subtitlecat.com

All language subtitles for Elvis Presley-The Searcher-2018-part 2

Afrikaans

Akan

Albanian

Amharic

Arabic

Armenian

Azerbaijani

Basque

Belarusian

Bemba

Bengali

Bihari

Bosnian

Breton

Bulgarian

Cambodian

Catalan

Cebuano

Cherokee

Chichewa

Chinese (Simplified)

Chinese (Traditional)

Corsican

Croatian

Czech

Danish

Dutch Download

English

Esperanto

Estonian

Ewe

Faroese

Filipino

Finnish

French Download

Frisian

Galician

Georgian

German Download

Greek

Guarani

Gujarati

Haitian Creole

Hausa

Hawaiian

Hebrew

Hindi

Hmong

Hungarian

Icelandic

Igbo

Indonesian

Interlingua

Irish

Italian

Japanese

Javanese

Kannada

Kazakh

Kinyarwanda

Kirundi

Kongo

Korean

Krio (Sierra Leone)

Kurdish

Kurdish (Soranî)

Kyrgyz

Laothian

Latin

Latvian

Lingala

Lithuanian

Lozi

Luganda

Luo

Luxembourgish

Macedonian

Malagasy

Malay

Malayalam

Maltese

Maori

Marathi

Mauritian Creole

Moldavian

Mongolian

Myanmar (Burmese)

Montenegrin

Nepali

Nigerian Pidgin

Northern Sotho

Norwegian

Norwegian (Nynorsk)

Occitan

Oriya

Oromo

Pashto

Persian

Polish

Portuguese (Brazil)

Portuguese (Portugal) Download

Punjabi

Quechua

Romanian

Romansh

Runyakitara

Russian

Samoan

Scots Gaelic

Serbian

Serbo-Croatian

Sesotho

Setswana

Seychellois Creole

Shona

Sindhi

Sinhalese

Slovak

Slovenian

Somali

Spanish

Spanish (Latin American)

