
is very much like that.
337
00:15:47,200 --> 00:15:51,250
Elvis:
♪ My heart was captured ♪
338
00:15:51,250 --> 00:15:52,950
Tom Petty:
What he did that was unusual
339
00:15:52,950 --> 00:15:56,410
was he could slide up the scale
into a tenor voice
340
00:15:56,410 --> 00:15:58,200
and then back down, you know.
341
00:15:58,200 --> 00:16:01,250
And he's just having fun.
342
00:16:02,700 --> 00:16:04,620
He's sliding
all over the scale.
343
00:16:04,620 --> 00:16:07,950
It's so human.
It's so real.
344
00:16:09,000 --> 00:16:13,120
Elvis:
♪ It's now or never ♪
345
00:16:13,120 --> 00:16:16,160
♪ Come hold me tight ♪
346
00:16:16,160 --> 00:16:19,290
Light:
"It's Now or Never" was
adapted from "O Sole Mio,"
347
00:16:19,290 --> 00:16:20,700
the Italian song.
348
00:16:20,700 --> 00:16:22,790
Elvis had always
had this interest
349
00:16:22,790 --> 00:16:25,120
in the Italian crooners.
350
00:16:25,120 --> 00:16:27,950
When he was in the Army
with Charlie Hodge,
351
00:16:27,950 --> 00:16:31,660
they were exploring that
kind of drama in his singing.
352
00:16:31,660 --> 00:16:35,950
That sound, that style
became one of the staples
353
00:16:35,950 --> 00:16:39,700
of Elvis's musical range
from then on.
354
00:16:39,700 --> 00:16:41,910
Elvis:
♪ Just like a willow ♪
355
00:16:41,910 --> 00:16:43,200
Jorgensen:
It's about challenge.
356
00:16:43,200 --> 00:16:47,120
It was the challenge that
made him do that extra thing.
357
00:16:47,120 --> 00:16:49,450
And hitting the high notes
at the end
358
00:16:49,450 --> 00:16:51,870
on "It's Now or Never"
was the challenge.
359
00:16:51,870 --> 00:16:53,700
Elvis:
♪ And sweet devotion ♪
360
00:16:53,700 --> 00:16:56,250
Jorgensen:
He can't really reach it,
and the engineer says,
361
00:16:56,250 --> 00:16:58,790
"We can cut the ending only,"
and Elvis goes back and says,
362
00:16:58,790 --> 00:17:02,620
"No, if I can't sing it
the whole way through,
I'm not gonna do it."
363
00:17:02,620 --> 00:17:04,410
Elvis:
♪ For who knows when ♪
364
00:17:04,410 --> 00:17:05,870
Priscilla:
He challenged himself.
365
00:17:05,870 --> 00:17:09,950
He got a thrill out of
hitting a note so high.
366
00:17:09,950 --> 00:17:15,080
Elvis:
♪ It's now or never ♪
367
00:17:15,080 --> 00:17:20,160
♪ My love won't wait ♪
368
00:17:20,160 --> 00:17:21,750
♪ ♪
369
00:17:21,750 --> 00:17:25,290
♪ It's now or never ♪
370
00:17:25,290 --> 00:17:29,370
♪ My love won't wait ♪
371
00:17:31,540 --> 00:17:35,200
(folk music playing)
372
00:17:35,200 --> 00:17:37,830
♪ ♪
373
00:17:40,830 --> 00:17:43,830
♪ Can't you see
I love you? ♪
374
00:17:43,830 --> 00:17:47,540
♪ Please don't break
my heart in two ♪
375
00:17:47,540 --> 00:17:49,700
♪ That's not hard to do ♪
376
00:17:49,700 --> 00:17:54,580
♪ 'Cause I don't have
a wooden heart ♪
377
00:17:54,580 --> 00:17:55,540
(laughter)
378
00:17:55,540 --> 00:17:58,540
♪ And if you say goodbye ♪
379
00:17:58,540 --> 00:18:01,500
♪ Then I know
that I would cry ♪
380
00:18:01,500 --> 00:18:04,330
Jorgensen:
For Elvis to have
to do G.I. Blues,
381
00:18:04,330 --> 00:18:07,160
reflecting his two years
in the Army
382
00:18:07,160 --> 00:18:11,410
in a way that probably
doesn't compare a lot
to what it was like,
383
00:18:11,410 --> 00:18:14,370
I don't think he really
enjoyed that.
384
00:18:14,370 --> 00:18:17,200
G.I. Blues was
a family type of film
385
00:18:17,200 --> 00:18:21,040
moving Elvis's image
in a completely
different direction
386
00:18:21,040 --> 00:18:24,910
from the very young,
aggressive characters
in the '50s movies.
387
00:18:26,790 --> 00:18:30,410
But he was given the promise
that there would be two films
388
00:18:30,410 --> 00:18:32,950
for 20th Century Fox,
following this,
389
00:18:32,950 --> 00:18:35,250
that were serious roles.
390
00:18:35,250 --> 00:18:40,450
It may have been a reasonable
bargain for Elvis at the time.
391
00:18:40,450 --> 00:18:43,870
Priscilla:
When he found out the songs
that he had to do
in G.I. Blues,
392
00:18:43,870 --> 00:18:46,500
he said, "Baby, I don't know
how this is gonna go.
393
00:18:46,500 --> 00:18:48,330
I'm a little disappointed."
394
00:18:48,330 --> 00:18:50,620
Jorgensen:
The songs they had
to fit into the plot,
395
00:18:50,620 --> 00:18:53,040
but musically, they were
not where Elvis was at.
396
00:18:54,910 --> 00:18:56,790
He makes a compromise.
397
00:18:56,790 --> 00:18:59,870
That was the really
disheartening part for Elvis.
398
00:19:02,370 --> 00:19:04,200
The soundtrack of G.I. Blues,
399
00:19:04,200 --> 00:19:07,580
it was the most successful
album they had made.
400
00:19:07,580 --> 00:19:11,080
It sold much more
than the absolutely
brilliant studio album
401
00:19:11,080 --> 00:19:13,120
that came out
some months before.
402
00:19:14,410 --> 00:19:16,450
Schilling:
Elvis is now a big business.
403
00:19:16,450 --> 00:19:18,200
So instead of going out,
404
00:19:18,200 --> 00:19:21,370
getting the best
songwriters in general,
405
00:19:21,370 --> 00:19:23,000
Hill & Range,
from the Colonel,
406
00:19:23,000 --> 00:19:25,120
were hiring a couple
of songwriters
407
00:19:25,120 --> 00:19:27,790
to write Elvis songs.
408
00:19:27,790 --> 00:19:31,370
Briggs:
They would bring
all of the material,
409
00:19:31,370 --> 00:19:34,200
that was the unspoken rule.
410
00:19:34,200 --> 00:19:36,330
Nobody else was allowed
411
00:19:36,330 --> 00:19:39,040
to bring any music
into the session.
412
00:19:39,040 --> 00:19:43,080
That was very tightly
controlled by the Colonel,
413
00:19:43,080 --> 00:19:44,580
by the publishing company,
414
00:19:44,580 --> 00:19:47,290
and by the record company.
415
00:19:47,290 --> 00:19:49,160
West:
The Colonel eventually
started getting
416
00:19:49,160 --> 00:19:50,910
a percentage of everything.
417
00:19:50,910 --> 00:19:52,160
He was a businessman.
418
00:19:52,160 --> 00:19:55,120
He didn't give a damn
if it was worth a crap.
419
00:19:55,120 --> 00:19:59,250
Schilling:
Elvis could care less
about the songwriting,
420
00:19:59,250 --> 00:20:01,040
publishing in general.
421
00:20:01,040 --> 00:20:03,000
Some of it,
he got and understood,
422
00:20:03,000 --> 00:20:07,120
but he cared more
about good material.
423
00:20:07,120 --> 00:20:09,620
Petty:
It was more about the Colonel
owning the publishing,
424
00:20:09,620 --> 00:20:14,500
which was a huge
stone in his shoes
the rest of his life.
425
00:20:14,500 --> 00:20:18,500
It was this business of
"We must own the copyright
426
00:20:18,500 --> 00:20:21,620
or we don't
want you to do it."
427
00:20:21,620 --> 00:20:23,910
Priscilla:
Elvis said, "I'm starting
to feel the pressure.
428
00:20:23,910 --> 00:20:25,160
"I'm obligated here.
429
00:20:25,160 --> 00:20:27,120
I don't think there's
a way out for me."
430
00:20:27,120 --> 00:20:29,330
And I said, "Well, can't you
talk to Colonel?"
431
00:20:29,330 --> 00:20:32,540
And that's when I think
he started getting
disillusioned.
432
00:20:32,540 --> 00:20:35,200
Basically, Colonel
was part of it.
433
00:20:35,200 --> 00:20:38,200
Already, he's feeling
that he's not in control,
434
00:20:38,200 --> 00:20:40,700
and this is really early on.
435
00:20:45,620 --> 00:20:50,290
Gladys Presley:
♪ Oh, home sweet home ♪
436
00:20:50,290 --> 00:20:55,750
♪ There's no place like home ♪
437
00:20:55,750 --> 00:20:58,580
(song continues)
438
00:21:07,620 --> 00:21:11,200
Priscilla:
I already had a feeling
of what Graceland was like
439
00:21:11,200 --> 00:21:13,910
through Elvis's description.
440
00:21:13,910 --> 00:21:15,160
He told me in Germany,
441
00:21:15,160 --> 00:21:17,250
"I want you to come
and see Graceland."
442
00:21:18,580 --> 00:21:20,750
And he would give me images.
443
00:21:23,950 --> 00:21:25,950
When I came, the first time,
444
00:21:25,950 --> 00:21:29,290
he told me to close my eyes,
and not to open them.
445
00:21:29,290 --> 00:21:33,290
We're driving, and then
he said, "Open them."
446
00:21:36,160 --> 00:21:38,250
The gates of Graceland open up.
447
00:21:40,080 --> 00:21:43,120
It was everything
that he'd described.
448
00:21:43,120 --> 00:21:45,870
It was bigger
than life for me.
449
00:21:45,870 --> 00:21:47,790
His safe haven.
450
00:21:51,660 --> 00:21:53,330
Schilling:
Graceland always represented
451
00:21:53,330 --> 00:21:57,290
something more than
just a house to Elvis.
452
00:21:57,290 --> 00:21:58,870
Light:
Graceland was
something initially
453
00:21:58,870 --> 00:22:01,910
that he had bought
with and for his parents,
454
00:22:01,910 --> 00:22:04,450
and it reminded him
of his mother,
455
00:22:04,450 --> 00:22:07,910
her presence and her
influence in his life,
456
00:22:07,910 --> 00:22:11,160
which didn't end
after she died.
457
00:22:11,160 --> 00:22:12,750
Priscilla:
I opened up a closet
458
00:22:12,750 --> 00:22:14,660
and it was filled
with her clothes.
459
00:22:16,700 --> 00:22:19,580
And I had such a sense of her.
460
00:22:19,580 --> 00:22:21,540
She liked soft fabric.
461
00:22:21,540 --> 00:22:23,950
Her hats, her shoes--
462
00:22:23,950 --> 00:22:27,330
he hung on
to those personal things.
463
00:22:27,330 --> 00:22:29,370
Even though
it had been a few years,
464
00:22:29,370 --> 00:22:33,330
there was still a lingering
scent there, of her.
465
00:22:34,500 --> 00:22:37,660
It really showed me
the love that he had for her.
466
00:22:38,910 --> 00:22:42,040
Elvis:
She never really
wanted anything,
467
00:22:42,040 --> 00:22:43,620
you know, anything fancy.
468
00:22:43,620 --> 00:22:46,660
She just stayed the same
all the way through
the whole thing.
469
00:22:48,160 --> 00:22:50,500
There's a lot
of things happened,
470
00:22:50,500 --> 00:22:52,080
and there are times
when it feels like
471
00:22:52,080 --> 00:22:54,540
I don't know what
I'm gonna do next, you know?
472
00:22:55,790 --> 00:22:58,000
Light:
Once he got back
to Graceland
473
00:22:58,000 --> 00:23:01,540
and wanted to reconnect
with the spirit he was
brought up in
474
00:23:01,540 --> 00:23:04,250
and the memory of his mother,
475
00:23:04,250 --> 00:23:06,500
the best way was
to go back to the music
476
00:23:06,500 --> 00:23:09,120
that he had grown up with.
477
00:23:09,120 --> 00:23:12,000
Zanes:
The theme of return,
478
00:23:12,000 --> 00:23:15,330
and in Elvis's case,
a return to gospel,
479
00:23:15,330 --> 00:23:19,200
is part of how
we all experience music.
480
00:23:20,870 --> 00:23:23,410
There are these
profound experiences
481
00:23:23,410 --> 00:23:27,660
that happen with music
at a younger age.
482
00:23:27,660 --> 00:23:31,040
Through our lives,
we're often chasing them.
483
00:23:34,330 --> 00:23:38,330
If you were raised
in the proximity of gospel,
484
00:23:38,330 --> 00:23:43,040
that's what launched you into
the world of emotional music.
485
00:23:44,580 --> 00:23:48,290
West:
He was getting into
another phase in his life,
486
00:23:48,290 --> 00:23:52,040
and gospel, religious music,
was his favorite,
487
00:23:52,040 --> 00:23:54,580
and that's why he did it.
488
00:23:54,580 --> 00:23:56,410
Jorgensen:
Just on the heels
of G.I. Blues,
489
00:23:56,410 --> 00:24:00,410
he goes in and records
a complete album
of gospel music
490
00:24:00,410 --> 00:24:02,410
with songs from
all his old heroes:
491
00:24:02,410 --> 00:24:06,000
Blackwood Brothers,
Golden Gate,
Statesmen Quartet.
492
00:24:06,000 --> 00:24:08,750
It's a tribute to everything
he came from,
493
00:24:08,750 --> 00:24:11,950
and he does it with a voice
at his best ever.
494
00:24:11,950 --> 00:24:14,580
Elvis:
♪ Why don't you
swing low, sweet chariot ♪
495
00:24:14,580 --> 00:24:16,540
♪ Stop and let me ride ♪
496
00:24:16,540 --> 00:24:18,750
Tony Brown:
It was so close
to those records
497
00:24:18,750 --> 00:24:20,750
that the Statesmen
and Blackwoods were making.
498
00:24:20,750 --> 00:24:23,910
It could've been those records.
499
00:24:23,910 --> 00:24:27,000
Jorgensen:
He had the Jordanaires
as the key element
500
00:24:27,000 --> 00:24:29,750
of developing a gospel feel
501
00:24:29,750 --> 00:24:32,580
with a band feel that
was true to the music
502
00:24:32,580 --> 00:24:34,410
on the Elvis is Back! album.
503
00:24:34,410 --> 00:24:35,870
Elvis:
♪ Let me ride ♪
504
00:24:35,870 --> 00:24:37,910
♪ Rock me, Lord,
rock me, Lord ♪
505
00:24:37,910 --> 00:24:39,750
Jorgensen:
Obviously, it's not
really rock and roll,
506
00:24:39,750 --> 00:24:42,040
but there's drums
and there's saxophones.
507
00:24:42,040 --> 00:24:43,450
There's a lot of swing to it.
508
00:24:43,450 --> 00:24:45,750
♪ Sweet, sweet, sweet, sweet ♪
509
00:24:45,750 --> 00:24:48,040
Elvis:
♪ Well, well ♪
510
00:24:48,040 --> 00:24:50,290
Petty:
The way he blended
them together
511
00:24:50,290 --> 00:24:53,620
is an incredibly
original thing to do.
512
00:24:53,620 --> 00:24:57,660
Sometimes, you know,
he wasn't traveling
very far away from the gospel.
513
00:24:57,660 --> 00:25:00,910
I mean, some of it,
it was just about
putting a beat to it.
514
00:25:00,910 --> 00:25:02,950
Elvis:
♪ Wasn't so particular
about the chariot wheel ♪
515
00:25:02,950 --> 00:25:04,620
Petty:
That angle of the two
and the four are
516
00:25:04,620 --> 00:25:07,790
slightly different
than gospel good.
517
00:25:07,790 --> 00:25:10,290
Elvis:
♪ Why don't you swing down,
sweet chariot, stop ♪
518
00:25:10,290 --> 00:25:12,160
♪ And let me ride ♪
519
00:25:12,160 --> 00:25:14,870
Jorgensen:
You have a feeling that
he's truly enjoying this.
520
00:25:14,870 --> 00:25:17,450
It's a very joyous
record to listen to.
521
00:25:17,450 --> 00:25:21,000
Schilling:
His Hand in Mine
was a passion.
522
00:25:21,000 --> 00:25:25,200
The whole gospel influence
was as much a part of him,
523
00:25:25,200 --> 00:25:29,160
and maybe even more so
as the rhythm and blues.
524
00:25:29,160 --> 00:25:31,620
This was just his
opportunity to get it out.
525
00:25:31,620 --> 00:25:33,620
Priscilla:
And it was a mission
to show others,
526
00:25:33,620 --> 00:25:36,660
the listeners, that in these
choices of music
527
00:25:36,660 --> 00:25:38,080
and how it's embellished,
528
00:25:38,080 --> 00:25:40,790
really what Elvis was
looking for as an artist,
529
00:25:40,790 --> 00:25:42,500
to have that freedom.
530
00:25:42,500 --> 00:25:44,160
It's that simple.