Sundanese

Swahili

Swedish

Tajik

Tamil

Tatar

Telugu

Thai

Tigrinya

Tonga

Tshiluba

Tumbuka

Turkish

Turkmen

Twi

Uighur

Ukrainian

Urdu

Uzbek

Vietnamese

Welsh

Wolof

Xhosa

Yiddish

Yoruba

Zulu

Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:00:02,750 All right, we have a wide shot, so no one can be in here. 2 00:00:04,830 --> 00:00:06,950 Standing by. 3 00:00:06,950 --> 00:00:08,450 9:12. 4 00:00:16,290 --> 00:00:18,870 The ' 68 Special really showed 5 00:00:18,870 --> 00:00:22,500 Elvis's career in its entirety. 6 00:00:22,500 --> 00:00:25,450 They took Elvis's original songs 7 00:00:25,450 --> 00:00:28,040 and they made 'em more modern. 8 00:00:28,040 --> 00:00:31,290 This was bringing him back to the beginning 9 00:00:31,290 --> 00:00:34,000 but yet going into the future. 10 00:00:34,000 --> 00:00:36,410 ♪ Well, I quit my job down at the car wash ♪ 11 00:00:36,410 --> 00:00:38,370 ♪ I left my mama a goodbye note ♪ 12 00:00:38,370 --> 00:00:42,000 There was the jam session with his original musicians. 13 00:00:42,000 --> 00:00:45,540 It had simplicity, spontaneity. 14 00:00:45,540 --> 00:00:48,870 And it also had the choreographed pieces 15 00:00:48,870 --> 00:00:51,500 that really was a reflection of the movies 16 00:00:51,500 --> 00:00:53,290 and the post-Army years. 17 00:00:53,290 --> 00:00:56,200 ♪ But nobody wanted to hire a guitar man ♪ 18 00:00:58,410 --> 00:01:00,500 The real spine of the special 19 00:01:00,500 --> 00:01:02,750 came from our writers. 20 00:01:02,750 --> 00:01:05,040 They locked themselves in their office 21 00:01:05,040 --> 00:01:08,660 and played every Elvis record you could find. 22 00:01:08,660 --> 00:01:11,750 We wove a story of Elvis 23 00:01:11,750 --> 00:01:14,700 from his beginnings to being a superstar. 24 00:01:14,700 --> 00:01:17,910 It gave everybody a look at Elvis as a musician. 25 00:01:17,910 --> 00:01:20,250 ♪ I'm hopin' I can make myself a dollar ♪ 26 00:01:20,250 --> 00:01:22,040 ♪ Makin' music on my guitar ♪ 27 00:01:22,040 --> 00:01:24,700 It's funny. It's telling Elvis's story, yes, 28 00:01:24,700 --> 00:01:26,040 in a variety show. 29 00:01:26,040 --> 00:01:28,500 It's got the girls. It's got him playing guitar. 30 00:01:29,410 --> 00:01:31,950 I look back now... 31 00:01:31,950 --> 00:01:34,370 his life was so big, 32 00:01:34,370 --> 00:01:38,290 I don't know if you can get it in an hour. (laughs) 33 00:01:42,750 --> 00:01:45,540 ♪ Yes, I'm gonna walk ♪ 34 00:01:45,540 --> 00:01:48,250 ♪ On that milky white way ♪ 35 00:01:48,250 --> 00:01:52,870 ♪ Oh Lord, some of these days ♪ 36 00:01:52,870 --> 00:01:55,580 I started out when I was just out of high school, 37 00:01:55,580 --> 00:01:57,290 I started out driving a truck, 38 00:01:57,290 --> 00:01:59,250 and, uh, I was training to be an electrician. 39 00:01:59,250 --> 00:02:01,410 ♪ Some of these days ♪ 40 00:02:01,410 --> 00:02:03,620 ♪ Well, well, well, well ♪ 41 00:02:04,540 --> 00:02:05,910 One day at my lunch break, 42 00:02:05,910 --> 00:02:09,370 I went into this little record company to make a record. 43 00:02:09,370 --> 00:02:12,330 The guy put the record out, and overnight, in my hometown, 44 00:02:12,330 --> 00:02:14,580 people were saying, you know, "Who is he?" 45 00:02:14,580 --> 00:02:19,160 ♪ I'm gonna walk on that milky white way ♪ 46 00:02:19,160 --> 00:02:21,200 ♪ Oh Lord, some of these days ♪ 47 00:02:21,200 --> 00:02:24,040 I started to play little nightclubs and little football fields. 48 00:02:24,040 --> 00:02:27,040 Like a year and a half, I was doing this, I met Colonel Parker. 49 00:02:27,040 --> 00:02:30,370 ♪ My mother howdy, howdy, howdy... ♪ 50 00:02:30,370 --> 00:02:34,000 In 1956, they arranged to, uh, to put me on television. 51 00:02:34,000 --> 00:02:35,700 So they dressed me in a tuxedo, 52 00:02:35,700 --> 00:02:38,410 had me singing to a dog on a stool. 53 00:02:38,410 --> 00:02:42,200 ♪ My mother howdy when I get home ♪ 54 00:02:42,200 --> 00:02:44,660 I went to Hollywood and I did four pictures. 55 00:02:44,660 --> 00:02:46,790 I was really getting used to the movie star bit. 56 00:02:46,790 --> 00:02:49,750 ♪ I'm gonna shake my mama's hand ♪ 57 00:02:49,750 --> 00:02:51,910 Just overnight it was all-- all changed. 58 00:02:51,910 --> 00:02:54,500 ♪ I will shake her hands that day ♪ 59 00:02:54,500 --> 00:02:56,290 I got drafted. 60 00:02:56,290 --> 00:02:58,290 ♪ That's when we walk ♪ 61 00:02:58,290 --> 00:03:00,830 ♪ On that milky white way ♪ 62 00:03:00,830 --> 00:03:03,120 ♪ Oh Lord, one of these days ♪ 63 00:03:03,120 --> 00:03:06,450 ♪ On some of these days ♪ 64 00:03:06,450 --> 00:03:08,450 Returning from the Army, 65 00:03:08,450 --> 00:03:11,830 coming back home, getting ready to perform again, 66 00:03:11,830 --> 00:03:14,500 it's obviously not the '60s. 67 00:03:14,500 --> 00:03:16,540 Those '60s haven't come yet. 68 00:03:16,540 --> 00:03:19,580 This is pre-civil rights. 69 00:03:19,580 --> 00:03:21,290 Things are happening in that regard, 70 00:03:21,290 --> 00:03:25,160 but it's not really coming to a head yet. 71 00:03:25,160 --> 00:03:28,870 I'm sure he was aware of how much had gone on. 72 00:03:29,870 --> 00:03:34,000 He could've gone in several directions. 73 00:03:34,000 --> 00:03:35,910 Well, Elvis, now you're really home. 74 00:03:35,910 --> 00:03:37,290 How does it feel? 75 00:03:38,790 --> 00:03:40,750 It's pretty hard to describe, I'll tell ya. 76 00:03:40,750 --> 00:03:42,410 It's hard to get used to it, you know? 77 00:03:42,410 --> 00:03:44,540 I mean, I've been looking forward to it for two years, 78 00:03:44,540 --> 00:03:46,290 and, all of a sudden, here it is. 79 00:03:46,290 --> 00:03:47,580 It's, uh... 80 00:03:47,580 --> 00:03:49,660 It's not easy to adjust to it. 81 00:03:49,660 --> 00:03:51,950 Elvis, do you think the music has changed 82 00:03:51,950 --> 00:03:53,540 since you've been out of the service? 83 00:03:53,540 --> 00:03:55,870 I mean, since you've been in the service. 84 00:03:55,870 --> 00:03:58,540 Possibly, yes. I-I... I can't say really. 85 00:03:58,540 --> 00:04:00,500 I haven't been here long enough to even know. 86 00:04:02,540 --> 00:04:05,120 The only thing I can say is if it has changed, 87 00:04:05,120 --> 00:04:07,080 well, I would be foolish not to... 88 00:04:07,080 --> 00:04:09,620 try to change with it, you know? 89 00:04:12,250 --> 00:04:14,540 When Elvis gets back from the Army, 90 00:04:14,540 --> 00:04:17,540 he was still one of the biggest stars on the planet. 91 00:04:17,540 --> 00:04:20,410 But rock and roll, that force that happened 92 00:04:20,410 --> 00:04:23,000 between '54 and '59, 93 00:04:23,000 --> 00:04:25,700 basically had evaporated while he was away. 94 00:04:25,700 --> 00:04:29,660 And you see, immediately, the results of the Colonel plotting-- 95 00:04:29,660 --> 00:04:34,290 "How do I make him as widespread as possible and polish his image?" 96 00:04:34,290 --> 00:04:37,660 Get him on the path towards being a Frank Sinatra 97 00:04:37,660 --> 00:04:38,830 or a Dean Martin, 98 00:04:38,830 --> 00:04:41,750 pop singers who have very long careers. 99 00:04:43,540 --> 00:04:46,750 Alan Light: This was a curious crossroads in his career. 100 00:04:46,750 --> 00:04:48,580 It was open field to see 101 00:04:48,580 --> 00:04:51,410 what was he gonna do and where was he gonna go. 102 00:04:51,410 --> 00:04:54,290 The work that he had done during his time in the Army 103 00:04:54,290 --> 00:04:57,040 broadens the scope of the music 104 00:04:57,040 --> 00:04:59,160 that he was interested in. 105 00:04:59,160 --> 00:05:01,580 He didn't wanna do the same music. 106 00:05:01,580 --> 00:05:03,370 He wanted to grow. 107 00:05:03,370 --> 00:05:05,080 He wanted to evolve in a way 108 00:05:05,080 --> 00:05:08,750 that he could offer something different in his music. 109 00:05:08,750 --> 00:05:12,910 With Elvis, it was always about the challenge, the motivation. 110 00:05:12,910 --> 00:05:16,250 He's already in the recording studio in Nashville 111 00:05:16,250 --> 00:05:18,120 two weeks after coming home. 112 00:05:18,120 --> 00:05:19,450 He knew what was at stake, 113 00:05:19,450 --> 00:05:21,790 so did the Colonel and the engineers, everybody. 114 00:05:21,790 --> 00:05:25,790 There was this tension in the room: "What's it gonna be like?" 115 00:05:25,790 --> 00:05:27,660 You ready? 