531
00:25:44,160 --> 00:25:48,410
Elvis:
♪ Just wanted to lay
down this heavy load ♪
532
00:25:48,410 --> 00:25:50,540
♪ Why don't you
swing down, sweet chariot ♪
533
00:25:50,540 --> 00:25:52,790
♪ Stop, let me ride ♪
534
00:25:52,790 --> 00:25:54,250
Man:
How's Blue Hawaii going?
535
00:25:54,250 --> 00:25:55,580
Elvis:
It's going on very well.
536
00:25:55,580 --> 00:25:57,080
We leave tomorrow
for Kauai, you know.
Yeah.
537
00:25:57,080 --> 00:25:58,790
I think we'll be there
for about 10 days.
538
00:25:58,790 --> 00:26:00,250
Man: Tell us about
Blue Hawaii a bit.
539
00:26:00,250 --> 00:26:02,450
Elvis:
There's about
11 songs in it.
540
00:26:02,450 --> 00:26:04,500
Some Hawaiian tunes?
Yeah.
541
00:26:04,500 --> 00:26:06,620
You got some
special material written
for you for the picture?
542
00:26:06,620 --> 00:26:09,750
Elvis: Yeah, we had
about 10 songs written
especially for the picture.
543
00:26:09,750 --> 00:26:12,000
We do that, you know,
before the picture starts.
544
00:26:12,000 --> 00:26:15,040
♪ ♪
545
00:26:17,870 --> 00:26:21,620
Jorgensen:
The film Blue Hawaii was
an overwhelming success.
546
00:26:21,620 --> 00:26:24,700
That is the point where
it gets real interesting.
547
00:26:26,160 --> 00:26:27,540
Jackson:
The two dramas,
548
00:26:27,540 --> 00:26:29,290
Wild in the Country
and Flaming Star,
549
00:26:29,290 --> 00:26:32,700
they're not as music heavy,
and they actually lose money.
550
00:26:32,700 --> 00:26:34,580
Priscilla:
And that's when
they told him,
551
00:26:34,580 --> 00:26:36,950
"This is proof. This is
what the public wants.
552
00:26:36,950 --> 00:26:38,750
"People just wanna
hear your music.
553
00:26:38,750 --> 00:26:41,870
They wanna hear you
sing in movies."
554
00:26:41,870 --> 00:26:43,410
(crowd cheering)
555
00:26:43,410 --> 00:26:46,580
Schilling:
The last concert he played,
for almost a decade,
556
00:26:46,580 --> 00:26:49,040
was a charity show
near Pearl Harbor.
557
00:26:49,040 --> 00:26:51,080
♪ ♪
558
00:26:55,830 --> 00:26:58,540
(women screaming)
559
00:26:59,910 --> 00:27:03,830
Elvis:
♪ Well, so long ♪
560
00:27:03,830 --> 00:27:06,330
Jackson:
That was like the
ultimate charity show,
561
00:27:06,330 --> 00:27:07,790
because it was
for the building
562
00:27:07,790 --> 00:27:09,410
of the Pearl Harbor
memorial.
563
00:27:09,410 --> 00:27:10,790
Couldn't be more patriotic.
564
00:27:10,790 --> 00:27:12,700
Couldn't have been
more of a cause
565
00:27:12,700 --> 00:27:14,250
that people could get behind.
566
00:27:15,250 --> 00:27:17,200
He's back,
he's served his time.
567
00:27:17,200 --> 00:27:18,410
He's a great patriot.
568
00:27:18,410 --> 00:27:21,290
It was more to build
that piece of the story
569
00:27:21,290 --> 00:27:23,290
that the Colonel
wanted to tell.
570
00:27:23,290 --> 00:27:25,580
He's cleaned up
and he's a good boy.
571
00:27:25,580 --> 00:27:27,750
Elvis:
♪ Let you go ahead on, baby ♪
572
00:27:29,290 --> 00:27:32,750
♪ Pray that you'll come back
home some time ♪
573
00:27:32,750 --> 00:27:35,120
Boots Randolph.
(women scream)
574
00:27:35,120 --> 00:27:38,620
Jackson:
The band that he brings
with him is very interesting.
575
00:27:38,620 --> 00:27:40,000
He has Scotty and DJ,
576
00:27:40,000 --> 00:27:42,410
but he brings
with him his all-star
577
00:27:42,410 --> 00:27:44,950
Nashville, session guy band,
578
00:27:44,950 --> 00:27:48,290
including Boots Randolph,
who was a great
saxophone player.
579
00:27:48,290 --> 00:27:50,330
♪ ♪
(women screaming)
580
00:27:52,620 --> 00:27:54,950
Jackson:
Boots Randolph brings
in a lead instrument
581
00:27:54,950 --> 00:27:57,580
that can balance out
Elvis's singing
582
00:27:57,580 --> 00:28:00,160
in a way that Scotty
playing rockabilly licks
583
00:28:00,160 --> 00:28:02,290
didn't do previously.
584
00:28:02,290 --> 00:28:05,370
So it just becomes
a much more full sound.
585
00:28:05,370 --> 00:28:08,750
♪ ♪
586
00:28:08,750 --> 00:28:11,160
Light:
It's a tragedy that
he didn't continue
587
00:28:11,160 --> 00:28:13,750
to play live
for people at that point.
588
00:28:13,750 --> 00:28:15,620
But the Colonel knew
that the films
589
00:28:15,620 --> 00:28:19,540
got Elvis in front of millions
of people simultaneously
590
00:28:19,540 --> 00:28:21,540
with as little
work as possible.
591
00:28:23,160 --> 00:28:26,160
Landau:
The post-Army films,
I went to them.
592
00:28:26,160 --> 00:28:30,450
They were a separate category
for what happened in the '50s.
593
00:28:30,450 --> 00:28:32,660
He finds himself
in a situation
594
00:28:32,660 --> 00:28:34,830
where he's just
churning out stuff
595
00:28:34,830 --> 00:28:37,160
that he couldn't possibly
have believed in.
596
00:28:37,160 --> 00:28:39,500
Elvis:
♪ I said, take it easy,
baby, I worked all day ♪
597
00:28:39,500 --> 00:28:41,620
♪ And my feet
feel just like lead ♪
598
00:28:41,620 --> 00:28:44,080
♪ You got my shirttails
flying all over the place ♪
599
00:28:44,080 --> 00:28:46,160
♪ And the sweat
poppin' outta my head ♪
600
00:28:46,160 --> 00:28:48,500
♪ She said,
Hey, bossa nova, baby,
keep on workin' ♪
601
00:28:48,500 --> 00:28:50,660
♪ For this ain't
no time to quit ♪
602
00:28:50,660 --> 00:28:53,080
♪ She said,
Go bossa nova, baby,
keep on dancin' ♪
603
00:28:53,080 --> 00:28:55,870
♪ I'm about to have
myself a fit ♪
604
00:28:55,870 --> 00:29:00,040
♪ Bossa nova, bossa nova ♪
605
00:29:00,040 --> 00:29:03,870
Schilling:
The Colonel negotiated
contract after contract.
606
00:29:03,870 --> 00:29:08,120
MGM, Paramount,
United Artists, you name it.
607
00:29:08,120 --> 00:29:11,330
Hal Blaine:
He was inundated with
work, work, work, work.
608
00:29:11,330 --> 00:29:13,200
Elvis:
♪ I can dance with
a drink in my hand ♪
609
00:29:13,200 --> 00:29:15,500
♪ She said,
Hey, bossa nova, baby,
keep on workin' ♪
610
00:29:15,500 --> 00:29:17,200
♪ For this ain't
no time to drink ♪
611
00:29:17,200 --> 00:29:20,040
Blaine:
Everybody was trying
to get every penny they could
612
00:29:20,040 --> 00:29:22,160
out of whatever
they could.
613
00:29:22,160 --> 00:29:27,120
♪ Bossa nova ♪
614
00:29:27,120 --> 00:29:31,040
♪ ♪
615
00:29:31,040 --> 00:29:33,830
Jackson:
He had to make
three movies a year.
616
00:29:33,830 --> 00:29:36,450
So these soundtrack albums
became a big part
617
00:29:36,450 --> 00:29:40,250
of the contractual obligation
to release music with RCA.
618
00:29:40,250 --> 00:29:42,250
Elvis:
♪ Bossa nova ♪
619
00:29:42,250 --> 00:29:43,700
West:
That was not his music.
620
00:29:43,700 --> 00:29:45,950
It was killing his
recording career,
621
00:29:45,950 --> 00:29:49,700
because they were
movie songs, situation songs.
622
00:29:49,700 --> 00:29:53,080
Priscilla: Obviously,
in some of the movies,
you got some hits--
623
00:29:53,080 --> 00:29:55,290
"Viva Las Vegas,"
"Bossa Nova Baby."
624
00:29:55,290 --> 00:29:56,910
They weren't all bad,
625
00:29:56,910 --> 00:29:59,410
but because it was
connected to a movie,
626
00:29:59,410 --> 00:30:01,950
it wasn't like a real record.
627
00:30:01,950 --> 00:30:04,200
The songs had to fit the scene.
628
00:30:04,200 --> 00:30:07,330
Jorgensen:
And the Colonel obviously
knew that the best format
629
00:30:07,330 --> 00:30:10,040
was girls and
beautiful locations.
630
00:30:11,750 --> 00:30:14,000
Robbie Robertson:
I thought it was
terrible direction--
631
00:30:14,000 --> 00:30:17,450
the idea to do a bunch
of corny-ass movies,
632
00:30:17,450 --> 00:30:21,660
Where this is all being led?
It's no-man's-land.
633
00:30:21,660 --> 00:30:26,370
Petty:
He-- he certainly knows
this music is crap.
634
00:30:26,370 --> 00:30:29,120
The movies were
very harmful to his image.
635
00:30:29,120 --> 00:30:32,120
As an innovator,
as a great musician,
636
00:30:32,120 --> 00:30:33,410
they were harmful.
637
00:30:33,410 --> 00:30:36,580
He's very talented.
I mean, he's very present.
638
00:30:36,580 --> 00:30:39,200
It's an incredible
image of him.
639
00:30:39,200 --> 00:30:42,660
But where he had
a nice start in the movies
640
00:30:42,660 --> 00:30:45,700
and did do some
creative things early on,
641
00:30:45,700 --> 00:30:48,950
and you could see
that there was great
potential for this guy,
642
00:30:48,950 --> 00:30:51,160
there was really
no way for him
643
00:30:51,160 --> 00:30:53,750
to become
the huge movie star
644
00:30:53,750 --> 00:30:55,620
that he would've
liked to have been
645
00:30:55,620 --> 00:30:57,910
and the Colonel
keep control of it.
646
00:30:57,910 --> 00:30:59,370
You know, there's too many
647
00:30:59,370 --> 00:31:01,660
creative aspects
gonna come in,
648
00:31:01,660 --> 00:31:02,950
and they're gonna challenge
649
00:31:02,950 --> 00:31:06,580
the Colonel's
carnival mentality.
650
00:31:06,580 --> 00:31:08,830
Colonel Tom Parker:
Well, no, no, no, no, no.
No, no, no.
651
00:31:08,830 --> 00:31:10,620
Far as I was concerned,
652
00:31:10,620 --> 00:31:14,540
I was not involved other
than making the contract.
653
00:31:14,540 --> 00:31:18,160
He had the opportunity to say,
"I don't want to do it
654
00:31:18,160 --> 00:31:19,790
or I'd like to do it."
655
00:31:19,790 --> 00:31:23,120
No one told him
he had to make a picture
656
00:31:23,120 --> 00:31:25,040
that he didn't want to do.
657
00:31:25,040 --> 00:31:27,910
When we had a script,
we'd deliver it to Elvis.
658
00:31:27,910 --> 00:31:31,620
Schilling:
Elvis did refuse
a bad picture.
659
00:31:31,620 --> 00:31:33,660
In comes the Colonel,
660
00:31:33,660 --> 00:31:35,330
in comes the studios,
661
00:31:35,330 --> 00:31:37,450
in comes the record company.
662
00:31:37,450 --> 00:31:38,950
They would say to him,
663
00:31:38,950 --> 00:31:41,370
"You don't fulfill
your contracts,
664
00:31:41,370 --> 00:31:43,370
you won't do anything."
665
00:31:43,370 --> 00:31:45,500
♪ Well, come on everybody ♪
666
00:31:45,500 --> 00:31:47,450
♪ And turn your head
to the left ♪
667
00:31:47,450 --> 00:31:49,580
♪ ♪
668
00:31:49,580 --> 00:31:50,830
♪ Come on everybody ♪
669
00:31:50,830 --> 00:31:52,120
Jackson:
In Viva Las Vegas,
670
00:31:52,120 --> 00:31:55,580
it's the closest he ever
gets to having a true co-star.
671
00:31:55,580 --> 00:31:58,250
♪ Take a real deep breath
and repeat after me ♪
672
00:31:58,250 --> 00:31:59,950
Jackson:
That becomes a problem
for the Colonel,
673
00:31:59,950 --> 00:32:02,500
because he doesn't
want anybody to even
674
00:32:02,500 --> 00:32:04,950
come close to outshining Elvis.
675
00:32:04,950 --> 00:32:07,370
♪ Hey, hey, hey
and my baby loves me ♪
676
00:32:07,370 --> 00:32:08,830
Chorus:
♪ My baby loves me ♪
677
00:32:08,830 --> 00:32:13,700
♪ My baby loves me ♪
Chorus: ♪ My baby loves me ♪
678
00:32:13,700 --> 00:32:15,540
♪ My baby loves me ♪
679
00:32:15,540 --> 00:32:19,040
♪ I said, my baby ♪
680
00:32:19,040 --> 00:32:22,160
Ha!
♪ My baby ♪
681
00:32:22,160 --> 00:32:27,120
♪ Loves me ♪
Ha! Ha! Ha! Ha! Ha!
682
00:32:28,250 --> 00:32:32,410
Ann-Margaret (laughing):
Wee-ha!
683
00:32:32,410 --> 00:32:36,000
Binder:
The Colonel did not want
Ann-Margaret in his world
684
00:32:36,000 --> 00:32:38,290
after she got
a lot of press.
685
00:32:39,580 --> 00:32:43,450
Anybody who had influence
on Elvis was a threat.
686
00:32:43,450 --> 00:32:47,080
Landau:
The tragedy of the
old style of management
687
00:32:47,080 --> 00:32:51,200
was to try and maintain
control of the artist
688
00:32:51,200 --> 00:32:55,290
by limiting their
exposure to opportunities.
689
00:32:57,500 --> 00:32:59,290
The Colonel
was not interested
690
00:32:59,290 --> 00:33:03,000
in Elvis becoming
too independent of a thinker.
691
00:33:03,000 --> 00:33:07,080
He needed Elvis to think
that everything good
came from the Colonel
692
00:33:07,080 --> 00:33:12,080
and anything bad came
from imagined enemies.
693
00:33:12,080 --> 00:33:15,330
He kept that con game
going for much too long.
694
00:33:18,620 --> 00:33:21,620
Zanes:
The years spent
chasing the movies,
695
00:33:21,620 --> 00:33:23,290
you know, seven years,
696
00:33:23,290 --> 00:33:26,700
they were very
destabilizing for Elvis,
697
00:33:26,700 --> 00:33:30,750
because music
was always the buoy.
698
00:33:30,750 --> 00:33:33,540
Jackson:
It's clear about halfway
through that period,
699
00:33:33,540 --> 00:33:35,160
he becomes very restless,
700
00:33:35,160 --> 00:33:38,250
and very annoyed
with the whole process.
701
00:33:38,250 --> 00:33:41,290
Schilling:
Elvis didn't have
script approval.
702
00:33:41,290 --> 00:33:43,160
There weren't great budgets.
703
00:33:43,160 --> 00:33:46,080
Priscilla:
The humdrum movies
that he was given--
704
00:33:46,080 --> 00:33:48,200
boy chase girl,
boy gets girl,
705
00:33:48,200 --> 00:33:50,700
they get married,
and it's happily ever after--
706
00:33:50,700 --> 00:33:52,580
that was not Elvis Presley.
707
00:33:52,580 --> 00:33:54,580
He was not that man.
708
00:33:54,580 --> 00:33:56,200
He was much deeper than that.
709
00:33:57,540 --> 00:33:59,540
He had no inspiration
whatsoever.
710
00:33:59,540 --> 00:34:01,160
He knew he had
to make it work.
711
00:34:01,160 --> 00:34:03,160
He knew he was
under a contract,
712
00:34:03,160 --> 00:34:05,040
and he walked through
every one of them.
713
00:34:08,540 --> 00:34:11,370
After a movie,
he felt trapped.
714
00:34:11,370 --> 00:34:13,370
He dreaded the next script,
715
00:34:13,370 --> 00:34:17,330
because he knew
it would be the same thing
over and over again.
716
00:34:17,330 --> 00:34:19,160
But the disconnect,
717
00:34:19,160 --> 00:34:21,450
the disconnect in the two
718
00:34:21,450 --> 00:34:23,910
was really wearing
on his mind--
719
00:34:23,910 --> 00:34:28,830
that Colonel was not taking him
to the place he needed to be.
720
00:34:28,830 --> 00:34:31,370
Petty:
This is what
we'll never understand
721
00:34:31,370 --> 00:34:33,910
is why did
Colonel Parker have
722
00:34:33,910 --> 00:34:36,410
this kind of influence
over him.
723
00:34:36,410 --> 00:34:41,410
Why was he willing
to knowingly humiliate
himself for this man,
724
00:34:41,410 --> 00:34:44,950
or for the money
promised him by this man?
725
00:34:44,950 --> 00:34:46,540
He puts up with it.
726
00:34:48,200 --> 00:34:50,620
Porter:
I have never felt
Elvis was lost.