116 00:05:27,660 --> 00:05:28,870 Let's cut one. 117 00:05:28,870 --> 00:05:31,120 LTWB0081, take one. 118 00:05:40,200 --> 00:05:44,330 ♪ I just got your letter, baby ♪ 119 00:05:44,330 --> 00:05:47,950 ♪ Too bad you can't come home ♪ 120 00:05:47,950 --> 00:05:50,370 They all relaxed after just a few takes 121 00:05:50,370 --> 00:05:52,120 because he's so on top of it. 122 00:05:52,120 --> 00:05:55,620 He's been longing for this moment-- 123 00:05:55,620 --> 00:05:57,700 both to get his career started 124 00:05:57,700 --> 00:06:00,540 but also to express a new range of music, 125 00:06:00,540 --> 00:06:02,410 his new understanding of music. 126 00:06:02,410 --> 00:06:04,830 Everything he could do. 127 00:06:04,830 --> 00:06:09,080 ♪ I ain't slept a wink since Sunday ♪ 128 00:06:09,080 --> 00:06:13,620 ♪ I can't eat a thing all day ♪ 129 00:06:13,620 --> 00:06:17,410 Since the last Ed Sullivan Show appearance in 1957, 130 00:06:17,410 --> 00:06:20,330 the Colonel decided to take Elvis off of television. 131 00:06:20,330 --> 00:06:22,250 He didn't want to give Elvis away 132 00:06:22,250 --> 00:06:25,040 when you could sell tickets in a movie theater. 133 00:06:25,040 --> 00:06:26,700 Jorgensen: But in the relaunch, 134 00:06:26,700 --> 00:06:28,080 he wasn't gonna gamble. 135 00:06:28,080 --> 00:06:31,330 He wanted exposure to make sure they got a head start. 136 00:06:31,330 --> 00:06:33,500 Now it was time to deliver. 137 00:06:33,500 --> 00:06:36,370 The Colonel's plan was get Elvis on television 138 00:06:36,370 --> 00:06:38,200 in front of as many people as possible 139 00:06:38,200 --> 00:06:40,660 with the world's other most famous singer. 140 00:06:40,660 --> 00:06:42,120 Make it fun and exciting, 141 00:06:42,120 --> 00:06:44,540 so that now the career can continue. 142 00:06:48,040 --> 00:06:53,580 ♪ I know that I ♪ 143 00:06:53,580 --> 00:06:56,450 ♪ Held nothing ♪ 144 00:06:56,450 --> 00:06:58,540 ♪ Waa-ooh-waa-ooh ♪ 145 00:06:58,540 --> 00:07:03,580 ♪ If you should go away ♪ 146 00:07:05,410 --> 00:07:07,000 ♪ But to know ♪ 147 00:07:07,000 --> 00:07:10,700 ♪ That you love me brings ♪ 148 00:07:10,700 --> 00:07:13,000 The Sinatra show, 149 00:07:13,000 --> 00:07:16,000 it was a very conservative move at the time. 150 00:07:16,000 --> 00:07:17,870 It was just trying to find his place 151 00:07:17,870 --> 00:07:20,540 after coming out of the Army. 152 00:07:20,540 --> 00:07:22,370 He simply had to believe in himself, 153 00:07:22,370 --> 00:07:24,080 and that's what Elvis did. 154 00:07:24,080 --> 00:07:25,410 ♪ ♪ 155 00:07:25,410 --> 00:07:28,620 ♪ Fame and fortune ♪ 156 00:07:28,620 --> 00:07:31,750 ♪ My way ♪ 157 00:07:31,750 --> 00:07:35,330 ♪ Ooh, ooh, ooh, ooh ♪ 158 00:07:37,200 --> 00:07:40,410 Elvis put himself forth as somebody who was not a flash in the pan 159 00:07:40,410 --> 00:07:44,250 but who was in a long line of a tradition of American pop singers. 160 00:07:44,250 --> 00:07:47,540 They were saying there's a life for Elvis after Elvis. 161 00:07:47,540 --> 00:07:49,830 Elvis... 162 00:07:49,830 --> 00:07:51,410 I tell ya something, it was great! 163 00:07:51,410 --> 00:07:55,120 I remember when he appeared on the Frank Sinatra special. 164 00:07:55,120 --> 00:07:57,450 That show was very much the opposite 165 00:07:57,450 --> 00:07:59,000 of The Steve Allen Show. 166 00:07:59,000 --> 00:08:02,370 There was a collegial atmosphere. 167 00:08:02,370 --> 00:08:06,660 Frank Sinatra and Elvis had two different styles 168 00:08:06,660 --> 00:08:10,500 but were in an incredibly exclusive club. 169 00:08:15,250 --> 00:08:18,450 We work in the same way only in different areas. 170 00:08:21,700 --> 00:08:23,540 ♪ Love me tender ♪ 171 00:08:23,540 --> 00:08:25,620 ♪ Love me sweet ♪ 172 00:08:25,620 --> 00:08:28,700 ♪ Never let me go ♪ 173 00:08:28,700 --> 00:08:31,080 Jackson: Trading their own hits with each other 174 00:08:31,080 --> 00:08:34,410 is the big moment that the Colonel engineered for him. 175 00:08:34,410 --> 00:08:37,910 ♪ Those fingers in my hair ♪ 176 00:08:37,910 --> 00:08:40,450 Jackson: You can hear the women in the crowd start screaming. 177 00:08:40,450 --> 00:08:42,750 Elvis sexes it up a little bit. 178 00:08:42,750 --> 00:08:45,250 ♪ That strips my conscience bare ♪ 179 00:08:45,250 --> 00:08:47,410 ♪ It's witchcraft ♪ 180 00:08:47,410 --> 00:08:49,580 ♪ Love me tender ♪ 181 00:08:49,580 --> 00:08:50,830 ♪ Love me true ♪ 182 00:08:50,830 --> 00:08:53,000 Jackson: Sinatra, he's fitting "Love Me Tender" 183 00:08:53,000 --> 00:08:55,910 into that swing thing. He's born on the beat. 184 00:08:55,910 --> 00:08:59,410 ♪ Oh my darling, I love you ♪ 185 00:08:59,410 --> 00:09:01,660 ♪ And I always will ♪ 186 00:09:01,660 --> 00:09:03,870 ♪ It's such an ancient pitch ♪ 187 00:09:05,830 --> 00:09:08,950 ♪ One I wouldn't switch ♪ 188 00:09:08,950 --> 00:09:11,500 ♪ 'Cause there's no nicer witch ♪ 189 00:09:11,500 --> 00:09:14,040 ♪ Than witchcraft ♪ 190 00:09:14,040 --> 00:09:16,410 ♪ I love you ♪ 191 00:09:16,410 --> 00:09:18,580 ♪ And I always will ♪ 192 00:09:20,830 --> 00:09:24,450 ♪ For my darling ♪ 193 00:09:24,450 --> 00:09:28,040 ♪ I love you ♪ 194 00:09:28,040 --> 00:09:30,580 Man, that's pretty. 195 00:09:30,580 --> 00:09:36,200 Both: ♪ And I always will ♪ 196 00:09:36,200 --> 00:09:39,040 Jackson: He's embraced by the community 197 00:09:39,040 --> 00:09:41,500 that had previously put him down, 198 00:09:41,500 --> 00:09:43,870 and that signaled he was now ready 199 00:09:43,870 --> 00:09:47,750 to take on this role of cultural icon. 200 00:09:47,750 --> 00:09:49,080 Jorgensen: You get this new Elvis, 201 00:09:49,080 --> 00:09:51,040 the Elvis that Colonel Parker wanted, 202 00:09:51,040 --> 00:09:54,700 the Elvis that had grown up exactly the same way 203 00:09:54,700 --> 00:09:57,660 that his core audience had grown older. 204 00:09:57,660 --> 00:10:00,540 They were gone from being teenagers to being young adults. 205 00:10:00,540 --> 00:10:04,700 So for him, it was the perfect launch. 206 00:10:04,700 --> 00:10:06,910 The public widely accepted that, 207 00:10:06,910 --> 00:10:09,620 but, obviously, this was a transition. 208 00:10:17,620 --> 00:10:21,500 ♪ You gave me love to enjoy ♪ 209 00:10:21,500 --> 00:10:27,700 ♪ Like a bright shiny toy to a baby ♪ 210 00:10:30,750 --> 00:10:34,620 ♪ No matter what you would do ♪ 211 00:10:34,620 --> 00:10:37,660 ♪ I depended on you ♪ 212 00:10:37,660 --> 00:10:40,910 ♪ Like a baby ♪ 213 00:10:44,040 --> 00:10:46,700 He knew that next album was important. 214 00:10:46,700 --> 00:10:48,580 He gave it a lot of thought. 215 00:10:48,580 --> 00:10:53,500 The Elvis is Back! album reveals new influences, 216 00:10:53,500 --> 00:10:56,450 new interests, new arrangements. 217 00:10:56,450 --> 00:10:58,790 He had been getting ready for this mentally 218 00:10:58,790 --> 00:11:00,500 while he was in Germany. 219 00:11:00,500 --> 00:11:03,870 There's a little bit of R&B, there's a little bit of pop, 220 00:11:03,870 --> 00:11:05,790 ballads, country. 221 00:11:07,750 --> 00:11:10,370 New songs that represented a different vocal approach 222 00:11:10,370 --> 00:11:12,750 than anything he had tried before that. 223 00:11:12,750 --> 00:11:15,450 Elvis: ♪ I was blind, 'cause I just ♪ 224 00:11:15,450 --> 00:11:18,370 His voice was very much in tune always, 225 00:11:18,370 --> 00:11:21,160 and that's because he didn't have to fight the band. 226 00:11:21,160 --> 00:11:23,750 Those guys were soft and they didn't push him, 227 00:11:23,750 --> 00:11:25,700 and they weren't too busy. 228 00:11:25,700 --> 00:11:29,450 The band had the ability to play all this music 229 00:11:29,450 --> 00:11:32,080 that came from so many different sources. 230 00:11:32,080 --> 00:11:33,500 Elvis: ♪ Like a baby ♪ 231 00:11:33,500 --> 00:11:35,000 Jorgensen: That was the true magic 232 00:11:35,000 --> 00:11:37,330 of Elvis combining with this band. 233 00:11:37,330 --> 00:11:39,790 They perfectly understood each other. 234 00:11:44,330 --> 00:11:47,500 Red West: Those musicians were incredible. 235 00:11:47,500 --> 00:11:49,660 Bobby Moore on bass, 236 00:11:49,660 --> 00:11:51,660 Floyd Cramer on piano. 237 00:11:51,660 --> 00:11:54,000 Man, those guys heard a demo once 238 00:11:54,000 --> 00:11:56,000 and bam, they were ready to go. 239 00:11:56,000 --> 00:11:58,080 Briggs: They were a real tight group. 240 00:11:58,080 --> 00:11:59,790 Nobody played anything that didn't go 241 00:11:59,790 --> 00:12:01,620 with what the other one was playing. 242 00:12:01,620 --> 00:12:03,450 Elvis: ♪ I need soul ♪ 243 00:12:03,450 --> 00:12:05,120 Briggs: DJ and Scotty were still there, 244 00:12:05,120 --> 00:12:07,330 but they began to play a lesser and lesser role 245 00:12:07,330 --> 00:12:09,200 and that made it a little more sophisticated. 246 00:12:09,200 --> 00:12:11,790 Elvis: ♪ Then I broke down and cried ♪ 247 00:12:11,790 --> 00:12:13,870 Priscilla: He liked the way the music sounded. 248 00:12:13,870 --> 00:12:16,660 Technology, it evolved while he was gone. 249 00:12:16,660 --> 00:12:19,950 Jackson: RCA Studios got a three-track recorder. 250 00:12:19,950 --> 00:12:23,500 That immediately adds a technical professionalism 251 00:12:23,500 --> 00:12:26,410 as recording technology is moving into the future. 252 00:12:26,410 --> 00:12:28,950 Elvis: ♪ Like a baby ♪ 253 00:12:28,950 --> 00:12:31,080 Priscilla: He started feeling confidence, 254 00:12:31,080 --> 00:12:34,040 because these were his song choices. 255 00:12:34,040 --> 00:12:37,120 These were songs that he was singing in Germany. 256 00:12:37,120 --> 00:12:39,120 That's the freedom that he wanted. 257 00:12:39,120 --> 00:12:40,700 That's what he was looking for. 258 00:12:40,700 --> 00:12:42,000 Elvis: ♪ Like a baby ♪ 259 00:12:42,000 --> 00:12:44,250 Priscilla: And that's why it was so successful. 260 00:12:45,370 --> 00:12:47,370 Just blew people away. 261 00:12:49,160 --> 00:12:51,410 Landau: Elvis, when he came back, 262 00:12:51,410 --> 00:12:55,750 clearly in finding the songs and making the records, 263 00:12:55,750 --> 00:12:57,540 was very driven. 264 00:12:57,540 --> 00:12:59,500 His vision was very intact, 265 00:12:59,500 --> 00:13:02,000 and I don't think he could be distracted. 266 00:13:02,000 --> 00:13:05,410 Zanes: Elvis was so attuned to the emotional. 267 00:13:05,410 --> 00:13:10,580 He was always on the search for emotional music. 268 00:13:10,580 --> 00:13:11,870 Priscilla: I asked him one day, 269 00:13:11,870 --> 00:13:14,410 "What makes you pick out your songs?" 270 00:13:14,410 --> 00:13:17,750 He said, "I wanna be able to reach and feel 271 00:13:17,750 --> 00:13:20,250 what we all go through as human beings." 272 00:13:20,250 --> 00:13:22,410 ♪ Ooh ♪ 273 00:13:22,410 --> 00:13:24,450 Zanes: This is the mysterious part about music. 274 00:13:24,450 --> 00:13:27,200 How do we know when we're listening to a song 275 00:13:27,200 --> 00:13:29,370 that someone means it? 276 00:13:29,370 --> 00:13:30,410 We just know. 277 00:13:30,410 --> 00:13:32,910 Elvis: ♪ Are you lonesome tonight ♪ 278 00:13:32,910 --> 00:13:34,250 Zanes: And the people who mean it 279 00:13:34,250 --> 00:13:37,250 are generally the ones who are processing 280 00:13:37,250 --> 00:13:41,450 some kind of loss through music, 281 00:13:41,450 --> 00:13:45,540 and we can hear them negotiating their loss, 282 00:13:45,540 --> 00:13:48,410 and we connect to it. 283 00:13:48,410 --> 00:13:53,450 Elvis: ♪ Does your memory stray ♪ 284 00:13:53,450 --> 00:13:58,160 ♪ To a bright summer day ♪ 285 00:13:58,160 --> 00:14:00,790 ♪ When I kissed you ♪ 286 00:14:00,790 --> 00:14:04,870 ♪ And called you sweetheart? ♪ 287 00:14:04,870 --> 00:14:08,830 David Porter: Those who are truly a recording artist, 288 00:14:08,830 --> 00:14:11,450 you go into the artistic aspect 289 00:14:11,450 --> 00:14:13,200 of what makes whatever you're doing 290 00:14:13,200 --> 00:14:15,870 alive and unique for that song. 291 00:14:15,870 --> 00:14:19,120 So he would lose himself in an artistic way 292 00:14:19,120 --> 00:14:21,870 in order for people to feel it. 293 00:14:21,870 --> 00:14:23,700 Elvis: ♪ And picture me ♪ 294 00:14:23,700 --> 00:14:26,450 Porter: That's called soul. 295 00:14:26,450 --> 00:14:31,200 Elvis: ♪ Is your heart filled with pain? ♪ 296 00:14:31,200 --> 00:14:36,160 ♪ Shall I come back again? ♪ 297 00:14:36,160 --> 00:14:38,660 ♪ Tell me, dear ♪ 298 00:14:38,660 --> 00:14:43,830 ♪ Are you lonesome tonight? ♪ 299 00:14:45,830 --> 00:14:48,120 Man: Usually when we chat, Elvis, we ask you to, uh, 300 00:14:48,120 --> 00:14:50,250 select your favorite song of all your recordings. 301 00:14:50,250 --> 00:14:52,330 What's the current favorite of yours? 302 00:14:52,330 --> 00:14:54,540 Elvis: I think, uh, "Now or Never." 303 00:14:54,540 --> 00:14:56,500 It's "Now or Never." 304 00:14:56,500 --> 00:14:58,910 ♪ Ooh ♪ 305 00:15:02,540 --> 00:15:05,950 ♪ Ooh, ooh, ooh ♪ 306 00:15:08,370 --> 00:15:11,330 Elvis: ♪ It's now or never ♪ 307 00:15:11,330 --> 00:15:14,790 Jorgensen: Everything was a level up on the '50s. 308 00:15:14,790 --> 00:15:17,700 The three singles, "Stuck on You," "It's Now or Never" 309 00:15:17,700 --> 00:15:21,040 and "Are You Lonesome Tonight?" were number one hits. 310 00:15:21,040 --> 00:15:22,910 It was a true triumph 311 00:15:22,910 --> 00:15:26,540 and a whole new ballgame of what pop music was. 312 00:15:26,540 --> 00:15:31,000 Elvis: ♪ Tomorrow will be too late ♪ 313 00:15:31,000 --> 00:15:33,700 Landau: Rhythmically, his sense of time, 314 00:15:33,700 --> 00:15:37,540 his phrasing, musicality, Elvis was impeccable. 315 00:15:38,790 --> 00:15:41,370 Elvis: ♪ When I first saw you ♪ 316 00:15:41,370 --> 00:15:42,750 Priscilla: He loved opera singers. 317 00:15:42,750 --> 00:15:44,750 He loved the range of an opera singer. 318 00:15:44,750 --> 00:15:47,200 "It's Now or Never" is very much like that. 319 00:15:47,200 --> 00:15:51,250 Elvis: ♪ My heart was captured ♪ 320 00:15:51,250 --> 00:15:52,950 Tom Petty: What he did that was unusual 321 00:15:52,950 --> 00:15:56,410 was he could slide up the scale into a tenor voice 322 00:15:56,410 --> 00:15:58,200 and then back down, you know. 323 00:15:58,200 --> 00:16:01,250 And he's just having fun. 324 00:16:02,700 --> 00:16:04,620 He's sliding all over the scale. 325 00:16:04,620 --> 00:16:07,950 It's so human. It's so real. 326 00:16:09,000 --> 00:16:13,120 Elvis: ♪ It's now or never ♪ 327 00:16:13,120 --> 00:16:16,160 ♪ Come hold me tight ♪ 328 00:16:16,160 --> 00:16:19,290 Light: "It's Now or Never" was adapted from "O Sole Mio," 329 00:16:19,290 --> 00:16:20,700 the Italian song. 330 00:16:20,700 --> 00:16:22,790 Elvis had always had this interest 331 00:16:22,790 --> 00:16:25,120 in the Italian crooners. 332 00:16:25,120 --> 00:16:27,950 When he was in the Army with Charlie Hodge, 333 00:16:27,950 --> 00:16:31,660 they were exploring that kind of drama in his singing. 334 00:16:31,660 --> 00:16:35,950 That sound, that style became one of the staples 335 00:16:35,950 --> 00:16:39,700 of Elvis's musical range from then on. 336 00:16:39,700 --> 00:16:41,910 Elvis: ♪ Just like a willow ♪ 337 00:16:41,910 --> 00:16:43,200 Jorgensen: It's about challenge. 338 00:16:43,200 --> 00:16:47,120 It was the challenge that made him do that extra thing. 339 00:16:47,120 --> 00:16:49,450 And hitting the high notes at the end 340 00:16:49,450 --> 00:16:51,870 on "It's Now or Never" was the challenge. 341 00:16:51,870 --> 00:16:53,700 Elvis: ♪ And sweet devotion ♪ 342 00:16:53,700 --> 00:16:56,250 Jorgensen: He can't really reach it, and the engineer says, 343 00:16:56,250 --> 00:16:58,790 "We can cut the ending only," and Elvis goes back and says, 344 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." 345 00:17:02,620 --> 00:17:04,410 Elvis: ♪ For who knows when ♪ 346 00:17:04,410 --> 00:17:05,870 Priscilla: He challenged himself. 347 00:17:05,870 --> 00:17:09,950 He got a thrill out of hitting a note so high. 348 00:17:09,950 --> 00:17:15,080 Elvis: ♪ It's now or never ♪ 349 00:17:15,080 --> 00:17:20,160 ♪ My love won't wait ♪ 350 00:17:21,750 --> 00:17:25,290 ♪ It's now or never ♪ 351 00:17:25,290 --> 00:17:29,370 ♪ My love won't wait ♪ 352 00:17:40,830 --> 00:17:43,830 ♪ Can't you see I love you? ♪ 353 00:17:43,830 --> 00:17:47,540 ♪ Please don't break my heart in two ♪ 354 00:17:47,540 --> 00:17:49,700 ♪ That's not hard to do ♪ 355 00:17:49,700 --> 00:17:54,580 ♪ 'Cause I don't have a wooden heart ♪ 356 00:17:55,540 --> 00:17:58,540 ♪ And if you say goodbye ♪ 357 00:17:58,540 --> 00:18:01,500 ♪ Then I know that I would cry ♪ 358 00:18:01,500 --> 00:18:04,330 Jorgensen: For Elvis to have to do G.I. Blues, 359 00:18:04,330 --> 00:18:07,160 reflecting his two years in the Army 360 00:18:07,160 --> 00:18:11,410 in a way that probably doesn't compare a lot to what it was like, 361 00:18:11,410 --> 00:18:14,370 I don't think he really enjoyed that. 362 00:18:14,370 --> 00:18:17,200 G.I. Blues was a family type of film 363 00:18:17,200 --> 00:18:21,040 moving Elvis's image in a completely different direction 364 00:18:21,040 --> 00:18:24,910 from the very young, aggressive characters in the '50s movies. 365 00:18:26,790 --> 00:18:30,410 But he was given the promise that there would be two films 366 00:18:30,410 --> 00:18:32,950 for 20th Century Fox, following this, 367 00:18:32,950 --> 00:18:35,250 that were serious roles. 