727
00:34:50,620 --> 00:34:52,750
He knew with all those movies,
728
00:34:52,750 --> 00:34:54,290
as is the case
with every artist,
729
00:34:54,290 --> 00:34:56,370
that they're taking themselves
away from their strength.
730
00:34:56,370 --> 00:34:59,660
Many artists can't get back
to where their strengths are.
731
00:35:01,370 --> 00:35:04,080
Emmylou Harris:
An artist has to
constantly grow,
732
00:35:04,080 --> 00:35:05,950
and to continue creating,
733
00:35:05,950 --> 00:35:09,700
and changing,
and being inspired
by things around him
734
00:35:09,700 --> 00:35:12,370
in a spiritual
or a personal way.
735
00:35:13,450 --> 00:35:15,580
♪ ♪
736
00:35:23,250 --> 00:35:25,410
Elvis:
I'd like to stay
in the same vein.
737
00:35:25,410 --> 00:35:27,580
I-I mean,
I wouldn't like to, uh,
738
00:35:27,580 --> 00:35:29,450
be at a standstill,
you know what I mean?
739
00:35:29,450 --> 00:35:32,910
I'd like--
I'd like to progress.
740
00:35:32,910 --> 00:35:35,410
I'd like to do a lot
of things, but I...
741
00:35:36,750 --> 00:35:39,750
I realize, uh,
that it takes time,
742
00:35:39,750 --> 00:35:41,410
and you can't, uh,
743
00:35:41,410 --> 00:35:45,870
you can't go out of
your, uh, capa--
uh, your limitations.
744
00:35:47,410 --> 00:35:50,410
You have to know
your capabilities, you know.
745
00:35:50,410 --> 00:35:53,120
Like I have people
to say to me all the time,
746
00:35:53,120 --> 00:35:54,450
(stammering)
747
00:35:54,450 --> 00:35:56,700
"Why don't you do
an artistic picture?
748
00:35:56,700 --> 00:35:58,910
"Why don't you do this
picture and that picture?
749
00:35:58,910 --> 00:36:01,410
Why don't you go
do something blah, blah?"
750
00:36:01,410 --> 00:36:03,950
Well, that's fine, but, uh...
751
00:36:05,870 --> 00:36:07,620
Uh, I would like to.
752
00:36:07,620 --> 00:36:09,080
I'd like to do
something someday
753
00:36:09,080 --> 00:36:12,290
where I feel that
I really done a good job.
754
00:36:12,290 --> 00:36:16,950
You know, as an actor
in a certain type role,
755
00:36:18,080 --> 00:36:20,120
if what you're doing
is doing okay,
756
00:36:20,120 --> 00:36:23,200
you're better off
sticking with it until,
you know,
757
00:36:23,200 --> 00:36:26,120
until just time itself
changes things.
758
00:36:31,370 --> 00:36:35,250
♪ ♪
759
00:36:35,250 --> 00:36:40,830
Zanes:
The great irony is that Elvis
was such a significant force
760
00:36:40,830 --> 00:36:43,040
in the launch
of rock and roll,
761
00:36:43,040 --> 00:36:46,540
and the very revolution
that he sparked
762
00:36:46,540 --> 00:36:48,250
carries on without him.
763
00:36:48,250 --> 00:36:51,660
There is a renaissance
that is underway,
764
00:36:51,660 --> 00:36:56,330
and he is, in effect,
in a bubble in Hollywood,
765
00:36:56,330 --> 00:36:59,910
as it passes him by.
766
00:36:59,910 --> 00:37:03,330
Priscilla:
'63, '64, '65, when
all the bands were coming in,
767
00:37:03,330 --> 00:37:05,330
he just didn't really
wanna hear music.
768
00:37:05,330 --> 00:37:06,660
He didn't wanna
hear the songs.
769
00:37:06,660 --> 00:37:10,000
Was there room for him now,
being a solo artist?
770
00:37:10,000 --> 00:37:14,250
Elvis really wasn't interested
in writing his own music,
771
00:37:14,250 --> 00:37:15,750
and all these other
groups coming up,
772
00:37:15,750 --> 00:37:17,950
The Beatles,
Bob Dylan, the Beach Boys,
773
00:37:17,950 --> 00:37:20,000
they all wrote
their own songs,
774
00:37:20,000 --> 00:37:21,410
so they could direct
their careers
775
00:37:21,410 --> 00:37:22,870
in a way Elvis couldn't.
776
00:37:24,370 --> 00:37:26,870
Petty:
There is no road map
at this point
777
00:37:26,870 --> 00:37:29,540
as to what a
rock and roller does
778
00:37:29,540 --> 00:37:31,330
when he gets older.
779
00:37:31,330 --> 00:37:33,200
The Beatles had each other.
780
00:37:33,200 --> 00:37:36,290
You know, they had four people
together to go through it.
781
00:37:36,290 --> 00:37:38,620
And Elvis was totally alone.
782
00:37:38,620 --> 00:37:40,950
There was no one
vaguely his equal.
783
00:37:40,950 --> 00:37:45,200
There was nobody he could
bounce anything off of.
784
00:37:47,950 --> 00:37:52,290
Priscilla:
Elvis really didn't ask
for anybody's advice.
785
00:37:52,290 --> 00:37:54,250
He didn't ask the guys
for their advice.
786
00:37:54,250 --> 00:37:55,790
Oh my gosh, he would never.
787
00:37:55,790 --> 00:37:57,660
I mean, you didn't
tell Elvis what to sing
788
00:37:57,660 --> 00:37:59,620
or what movie
he should be in.
789
00:37:59,620 --> 00:38:01,290
Elvis was truly his own man.
790
00:38:01,290 --> 00:38:04,500
He needed someone
to come in with a game plan
and offer it to him.
791
00:38:04,500 --> 00:38:06,660
"What do you think of this?"
792
00:38:06,660 --> 00:38:11,120
But he hung out with
the same people all the time.
793
00:38:11,120 --> 00:38:13,200
We all lived in this bubble.
794
00:38:13,200 --> 00:38:15,620
Very few outsiders came in.
795
00:38:15,620 --> 00:38:18,450
His world was really
quite small,
796
00:38:18,450 --> 00:38:21,540
and only consisted of us,
people that he trusted.
797
00:38:29,620 --> 00:38:33,120
You didn't really talk about
the movies around Elvis.
798
00:38:33,120 --> 00:38:35,500
We didn't go there.
Why get him upset?
799
00:38:35,500 --> 00:38:38,700
And people-- the guys were
around to bring him up.
800
00:38:38,700 --> 00:38:41,450
Schilling:
Elvis was going to us
and saying,
801
00:38:41,450 --> 00:38:43,830
"Damn it, I know
there's good music out there.
802
00:38:43,830 --> 00:38:47,410
I hear it.
Why am I not getting it?"
803
00:38:47,410 --> 00:38:50,450
Petty:
You can tell his interest
in making records
804
00:38:50,450 --> 00:38:52,160
has kind of gone away.
805
00:38:52,160 --> 00:38:54,450
You don't get him
in the studio a lot.
806
00:38:56,870 --> 00:38:59,750
Priscilla:
He was just struggling
with what to do next
807
00:38:59,750 --> 00:39:03,660
and where to go,
trying to figure out
his purpose again.
808
00:39:03,660 --> 00:39:06,540
It was very difficult
to watch.
809
00:39:06,540 --> 00:39:08,660
♪ ♪
810
00:39:08,660 --> 00:39:11,830
Odetta:
♪ How many roads ♪
811
00:39:11,830 --> 00:39:16,080
♪ Must a man walk down ♪
812
00:39:18,250 --> 00:39:22,790
♪ Before you call him a man ♪
813
00:39:22,790 --> 00:39:24,450
Light:
By this point,
814
00:39:24,450 --> 00:39:27,000
Elvis had grown so
disconnected from the music
815
00:39:27,000 --> 00:39:28,790
that he was recording.
816
00:39:28,790 --> 00:39:31,410
He knew that
it was inauthentic.
817
00:39:31,410 --> 00:39:35,160
He knew that
it was insincere.
818
00:39:35,160 --> 00:39:38,830
And he was looking for
some connection to music
819
00:39:38,830 --> 00:39:41,080
that still made him
feel the way
820
00:39:41,080 --> 00:39:44,330
that music had made him feel
when he was younger.
821
00:39:44,330 --> 00:39:47,660
Odetta:
♪ How many times ♪
822
00:39:47,660 --> 00:39:51,500
♪ Must a cannonball fly ♪
823
00:39:51,500 --> 00:39:56,160
Light:
He was interested in
this new folk music--
824
00:39:56,160 --> 00:39:58,790
Peter, Paul, & Mary,
the songs of Bob Dylan.
825
00:39:58,790 --> 00:40:00,790
He didn't love
Bob Dylan's voice,
826
00:40:00,790 --> 00:40:03,540
but he was interested
in this imagery
827
00:40:03,540 --> 00:40:09,290
and this language that drew
from the gospel and the blues.
828
00:40:09,290 --> 00:40:12,200
Priscilla:
And here he has
Odetta singing.
829
00:40:12,200 --> 00:40:13,500
When you hear the song,
830
00:40:13,500 --> 00:40:16,330
now you've got the lyrics
that match his feelings,
831
00:40:16,330 --> 00:40:19,830
you've got the lyrics that
he can see himself singing.
832
00:40:19,830 --> 00:40:25,410
Odetta:
♪ Only if my true love
was waitin' ♪
833
00:40:25,410 --> 00:40:27,700
♪ ♪
834
00:40:27,700 --> 00:40:29,080
♪ If I... ♪
835
00:40:29,080 --> 00:40:30,870
Zanes:
Many of his relationships
836
00:40:30,870 --> 00:40:33,620
with the culture of the day
were circuitous,
837
00:40:33,620 --> 00:40:38,790
because he was Elvis
and he was behind a--
a high wall.
838
00:40:38,790 --> 00:40:42,580
Elvis:
♪ Only she was ♪
839
00:40:42,580 --> 00:40:46,910
♪ Lying by me ♪
840
00:40:46,910 --> 00:40:49,200
♪ Then I'd lie ♪
841
00:40:49,200 --> 00:40:53,330
♪ In my bed once again ♪
842
00:40:53,330 --> 00:40:55,410
♪ ♪
843
00:41:03,040 --> 00:41:06,000
Priscilla:
Elvis, a lot of times when
everyone had gone to bed,
844
00:41:06,000 --> 00:41:07,410
or there was no one around,
845
00:41:07,410 --> 00:41:10,080
he would go into the
music room at Graceland.
846
00:41:10,080 --> 00:41:12,750
Just sit there
totally in solitude,
847
00:41:12,750 --> 00:41:16,370
as if even I wasn't around,
and just start playing.
848
00:41:16,370 --> 00:41:18,450
Always it was gospel.
849
00:41:18,450 --> 00:41:21,410
Always it was
"Precious Lord."
850
00:41:21,410 --> 00:41:24,660
Elvis:
♪ Precious Lord ♪
851
00:41:24,660 --> 00:41:27,330
♪ Take my hand ♪
852
00:41:27,330 --> 00:41:28,910
Priscilla:
When he would sing,
853
00:41:28,910 --> 00:41:32,790
it was like a character study
watching him get lost.
854
00:41:32,790 --> 00:41:35,790
Elvis:
♪ I'm tired ♪
855
00:41:35,790 --> 00:41:37,910
♪ I'm weak ♪
856
00:41:37,910 --> 00:41:42,950
♪ I'm worn ♪
857
00:41:42,950 --> 00:41:44,660
♪ Through the storm ♪
858
00:41:44,660 --> 00:41:48,450
Priscilla: And then,
he'd look over to see
how I was relating to it.
859
00:41:48,450 --> 00:41:50,200
He'd look over
and wink at me.
860
00:41:50,200 --> 00:41:52,620
Elvis:
♪ Lead me on ♪
861
00:41:52,620 --> 00:41:55,700
Priscilla:
Those were times that
I cherish the most, actually.
862
00:41:55,700 --> 00:41:57,660
He wasn't really trying
to impress anyone.
863
00:41:57,660 --> 00:41:59,410
He was doing it for himself
864
00:41:59,410 --> 00:42:01,410
and just getting in touch,
865
00:42:01,410 --> 00:42:03,580
getting in touch
with his maker.
866
00:42:03,580 --> 00:42:05,290
It was a plea.
867
00:42:06,870 --> 00:42:10,540
Elvis:
♪ Well, you may run on
for a long time ♪
868
00:42:10,540 --> 00:42:12,950
Chorus:
♪ Run on for a long time ♪
869
00:42:12,950 --> 00:42:15,290
Elvis:
♪ Run on for a long time ♪
870
00:42:15,290 --> 00:42:17,620
♪ Let me tell you,
God Almighty's
gonna cut you down ♪
871
00:42:17,620 --> 00:42:19,950
Jorgensen:
He didn't have a
burning desire anymore
872
00:42:19,950 --> 00:42:21,120
to record songs.
873
00:42:21,120 --> 00:42:22,500
Elvis:
♪ Midnight rider ♪
874
00:42:22,500 --> 00:42:25,000
Jorgensen:
The real interesting
element in that
875
00:42:25,000 --> 00:42:29,160
is that when he regains
his appetite for recording
876
00:42:29,160 --> 00:42:33,290
and wants to prove
a point in 1966,
877
00:42:33,290 --> 00:42:35,200
he makes a gospel
record again.
878
00:42:35,200 --> 00:42:37,370
Elvis:
♪ Talkin' to the man
from Galilee ♪
879
00:42:37,370 --> 00:42:39,000
Jorgensen:
During the middle
of The Beatles,
880
00:42:39,000 --> 00:42:40,540
and The Birds
and The Stones,
881
00:42:40,540 --> 00:42:43,950
and Elvis makes
a gospel record when
he wants to come back.
882
00:42:43,950 --> 00:42:46,500
Elvis:
♪ Great God Almighty,
let me tell you what he said ♪
883
00:42:46,500 --> 00:42:49,080
♪ Go tell that
long-tongued liar ♪
884
00:42:49,080 --> 00:42:51,450
♪ Go tell that
midnight rider ♪
885
00:42:51,450 --> 00:42:53,040
♪ Tell the gambler, rambler ♪
886
00:42:53,040 --> 00:42:55,870
Light:
Elvis is connecting
to new music.
887
00:42:55,870 --> 00:42:57,870
He wants a more modern sound,
888
00:42:57,870 --> 00:42:59,790
a more aggressive
rhythm section,
889
00:42:59,790 --> 00:43:01,200
a rock and roll mix.
890
00:43:01,200 --> 00:43:03,790
Elvis:
♪ Run on for a long time ♪
891
00:43:03,790 --> 00:43:06,120
♪ Let me tell you,
God Almighty's gonna
cut you down ♪
892
00:43:06,120 --> 00:43:08,450
♪ You may throw your rock
and hide your hand ♪
893
00:43:08,450 --> 00:43:10,250
Springsteen:
I think Elvis's
return to gospel
894
00:43:10,250 --> 00:43:13,870
was a part of simply the deep
religiousness of the South
895
00:43:13,870 --> 00:43:16,290
and his upbringing.
896
00:43:16,290 --> 00:43:19,000
But in the late '60s, people
were having a hard time
897
00:43:19,000 --> 00:43:20,950
looking past
the kitsch aspect
898
00:43:20,950 --> 00:43:22,790
of some of the things
that Elvis did.
899
00:43:22,790 --> 00:43:25,750
Elvis:
♪ You gonna reap
just what you sow ♪
900
00:43:25,750 --> 00:43:27,330
Springsteen:
To appreciate that music,
901
00:43:27,330 --> 00:43:29,330
that stuff
couldn't bother you.
902
00:43:29,330 --> 00:43:30,580
Chorus:
♪ Long time ♪
903
00:43:30,580 --> 00:43:32,790
Elvis:
♪ Run on for a long time ♪
904
00:43:33,750 --> 00:43:36,080
(film projector whirring)
905
00:43:36,080 --> 00:43:37,950
♪ ♪
906
00:43:41,500 --> 00:43:43,410
Man:
What do you think
of yourself now?
907
00:43:44,700 --> 00:43:47,080
Elvis:
You mean, uh,
as an entertainer
908
00:43:47,080 --> 00:43:48,500
or an individual or what?
909
00:43:48,500 --> 00:43:49,790
Man:
Both.
910
00:43:49,790 --> 00:43:52,660
Elvis:
I can sum it up
fairly easily.
911
00:43:52,660 --> 00:43:54,910
I, uh, as a-- as a
human being, really,
912
00:43:54,910 --> 00:43:58,750
who's been very extremely
fortunate in so many ways...
913
00:44:00,120 --> 00:44:02,250
I've a lot that I'd like to do,
914
00:44:02,250 --> 00:44:06,330
a lot that I'd like
to accomplish.
915
00:44:06,330 --> 00:44:08,750
I'd like to get married.
I'd like to have a family.
916
00:44:11,790 --> 00:44:14,200
I suppose the most
important thing
917
00:44:14,200 --> 00:44:16,950
in a person's life is,
uh, is happiness.
918
00:44:16,950 --> 00:44:19,620
I mean, not
wordly things, because...
919
00:44:19,620 --> 00:44:21,790
You realize, I mean,
you can have cars.
920
00:44:21,790 --> 00:44:23,950
You can have money.
You can have a fabulous home.
921
00:44:23,950 --> 00:44:25,830
You can have everything.
922
00:44:25,830 --> 00:44:27,750
If you're not happy,
what have you got?