368 00:18:35,250 --> 00:18:40,450 It may have been a reasonable bargain for Elvis at the time. 369 00:18:40,450 --> 00:18:43,870 Priscilla: When he found out the songs that he had to do in G.I. Blues, 370 00:18:43,870 --> 00:18:46,500 he said, "Baby, I don't know how this is gonna go. 371 00:18:46,500 --> 00:18:48,330 I'm a little disappointed." 372 00:18:48,330 --> 00:18:50,620 Jorgensen: The songs they had to fit into the plot, 373 00:18:50,620 --> 00:18:53,040 but musically, they were not where Elvis was at. 374 00:18:54,910 --> 00:18:56,790 He makes a compromise. 375 00:18:56,790 --> 00:18:59,870 That was the really disheartening part for Elvis. 376 00:19:02,370 --> 00:19:04,200 The soundtrack of G.I. Blues, 377 00:19:04,200 --> 00:19:07,580 it was the most successful album they had made. 378 00:19:07,580 --> 00:19:11,080 It sold much more than the absolutely brilliant studio album 379 00:19:11,080 --> 00:19:13,120 that came out some months before. 380 00:19:14,410 --> 00:19:16,450 Schilling: Elvis is now a big business. 381 00:19:16,450 --> 00:19:18,200 So instead of going out, 382 00:19:18,200 --> 00:19:21,370 getting the best songwriters in general, 383 00:19:21,370 --> 00:19:23,000 Hill & Range, from the Colonel, 384 00:19:23,000 --> 00:19:25,120 were hiring a couple of songwriters 385 00:19:25,120 --> 00:19:27,790 to write Elvis songs. 386 00:19:27,790 --> 00:19:31,370 Briggs: They would bring all of the material, 387 00:19:31,370 --> 00:19:34,200 that was the unspoken rule. 388 00:19:34,200 --> 00:19:36,330 Nobody else was allowed 389 00:19:36,330 --> 00:19:39,040 to bring any music into the session. 390 00:19:39,040 --> 00:19:43,080 That was very tightly controlled by the Colonel, 391 00:19:43,080 --> 00:19:44,580 by the publishing company, 392 00:19:44,580 --> 00:19:47,290 and by the record company. 393 00:19:47,290 --> 00:19:49,160 West: The Colonel eventually started getting 394 00:19:49,160 --> 00:19:50,910 a percentage of everything. 395 00:19:50,910 --> 00:19:52,160 He was a businessman. 396 00:19:52,160 --> 00:19:55,120 He didn't give a damn if it was worth a crap. 397 00:19:55,120 --> 00:19:59,250 Schilling: Elvis could care less about the songwriting, 398 00:19:59,250 --> 00:20:01,040 publishing in general. 399 00:20:01,040 --> 00:20:03,000 Some of it, he got and understood, 400 00:20:03,000 --> 00:20:07,120 but he cared more about good material. 401 00:20:07,120 --> 00:20:09,620 Petty: It was more about the Colonel owning the publishing, 402 00:20:09,620 --> 00:20:14,500 which was a huge stone in his shoes the rest of his life. 403 00:20:14,500 --> 00:20:18,500 It was this business of "We must own the copyright 404 00:20:18,500 --> 00:20:21,620 or we don't want you to do it." 405 00:20:21,620 --> 00:20:23,910 Priscilla: Elvis said, "I'm starting to feel the pressure. 406 00:20:23,910 --> 00:20:25,160 "I'm obligated here. 407 00:20:25,160 --> 00:20:27,120 I don't think there's a way out for me." 408 00:20:27,120 --> 00:20:29,330 And I said, "Well, can't you talk to Colonel?" 409 00:20:29,330 --> 00:20:32,540 And that's when I think he started getting disillusioned. 410 00:20:32,540 --> 00:20:35,200 Basically, Colonel was part of it. 411 00:20:35,200 --> 00:20:38,200 Already, he's feeling that he's not in control, 412 00:20:38,200 --> 00:20:40,700 and this is really early on. 413 00:20:45,620 --> 00:20:50,290 Gladys Presley: ♪ Oh, home sweet home ♪ 414 00:20:50,290 --> 00:20:55,750 ♪ There's no place like home ♪ 415 00:21:07,620 --> 00:21:11,200 Priscilla: I already had a feeling of what Graceland was like 416 00:21:11,200 --> 00:21:13,910 through Elvis's description. 417 00:21:13,910 --> 00:21:15,160 He told me in Germany, 418 00:21:15,160 --> 00:21:17,250 "I want you to come and see Graceland." 419 00:21:18,580 --> 00:21:20,750 And he would give me images. 420 00:21:23,950 --> 00:21:25,950 When I came, the first time, 421 00:21:25,950 --> 00:21:29,290 he told me to close my eyes, and not to open them. 422 00:21:29,290 --> 00:21:33,290 We're driving, and then he said, "Open them." 423 00:21:36,160 --> 00:21:38,250 The gates of Graceland open up. 424 00:21:40,080 --> 00:21:43,120 It was everything that he'd described. 425 00:21:43,120 --> 00:21:45,870 It was bigger than life for me. 426 00:21:45,870 --> 00:21:47,790 His safe haven. 427 00:21:51,660 --> 00:21:53,330 Schilling: Graceland always represented 428 00:21:53,330 --> 00:21:57,290 something more than just a house to Elvis. 429 00:21:57,290 --> 00:21:58,870 Light: Graceland was something initially 430 00:21:58,870 --> 00:22:01,910 that he had bought with and for his parents, 431 00:22:01,910 --> 00:22:04,450 and it reminded him of his mother, 432 00:22:04,450 --> 00:22:07,910 her presence and her influence in his life, 433 00:22:07,910 --> 00:22:11,160 which didn't end after she died. 434 00:22:11,160 --> 00:22:12,750 Priscilla: I opened up a closet 435 00:22:12,750 --> 00:22:14,660 and it was filled with her clothes. 436 00:22:16,700 --> 00:22:19,580 And I had such a sense of her. 437 00:22:19,580 --> 00:22:21,540 She liked soft fabric. 438 00:22:21,540 --> 00:22:23,950 Her hats, her shoes-- 439 00:22:23,950 --> 00:22:27,330 he hung on to those personal things. 440 00:22:27,330 --> 00:22:29,370 Even though it had been a few years, 441 00:22:29,370 --> 00:22:33,330 there was still a lingering scent there, of her. 442 00:22:34,500 --> 00:22:37,660 It really showed me the love that he had for her. 443 00:22:38,910 --> 00:22:42,040 Elvis: She never really wanted anything, 444 00:22:42,040 --> 00:22:43,620 you know, anything fancy. 445 00:22:43,620 --> 00:22:46,660 She just stayed the same all the way through the whole thing. 446 00:22:48,160 --> 00:22:50,500 There's a lot of things happened, 447 00:22:50,500 --> 00:22:52,080 and there are times when it feels like 448 00:22:52,080 --> 00:22:54,540 I don't know what I'm gonna do next, you know? 449 00:22:55,790 --> 00:22:58,000 Light: Once he got back to Graceland 450 00:22:58,000 --> 00:23:01,540 and wanted to reconnect with the spirit he was brought up in 451 00:23:01,540 --> 00:23:04,250 and the memory of his mother, 452 00:23:04,250 --> 00:23:06,500 the best way was to go back to the music 453 00:23:06,500 --> 00:23:09,120 that he had grown up with. 454 00:23:09,120 --> 00:23:12,000 Zanes: The theme of return, 455 00:23:12,000 --> 00:23:15,330 and in Elvis's case, a return to gospel, 456 00:23:15,330 --> 00:23:19,200 is part of how we all experience music. 457 00:23:20,870 --> 00:23:23,410 There are these profound experiences 458 00:23:23,410 --> 00:23:27,660 that happen with music at a younger age. 459 00:23:27,660 --> 00:23:31,040 Through our lives, we're often chasing them. 460 00:23:34,330 --> 00:23:38,330 If you were raised in the proximity of gospel, 461 00:23:38,330 --> 00:23:43,040 that's what launched you into the world of emotional music. 462 00:23:44,580 --> 00:23:48,290 West: He was getting into another phase in his life, 463 00:23:48,290 --> 00:23:52,040 and gospel, religious music, was his favorite, 464 00:23:52,040 --> 00:23:54,580 and that's why he did it. 465 00:23:54,580 --> 00:23:56,410 Jorgensen: Just on the heels of G.I. Blues, 466 00:23:56,410 --> 00:24:00,410 he goes in and records a complete album of gospel music 467 00:24:00,410 --> 00:24:02,410 with songs from all his old heroes: 468 00:24:02,410 --> 00:24:06,000 Blackwood Brothers, Golden Gate, Statesmen Quartet. 469 00:24:06,000 --> 00:24:08,750 It's a tribute to everything he came from, 470 00:24:08,750 --> 00:24:11,950 and he does it with a voice at his best ever. 471 00:24:11,950 --> 00:24:14,580 Elvis: ♪ Why don't you swing low, sweet chariot ♪ 472 00:24:14,580 --> 00:24:16,540 ♪ Stop and let me ride ♪ 473 00:24:16,540 --> 00:24:18,750 Tony Brown: It was so close to those records 474 00:24:18,750 --> 00:24:20,750 that the Statesmen and Blackwoods were making. 475 00:24:20,750 --> 00:24:23,910 It could've been those records. 476 00:24:23,910 --> 00:24:27,000 Jorgensen: He had the Jordanaires as the key element 477 00:24:27,000 --> 00:24:29,750 of developing a gospel feel 478 00:24:29,750 --> 00:24:32,580 with a band feel that was true to the music 479 00:24:32,580 --> 00:24:34,410 on the Elvis is Back! album. 480 00:24:34,410 --> 00:24:35,870 Elvis: ♪ Let me ride ♪ 481 00:24:35,870 --> 00:24:37,910 ♪ Rock me, Lord, rock me, Lord ♪ 482 00:24:37,910 --> 00:24:39,750 Jorgensen: Obviously, it's not really rock and roll, 483 00:24:39,750 --> 00:24:42,040 but there's drums and there's saxophones. 