923
00:44:30,790 --> 00:44:32,500
♪ ♪
924
00:44:34,790 --> 00:44:37,200
Priscilla:
I was very young
and very in love,
925
00:44:37,200 --> 00:44:40,290
and I wanted to be
with him a lot.
926
00:44:40,290 --> 00:44:42,160
The times that
we were together,
927
00:44:42,160 --> 00:44:43,580
I-I cherished.
928
00:44:43,580 --> 00:44:46,000
♪ ♪
929
00:44:48,910 --> 00:44:52,000
♪ ♪
930
00:44:55,450 --> 00:44:57,750
Woman:
♪ I picked up my bag ♪
931
00:44:57,750 --> 00:45:01,200
♪ And went looking
for a place to hide ♪
932
00:45:01,200 --> 00:45:04,580
♪ When I saw old Carmen
and the devil ♪
933
00:45:04,580 --> 00:45:07,500
♪ Walking side by side ♪
934
00:45:07,500 --> 00:45:09,620
Springsteen:
I mean, 1968 was a wild
935
00:45:09,620 --> 00:45:12,540
and violent year
in American history.
936
00:45:14,580 --> 00:45:16,580
Woman:
♪ She said I gotta go ♪
937
00:45:16,580 --> 00:45:19,040
♪ But my friend here
can stick around ♪
938
00:45:19,040 --> 00:45:21,660
Light:
At the beginning of the year,
Lisa Marie is born.
939
00:45:22,830 --> 00:45:25,000
And then a couple
of months later,
940
00:45:25,000 --> 00:45:27,000
Martin Luther King
is assassinated.
941
00:45:27,000 --> 00:45:28,620
Woman:
♪ Take a load off, Fanny ♪
942
00:45:28,620 --> 00:45:30,620
Schilling:
We were making
a movie at MGM
943
00:45:30,620 --> 00:45:34,250
when we heard on the radio
about Martin Luther King.
944
00:45:35,540 --> 00:45:39,040
King was that hope
to bring us all together,
945
00:45:39,040 --> 00:45:40,870
and Elvis knew that.
946
00:45:42,450 --> 00:45:45,750
Elvis looked down
and he said,
947
00:45:45,750 --> 00:45:48,370
"He always told the truth."
948
00:45:48,370 --> 00:45:50,450
Woman:
♪ It's just old Luke ♪
949
00:45:50,450 --> 00:45:52,700
♪ And Luke's waiting
on Judgment Day ♪
950
00:45:52,700 --> 00:45:55,750
Light:
There's this contentious
presidential election going on.
951
00:45:55,750 --> 00:45:58,410
Bobby Kennedy is assassinated.
952
00:45:58,410 --> 00:46:01,870
There's chaos
at the Democratic
convention in Chicago.
953
00:46:01,870 --> 00:46:04,200
Woman:
♪ Baby now,
won't you stay ♪
954
00:46:04,200 --> 00:46:06,580
Priscilla:
Things were
just in disarray,
955
00:46:06,580 --> 00:46:08,870
and it was never
the same after that.
956
00:46:10,160 --> 00:46:13,700
♪ ♪
957
00:46:19,450 --> 00:46:21,040
Nik Cohn:
By '68,
958
00:46:21,040 --> 00:46:24,330
most Elvis fans had,
more or less,
given up the ghost.
959
00:46:24,330 --> 00:46:26,080
There'd been
so many poor movies,
960
00:46:26,080 --> 00:46:28,750
so many throwaway singles.
961
00:46:28,750 --> 00:46:30,620
Jackson:
Elvis starts to think about,
962
00:46:30,620 --> 00:46:32,580
"Okay, so how can I
play live again?
963
00:46:32,580 --> 00:46:35,910
There's no infrastructure
for me to do that."
964
00:46:35,910 --> 00:46:39,450
Landau:
A couple of really
bright guys who got Elvis
965
00:46:39,450 --> 00:46:43,080
talked their way
into making a TV special.
966
00:46:43,080 --> 00:46:46,000
Their mission was
to remind everybody
967
00:46:46,000 --> 00:46:48,040
just who Elvis had been,
968
00:46:48,040 --> 00:46:50,580
and who he still was--
969
00:46:50,580 --> 00:46:54,200
in a sense, to erase
the last seven years
970
00:46:54,200 --> 00:46:56,910
of the movie soundtracks.
971
00:46:56,910 --> 00:47:00,620
Light:
When the opportunity for
the TV special is presented,
972
00:47:00,620 --> 00:47:04,290
he hasn't performed
for an audience for years.
973
00:47:04,290 --> 00:47:07,200
Priscilla:
He was actually thinking
what he would do
974
00:47:07,200 --> 00:47:09,450
if everything went wrong.
975
00:47:09,450 --> 00:47:12,370
This was his career.
This was his life.
976
00:47:12,370 --> 00:47:15,620
This was the moment of
realization that this is it,
977
00:47:15,620 --> 00:47:18,290
that this is gonna be
either a complete failure
978
00:47:18,290 --> 00:47:20,330
or it'll change everything.
979
00:47:21,410 --> 00:47:22,950
Springsteen:
Well, I remember I waited
980
00:47:22,950 --> 00:47:25,120
for weeks
for the '68 Special
981
00:47:25,120 --> 00:47:26,330
'cause I knew it was coming.
982
00:47:26,330 --> 00:47:28,500
I can remember
exactly where our TV
983
00:47:28,500 --> 00:47:30,540
was set up
in the dining room,
984
00:47:30,540 --> 00:47:32,580
the exact place
I was sitting.
985
00:47:32,580 --> 00:47:33,790
I mean, it's one
of those things
986
00:47:33,790 --> 00:47:36,410
that's imprinted
on my memory forever.
987
00:47:36,410 --> 00:47:39,830
But you weren't sure
if he had the ability to focus
988
00:47:39,830 --> 00:47:41,870
and gather it all
together one more time
989
00:47:41,870 --> 00:47:44,000
to create
musical explosiveness.
990
00:47:45,500 --> 00:47:48,160
Host:
Uh, welcome to NBC,
991
00:47:48,160 --> 00:47:50,830
and the
Elvis Presley Special.
992
00:47:50,830 --> 00:47:53,160
(cheers, applause)
993
00:47:53,160 --> 00:47:55,500
You can do better than that.
I'm gonna say it all over again.
994
00:47:55,500 --> 00:47:57,790
Now, I wanna really
hear something.
995
00:47:57,790 --> 00:48:00,580
Schilling:
When I went with him to NBC,
996
00:48:00,580 --> 00:48:02,080
he was very quiet.
997
00:48:02,080 --> 00:48:05,620
He didn't know how people
were gonna feel about it.
998
00:48:05,620 --> 00:48:08,040
Priscilla:
He was extremely
nervous that night.
999
00:48:08,040 --> 00:48:09,540
It's all new again,
1000
00:48:09,540 --> 00:48:14,200
and I'd never seen Elvis
perform live before.
1001
00:48:14,200 --> 00:48:16,160
I didn't really know
what to expect.
1002
00:48:16,160 --> 00:48:19,290
Binder:
We didn't know where
it was gonna go, period.
1003
00:48:22,540 --> 00:48:25,540
Just before it began,
on the first taping,
1004
00:48:25,540 --> 00:48:28,290
Elvis called me
into the makeup room.
1005
00:48:28,290 --> 00:48:33,330
He was sitting there
and he asked everybody
in the room to leave,
1006
00:48:33,330 --> 00:48:36,040
so he could just be
with me one on one.
1007
00:48:36,040 --> 00:48:38,580
I said, "What's--
what's the problem?"
1008
00:48:38,580 --> 00:48:40,200
"Problem is
I changed my mind.
1009
00:48:40,200 --> 00:48:42,750
I don't wanna do this."
1010
00:48:42,750 --> 00:48:45,700
Man: May we strike
the coil and cable off
the platform, please?
1011
00:48:45,700 --> 00:48:47,950
Priscilla:
We weren't seeing,
sitting in the audience,
1012
00:48:47,950 --> 00:48:49,580
what was going on.
1013
00:48:49,580 --> 00:48:52,000
I'd stayed away
from the dressing room.
1014
00:48:52,000 --> 00:48:54,450
He didn't want
anyone around.
1015
00:48:54,450 --> 00:48:57,120
I was sitting there going,
"Oh my gosh," you know.
1016
00:48:57,120 --> 00:48:59,370
"Is he gonna be able
to pull this off?"
1017
00:48:59,370 --> 00:49:01,370
Binder:
I said, "What are you
talking about?"
1018
00:49:01,370 --> 00:49:06,080
And he said,
"I don't remember anything
I sang in the dressing room.
1019
00:49:06,080 --> 00:49:09,540
"I don't remember
any stories that I told.
1020
00:49:09,540 --> 00:49:11,500
"My mind is a blank, Steve.
1021
00:49:11,500 --> 00:49:15,540
Let's just call it off.
It's not gonna happen."
1022
00:49:15,540 --> 00:49:19,160
Binder:
I said, "Elvis, I've never
asked you to do anything
1023
00:49:19,160 --> 00:49:21,200
that you don't wanna do..."
1024
00:49:21,200 --> 00:49:23,410
Host: Mr. Elvis Presley.
(crowd cheering)
1025
00:49:23,410 --> 00:49:25,790
Binder:
"...but you've got
to go out there."
1026
00:49:25,790 --> 00:49:27,750
♪ ♪
1027
00:49:41,540 --> 00:49:43,410
Thank you very much.
1028
00:49:46,290 --> 00:49:50,250
Schilling:
I don't know
how this happened,
1029
00:49:50,250 --> 00:49:52,080
but I saw him relax.
1030
00:49:52,080 --> 00:49:54,000
Elvis:
They want me
to sit on the floor!
1031
00:49:54,000 --> 00:49:55,950
(women cheer)
1032
00:49:55,950 --> 00:49:59,660
(playing guitar)
1033
00:50:03,290 --> 00:50:04,950
♪ ♪
1034
00:50:04,950 --> 00:50:06,870
(band joins in)
1035
00:50:06,870 --> 00:50:08,950
Man:
♪ It's all right ♪
1036
00:50:10,950 --> 00:50:12,620
♪ It's all right ♪
1037
00:50:15,160 --> 00:50:16,410
♪ It's all right ♪
1038
00:50:16,410 --> 00:50:18,450
♪ Yeah, man ♪
♪ It's all right ♪
1039
00:50:19,330 --> 00:50:20,790
♪ It's all right ♪
1040
00:50:20,790 --> 00:50:22,830
♪ It's
all right ♪
1041
00:50:22,830 --> 00:50:24,830
(Elvis growls)
♪ It's all right ♪
1042
00:50:24,830 --> 00:50:25,870
Oh, yeah!
1043
00:50:25,870 --> 00:50:27,450
♪ ♪
1044
00:50:28,870 --> 00:50:31,290
Binder:
I had no knowledge
or understanding
1045
00:50:31,290 --> 00:50:35,540
about how incredibly talented
he really was until that show.
1046
00:50:35,540 --> 00:50:37,830
♪ ♪
1047
00:50:39,950 --> 00:50:43,330
Zanes:
He's having an experience
in the moment.
1048
00:50:43,330 --> 00:50:46,540
During the years
he was doing Hollywood movies,
1049
00:50:46,540 --> 00:50:49,250
you never got to see him
in the moment.
1050
00:50:49,250 --> 00:50:50,330
(screaming)
1051
00:50:52,830 --> 00:50:54,500
Yeah, baby!
1052
00:50:57,620 --> 00:50:59,830
♪ ♪
1053
00:51:08,620 --> 00:51:11,540
(speaking
indistinctly)
1054
00:51:14,080 --> 00:51:18,040
♪ We're goin' up,
we're goin' down ♪
1055
00:51:18,040 --> 00:51:22,330
♪ We're going up, down, down,
up any way you want ♪
1056
00:51:22,330 --> 00:51:24,410
♪ Let's roll ♪
1057
00:51:24,410 --> 00:51:27,160
♪ Yeah, yeah, yeah ♪
1058
00:51:29,700 --> 00:51:32,160
♪ You got me doin'
what you want me ♪
1059
00:51:32,160 --> 00:51:34,500
♪ Oh baby, what do you
want me to do? ♪
1060
00:51:36,200 --> 00:51:39,160
Schilling:
The interplay
with Scotty and DJ
1061
00:51:39,160 --> 00:51:43,200
who's playing drums
on the back of a guitar case.
1062
00:51:43,200 --> 00:51:46,000
DJ Fontana:
It felt like
we were back home again.
1063
00:51:47,620 --> 00:51:51,080
♪ ♪
1064
00:51:51,080 --> 00:51:52,660
Yeah!
1065
00:51:52,660 --> 00:51:53,950
♪ All right ♪
1066
00:51:53,950 --> 00:51:57,040
Hep, hep, hep, hep, hep, hep!
1067
00:51:59,000 --> 00:52:01,000
Boones Howe:
Those are guys
who grew up together,
1068
00:52:01,000 --> 00:52:03,750
and they suddenly
have a moment
1069
00:52:03,750 --> 00:52:06,250
of reflection.
1070
00:52:06,250 --> 00:52:09,450
The past, their early days.
1071
00:52:09,450 --> 00:52:12,750
♪ Down, any way
you wanna let it roll ♪
1072
00:52:12,750 --> 00:52:16,040
Cohn:
He was rediscovering
the sheer animal joy
1073
00:52:16,040 --> 00:52:20,250
of making music, and realizing,
for the first time in years,
1074
00:52:20,250 --> 00:52:21,950
just how good he was.
1075
00:52:21,950 --> 00:52:25,580
♪ Baby, what do you
want me to do? ♪
1076
00:52:27,330 --> 00:52:29,750
♪ You got me doing
what you want me ♪
1077
00:52:29,750 --> 00:52:32,910
♪ Oh baby, what do you
want me to do? ♪
1078
00:52:35,290 --> 00:52:37,790
(applause)
Man: All right!
You got it!
1079
00:52:37,790 --> 00:52:41,500
Landau:
That show was
1,000% Elvis.
1080
00:52:41,500 --> 00:52:47,160
His fingerprint was on the
first frame to the last frame.
1081
00:52:47,160 --> 00:52:49,000
He was a man on a mission.
1082
00:52:50,290 --> 00:52:52,580
Priscilla:
And that night
when it premiered on TV,
1083
00:52:52,580 --> 00:52:54,040
we were all silent.
1084
00:52:54,040 --> 00:52:55,870
We just sat there
and watched the show
1085
00:52:55,870 --> 00:52:57,540
and never said a word.
1086
00:52:57,540 --> 00:53:01,040
And then, of course,
the telephone calls were
coming in, and reviews.
1087
00:53:01,040 --> 00:53:04,330
And, oh my gosh,
it was such a relief.
1088
00:53:07,500 --> 00:53:10,290
It was so great
to see him smile again.
1089
00:53:11,580 --> 00:53:14,870
♪ ♪
1090
00:53:16,450 --> 00:53:18,000
Elvis:
♪ We're caught in a trap ♪
1091
00:53:18,000 --> 00:53:19,700
Schilling:
After the comeback special,
1092
00:53:19,700 --> 00:53:22,200
Elvis didn't have
to look too far
1093
00:53:22,200 --> 00:53:24,910
to find his way
back to the source.
1094
00:53:24,910 --> 00:53:28,540
Elvis:
♪ Because I love you
too much, baby ♪
1095
00:53:28,540 --> 00:53:29,750
Springsteen:
It was the old story.
1096
00:53:29,750 --> 00:53:31,160
You could take the boy
out of Memphis.
1097
00:53:31,160 --> 00:53:32,620
You really couldn't
take Memphis
1098
00:53:32,620 --> 00:53:34,540
out of the boy, you know?
1099
00:53:34,540 --> 00:53:36,200
The roots that you come from
1100
00:53:36,200 --> 00:53:38,250
are always compelling
to return to
1101
00:53:38,250 --> 00:53:40,410
no matter how
far away you get.
1102
00:53:40,410 --> 00:53:43,290
Schilling:
By that point, he only had
a couple of movies left.
1103
00:53:43,290 --> 00:53:45,750
And so when he went
back to the studio,
1104
00:53:45,750 --> 00:53:49,080
he wanted to
do things differently.
1105
00:53:49,080 --> 00:53:51,620
Preston Lauterbach:
Elvis returned home
to restart
1106
00:53:51,620 --> 00:53:54,790
his career as
a recording artist,
1107
00:53:54,790 --> 00:53:56,500
with local musicians,
1108
00:53:56,500 --> 00:54:01,370
with a local producer in
a little humble storefront,
north Memphis,
1109
00:54:01,370 --> 00:54:04,950
that's where Elvis returned
to essentially save his career.
1110
00:54:04,950 --> 00:54:07,870
♪ ♪
1111
00:54:07,870 --> 00:54:11,700
Porter:
Chips Moman, his job
was writer and producer.
1112
00:54:11,700 --> 00:54:14,620
Lauterbach:
He had evolved
from Stax Records
1113
00:54:14,620 --> 00:54:18,080
as a producer primarily
associated with soul
1114
00:54:18,080 --> 00:54:19,700
and with black artists.
1115
00:54:19,700 --> 00:54:22,500
But Chips was one of these
trans-racial kinda figures.
1116
00:54:22,500 --> 00:54:26,540
He thought in terms of style,
in terms of sound.
1117
00:54:26,540 --> 00:54:29,200
And he really did
embody Memphis music.
1118
00:54:29,200 --> 00:54:30,750
Elvis:
♪ Asking where I've been ♪
1119
00:54:30,750 --> 00:54:33,330
Priscilla:
It was the greatest sessions,
the greatest.
1120
00:54:33,330 --> 00:54:36,290
My gosh, I mean,
he came alive again.