484 00:24:42,040 --> 00:24:43,450 There's a lot of swing to it. 485 00:24:43,450 --> 00:24:45,750 ♪ Sweet, sweet, sweet, sweet ♪ 486 00:24:45,750 --> 00:24:48,040 Elvis: ♪ Well, well ♪ 487 00:24:48,040 --> 00:24:50,290 Petty: The way he blended them together 488 00:24:50,290 --> 00:24:53,620 is an incredibly original thing to do. 489 00:24:53,620 --> 00:24:57,660 Sometimes, you know, he wasn't traveling very far away from the gospel. 490 00:24:57,660 --> 00:25:00,910 I mean, some of it, it was just about putting a beat to it. 491 00:25:00,910 --> 00:25:02,950 Elvis: ♪ Wasn't so particular about the chariot wheel ♪ 492 00:25:02,950 --> 00:25:04,620 Petty: That angle of the two and the four are 493 00:25:04,620 --> 00:25:07,790 slightly different than gospel good. 494 00:25:07,790 --> 00:25:10,290 Elvis: ♪ Why don't you swing down, sweet chariot, stop ♪ 495 00:25:10,290 --> 00:25:12,160 ♪ And let me ride ♪ 496 00:25:12,160 --> 00:25:14,870 Jorgensen: You have a feeling that he's truly enjoying this. 497 00:25:14,870 --> 00:25:17,450 It's a very joyous record to listen to. 498 00:25:17,450 --> 00:25:21,000 Schilling: His Hand in Mine was a passion. 499 00:25:21,000 --> 00:25:25,200 The whole gospel influence was as much a part of him, 500 00:25:25,200 --> 00:25:29,160 and maybe even more so as the rhythm and blues. 501 00:25:29,160 --> 00:25:31,620 This was just his opportunity to get it out. 502 00:25:31,620 --> 00:25:33,620 Priscilla: And it was a mission to show others, 503 00:25:33,620 --> 00:25:36,660 the listeners, that in these choices of music 504 00:25:36,660 --> 00:25:38,080 and how it's embellished, 505 00:25:38,080 --> 00:25:40,790 really what Elvis was looking for as an artist, 506 00:25:40,790 --> 00:25:42,500 to have that freedom. 507 00:25:42,500 --> 00:25:44,160 It's that simple. 508 00:25:44,160 --> 00:25:48,410 Elvis: ♪ Just wanted to lay down this heavy load ♪ 509 00:25:48,410 --> 00:25:50,540 ♪ Why don't you swing down, sweet chariot ♪ 510 00:25:50,540 --> 00:25:52,790 ♪ Stop, let me ride ♪ 511 00:25:52,790 --> 00:25:54,250 Man: How's Blue Hawaii going? 512 00:25:54,250 --> 00:25:55,580 Elvis: It's going on very well. 513 00:25:55,580 --> 00:25:57,080 We leave tomorrow for Kauai, you know. Yeah. 514 00:25:57,080 --> 00:25:58,790 I think we'll be there for about 10 days. 515 00:25:58,790 --> 00:26:00,250 Man: Tell us about Blue Hawaii a bit. 516 00:26:00,250 --> 00:26:02,450 Elvis: There's about 11 songs in it. 517 00:26:02,450 --> 00:26:04,500 Some Hawaiian tunes? Yeah. 518 00:26:04,500 --> 00:26:06,620 You got some special material written for you for the picture? 519 00:26:06,620 --> 00:26:09,750 Elvis: Yeah, we had about 10 songs written especially for the picture. 520 00:26:09,750 --> 00:26:12,000 We do that, you know, before the picture starts. 521 00:26:17,870 --> 00:26:21,620 Jorgensen: The film Blue Hawaii was an overwhelming success. 522 00:26:21,620 --> 00:26:24,700 That is the point where it gets real interesting. 523 00:26:26,160 --> 00:26:27,540 Jackson: The two dramas, 524 00:26:27,540 --> 00:26:29,290 Wild in the Country and Flaming Star, 525 00:26:29,290 --> 00:26:32,700 they're not as music heavy, and they actually lose money. 526 00:26:32,700 --> 00:26:34,580 Priscilla: And that's when they told him, 527 00:26:34,580 --> 00:26:36,950 "This is proof. This is what the public wants. 528 00:26:36,950 --> 00:26:38,750 "People just wanna hear your music. 529 00:26:38,750 --> 00:26:41,870 They wanna hear you sing in movies." 530 00:26:43,410 --> 00:26:46,580 Schilling: The last concert he played, for almost a decade, 531 00:26:46,580 --> 00:26:49,040 was a charity show near Pearl Harbor. 532 00:26:59,910 --> 00:27:03,830 Elvis: ♪ Well, so long ♪ 533 00:27:03,830 --> 00:27:06,330 Jackson: That was like the ultimate charity show, 534 00:27:06,330 --> 00:27:07,790 because it was for the building 535 00:27:07,790 --> 00:27:09,410 of the Pearl Harbor memorial. 536 00:27:09,410 --> 00:27:10,790 Couldn't be more patriotic. 537 00:27:10,790 --> 00:27:12,700 Couldn't have been more of a cause 538 00:27:12,700 --> 00:27:14,250 that people could get behind. 539 00:27:15,250 --> 00:27:17,200 He's back, he's served his time. 540 00:27:17,200 --> 00:27:18,410 He's a great patriot. 541 00:27:18,410 --> 00:27:21,290 It was more to build that piece of the story 542 00:27:21,290 --> 00:27:23,290 that the Colonel wanted to tell. 543 00:27:23,290 --> 00:27:25,580 He's cleaned up and he's a good boy. 544 00:27:25,580 --> 00:27:27,750 Elvis: ♪ Let you go ahead on, baby ♪ 545 00:27:29,290 --> 00:27:32,750 ♪ Pray that you'll come back home some time ♪ 546 00:27:32,750 --> 00:27:35,120 Boots Randolph. 547 00:27:35,120 --> 00:27:38,620 Jackson: The band that he brings with him is very interesting. 548 00:27:38,620 --> 00:27:40,000 He has Scotty and DJ, 549 00:27:40,000 --> 00:27:42,410 but he brings with him his all-star 550 00:27:42,410 --> 00:27:44,950 Nashville, session guy band, 551 00:27:44,950 --> 00:27:48,290 including Boots Randolph, who was a great saxophone player. 552 00:27:52,620 --> 00:27:54,950 Jackson: Boots Randolph brings in a lead instrument 553 00:27:54,950 --> 00:27:57,580 that can balance out Elvis's singing 554 00:27:57,580 --> 00:28:00,160 in a way that Scotty playing rockabilly licks 555 00:28:00,160 --> 00:28:02,290 didn't do previously. 556 00:28:02,290 --> 00:28:05,370 So it just becomes a much more full sound. 557 00:28:08,750 --> 00:28:11,160 Light: It's a tragedy that he didn't continue 558 00:28:11,160 --> 00:28:13,750 to play live for people at that point. 559 00:28:13,750 --> 00:28:15,620 But the Colonel knew that the films 560 00:28:15,620 --> 00:28:19,540 got Elvis in front of millions of people simultaneously 561 00:28:19,540 --> 00:28:21,540 with as little work as possible. 562 00:28:23,160 --> 00:28:26,160 Landau: The post-Army films, I went to them. 563 00:28:26,160 --> 00:28:30,450 They were a separate category for what happened in the '50s. 564 00:28:30,450 --> 00:28:32,660 He finds himself in a situation 565 00:28:32,660 --> 00:28:34,830 where he's just churning out stuff 566 00:28:34,830 --> 00:28:37,160 that he couldn't possibly have believed in. 567 00:28:37,160 --> 00:28:39,500 Elvis: ♪ I said, take it easy, baby, I worked all day ♪ 568 00:28:39,500 --> 00:28:41,620 ♪ And my feet feel just like lead ♪ 569 00:28:41,620 --> 00:28:44,080 ♪ You got my shirttails flying all over the place ♪ 570 00:28:44,080 --> 00:28:46,160 ♪ And the sweat poppin' outta my head ♪ 571 00:28:46,160 --> 00:28:48,500 ♪ She said, Hey, bossa nova, baby, keep on workin' ♪ 572 00:28:48,500 --> 00:28:50,660 ♪ For this ain't no time to quit ♪ 573 00:28:50,660 --> 00:28:53,080 ♪ She said, Go bossa nova, baby, keep on dancin' ♪ 574 00:28:53,080 --> 00:28:55,870 ♪ I'm about to have myself a fit ♪ 575 00:28:55,870 --> 00:29:00,040 ♪ Bossa nova, bossa nova ♪ 576 00:29:00,040 --> 00:29:03,870 Schilling: The Colonel negotiated contract after contract. 577 00:29:03,870 --> 00:29:08,120 MGM, Paramount, United Artists, you name it. 578 00:29:08,120 --> 00:29:11,330 Hal Blaine: He was inundated with work, work, work, work. 579 00:29:11,330 --> 00:29:13,200 Elvis: ♪ I can dance with a drink in my hand ♪ 580 00:29:13,200 --> 00:29:15,500 ♪ She said, Hey, bossa nova, baby, keep on workin' ♪ 581 00:29:15,500 --> 00:29:17,200 ♪ For this ain't no time to drink ♪ 582 00:29:17,200 --> 00:29:20,040 Blaine: Everybody was trying to get every penny they could 583 00:29:20,040 --> 00:29:22,160 out of whatever they could. 584 00:29:22,160 --> 00:29:27,120 ♪ Bossa nova ♪ 585 00:29:31,040 --> 00:29:33,830 Jackson: He had to make three movies a year. 586 00:29:33,830 --> 00:29:36,450 So these soundtrack albums became a big part 587 00:29:36,450 --> 00:29:40,250 of the contractual obligation to release music with RCA. 588 00:29:40,250 --> 00:29:42,250 Elvis: ♪ Bossa nova ♪ 589 00:29:42,250 --> 00:29:43,700 West: That was not his music. 590 00:29:43,700 --> 00:29:45,950 It was killing his recording career, 591 00:29:45,950 --> 00:29:49,700 because they were movie songs, situation songs. 592 00:29:49,700 --> 00:29:53,080 Priscilla: Obviously, in some of the movies, you got some hits-- 593 00:29:53,080 --> 00:29:55,290 "Viva Las Vegas," "Bossa Nova Baby." 594 00:29:55,290 --> 00:29:56,910 They weren't all bad, 595 00:29:56,910 --> 00:29:59,410 but because it was connected to a movie, 596 00:29:59,410 --> 00:30:01,950 it wasn't like a real record. 597 00:30:01,950 --> 00:30:04,200 The songs had to fit the scene. 