1121
00:54:36,290 --> 00:54:37,660
He was liberated.
1122
00:54:37,660 --> 00:54:40,790
It was, uh,
a beautiful marriage.
(chuckles)
1123
00:54:40,790 --> 00:54:45,250
Elvis:
♪ We can't go on together ♪
1124
00:54:45,250 --> 00:54:47,620
♪ With suspicious minds ♪
1125
00:54:49,580 --> 00:54:51,410
♪ And we can't build
our dreams ♪
1126
00:54:51,410 --> 00:54:54,620
Schilling:
He told Elvis, "I have
a stack of records here
1127
00:54:54,620 --> 00:54:55,950
"I think are hits,
1128
00:54:55,950 --> 00:54:57,660
"and you don't
have any publishing.
1129
00:54:57,660 --> 00:54:59,080
What do you wanna do?"
1130
00:54:59,080 --> 00:55:01,580
Elvis:
♪ Oh, let our love survive ♪
1131
00:55:01,580 --> 00:55:04,620
Schilling:
Elvis said, "Chips,
I need hit records."
1132
00:55:04,620 --> 00:55:09,200
Elvis:
♪ I'll dry the tears
from your eyes ♪
1133
00:55:09,200 --> 00:55:12,620
♪ Let's don't let
a good thing die ♪
1134
00:55:12,620 --> 00:55:15,750
Petty:
He decides he's gonna
sing contemporary material.
1135
00:55:15,750 --> 00:55:18,330
Publishing be damned.
He's gonna do what he wants.
1136
00:55:18,330 --> 00:55:20,370
Elvis:
♪ Lied to you ♪
1137
00:55:20,370 --> 00:55:22,410
♪ Ooh ♪
1138
00:55:24,000 --> 00:55:26,790
♪ Yes, yes ♪
1139
00:55:28,290 --> 00:55:31,120
♪ We're caught in a trap ♪
1140
00:55:31,120 --> 00:55:34,700
West:
The songs, every one
of 'em, was a hit.
1141
00:55:34,700 --> 00:55:38,120
That's the biggest sales
Elvis had had ever.
1142
00:55:38,120 --> 00:55:41,750
Elvis:
♪ Love you too much baby ♪
1143
00:55:41,750 --> 00:55:43,870
Schilling:
You would think
that would've been
1144
00:55:43,870 --> 00:55:46,870
the next recording session.
1145
00:55:46,870 --> 00:55:49,000
Never recorded
with Chips again.
1146
00:55:49,000 --> 00:55:51,250
Elvis:
♪ I can't walk out ♪
1147
00:55:51,250 --> 00:55:53,330
(match strikes, flares)
1148
00:55:56,410 --> 00:55:58,830
♪ ♪
1149
00:56:17,000 --> 00:56:19,830
Ronnie Tutt:
August '69, he got
a chance to play live
1150
00:56:19,830 --> 00:56:21,500
at the International Hotel.
1151
00:56:21,500 --> 00:56:24,750
Schilling:
Vegas was a huge
event for him.
1152
00:56:24,750 --> 00:56:29,500
Back in the '50s,
he wasn't accepted too much
then in Vegas.
1153
00:56:29,500 --> 00:56:31,700
Howe:
Vegas, it's not
about teenyboppers.
1154
00:56:31,700 --> 00:56:34,000
It's aimed at
a particular audience--
1155
00:56:34,000 --> 00:56:36,000
people interested
in a show that's there,
1156
00:56:36,000 --> 00:56:38,040
so that they'll stop
in the casino,
1157
00:56:38,040 --> 00:56:40,870
on the way in or out,
and drop some money.
1158
00:56:46,500 --> 00:56:49,370
Petty:
Their burning thing
to go to Las Vegas
1159
00:56:49,370 --> 00:56:51,120
and play long stands,
you know,
1160
00:56:51,120 --> 00:56:56,000
that doesn't happen
till they've virtually run
aground in the film business.
1161
00:56:57,200 --> 00:56:59,250
There isn't a single studio
1162
00:56:59,250 --> 00:57:02,040
that will throw down
any significant money
1163
00:57:02,040 --> 00:57:03,700
for Elvis in a movie.
1164
00:57:03,700 --> 00:57:06,790
So, they look around go,
"Well, what we gonna do now?"
1165
00:57:06,790 --> 00:57:10,700
Elvis is going on stage,
you know. Thank God.
1166
00:57:18,200 --> 00:57:22,000
And "You Don't Have
to Say You Love Me,
and, uh... (indistinct)
1167
00:57:22,000 --> 00:57:25,950
Schilling:
I was able to witness him
put a band together.
1168
00:57:27,000 --> 00:57:28,790
When he goes out to Vegas,
1169
00:57:28,790 --> 00:57:30,790
he's really
making decisions
1170
00:57:30,790 --> 00:57:33,540
that are a little
more for Elvis
1171
00:57:33,540 --> 00:57:36,080
than what came before.
1172
00:57:36,080 --> 00:57:38,290
Zanes:
He's wanting to play
with the band.
1173
00:57:38,290 --> 00:57:41,080
He's wanting to go
through a deep catalog,
1174
00:57:41,080 --> 00:57:44,580
you know, big parts of which
remind him or his own youth.
1175
00:57:44,580 --> 00:57:47,750
♪ Well, you may go to college ♪
1176
00:57:47,750 --> 00:57:50,000
♪ May go to school ♪
1177
00:57:50,000 --> 00:57:52,200
♪ You may get religion, baby ♪
1178
00:57:52,200 --> 00:57:54,290
♪ Don't you be nobody's fool ♪
1179
00:57:54,290 --> 00:57:56,410
♪ Now baby, come back, baby ♪
1180
00:57:56,410 --> 00:57:58,540
Tutt:
I personally went to him
and said, "Elvis,
1181
00:57:58,540 --> 00:58:00,700
"I wanted to know
if you wanted me
1182
00:58:00,700 --> 00:58:03,290
"to try to duplicate
classic songs.
1183
00:58:03,290 --> 00:58:04,950
What was done previously."
1184
00:58:04,950 --> 00:58:06,290
He said, "Absolutely not.
1185
00:58:06,290 --> 00:58:08,290
Just do what you do,
that's why you're here."
1186
00:58:08,290 --> 00:58:10,700
I thought it was good that
he would try different songs
1187
00:58:10,700 --> 00:58:12,540
that he liked the sound of.
1188
00:58:12,540 --> 00:58:14,040
Glen D. was the arranger,
1189
00:58:14,040 --> 00:58:16,370
and he would write these
great arrangements for him,
1190
00:58:16,370 --> 00:58:18,370
and they would--
they would be exciting.
1191
00:58:18,370 --> 00:58:21,160
Elvis:
♪ Come back, baby, come ♪
1192
00:58:21,160 --> 00:58:25,000
♪ Come back, baby,
I wanna play house with you ♪
1193
00:58:25,000 --> 00:58:26,950
Elvis:
Then it goes into this one.
1194
00:58:26,950 --> 00:58:28,200
I wanna try something.
1195
00:58:28,200 --> 00:58:29,790
And since, this is last verse...
1196
00:58:29,790 --> 00:58:34,910
Schilling:
I think the vocals were
just as important to Elvis.
1197
00:58:34,910 --> 00:58:37,370
Okay. The horns are
answering it then.
1198
00:58:37,370 --> 00:58:40,830
Schilling:
He had to have
The Sweet Inspirations.
1199
00:58:40,830 --> 00:58:44,620
They had been working
with Wilson Pickett
and Aretha Franklin.
1200
00:58:44,620 --> 00:58:48,660
♪ Talk in
everlasting words ♪
♪ Talk, words ♪
1201
00:58:48,660 --> 00:58:51,830
♪ And dedicate them
all to me ♪
1202
00:58:51,830 --> 00:58:54,750
♪ Dedicate them
all to me ♪
1203
00:58:54,750 --> 00:58:57,040
Cissy Houston:
Elvis did whatever
he wanted to do.
1204
00:58:57,040 --> 00:59:00,000
If he was feeling it,
we had to feel it too.
1205
00:59:00,000 --> 00:59:01,700
And we could connect,
1206
00:59:01,700 --> 00:59:03,330
because we were from gospel.
1207
00:59:03,330 --> 00:59:04,660
We were raised gospel.
1208
00:59:04,660 --> 00:59:08,790
♪ You think that
I don't even mean ♪
1209
00:59:08,790 --> 00:59:12,660
♪ A single word I say ♪
1210
00:59:13,580 --> 00:59:16,620
♪ It's only words ♪
1211
00:59:16,620 --> 00:59:19,500
♪ And words are all I have ♪
1212
00:59:19,500 --> 00:59:21,330
♪ To steal your heart away ♪
1213
00:59:22,830 --> 00:59:25,870
Schilling:
Colonel Parker, he had
billboards all over.
1214
00:59:25,870 --> 00:59:27,540
There was a vibe.
1215
00:59:27,540 --> 00:59:31,540
Everybody knew
that Elvis was there.
1216
00:59:31,540 --> 00:59:34,040
He was a nervous wreck.
1217
00:59:34,040 --> 00:59:37,870
It's one thing to have
a small invited audience.
1218
00:59:37,870 --> 00:59:41,540
Now he's going
on the biggest stage
in the world.
1219
00:59:41,540 --> 00:59:43,330
It's Las Vegas.
1220
00:59:44,660 --> 00:59:46,160
This is the nitty-gritty time
1221
00:59:46,160 --> 00:59:48,950
as far as being
nervous, you know.
1222
00:59:48,950 --> 00:59:50,160
Opening night, man.
1223
00:59:51,450 --> 00:59:54,160
West:
He was excited,
and also nervous.
1224
00:59:54,160 --> 00:59:56,790
He didn't know exactly
how he was gonna be received,
1225
00:59:56,790 --> 00:59:59,160
and he wanted
the best of everything.
1226
00:59:59,160 --> 01:00:02,370
Tutt:
There were all these big
goals as far as attendance,
1227
01:00:02,370 --> 01:00:04,910
and he had a very
competitive nature.
1228
01:00:04,910 --> 01:00:07,620
So he wanted to be able
to be as powerful
1229
01:00:07,620 --> 01:00:10,250
and popular as Sinatra,
Tom Jones.
1230
01:00:10,250 --> 01:00:12,750
He wanted to take his music
to a whole different level.
1231
01:00:15,120 --> 01:00:17,750
(drums roll, play rock beat)
1232
01:00:24,250 --> 01:00:26,450
(band joins in)
1233
01:00:26,450 --> 01:00:28,450
Priscilla:
The first time
I ever saw him on stage,
1234
01:00:28,450 --> 01:00:32,160
was the first time
he played in Vegas in '69.
1235
01:00:32,160 --> 01:00:35,540
The '68 special, it was more
of a controlled environment.
1236
01:00:35,540 --> 01:00:37,250
It was for television.
1237
01:00:37,250 --> 01:00:40,750
But in Vegas, to actually
see him walk out there
1238
01:00:40,750 --> 01:00:43,250
and own that stage,
1239
01:00:43,250 --> 01:00:46,500
it was like,
"Oh my gosh, I get it.
1240
01:00:46,500 --> 01:00:48,410
I get it!"
1241
01:00:48,410 --> 01:00:50,620
♪ Well, that's all right, mama ♪
1242
01:00:50,620 --> 01:00:52,450
♪ That's all right with you ♪
1243
01:00:52,450 --> 01:00:53,950
♪ That's all right, mama ♪
1244
01:00:53,950 --> 01:00:55,500
♪ Do it any way you do ♪
1245
01:00:55,500 --> 01:00:57,000
♪ That's all right ♪
♪ That's all right ♪
1246
01:00:57,000 --> 01:00:58,660
♪ Yeah, that's all right ♪
♪ That's all right ♪
1247
01:00:58,660 --> 01:01:01,500
♪ That's all right, mama ♪
♪ That's all right ♪
1248
01:01:01,500 --> 01:01:03,830
♪ Any way you do ♪
1249
01:01:05,870 --> 01:01:07,950
♪ Well, Mama,
she done told me ♪
1250
01:01:07,950 --> 01:01:09,620
♪ Papa done told me too ♪
1251
01:01:09,620 --> 01:01:11,290
♪ Son, that gal
you foolin' with ♪
1252
01:01:11,290 --> 01:01:12,750
♪ She ain't no good for you ♪
1253
01:01:12,750 --> 01:01:14,330
♪ Well, that's all right ♪
♪ That's all right ♪
1254
01:01:14,330 --> 01:01:16,200
♪ Yeah, that's all right now ♪
♪ That's all right ♪
1255
01:01:16,200 --> 01:01:18,620
♪ That's all right
now, mama ♪
1256
01:01:18,620 --> 01:01:20,330
♪ Any way you do ♪
1257
01:01:20,330 --> 01:01:22,250
Play it.
1258
01:01:22,250 --> 01:01:24,290
♪ ♪
1259
01:01:28,540 --> 01:01:30,580
Priscilla:
I remember looking around.
1260
01:01:30,580 --> 01:01:32,370
They're all applauding.
1261
01:01:32,370 --> 01:01:34,160
So drawn into him.
1262
01:01:34,160 --> 01:01:37,160
I'd never seen anyone control
an audience that way.
1263
01:01:37,160 --> 01:01:40,000
It was like he rehearsed
that show all his life.
1264
01:01:40,000 --> 01:01:42,660
(Elvis scatting)
1265
01:01:47,080 --> 01:01:48,830
♪ That's all right ♪
♪ That's all right ♪
1266
01:01:48,830 --> 01:01:50,500
♪ Yeah, that's all right ♪
♪ That's all right ♪
1267
01:01:50,500 --> 01:01:53,160
♪ That's all right
now, mama ♪
1268
01:01:53,160 --> 01:01:56,000
♪ Any way you do ♪
1269
01:01:57,330 --> 01:02:00,000
♪ Well, that's
all right now, mama ♪
1270
01:02:00,000 --> 01:02:02,040
♪ Any way you do ♪
1271
01:02:04,250 --> 01:02:06,370
(song ending)
(cheers and applause)
1272
01:02:09,660 --> 01:02:13,370
♪ ♪
1273
01:02:13,370 --> 01:02:18,080
Woman:
♪ There's a place
on Lonely Street ♪
1274
01:02:18,080 --> 01:02:21,540
♪ They call it
Heartbreak Hotel ♪
1275
01:02:21,540 --> 01:02:25,200
♪ Where brokenhearted
lovers go ♪
1276
01:02:25,200 --> 01:02:28,120
Schilling:
It was great, staying up
all night, being in Vegas.
1277
01:02:28,120 --> 01:02:29,660
We never left the hotel.
1278
01:02:29,660 --> 01:02:31,330
But psychologically,
1279
01:02:31,330 --> 01:02:33,370
at a point,
it weighs on you,
1280
01:02:33,370 --> 01:02:35,080
and you may not
even know it.
1281
01:02:36,870 --> 01:02:39,200
Woman:
♪ Heartbreak Hotel,
where I'll be ♪
1282
01:02:39,200 --> 01:02:42,700
♪ I'll be so lonely ♪
1283
01:02:43,700 --> 01:02:47,500
♪ I'll be so lonely,
I could die ♪
1284
01:02:47,500 --> 01:02:49,410
♪ Although it's
always crowded ♪
1285
01:02:49,410 --> 01:02:51,580
♪ You still can find a room ♪
1286
01:02:51,580 --> 01:02:53,750
♪ For brokenhearted lovers ♪
1287
01:02:53,750 --> 01:02:57,750
Schilling:
Thirty days, 61 shows,
first engagement.
1288
01:02:57,750 --> 01:03:01,160
Six months later,
the second engagement.
1289
01:03:01,160 --> 01:03:03,160
The third engagement.
1290
01:03:03,160 --> 01:03:05,120
Woman:
♪ Die ♪
1291
01:03:05,120 --> 01:03:08,160
Schilling:
Playing that much
for weeks on time,
1292
01:03:08,160 --> 01:03:09,910
not seeing daylight.
1293
01:03:11,370 --> 01:03:13,910
Dave Marsh:
Locked up in a hotel room,
what is there to do?
1294
01:03:13,910 --> 01:03:16,080
Talking to the same
15 guys every day?
1295
01:03:16,080 --> 01:03:17,410
Bored out of your mind,
1296
01:03:17,410 --> 01:03:21,080
and it all kind of conspires
to make Elvis vulnerable
1297
01:03:21,080 --> 01:03:24,290
in ways that if he had
a more rational life,
1298
01:03:24,290 --> 01:03:25,870
he would not be vulnerable.
1299
01:03:25,870 --> 01:03:28,580
Woman:
♪ You got a tale to tell ♪
1300
01:03:28,580 --> 01:03:30,200
Bearde:
And that's when
the Colonel took over
1301
01:03:30,200 --> 01:03:32,250
and went back
into modus operandi.
1302
01:03:32,250 --> 01:03:35,750
Let's see as much money
as we can make out of Elvis
for as long as we can.
1303
01:03:36,910 --> 01:03:38,790
Tutt:
It worked great
in the beginning.
1304
01:03:38,790 --> 01:03:41,540
It just got to be
same old stuff.
1305
01:03:41,540 --> 01:03:44,040
Woman:
♪ Die ♪
1306
01:03:44,040 --> 01:03:46,870
Tutt:
He realized that fans
want to hear the hits--
1307
01:03:46,870 --> 01:03:50,200
kind of painted himself
into a corner, so to speak.
1308
01:03:50,200 --> 01:03:51,700
(cheers and applause)
1309
01:03:51,700 --> 01:03:52,950
Brown:
Back in those days,
1310
01:03:52,950 --> 01:03:54,790
there was a dinner show
and then a late show.
1311
01:03:54,790 --> 01:03:56,290
So all the tables up front,
1312
01:03:56,290 --> 01:03:58,120
they were serving dinner
and drinks and stuff.
1313
01:03:58,120 --> 01:04:00,330
And the only people that could
afford the up-front seats
1314
01:04:00,330 --> 01:04:02,950
were the high-rollers,
the older cats.
1315
01:04:02,950 --> 01:04:06,120
Elvis needed connection
with the audience.
1316
01:04:06,120 --> 01:04:09,950
And Vegas, it was a very
reserved, rich crowd
1317
01:04:09,950 --> 01:04:11,660
dressed up for the Elvis show.
1318
01:04:11,660 --> 01:04:14,160
It frustrated Elvis that
he couldn't quite seem
1319
01:04:14,160 --> 01:04:16,330
to get the mayhem going.
1320
01:04:16,330 --> 01:04:18,120
Priscilla:
He felt like really
what he needed
1321
01:04:18,120 --> 01:04:20,580
was to get outside
of Vegas and go out
1322
01:04:20,580 --> 01:04:22,700
and get connected
with people
1323
01:04:22,700 --> 01:04:27,000
though he hadn't been
on tour for over 13 years.
1324
01:04:27,000 --> 01:04:29,370
Man:
What, uh, what made you
decide to come to Texas?
1325
01:04:29,370 --> 01:04:32,000
Well, I think the most
important thing is the, uh,
1326
01:04:32,000 --> 01:04:36,000
the inspiration that I get
from a live audience.
I was missing that.
1327
01:04:36,000 --> 01:04:40,000
♪ Well, I never
been to Heaven ♪
1328
01:04:41,750 --> 01:04:45,330
♪ But I've been to Oklahoma ♪
1329
01:04:47,290 --> 01:04:50,500
♪ Well, they tell me
I was born there ♪
1330
01:04:52,910 --> 01:04:56,500
♪ But I really don't remember ♪
1331
01:04:59,500 --> 01:05:02,580
♪ In Oklahoma ♪
1332
01:05:02,580 --> 01:05:04,700
♪ Or Arizona ♪
1333
01:05:04,700 --> 01:05:07,950
♪ Yeah, what does it matter? ♪
1334
01:05:07,950 --> 01:05:10,200
♪ What does it matter? ♪
1335
01:05:10,200 --> 01:05:12,120
Landau:
Back in the 1970s,
1336
01:05:12,120 --> 01:05:14,410
I was working
for Rolling Stone.
1337
01:05:14,410 --> 01:05:18,660
They sent me to Boston
to review an Elvis concert.
1338
01:05:18,660 --> 01:05:20,870
"He stands there
in a black jumpsuit,
1339
01:05:20,870 --> 01:05:23,120
"gold spangles
and an orange cape.
1340
01:05:23,120 --> 01:05:24,540
"When he stretches
out his hands,
1341
01:05:24,540 --> 01:05:26,410
"the cape forms
a half-sun
1342
01:05:26,410 --> 01:05:27,870
"under his outstretched arms,
1343
01:05:27,870 --> 01:05:30,910
and he looks like the
true king of rock and roll.
1344
01:05:32,450 --> 01:05:35,200
"He parades in front
of 15,000 people,
1345
01:05:35,200 --> 01:05:37,700
"and waits for the applause
to wash over,
1346
01:05:38,910 --> 01:05:40,910
"and it comes as it always does
1347
01:05:40,910 --> 01:05:42,950
"and as he knows it will.
1348
01:05:44,250 --> 01:05:45,950
"Elvis Presley
has lived through
1349
01:05:45,950 --> 01:05:48,410
"the greatest superstar
trip of any performer,
1350
01:05:48,410 --> 01:05:51,580
"and he survived it
in his own kind of way.
1351
01:05:51,580 --> 01:05:56,580
"Elvis participates in a pure
one-to-one relationship
with his audience.
1352
01:05:58,000 --> 01:05:59,790
"When he steps on the stage,
1353
01:05:59,790 --> 01:06:02,370
"it is he and he alone
who is the subject
1354
01:06:02,370 --> 01:06:06,040
of the manic, ecstatic,
irrational adoration."
1355
01:06:06,040 --> 01:06:09,080
Elvis:
♪ I've never been to Heaven ♪
1356
01:06:09,080 --> 01:06:11,700
Landau:
"His brilliance is reflected
in his control."
1357
01:06:11,700 --> 01:06:13,580
♪ But I've been
to Oklahoma ♪
1358
01:06:13,580 --> 01:06:16,330
Landau:
"He never moves too far
in any one direction,
1359
01:06:16,330 --> 01:06:17,750
and never loses his grip."
1360
01:06:17,750 --> 01:06:20,370
♪ They tell me
I was born there ♪
1361
01:06:20,370 --> 01:06:22,040
♪ ♪
1362
01:06:22,040 --> 01:06:25,790
♪ But I really don't remember ♪
1363
01:06:29,120 --> 01:06:31,700
♪ In Oklahoma ♪
1364
01:06:31,700 --> 01:06:33,750
♪ Or Arizona ♪
1365
01:06:33,750 --> 01:06:35,620
Landau:
"To me, no matter
how frustrating
1366
01:06:35,620 --> 01:06:38,450
"the lapses in his career
have been,
1367
01:06:38,450 --> 01:06:40,660
he remains an artist..."
1368
01:06:40,660 --> 01:06:43,000
Elvis:
♪ In Oklahoma ♪
1369
01:06:43,000 --> 01:06:45,790
♪ Or Arizona ♪
1370
01:06:45,790 --> 01:06:49,700
Landau:
"...an American artist,
whom we should be proud
to claim as our own."
1371
01:06:49,700 --> 01:06:52,000
Elvis:
♪ Yeah, yeah ♪
1372
01:06:56,790 --> 01:06:58,200
(song ending)
1373
01:06:58,200 --> 01:07:01,620
Thank you.
(applause)
1374
01:07:01,620 --> 01:07:04,950
Brown:
Elvis, in concert, covered
all kinda genres, you know.
1375
01:07:04,950 --> 01:07:07,660
And he came out
and he would do
all those songs
1376
01:07:07,660 --> 01:07:10,040
from the '50s and '60s
that he broke with.
1377
01:07:10,040 --> 01:07:12,910
But during the show, there was
a lot of country standards.
1378
01:07:12,910 --> 01:07:14,910
He just did things
that he liked.
1379
01:07:14,910 --> 01:07:16,160
Man:
You have any
thoughts about
1380
01:07:16,160 --> 01:07:17,830
the rising interest
in country music?
1381
01:07:17,830 --> 01:07:19,830
I think it's fantastic.
1382
01:07:19,830 --> 01:07:22,950
You see, country music was
always a part of the influence
1383
01:07:22,950 --> 01:07:25,580
on my-- on my type
of music anyway.
1384
01:07:25,580 --> 01:07:28,330
It's a combination of, uh...
1385
01:07:28,330 --> 01:07:30,290
country music, and gospel,
1386
01:07:30,290 --> 01:07:31,830
and rhythm and blues
all combined.
1387
01:07:31,830 --> 01:07:33,370
That's what it really was.
1388
01:07:33,370 --> 01:07:35,620
As a child, I was
influenced by all of that.
1389
01:07:35,620 --> 01:07:39,040
But I like the blues,
and I like, uh,
the gospel music,
1390
01:07:39,040 --> 01:07:40,950
gospel quartets and all that.
1391
01:07:40,950 --> 01:07:43,500
Thank you.
Good rehearsal, see you soon.
1392
01:07:43,500 --> 01:07:45,370
Springsteen:
If you look at the band
he put together
1393
01:07:45,370 --> 01:07:49,040
for the '70s shows,
there was a huge
gospel contingent.
1394
01:07:49,040 --> 01:07:51,160
Those sections of the show
were so powerful.
1395
01:07:51,160 --> 01:07:54,120
Straight out of white
and black gospel tradition.
1396
01:07:54,120 --> 01:07:57,450
Elvis:
♪ Hallelujah ♪
1397
01:07:57,450 --> 01:08:01,290
Springsteen:
In the '70s, Elvis had moved
on to "American Trilogy."
1398
01:08:01,290 --> 01:08:05,910
His show was consisting of
a huge cross-cultural picture
1399
01:08:05,910 --> 01:08:09,330
of America and Americana.
1400
01:08:09,330 --> 01:08:12,040
(Elvis vocalizing)
1401
01:08:13,200 --> 01:08:15,120
Springsteen:
He was trying to encompass
1402
01:08:15,120 --> 01:08:17,450
an image of the country
as a whole
1403
01:08:17,450 --> 01:08:19,410
that he could be a vessel
that could contain
1404
01:08:19,410 --> 01:08:21,620
the entirety of
American experience.
1405
01:08:21,620 --> 01:08:25,410
♪ Oh hush, little baby ♪
1406
01:08:25,410 --> 01:08:29,450
♪ Don't you cry ♪
1407
01:08:29,450 --> 01:08:31,540
Petty:
You know, that
version of "Dixie"
1408
01:08:31,540 --> 01:08:34,040
and uh, the
"Battle Hymn of the Republic,"
1409
01:08:34,040 --> 01:08:35,700
it's so beautiful!
1410
01:08:35,700 --> 01:08:39,450
You know, the band
he's put together
is so over-the-top,
1411
01:08:39,450 --> 01:08:44,000
and only Elvis would have
that kinda spending power,
1412
01:08:44,000 --> 01:08:47,290
and just audacious craziness.
1413
01:08:50,160 --> 01:08:54,450
Choirs, and orchestras,
and a great rhythm section,
1414
01:08:54,450 --> 01:08:58,080
maybe another
gospel group on the side.
1415
01:08:58,080 --> 01:09:00,370
None of it makes sense
until you suddenly
1416
01:09:00,370 --> 01:09:02,250
hear something like that,
1417
01:09:02,250 --> 01:09:05,410
and they're all playing
a role in that,
1418
01:09:05,410 --> 01:09:08,410
and it's very moving music.
1419
01:09:08,410 --> 01:09:11,750
(flute playing)
1420
01:09:14,410 --> 01:09:16,120
When you see him
do that music
1421
01:09:16,120 --> 01:09:19,120
in those little pieces of film
that I've seen of him,
1422
01:09:19,120 --> 01:09:22,660
that's the pure joy
of music in the man.
1423
01:09:22,660 --> 01:09:25,950
You know, that's when
I see everything stop.
1424
01:09:25,950 --> 01:09:31,250
(music crescendoes)
1425
01:09:36,080 --> 01:09:37,950
♪ ♪
1426
01:09:44,160 --> 01:09:48,330
♪ Glory, glory ♪
1427
01:09:48,330 --> 01:09:53,910
♪ Hallelujah ♪
1428
01:09:53,910 --> 01:09:57,330
♪ His truth is ♪
1429
01:09:57,330 --> 01:10:00,000
♪ Marching ♪
1430
01:10:00,000 --> 01:10:04,830
♪ On ♪
1431
01:10:04,830 --> 01:10:08,160
♪ His truth is ♪
1432
01:10:08,160 --> 01:10:10,910
♪ Marching ♪
1433
01:10:10,910 --> 01:10:17,870
♪ On ♪
1434
01:10:20,330 --> 01:10:22,500
(wild cheering)
Elvis: Whoo!
1435
01:10:22,500 --> 01:10:24,120
Thank you, thank you.
1436
01:10:29,040 --> 01:10:31,160
Whew! Boy.
1437
01:10:31,160 --> 01:10:32,580
How was the sound
in that building?
1438
01:10:32,580 --> 01:10:35,500
Very good,
very good.
Here. Hold on.
1439
01:10:37,410 --> 01:10:41,000
Strickland:
That was his life.
He lived to sing and perform.
1440
01:10:41,000 --> 01:10:42,620
It's a hot time in Florida.
1441
01:10:42,620 --> 01:10:44,040
Man:
Boy, it is.
1442
01:10:44,040 --> 01:10:45,620
Springsteen:
An artist like Elvis is,
1443
01:10:45,620 --> 01:10:48,540
rather than pretending
when he goes on the stage,
1444
01:10:48,540 --> 01:10:51,040
he's actually pretending,
when he's home, to be normal.
1445
01:10:51,040 --> 01:10:52,910
And when he goes out
on stage at night,
1446
01:10:52,910 --> 01:10:55,540
it's who he actually is.
1447
01:10:55,540 --> 01:10:58,250
It's a very
difficult dichotomy.
1448
01:11:03,910 --> 01:11:07,200
Priscilla:
To see him become
even bigger than life,
1449
01:11:07,200 --> 01:11:09,200
he had so much so soon.
1450
01:11:13,080 --> 01:11:16,160
Harris:
He was snatched
from the ordinary life
1451
01:11:16,160 --> 01:11:18,580
of a-- of a young man
1452
01:11:18,580 --> 01:11:22,500
into a place that
no one else had ever been
1453
01:11:22,500 --> 01:11:24,540
in society or in our culture.
1454
01:11:37,750 --> 01:11:41,370
Zanes:
To have that success,
and to experience it,
1455
01:11:41,370 --> 01:11:45,410
he had to hand over
significant portions
of youth.
1456
01:11:45,410 --> 01:11:47,200
That was the trade.
1457
01:11:48,750 --> 01:11:54,410
He is unmoored from
the Earth experience.
1458
01:11:54,410 --> 01:11:56,250
Priscilla:
We were living
two different lives.
1459
01:11:56,250 --> 01:11:58,540
He was performing, and, uh,
1460
01:11:58,540 --> 01:12:00,370
and he was home
very, very little.
1461
01:12:00,370 --> 01:12:02,950
It was very difficult to
communicate at that time.
1462
01:12:02,950 --> 01:12:08,290
Uh, Elvis had a horrible
fear of not sleeping.
1463
01:12:08,290 --> 01:12:10,750
He would spend
many, many nights alone,
1464
01:12:10,750 --> 01:12:13,580
and he would think
and that would keep him up.
1465
01:12:13,580 --> 01:12:15,790
So he started
on sleeping pills,
1466
01:12:15,790 --> 01:12:18,080
and he thought that
he had it under control.
1467
01:12:20,410 --> 01:12:22,950
Everything that he ever had
was prescribed.
1468
01:12:25,790 --> 01:12:27,330
(indistinct chatter)
1469
01:12:27,330 --> 01:12:29,450
Man:
Are you satisfied
with the image
you've established?
1470
01:12:29,450 --> 01:12:33,040
Uh... well, the image is
one thing,
1471
01:12:33,040 --> 01:12:36,500
and a human being
is another, you know, so.
1472
01:12:36,500 --> 01:12:38,330
Man:
How close does the image
come to the man?
1473
01:12:38,330 --> 01:12:42,000
It's very hard
to live up to an image,
I'll put it that way.
1474
01:12:43,870 --> 01:12:45,830
Parker:
Come on, bring your
cameras over here.
1475
01:12:45,830 --> 01:12:48,200
Come on through here.
1476
01:12:48,200 --> 01:12:50,620
Elvis:
Soon as the Colonel gets
through talking, I'll tell you--
1477
01:12:50,620 --> 01:12:51,870
I'm-- I'm sorry.
1478
01:12:51,870 --> 01:12:53,540
Oh, yeah, I'd like
to do something.
1479
01:12:53,540 --> 01:12:55,950
Uh, there's so many places
that I haven't been yet.
1480
01:12:55,950 --> 01:12:57,080
I'd like to go to Europe.
1481
01:12:57,080 --> 01:12:59,160
I'd like to go to Japan
and all those places.
1482
01:12:59,160 --> 01:13:00,500
I-I've never been
out of this country
1483
01:13:00,500 --> 01:13:02,830
except in the service,
you know.
1484
01:13:02,830 --> 01:13:04,410
Light:
Elvis, from early on,
1485
01:13:04,410 --> 01:13:06,660
had expressed interest
in touring overseas
1486
01:13:06,660 --> 01:13:07,870
having no idea
1487
01:13:07,870 --> 01:13:10,120
that Colonel Parker
was never going to let him.
1488
01:13:10,120 --> 01:13:12,500
Because if the Colonel
went with him,
1489
01:13:12,500 --> 01:13:15,330
he was afraid
he was not gonna be
let back into America.
1490
01:13:17,120 --> 01:13:20,830
Schilling:
Colonel knowing that Elvis
wanted to tour overseas,
1491
01:13:20,830 --> 01:13:23,330
colonel not wanting
anybody to know
1492
01:13:23,330 --> 01:13:25,950
that he wasn't a US citizen,
1493
01:13:25,950 --> 01:13:28,120
how could he answer Elvis
1494
01:13:28,120 --> 01:13:33,200
but come up with something
that nobody had ever done.
1495
01:13:34,870 --> 01:13:36,700
Jackson:
Instead of shutting
down the idea
1496
01:13:36,700 --> 01:13:38,500
of Elvis playing
in different countries
1497
01:13:38,500 --> 01:13:40,540
and just sort of
curtailing it for now,
1498
01:13:40,540 --> 01:13:42,620
he actually uses it
to his advantage,
1499
01:13:42,620 --> 01:13:46,580
and creates the first-ever
live concert simulcast
1500
01:13:46,580 --> 01:13:48,200
on satellite television,
1501
01:13:48,200 --> 01:13:51,160
so that people
in every country
all over the world
1502
01:13:51,160 --> 01:13:53,950
can see Elvis
play a concert.