598 00:30:04,200 --> 00:30:07,330 Jorgensen: And the Colonel obviously knew that the best format 599 00:30:07,330 --> 00:30:10,040 was girls and beautiful locations. 600 00:30:11,750 --> 00:30:14,000 Robbie Robertson: I thought it was terrible direction-- 601 00:30:14,000 --> 00:30:17,450 the idea to do a bunch of corny-ass movies, 602 00:30:17,450 --> 00:30:21,660 Where this is all being led? It's no-man's-land. 603 00:30:21,660 --> 00:30:26,370 Petty: He-- he certainly knows this music is crap. 604 00:30:26,370 --> 00:30:29,120 The movies were very harmful to his image. 605 00:30:29,120 --> 00:30:32,120 As an innovator, as a great musician, 606 00:30:32,120 --> 00:30:33,410 they were harmful. 607 00:30:33,410 --> 00:30:36,580 He's very talented. I mean, he's very present. 608 00:30:36,580 --> 00:30:39,200 It's an incredible image of him. 609 00:30:39,200 --> 00:30:42,660 But where he had a nice start in the movies 610 00:30:42,660 --> 00:30:45,700 and did do some creative things early on, 611 00:30:45,700 --> 00:30:48,950 and you could see that there was great potential for this guy, 612 00:30:48,950 --> 00:30:51,160 there was really no way for him 613 00:30:51,160 --> 00:30:53,750 to become the huge movie star 614 00:30:53,750 --> 00:30:55,620 that he would've liked to have been 615 00:30:55,620 --> 00:30:57,910 and the Colonel keep control of it. 616 00:30:57,910 --> 00:30:59,370 You know, there's too many 617 00:30:59,370 --> 00:31:01,660 creative aspects gonna come in, 618 00:31:01,660 --> 00:31:02,950 and they're gonna challenge 619 00:31:02,950 --> 00:31:06,580 the Colonel's carnival mentality. 620 00:31:06,580 --> 00:31:08,830 Colonel Tom Parker: Well, no, no, no, no, no. No, no, no. 621 00:31:08,830 --> 00:31:10,620 Far as I was concerned, 622 00:31:10,620 --> 00:31:14,540 I was not involved other than making the contract. 623 00:31:14,540 --> 00:31:18,160 He had the opportunity to say, "I don't want to do it 624 00:31:18,160 --> 00:31:19,790 or I'd like to do it." 625 00:31:19,790 --> 00:31:23,120 No one told him he had to make a picture 626 00:31:23,120 --> 00:31:25,040 that he didn't want to do. 627 00:31:25,040 --> 00:31:27,910 When we had a script, we'd deliver it to Elvis. 628 00:31:27,910 --> 00:31:31,620 Schilling: Elvis did refuse a bad picture. 629 00:31:31,620 --> 00:31:33,660 In comes the Colonel, 630 00:31:33,660 --> 00:31:35,330 in comes the studios, 631 00:31:35,330 --> 00:31:37,450 in comes the record company. 632 00:31:37,450 --> 00:31:38,950 They would say to him, 633 00:31:38,950 --> 00:31:41,370 "You don't fulfill your contracts, 634 00:31:41,370 --> 00:31:43,370 you won't do anything." 635 00:31:43,370 --> 00:31:45,500 ♪ Well, come on everybody ♪ 636 00:31:45,500 --> 00:31:47,450 ♪ And turn your head to the left ♪ 637 00:31:49,580 --> 00:31:50,830 ♪ Come on everybody ♪ 638 00:31:50,830 --> 00:31:52,120 Jackson: In Viva Las Vegas, 639 00:31:52,120 --> 00:31:55,580 it's the closest he ever gets to having a true co-star. 640 00:31:55,580 --> 00:31:58,250 ♪ Take a real deep breath and repeat after me ♪ 641 00:31:58,250 --> 00:31:59,950 Jackson: That becomes a problem for the Colonel, 642 00:31:59,950 --> 00:32:02,500 because he doesn't want anybody to even 643 00:32:02,500 --> 00:32:04,950 come close to outshining Elvis. 644 00:32:04,950 --> 00:32:07,370 ♪ Hey, hey, hey and my baby loves me ♪ 645 00:32:07,370 --> 00:32:08,830 Chorus: ♪ My baby loves me ♪ 646 00:32:08,830 --> 00:32:13,700 ♪ My baby loves me ♪ Chorus: ♪ My baby loves me ♪ 647 00:32:13,700 --> 00:32:15,540 ♪ My baby loves me ♪ 648 00:32:15,540 --> 00:32:19,040 ♪ I said, my baby ♪ 649 00:32:19,040 --> 00:32:22,160 Ha! ♪ My baby ♪ 650 00:32:22,160 --> 00:32:27,120 ♪ Loves me ♪ Ha! Ha! Ha! Ha! Ha! 651 00:32:28,250 --> 00:32:32,410 Ann-Margaret : Wee-ha! 652 00:32:32,410 --> 00:32:36,000 Binder: The Colonel did not want Ann-Margaret in his world 653 00:32:36,000 --> 00:32:38,290 after she got a lot of press. 654 00:32:39,580 --> 00:32:43,450 Anybody who had influence on Elvis was a threat. 655 00:32:43,450 --> 00:32:47,080 Landau: The tragedy of the old style of management 656 00:32:47,080 --> 00:32:51,200 was to try and maintain control of the artist 657 00:32:51,200 --> 00:32:55,290 by limiting their exposure to opportunities. 658 00:32:57,500 --> 00:32:59,290 The Colonel was not interested 659 00:32:59,290 --> 00:33:03,000 in Elvis becoming too independent of a thinker. 660 00:33:03,000 --> 00:33:07,080 He needed Elvis to think that everything good came from the Colonel 661 00:33:07,080 --> 00:33:12,080 and anything bad came from imagined enemies. 662 00:33:12,080 --> 00:33:15,330 He kept that con game going for much too long. 663 00:33:18,620 --> 00:33:21,620 Zanes: The years spent chasing the movies, 664 00:33:21,620 --> 00:33:23,290 you know, seven years, 665 00:33:23,290 --> 00:33:26,700 they were very destabilizing for Elvis, 666 00:33:26,700 --> 00:33:30,750 because music was always the buoy. 667 00:33:30,750 --> 00:33:33,540 Jackson: It's clear about halfway through that period, 668 00:33:33,540 --> 00:33:35,160 he becomes very restless, 669 00:33:35,160 --> 00:33:38,250 and very annoyed with the whole process. 670 00:33:38,250 --> 00:33:41,290 Schilling: Elvis didn't have script approval. 671 00:33:41,290 --> 00:33:43,160 There weren't great budgets. 672 00:33:43,160 --> 00:33:46,080 Priscilla: The humdrum movies that he was given-- 673 00:33:46,080 --> 00:33:48,200 boy chase girl, boy gets girl, 674 00:33:48,200 --> 00:33:50,700 they get married, and it's happily ever after-- 675 00:33:50,700 --> 00:33:52,580 that was not Elvis Presley. 676 00:33:52,580 --> 00:33:54,580 He was not that man. 677 00:33:54,580 --> 00:33:56,200 He was much deeper than that. 678 00:33:57,540 --> 00:33:59,540 He had no inspiration whatsoever. 679 00:33:59,540 --> 00:34:01,160 He knew he had to make it work. 680 00:34:01,160 --> 00:34:03,160 He knew he was under a contract, 681 00:34:03,160 --> 00:34:05,040 and he walked through every one of them. 682 00:34:08,540 --> 00:34:11,370 After a movie, he felt trapped. 683 00:34:11,370 --> 00:34:13,370 He dreaded the next script, 684 00:34:13,370 --> 00:34:17,330 because he knew it would be the same thing over and over again. 685 00:34:17,330 --> 00:34:19,160 But the disconnect, 686 00:34:19,160 --> 00:34:21,450 the disconnect in the two 687 00:34:21,450 --> 00:34:23,910 was really wearing on his mind-- 688 00:34:23,910 --> 00:34:28,830 that Colonel was not taking him to the place he needed to be. 689 00:34:28,830 --> 00:34:31,370 Petty: This is what we'll never understand 690 00:34:31,370 --> 00:34:33,910 is why did Colonel Parker have 691 00:34:33,910 --> 00:34:36,410 this kind of influence over him. 692 00:34:36,410 --> 00:34:41,410 Why was he willing to knowingly humiliate himself for this man, 693 00:34:41,410 --> 00:34:44,950 or for the money promised him by this man? 694 00:34:44,950 --> 00:34:46,540 He puts up with it. 695 00:34:48,200 --> 00:34:50,620 Porter: I have never felt Elvis was lost. 696 00:34:50,620 --> 00:34:52,750 He knew with all those movies, 697 00:34:52,750 --> 00:34:54,290 as is the case with every artist, 698 00:34:54,290 --> 00:34:56,370 that they're taking themselves away from their strength. 699 00:34:56,370 --> 00:34:59,660 Many artists can't get back to where their strengths are. 700 00:35:01,370 --> 00:35:04,080 Emmylou Harris: An artist has to constantly grow, 701 00:35:04,080 --> 00:35:05,950 and to continue creating, 702 00:35:05,950 --> 00:35:09,700 and changing, and being inspired by things around him 703 00:35:09,700 --> 00:35:12,370 in a spiritual or a personal way. 704 00:35:23,250 --> 00:35:25,410 Elvis: I'd like to stay in the same vein. 705 00:35:25,410 --> 00:35:27,580 I-I mean, I wouldn't like to, uh, 706 00:35:27,580 --> 00:35:29,450 be at a standstill, you know what I mean? 707 00:35:29,450 --> 00:35:32,910 I'd like-- I'd like to progress. 708 00:35:32,910 --> 00:35:35,410 I'd like to do a lot of things, but I... 709 00:35:36,750 --> 00:35:39,750 I realize, uh, that it takes time, 710 00:35:39,750 --> 00:35:41,410 and you can't, uh, 711 00:35:41,410 --> 00:35:45,870 you can't go out of your, uh, capa-- uh, your limitations. 712 00:35:47,410 --> 00:35:50,410 You have to know your capabilities, you know. 713 00:35:50,410 --> 00:35:53,120 Like I have people to say to me all the time, 714 00:35:54,450 --> 00:35:56,700 "Why don't you do an artistic picture? 715 00:35:56,700 --> 00:35:58,910 "Why don't you do this picture and that picture? 