1503
01:13:53,950 --> 01:13:55,910
Light:
By the time
of the Aloha special,
1504
01:13:55,910 --> 01:13:58,160
Elvis had been
touring non-stop.
1505
01:13:58,160 --> 01:14:00,450
His health wasn't great,
his weight wasn't great,
1506
01:14:00,450 --> 01:14:03,700
and now he was confronted
with this performance
1507
01:14:03,700 --> 01:14:07,580
that was gonna be seen
by a billion people
around the world.
1508
01:14:07,580 --> 01:14:09,750
Whew!
1509
01:14:09,750 --> 01:14:13,040
It's so very hard
to comprehend it,
1510
01:14:13,040 --> 01:14:15,080
because I...
1511
01:14:15,080 --> 01:14:17,870
In 15 years, it's hard
to comprehend that happening.
1512
01:14:17,870 --> 01:14:20,790
To all the countries all over
the world via satellite,
1513
01:14:20,790 --> 01:14:22,790
it's very difficult
to comprehend.
1514
01:14:22,790 --> 01:14:25,540
Jackson:
It becomes the
biggest media moment
1515
01:14:25,540 --> 01:14:28,080
of his career
up to that point.
1516
01:14:28,080 --> 01:14:30,660
And he knows this.
He's trimmed down for it.
1517
01:14:30,660 --> 01:14:31,790
He looks amazing.
1518
01:14:31,790 --> 01:14:34,040
The band is super tight.
1519
01:14:34,040 --> 01:14:36,750
Light:
Aloha does represent
Elvis music,
1520
01:14:36,750 --> 01:14:41,250
the moment that
Elvis brought together
all of his influences
1521
01:14:41,250 --> 01:14:44,410
to solidify an image of Elvis,
1522
01:14:44,410 --> 01:14:47,120
a look and a style
and a presentation
1523
01:14:47,120 --> 01:14:50,330
that seals in amber,
this is what Elvis is.
1524
01:14:52,540 --> 01:14:56,200
Zanes:
Elvis was the first major
1525
01:14:56,200 --> 01:14:59,410
televisual musical star.
1526
01:14:59,410 --> 01:15:02,450
We can see him,
but we can't touch him.
1527
01:15:07,410 --> 01:15:10,870
Elvis, without intending to,
1528
01:15:10,870 --> 01:15:14,080
created an image of himself
1529
01:15:14,080 --> 01:15:17,120
he would never live past.
1530
01:15:22,910 --> 01:15:25,750
♪ Yeah, now this time ♪
1531
01:15:25,750 --> 01:15:28,660
♪ Lord, you gave me ♪
1532
01:15:28,660 --> 01:15:31,790
♪ A mountain ♪
1533
01:15:33,700 --> 01:15:35,790
♪ A mountain ♪
1534
01:15:35,790 --> 01:15:39,870
♪ I may never climb ♪
1535
01:15:43,410 --> 01:15:44,830
♪ It isn't ♪
1536
01:15:44,830 --> 01:15:46,330
Landau:
That show was another way
1537
01:15:46,330 --> 01:15:50,160
in which he was truly
disserved by the Colonel.
1538
01:15:53,040 --> 01:15:57,040
It's a bit of a metaphor
for keeping the blinders on,
1539
01:15:57,040 --> 01:16:01,450
which is what I think
the Colonel is all about.
1540
01:16:01,450 --> 01:16:03,410
Petty:
My picture of the
Colonel really is
1541
01:16:03,410 --> 01:16:05,660
someone that loves
selling merchandise,
1542
01:16:05,660 --> 01:16:07,660
you know, that
wants it to the end,
1543
01:16:07,660 --> 01:16:12,000
walk the aisle selling
posters and ballpoint pens.
1544
01:16:12,000 --> 01:16:13,910
It doesn't make
any sense really
1545
01:16:13,910 --> 01:16:16,410
to keep him from
touring other countries,
1546
01:16:16,410 --> 01:16:19,870
to keep him from
really going to, you know,
1547
01:16:19,870 --> 01:16:21,700
the whole way with the music,
1548
01:16:21,700 --> 01:16:24,370
like, letting him
be an artist.
1549
01:16:24,370 --> 01:16:26,370
(crowd cheering)
1550
01:16:26,370 --> 01:16:29,330
Elvis:
Thank you!
1551
01:16:29,330 --> 01:16:33,580
Schilling:
I think the troubles between
Elvis and the Colonel
1552
01:16:33,580 --> 01:16:36,330
started getting
worse at that point.
1553
01:16:36,330 --> 01:16:38,200
There was the bond,
1554
01:16:38,200 --> 01:16:42,450
but they were
two very different people.
1555
01:16:42,450 --> 01:16:45,250
Priscilla:
Elvis outgrew Colonel Parker
as an artist,
1556
01:16:45,250 --> 01:16:49,000
but he, um, didn't know
how to cut the strings.
1557
01:16:51,700 --> 01:16:55,000
Light:
By this time, he had started
to turn to prescription drugs
1558
01:16:55,000 --> 01:16:56,580
to keep himself going.
1559
01:16:56,580 --> 01:16:59,660
He was on a
relentless wheel
1560
01:16:59,660 --> 01:17:03,080
of performance to travel
to performance to travel,
1561
01:17:03,080 --> 01:17:05,410
and you start to see
the stress of that.
1562
01:17:09,660 --> 01:17:12,250
Binder:
All the things he told me
that he wanted to do--
1563
01:17:12,250 --> 01:17:15,080
travel the world,
meet new audiences--
1564
01:17:15,080 --> 01:17:16,910
none of that happened.
1565
01:17:19,330 --> 01:17:22,250
All the light went
out of his eyes.
1566
01:17:24,250 --> 01:17:27,750
Zanes:
With an addiction
to prescription pills,
1567
01:17:27,750 --> 01:17:29,910
if you are a performer,
1568
01:17:29,910 --> 01:17:33,790
what you're after is the
anesthetizing part of it.
1569
01:17:33,790 --> 01:17:35,910
But that's gonna
take you away
1570
01:17:35,910 --> 01:17:38,330
from your powers
as a performer,
1571
01:17:38,330 --> 01:17:42,500
and he's gonna go
on stage nonetheless.
1572
01:17:49,790 --> 01:17:52,450
Landau:
He had many afflictions,
1573
01:17:52,450 --> 01:17:55,160
and he hurt himself
in many ways.
1574
01:17:55,160 --> 01:17:57,950
But there was a core in there,
1575
01:17:57,950 --> 01:18:00,870
that, if you let it,
would shine through,
1576
01:18:00,870 --> 01:18:04,580
and sometimes in the
most unlikely places.
1577
01:18:04,580 --> 01:18:06,910
♪ ♪
1578
01:18:09,620 --> 01:18:11,200
♪ Lord Almighty ♪
1579
01:18:11,200 --> 01:18:14,500
♪ I feel my
temperature rising ♪
1580
01:18:14,500 --> 01:18:15,660
♪ Hmm ♪
1581
01:18:15,660 --> 01:18:18,120
Tutt:
We has basically tried
to influence him
1582
01:18:18,120 --> 01:18:19,660
to do more rock and roll.
1583
01:18:19,660 --> 01:18:22,120
"Burning Love," that one
had some potential.
1584
01:18:22,120 --> 01:18:23,750
He never felt
comfortable with it,
1585
01:18:23,750 --> 01:18:26,620
because he had a hard time
with the lyrics.
1586
01:18:26,620 --> 01:18:28,620
Priscilla:
He was going through
a lot at that time,
1587
01:18:28,620 --> 01:18:30,160
so he didn't want
to do the song,
1588
01:18:30,160 --> 01:18:33,200
and the guys kept expressing
that he should do it,
1589
01:18:33,200 --> 01:18:35,540
and he was really
fighting it.
1590
01:18:35,540 --> 01:18:37,000
Landau:
"Burning Love,"
1591
01:18:37,000 --> 01:18:39,160
well, it's one of the
greatest records
he ever made.
1592
01:18:39,160 --> 01:18:42,750
♪ Like the sweet song
of the choir ♪
1593
01:18:42,750 --> 01:18:45,580
♪ And you light my morning sky ♪
1594
01:18:45,580 --> 01:18:47,500
♪ With burning love ♪
1595
01:18:48,910 --> 01:18:50,620
♪ With burning love ♪
1596
01:18:50,620 --> 01:18:52,700
Chorus:
♪ Hunk of burning love ♪
1597
01:18:52,700 --> 01:18:55,160
Elvis:
♪ Just a hunk of
hunk of burning love ♪
1598
01:18:55,160 --> 01:18:58,580
Chorus: Ahhh!
♪ A hunk of
hunk of burning love ♪
1599
01:18:58,580 --> 01:19:00,540
Chorus: Ahhh!
♪ A hunk of hunk of-- ♪
1600
01:19:00,540 --> 01:19:03,040
(music stops)
1601
01:19:03,040 --> 01:19:05,290
Priscilla:
It was a hard song
for him to sing
1602
01:19:05,290 --> 01:19:07,040
and to get into.
1603
01:19:07,040 --> 01:19:09,620
About them lyrics...
(laughter)
1604
01:19:09,620 --> 01:19:12,040
It was only one,
and I hit my mouth.
1605
01:19:12,040 --> 01:19:13,910
Priscilla:
He wanted to
let out his feelings
1606
01:19:13,910 --> 01:19:17,370
in a-- in a song that
related to how he felt.
1607
01:19:17,370 --> 01:19:19,330
It was difficult
to be given music
1608
01:19:19,330 --> 01:19:22,370
for something that's
really uplifting, upbeat,
1609
01:19:22,370 --> 01:19:24,040
and that's not
matching his tone,
1610
01:19:24,040 --> 01:19:25,700
that's not matching
his feelings.
1611
01:19:26,750 --> 01:19:29,500
♪ ♪
1612
01:19:32,750 --> 01:19:35,370
♪ I see a change ♪
1613
01:19:35,370 --> 01:19:38,450
♪ Is coming to our lives ♪
1614
01:19:38,450 --> 01:19:43,910
♪ It's not the same
as it used to be ♪
1615
01:19:43,910 --> 01:19:46,410
♪ And it's not too late ♪
1616
01:19:46,410 --> 01:19:48,950
♪ To realize our mistake ♪
1617
01:19:48,950 --> 01:19:50,790
♪ We're just not right ♪
1618
01:19:50,790 --> 01:19:55,450
♪ For each other ♪
1619
01:19:56,830 --> 01:19:59,700
♪ Love has slipped away ♪
1620
01:19:59,700 --> 01:20:02,200
♪ Left us only friends ♪
1621
01:20:02,200 --> 01:20:07,290
♪ We almost seem
like strangers ♪
1622
01:20:07,290 --> 01:20:09,620
♪ All that's left between us ♪
1623
01:20:09,620 --> 01:20:12,540
♪ Are the memories we share ♪
1624
01:20:12,540 --> 01:20:15,080
♪ Of times
we thought we cared ♪
1625
01:20:15,080 --> 01:20:20,410
♪ For each other ♪
1626
01:20:20,410 --> 01:20:23,410
Priscilla:
Elvis was very
family oriented.
1627
01:20:23,410 --> 01:20:25,580
He did cherish family,
1628
01:20:25,580 --> 01:20:27,620
but Elvis wanted it all.
(laughs)
1629
01:20:27,620 --> 01:20:30,790
♪ Pieces left behind us ♪
1630
01:20:30,790 --> 01:20:33,120
Priscilla:
It takes two
in a relationship.
1631
01:20:33,120 --> 01:20:37,160
Having a child, not being
able to do the traveling.
1632
01:20:37,160 --> 01:20:40,120
I was a mother.
1633
01:20:40,120 --> 01:20:42,620
He always used to say,
"You can't serve two masters."
1634
01:20:44,910 --> 01:20:47,660
♪ ♪
1635
01:20:47,660 --> 01:20:49,660
(chorus vocalizing)
1636
01:20:49,660 --> 01:20:51,870
♪ Someday when she's older ♪
1637
01:20:51,870 --> 01:20:55,120
♪ Maybe she will understand ♪
1638
01:20:55,120 --> 01:21:00,330
♪ Why her mom and dad
are not together ♪
1639
01:21:00,330 --> 01:21:03,160
♪ The tears that
she will cry ♪
1640
01:21:03,160 --> 01:21:05,500
♪ When I have to say goodbye ♪
1641
01:21:05,500 --> 01:21:07,660
♪ They tear at my heart ♪
1642
01:21:07,660 --> 01:21:12,160
♪ Forever ♪
1643
01:21:13,450 --> 01:21:15,540
♪ There's nothing left to do ♪
1644
01:21:15,540 --> 01:21:18,830
♪ But go our separate ways ♪
1645
01:21:18,830 --> 01:21:21,500
Schilling:
After he recorded
"Separate Ways,"
1646
01:21:21,500 --> 01:21:23,450
he wanted to go
into the control room
1647
01:21:23,450 --> 01:21:27,450
and listen to that song
for hours.
1648
01:21:27,450 --> 01:21:30,200
And he would just look up
and shake his head,
1649
01:21:30,200 --> 01:21:33,660
'cause I know he still
always loved Priscilla.
1650
01:21:35,120 --> 01:21:36,830
Priscilla:
Elvis and I,
1651
01:21:36,830 --> 01:21:38,660
you know,
we held hands in court.
1652
01:21:38,660 --> 01:21:41,000
There was still
a lot of love there.
1653
01:21:41,000 --> 01:21:42,910
He was a doting father.
1654
01:21:42,910 --> 01:21:45,330
We kept that relationship
very close.
1655
01:21:45,330 --> 01:21:47,330
I know he was
always there for me,
1656
01:21:47,330 --> 01:21:48,790
and for Lisa as well,
1657
01:21:48,790 --> 01:21:50,870
but the breakup
of the marriage
1658
01:21:50,870 --> 01:21:52,700
was painful for both of us.
1659
01:21:52,700 --> 01:21:55,410
(vocalizing)
1660
01:21:58,830 --> 01:22:01,700
Gordon Stoker:
He was never
the same after that.
1661
01:22:01,700 --> 01:22:03,700
He just changed.
He was very moody.
1662
01:22:03,700 --> 01:22:05,830
He just wasn't well
doing two shows a night.
1663
01:22:05,830 --> 01:22:08,250
And he had to take uppers
to get him going
1664
01:22:08,250 --> 01:22:09,910
and downers
to put him to sleep.
1665
01:22:11,660 --> 01:22:14,040
Parker:
Well, I don't know,
but I know one thing.
1666
01:22:14,040 --> 01:22:15,830
When I told Elvis
to slow down,
1667
01:22:15,830 --> 01:22:17,790
he said, "I wanna
play more dates."
1668
01:22:17,790 --> 01:22:19,040
So I booked more dates.
1669
01:22:19,040 --> 01:22:21,040
I said, "Well, I don't
think you should,"
1670
01:22:21,040 --> 01:22:23,080
and he said, "Well,
it's what I wanna do."
1671
01:22:23,080 --> 01:22:25,330
He was very unhappy,
so we started all over again.
1672
01:22:25,330 --> 01:22:28,750
Announcer:
With some 25 colored
portraits available...
1673
01:22:28,750 --> 01:22:31,580
Man: Souvenirs!
1674
01:22:31,580 --> 01:22:33,700
Hey! Take home
a little bit of Elvis!
1675
01:22:33,700 --> 01:22:35,290
Elvis super souvenirs!
1676
01:22:35,290 --> 01:22:38,750
Cohn:
I think night by night,
it became harder for him to--
1677
01:22:38,750 --> 01:22:41,200
to carry on being Elvis.
1678
01:22:41,200 --> 01:22:43,750
Drugs and the
self-destructiveness
1679
01:22:43,750 --> 01:22:46,250
were all punishments.
1680
01:22:46,250 --> 01:22:49,290
He was in great pain, and yet,
he gave so much pleasure.
1681
01:22:49,290 --> 01:22:52,290
He would go offstage
and collapse,
1682
01:22:52,290 --> 01:22:55,910
and the audience would
go out buoyed up and joyous,
1683
01:22:55,910 --> 01:22:57,580
spiritually blessed.
1684
01:23:01,410 --> 01:23:04,870
Priscilla:
Elvis was always
searching for answers.
1685
01:23:04,870 --> 01:23:06,450
Why him?
1686
01:23:06,450 --> 01:23:09,500
"Well, maybe God
had something else
planned for me.
1687
01:23:09,500 --> 01:23:11,950
Am I supposed to be
giving a message?"
1688
01:23:13,540 --> 01:23:15,250
Not realizing he was doing
1689
01:23:15,250 --> 01:23:17,330
what he was
supposed to be doing.
1690
01:23:20,790 --> 01:23:23,870
Petty:
The last days of his life
was not his best work.
1691
01:23:23,870 --> 01:23:25,910
He had a lot of problems.
1692
01:23:27,910 --> 01:23:29,040
He had gained weight
1693
01:23:29,040 --> 01:23:32,540
which is a cardinal sin
in show business.
1694
01:23:32,540 --> 01:23:34,040
Isolation, you know,
1695
01:23:34,040 --> 01:23:36,540
that-- that brings on
the drug abuse.
1696
01:23:36,540 --> 01:23:39,040
He's lost touch
with his father.
1697
01:23:39,040 --> 01:23:41,370
His mom's gone.
1698
01:23:41,370 --> 01:23:43,910
His wife is gone.
1699
01:23:43,910 --> 01:23:47,290
It had to be very lonely,
we know that.
1700
01:23:53,160 --> 01:23:55,870
There's a point when--
when you have success,
1701
01:23:55,870 --> 01:23:57,500
and you get really wealthy
1702
01:23:57,500 --> 01:24:00,330
and there is that day
where the letter comes
1703
01:24:00,330 --> 01:24:03,160
that none of this is
gonna make me happy.
1704
01:24:08,700 --> 01:24:12,910
And he knew he had
to try to find some--
something, you know,
1705
01:24:12,910 --> 01:24:15,330
but I think he gave up.
1706
01:24:15,330 --> 01:24:19,330
I think he felt out-gunned
and gave up.
1707
01:24:29,040 --> 01:24:30,290
Priscilla:
Those last shows,
1708
01:24:30,290 --> 01:24:31,910
those shows those
last couple of years
1709
01:24:31,910 --> 01:24:35,080
were not the most memorable
as far as performance.
1710
01:24:35,080 --> 01:24:37,870
Sometimes he didn't
get through a-- a song.
1711
01:24:37,870 --> 01:24:42,120
I think the last year,
he was pretty much over it.
1712
01:24:42,120 --> 01:24:45,120
I don't even know why,
you know, he went on stage.
1713
01:24:45,120 --> 01:24:47,040
They're just hard to watch.
1714
01:24:47,040 --> 01:24:48,660
Sometimes, I think
it was better, maybe,
1715
01:24:48,660 --> 01:24:50,500
if they just
canceled the show.
1716
01:24:57,790 --> 01:25:01,540
Brown:
We got the call that Elvis
wanted to record in Memphis.
1717
01:25:01,540 --> 01:25:03,200
Strickland:
Whenever we got the call,
1718
01:25:03,200 --> 01:25:05,410
we would be there
at his beck and call
1719
01:25:05,410 --> 01:25:07,290
whenever they were ready.
1720
01:25:07,290 --> 01:25:08,700
Brown:
In my mind,
we're going to, like,
1721
01:25:08,700 --> 01:25:12,120
Sun Records or someplace over
there, Chips Moman's studio.
1722
01:25:12,120 --> 01:25:13,540
But we pull into Graceland,
1723
01:25:13,540 --> 01:25:15,120
and I say, "Well,
what are we doing here?"
1724
01:25:15,120 --> 01:25:16,830
They said,
"We're cutting here."
1725
01:25:16,830 --> 01:25:18,250
Strickland:
He wouldn't go to the studio.
1726
01:25:18,250 --> 01:25:21,080
The studio had to come to him,
right in the Jungle Room there.
1727
01:25:29,750 --> 01:25:32,370
Man:
It's hard to get him to go
into a studio environment,
1728
01:25:32,370 --> 01:25:34,000
because he was
uncomfortable there.
1729
01:25:34,000 --> 01:25:35,500
Man 2:
Didn't wanna
go to Nashville,
1730
01:25:35,500 --> 01:25:36,620
didn't want to go to Stax,
1731
01:25:36,620 --> 01:25:37,910
didn't want to go
to Chips Moman's.
1732
01:25:37,910 --> 01:25:40,080
He wanted to stay at home.
1733
01:25:40,080 --> 01:25:41,620
Strickland:
We would come over
from Nashville,
1734
01:25:41,620 --> 01:25:44,410
check into a hotel that was
just right down the street.
1735
01:25:46,790 --> 01:25:49,000
Man:
And then, we'd all be
ready there to go,
1736
01:25:49,000 --> 01:25:50,910
and they'd say,
"Elvis is still not up."
1737
01:25:50,910 --> 01:25:52,410
Strickland:
He could come down
at midnight
1738
01:25:52,410 --> 01:25:54,830
or it could be two o'clock
in the morning.
1739
01:25:54,830 --> 01:25:57,580
You never knew what
the night was gonna hold.
1740
01:25:59,290 --> 01:26:01,580
Springsteen:
Elvis ended up
back in the Jungle Room,
1741
01:26:01,580 --> 01:26:04,330
recording his last record.
1742
01:26:04,330 --> 01:26:06,870
Graceland can be
something that's--
1743
01:26:06,870 --> 01:26:09,450
that gives you
a sense of-- of place,
1744
01:26:09,450 --> 01:26:11,370
and of-- of center.
1745
01:26:11,370 --> 01:26:14,250
Uh, but it can also
be a place where--
1746
01:26:14,250 --> 01:26:15,950
that you just disappear into.
1747
01:26:15,950 --> 01:26:19,080
It seemed to me that
Elvis was caught in-between
1748
01:26:19,080 --> 01:26:20,910
doing a little bit
of both there.
1749
01:26:25,450 --> 01:26:28,080
Petty:
Seems to be,
he's picking songs
1750
01:26:28,080 --> 01:26:31,700
that somewhat reflect
his state of mind.
1751
01:26:31,700 --> 01:26:36,160
Like "Hurt" which is one
of the-- the very last ones.
1752
01:26:36,160 --> 01:26:38,660
I think he's--
he's feeling very hurt.
1753
01:26:38,660 --> 01:26:41,160
He's very down.
He's very alone.
1754
01:26:41,160 --> 01:26:43,950
He doesn't understand
what's happened to music,
1755
01:26:43,950 --> 01:26:46,410
and he got left out of that.
1756
01:26:46,410 --> 01:26:48,830
He had become a thing.
1757
01:26:48,830 --> 01:26:51,540
He was no longer
Elvis Presley.
1758
01:26:51,540 --> 01:26:53,200
He was "Elvis."
1759
01:27:02,330 --> 01:27:05,000
Norbert Putnam:
Well, when I first came
over to the Jungle Room,
1760
01:27:05,000 --> 01:27:06,580
they had removed
all the furniture.
1761
01:27:06,580 --> 01:27:08,540
They covered the walls
in blankets.
1762
01:27:08,540 --> 01:27:10,000
Strickland:
There was a semi,
1763
01:27:10,000 --> 01:27:13,040
like a very large
tractor trailer,
out behind the house.
1764
01:27:13,040 --> 01:27:15,950
It was RCA's complete
mobile recording studio.
1765
01:27:15,950 --> 01:27:18,120
They would run
all their recording lines
1766
01:27:18,120 --> 01:27:19,450
into the Jungle Room.
1767
01:27:19,450 --> 01:27:21,250
Brown:
It looks like you're in
Tahiti or something.
1768
01:27:21,250 --> 01:27:22,750
It looked like you
were in the islands.
1769
01:27:22,750 --> 01:27:25,830
But we're all just crammed
into this tiny little space.
1770
01:27:25,830 --> 01:27:28,040
Tutt:
It was a nightmare for
the recording engineers
1771
01:27:28,040 --> 01:27:30,700
to keep that sound clean
without too much bleed
1772
01:27:30,700 --> 01:27:32,040
with open microphones,
1773
01:27:32,040 --> 01:27:35,540
and we did our best to do the
recordings as best we could.
1774
01:27:35,540 --> 01:27:38,370
Strickland:
It wasn't like we did
a lot of rehearsal
1775
01:27:38,370 --> 01:27:39,540
for the recordings.
1776
01:27:39,540 --> 01:27:41,750
It was "Turn the machine on,
and he's gonna sing."
1777
01:27:41,750 --> 01:27:44,540
We would all watch each other
doing it on the fly.
1778
01:27:44,540 --> 01:27:46,500
And you know, I-I remember
one of the first songs
1779
01:27:46,500 --> 01:27:48,750
that I recorded with him,
uh, was "Hurt."
1780
01:27:48,750 --> 01:27:51,000
We didn't have a clue
of how it was gonna go down
1781
01:27:51,000 --> 01:27:53,080
or how he would perform it.
1782
01:27:53,080 --> 01:27:55,750
All of a sudden,
he takes his stance.
1783
01:27:55,750 --> 01:27:58,410
♪ ♪
1784
01:27:58,410 --> 01:28:01,410
Elvis:
♪ I'm ♪
1785
01:28:01,410 --> 01:28:07,700
♪ So hurt ♪
1786
01:28:08,750 --> 01:28:13,450
♪ To think that you lied to me ♪
1787
01:28:16,500 --> 01:28:21,290
♪ I'm hurt ♪
1788
01:28:21,290 --> 01:28:27,120
♪ Way down deep inside of me ♪
1789
01:28:30,200 --> 01:28:32,540
♪ You said ♪
1790
01:28:32,540 --> 01:28:36,200
♪ Our love was true ♪
1791
01:28:36,200 --> 01:28:39,370
♪ And we'd never ♪
1792
01:28:39,370 --> 01:28:42,290
♪ Never part ♪
1793
01:28:44,790 --> 01:28:48,950
♪ Now you want someone new ♪
1794
01:28:48,950 --> 01:28:52,450
♪ And it breaks my heart ♪
1795
01:28:52,450 --> 01:28:59,410
♪ Oh, I'm hurt ♪
1796
01:29:02,830 --> 01:29:05,160
♪ Much more ♪
1797
01:29:05,160 --> 01:29:07,250
♪ Than you'll ever know ♪
1798
01:29:10,080 --> 01:29:12,120
♪ Yes, darling ♪
1799
01:29:12,120 --> 01:29:14,000
♪ I'm so hurt ♪
1800
01:29:15,870 --> 01:29:18,160
♪ Because ♪
1801
01:29:18,160 --> 01:29:20,120
♪ I still love you so ♪
1802
01:29:21,580 --> 01:29:23,200
♪ But you know ♪
1803
01:29:23,200 --> 01:29:28,000
♪ Even though you hurt me ♪
1804
01:29:28,000 --> 01:29:31,450
♪ Like nobody else ♪
1805
01:29:31,450 --> 01:29:34,370
♪ Could ever do ♪
1806
01:29:34,370 --> 01:29:38,620
♪ I would never ever ♪
1807
01:29:38,620 --> 01:29:45,580
♪ Hurt ♪
1808
01:29:45,580 --> 01:29:47,790
♪ You ♪
1809
01:29:47,790 --> 01:29:56,660
♪ Yeah, you ♪
1810
01:29:59,620 --> 01:30:01,500
(song ends)
1811
01:30:04,540 --> 01:30:07,040
♪ ♪
1812
01:30:35,660 --> 01:30:37,870
♪ ♪
1813
01:30:55,790 --> 01:31:00,910
Bearde:
Elvis wanted to finish the
'68 Special on a big note.
1814
01:31:04,120 --> 01:31:07,500
Quite frankly, we didn't
know how to finish the show.
1815
01:31:07,500 --> 01:31:09,540
Binder:
Every day at four o'clock,
1816
01:31:09,540 --> 01:31:13,830
we would all sit in the
piano room, of our offices,
1817
01:31:13,830 --> 01:31:16,910
rehearsing with Elvis.
1818
01:31:16,910 --> 01:31:21,410
Bearde:
While we were sitting
in Steve's office with Elvis,
1819
01:31:21,410 --> 01:31:25,000
we had a little
black and white
television in the corner.
1820
01:31:25,000 --> 01:31:28,040
(indistinct chatter)
On that TV...
1821
01:31:28,040 --> 01:31:30,910
Robert Kennedy
was assassinated.
1822
01:31:30,910 --> 01:31:33,950
(indistinct shouting)
1823
01:31:37,540 --> 01:31:39,370
Elvis picked up a guitar,
1824
01:31:39,370 --> 01:31:41,540
and he started playing.
1825
01:31:41,540 --> 01:31:43,950
Talking at a mile a minute.
1826
01:31:43,950 --> 01:31:48,000
He said, "I want you
to understand me,
1827
01:31:48,000 --> 01:31:49,450
"because this is a
moment in time
1828
01:31:49,450 --> 01:31:51,660
where we all have
to understand each other."
1829
01:31:51,660 --> 01:31:54,080
♪ ♪
1830
01:31:54,080 --> 01:31:58,830
♪ There must be lights
burning brighter ♪
1831
01:31:58,830 --> 01:32:01,700
♪ Somewhere ♪
1832
01:32:01,700 --> 01:32:05,750
♪ Got to be birds
flying higher ♪
1833
01:32:05,750 --> 01:32:09,000
♪ In a sky more blue ♪
1834
01:32:09,000 --> 01:32:13,450
♪ If I can dream
of a better land ♪
1835
01:32:13,450 --> 01:32:17,080
♪ Where all my brothers
walk hand in hand ♪
1836
01:32:17,080 --> 01:32:18,790
♪ Tell me why ♪
1837
01:32:18,790 --> 01:32:20,660
♪ Oh, why ♪
1838
01:32:20,660 --> 01:32:27,290
♪ Oh, why can't my dream
come true ♪
1839
01:32:28,330 --> 01:32:31,370
♪ Oh, why ♪
1840
01:32:31,370 --> 01:32:36,120
♪ There must be peace
and understanding ♪
1841
01:32:36,120 --> 01:32:38,660
♪ Sometime ♪
1842
01:32:38,660 --> 01:32:41,370
♪ Strong winds of promise ♪
1843
01:32:41,370 --> 01:32:45,160
♪ That will blow away
all the doubt ♪
1844
01:32:45,160 --> 01:32:46,700
♪ And fear ♪
1845
01:32:46,700 --> 01:32:51,120
♪ If I can dream
of a warmer sun ♪
1846
01:32:51,120 --> 01:32:54,700
♪ Where hope keeps
shining on everyone ♪
1847
01:32:54,700 --> 01:32:56,750
♪ Tell me why ♪
1848
01:32:56,750 --> 01:32:58,700
♪ Oh, why ♪
1849
01:32:58,700 --> 01:33:02,120
♪ Oh, why won't that sun ♪
1850
01:33:02,120 --> 01:33:06,410
♪ Appear ♪
1851
01:33:11,200 --> 01:33:13,700
♪ We're lost in a cloud ♪
1852
01:33:14,950 --> 01:33:18,870
♪ With too much rain ♪
1853
01:33:18,870 --> 01:33:22,540
♪ We're trapped in a world ♪
1854
01:33:22,540 --> 01:33:26,200
♪ That's troubled with pain ♪
1855
01:33:26,200 --> 01:33:32,750
♪ But as long as a man
has the strength to dream ♪
1856
01:33:32,750 --> 01:33:36,790
♪ He can redeem his soul ♪
1857
01:33:36,790 --> 01:33:40,910
♪ And fly ♪
1858
01:33:40,910 --> 01:33:44,120
Choir:
♪ He can fly ♪
1859
01:33:44,120 --> 01:33:46,450
♪ Deep in my heart ♪
1860
01:33:46,450 --> 01:33:50,750
♪ There's a trembling question ♪
1861
01:33:51,750 --> 01:33:56,080
♪ Still I am sure
that the answer ♪
1862
01:33:56,080 --> 01:33:59,250
♪ Answer's gonna come somehow ♪
1863
01:33:59,250 --> 01:34:03,120
♪ Out there in the dark ♪
1864
01:34:03,120 --> 01:34:05,910
♪ There's a beckoning candle ♪
1865
01:34:05,910 --> 01:34:09,450
♪ Oh yeah, and
while I can think ♪
1866
01:34:09,450 --> 01:34:11,370
♪ While I can talk ♪
1867
01:34:11,370 --> 01:34:13,290
♪ While I can stand ♪
1868
01:34:13,290 --> 01:34:15,160
♪ While I can walk ♪
1869
01:34:15,160 --> 01:34:18,830
♪ While I can dream ♪
1870
01:34:18,830 --> 01:34:22,910
♪ Please let my dream ♪
1871
01:34:22,910 --> 01:34:25,250
♪ Come true ♪
1872
01:34:25,250 --> 01:34:27,120
♪ Oh ♪
1873
01:34:30,000 --> 01:34:33,790
♪ Right now ♪
1874
01:34:33,790 --> 01:34:38,040
♪ Oh, let it come true
right now ♪
1875
01:34:38,040 --> 01:34:41,330
♪ Oh, yeah ♪
1876
01:34:45,410 --> 01:34:47,290
(song ends)
1877
01:35:21,160 --> 01:35:24,160
(film reel whirring)
1878
01:35:36,250 --> 01:35:38,540
♪ ♪
1879
01:35:41,040 --> 01:35:43,040
Petty:
♪ Can't you see ♪
1880
01:35:43,040 --> 01:35:44,500
♪ I love you ♪
1881
01:35:44,500 --> 01:35:48,370
♪ Please don't break
my heart in two ♪
1882
01:35:48,370 --> 01:35:50,540
♪ That's not hard to do ♪
1883
01:35:50,540 --> 01:35:55,700
♪ 'Cause I don't have
a wooden heart ♪
1884
01:35:56,830 --> 01:35:59,870
♪ And if you say goodbye ♪
1885
01:35:59,870 --> 01:36:03,450
♪ Then I know
that I would cry ♪
1886
01:36:03,450 --> 01:36:05,870
♪ Maybe I would die ♪
1887
01:36:05,870 --> 01:36:10,700
♪ 'Cause I don't have
a wooden heart ♪
1888
01:36:12,040 --> 01:36:14,160
♪ There's no strings ♪
1889
01:36:14,160 --> 01:36:18,250
♪ Upon this love of mine ♪
1890
01:36:18,250 --> 01:36:22,910
♪ It was always you
from the start ♪
1891
01:36:24,370 --> 01:36:25,950
♪ Treat me nice ♪
1892
01:36:25,950 --> 01:36:27,410
♪ Treat me good ♪
1893
01:36:27,410 --> 01:36:31,000
♪ Treat me like
you really should ♪
1894
01:36:31,000 --> 01:36:33,540
♪ 'Cause I'm not made of wood ♪
1895
01:36:33,540 --> 01:36:39,450
♪ And I don't have
a wooden heart ♪
1896
01:36:39,450 --> 01:36:45,080
♪ No, I don't have
a wooden heart ♪
1897
01:36:51,370 --> 01:36:53,450
(music ends)
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