716 00:35:58,910 --> 00:36:01,410 Why don't you go do something blah, blah?" 717 00:36:01,410 --> 00:36:03,950 Well, that's fine, but, uh... 718 00:36:05,870 --> 00:36:07,620 Uh, I would like to. 719 00:36:07,620 --> 00:36:09,080 I'd like to do something someday 720 00:36:09,080 --> 00:36:12,290 where I feel that I really done a good job. 721 00:36:12,290 --> 00:36:16,950 You know, as an actor in a certain type role, 722 00:36:18,080 --> 00:36:20,120 if what you're doing is doing okay, 723 00:36:20,120 --> 00:36:23,200 you're better off sticking with it until, you know, 724 00:36:23,200 --> 00:36:26,120 until just time itself changes things. 725 00:36:35,250 --> 00:36:40,830 Zanes: The great irony is that Elvis was such a significant force 726 00:36:40,830 --> 00:36:43,040 in the launch of rock and roll, 727 00:36:43,040 --> 00:36:46,540 and the very revolution that he sparked 728 00:36:46,540 --> 00:36:48,250 carries on without him. 729 00:36:48,250 --> 00:36:51,660 There is a renaissance that is underway, 730 00:36:51,660 --> 00:36:56,330 and he is, in effect, in a bubble in Hollywood, 731 00:36:56,330 --> 00:36:59,910 as it passes him by. 732 00:36:59,910 --> 00:37:03,330 Priscilla: '63, '64, '65, when all the bands were coming in, 733 00:37:03,330 --> 00:37:05,330 he just didn't really wanna hear music. 734 00:37:05,330 --> 00:37:06,660 He didn't wanna hear the songs. 735 00:37:06,660 --> 00:37:10,000 Was there room for him now, being a solo artist? 736 00:37:10,000 --> 00:37:14,250 Elvis really wasn't interested in writing his own music, 737 00:37:14,250 --> 00:37:15,750 and all these other groups coming up, 738 00:37:15,750 --> 00:37:17,950 The Beatles, Bob Dylan, the Beach Boys, 739 00:37:17,950 --> 00:37:20,000 they all wrote their own songs, 740 00:37:20,000 --> 00:37:21,410 so they could direct their careers 741 00:37:21,410 --> 00:37:22,870 in a way Elvis couldn't. 742 00:37:24,370 --> 00:37:26,870 Petty: There is no road map at this point 743 00:37:26,870 --> 00:37:29,540 as to what a rock and roller does 744 00:37:29,540 --> 00:37:31,330 when he gets older. 745 00:37:31,330 --> 00:37:33,200 The Beatles had each other. 746 00:37:33,200 --> 00:37:36,290 You know, they had four people together to go through it. 747 00:37:36,290 --> 00:37:38,620 And Elvis was totally alone. 748 00:37:38,620 --> 00:37:40,950 There was no one vaguely his equal. 749 00:37:40,950 --> 00:37:45,200 There was nobody he could bounce anything off of. 750 00:37:47,950 --> 00:37:52,290 Priscilla: Elvis really didn't ask for anybody's advice. 751 00:37:52,290 --> 00:37:54,250 He didn't ask the guys for their advice. 752 00:37:54,250 --> 00:37:55,790 Oh my gosh, he would never. 753 00:37:55,790 --> 00:37:57,660 I mean, you didn't tell Elvis what to sing 754 00:37:57,660 --> 00:37:59,620 or what movie he should be in. 755 00:37:59,620 --> 00:38:01,290 Elvis was truly his own man. 756 00:38:01,290 --> 00:38:04,500 He needed someone to come in with a game plan and offer it to him. 757 00:38:04,500 --> 00:38:06,660 "What do you think of this?" 758 00:38:06,660 --> 00:38:11,120 But he hung out with the same people all the time. 759 00:38:11,120 --> 00:38:13,200 We all lived in this bubble. 760 00:38:13,200 --> 00:38:15,620 Very few outsiders came in. 761 00:38:15,620 --> 00:38:18,450 His world was really quite small, 762 00:38:18,450 --> 00:38:21,540 and only consisted of us, people that he trusted. 763 00:38:29,620 --> 00:38:33,120 You didn't really talk about the movies around Elvis. 764 00:38:33,120 --> 00:38:35,500 We didn't go there. Why get him upset? 765 00:38:35,500 --> 00:38:38,700 And people-- the guys were around to bring him up. 766 00:38:38,700 --> 00:38:41,450 Schilling: Elvis was going to us and saying, 767 00:38:41,450 --> 00:38:43,830 "Damn it, I know there's good music out there. 768 00:38:43,830 --> 00:38:47,410 I hear it. Why am I not getting it?" 769 00:38:47,410 --> 00:38:50,450 Petty: You can tell his interest in making records 770 00:38:50,450 --> 00:38:52,160 has kind of gone away. 771 00:38:52,160 --> 00:38:54,450 You don't get him in the studio a lot. 772 00:38:56,870 --> 00:38:59,750 Priscilla: He was just struggling with what to do next 773 00:38:59,750 --> 00:39:03,660 and where to go, trying to figure out his purpose again. 774 00:39:03,660 --> 00:39:06,540 It was very difficult to watch. 775 00:39:08,660 --> 00:39:11,830 Odetta: ♪ How many roads ♪ 776 00:39:11,830 --> 00:39:16,080 ♪ Must a man walk down ♪ 777 00:39:18,250 --> 00:39:22,790 ♪ Before you call him a man ♪ 778 00:39:22,790 --> 00:39:24,450 Light: By this point, 779 00:39:24,450 --> 00:39:27,000 Elvis had grown so disconnected from the music 780 00:39:27,000 --> 00:39:28,790 that he was recording. 781 00:39:28,790 --> 00:39:31,410 He knew that it was inauthentic. 782 00:39:31,410 --> 00:39:35,160 He knew that it was insincere. 783 00:39:35,160 --> 00:39:38,830 And he was looking for some connection to music 784 00:39:38,830 --> 00:39:41,080 that still made him feel the way 785 00:39:41,080 --> 00:39:44,330 that music had made him feel when he was younger. 786 00:39:44,330 --> 00:39:47,660 Odetta: ♪ How many times ♪ 787 00:39:47,660 --> 00:39:51,500 ♪ Must a cannonball fly ♪ 788 00:39:51,500 --> 00:39:56,160 Light: He was interested in this new folk music-- 789 00:39:56,160 --> 00:39:58,790 Peter, Paul, & Mary, the songs of Bob Dylan. 790 00:39:58,790 --> 00:40:00,790 He didn't love Bob Dylan's voice, 791 00:40:00,790 --> 00:40:03,540 but he was interested in this imagery 792 00:40:03,540 --> 00:40:09,290 and this language that drew from the gospel and the blues. 793 00:40:09,290 --> 00:40:12,200 Priscilla: And here he has Odetta singing. 794 00:40:12,200 --> 00:40:13,500 When you hear the song, 795 00:40:13,500 --> 00:40:16,330 now you've got the lyrics that match his feelings, 796 00:40:16,330 --> 00:40:19,830 you've got the lyrics that he can see himself singing. 797 00:40:19,830 --> 00:40:25,410 Odetta: ♪ Only if my true love was waitin' ♪ 798 00:40:27,700 --> 00:40:29,080 ♪ If I... ♪ 799 00:40:29,080 --> 00:40:30,870 Zanes: Many of his relationships 800 00:40:30,870 --> 00:40:33,620 with the culture of the day were circuitous, 801 00:40:33,620 --> 00:40:38,790 because he was Elvis and he was behind a-- a high wall. 802 00:40:38,790 --> 00:40:42,580 Elvis: ♪ Only she was ♪ 803 00:40:42,580 --> 00:40:46,910 ♪ Lying by me ♪ 804 00:40:46,910 --> 00:40:49,200 ♪ Then I'd lie ♪ 805 00:40:49,200 --> 00:40:53,330 ♪ In my bed once again ♪ 806 00:41:03,040 --> 00:41:06,000 Priscilla: Elvis, a lot of times when everyone had gone to bed, 807 00:41:06,000 --> 00:41:07,410 or there was no one around, 808 00:41:07,410 --> 00:41:10,080 he would go into the music room at Graceland. 809 00:41:10,080 --> 00:41:12,750 Just sit there totally in solitude, 810 00:41:12,750 --> 00:41:16,370 as if even I wasn't around, and just start playing. 811 00:41:16,370 --> 00:41:18,450 Always it was gospel. 812 00:41:18,450 --> 00:41:21,410 Always it was "Precious Lord." 813 00:41:21,410 --> 00:41:24,660 Elvis: ♪ Precious Lord ♪ 814 00:41:24,660 --> 00:41:27,330 ♪ Take my hand ♪ 815 00:41:27,330 --> 00:41:28,910 Priscilla: When he would sing, 816 00:41:28,910 --> 00:41:32,790 it was like a character study watching him get lost. 817 00:41:32,790 --> 00:41:35,790 Elvis: ♪ I'm tired ♪ 818 00:41:35,790 --> 00:41:37,910 ♪ I'm weak ♪ 819 00:41:37,910 --> 00:41:42,950 ♪ I'm worn ♪ 820 00:41:42,950 --> 00:41:44,660 ♪ Through the storm ♪ 821 00:41:44,660 --> 00:41:48,450 Priscilla: And then, he'd look over to see how I was relating to it. 822 00:41:48,450 --> 00:41:50,200 He'd look over and wink at me. 823 00:41:50,200 --> 00:41:52,620 Elvis: ♪ Lead me on ♪ 824 00:41:52,620 --> 00:41:55,700 Priscilla: Those were times that I cherish the most, actually. 825 00:41:55,700 --> 00:41:57,660 He wasn't really trying to impress anyone. 826 00:41:57,660 --> 00:41:59,410 He was doing it for himself 827 00:41:59,410 --> 00:42:01,410 and just getting in touch, 828 00:42:01,410 --> 00:42:03,580 getting in touch with his maker. 829 00:42:03,580 --> 00:42:05,290 It was a plea. 830 00:42:06,870 --> 00:42:10,540 Elvis: ♪ Well, you may run on for a long time ♪ 831 00:42:10,540 --> 00:42:12,950 Chorus: ♪ Run on for a long time ♪ 832 00:42:12,950 --> 00:42:15,290 Elvis: ♪ Run on for a long time ♪ 833 00:42:15,290 --> 00:42:17,620 ♪ Let me tell you, God Almighty's gonna cut you down ♪ 834 00:42:17,620 --> 00:42:19,950 Jorgensen: He didn't have a burning desire anymore 835 00:42:19,950 --> 00:42:21,120 to record songs. 836 00:42:21,120 --> 00:42:22,500 Elvis: ♪ Midnight rider ♪ 837 00:42:22,500 --> 00:42:25,000 Jorgensen: The real interesting element in that 838 00:42:25,000 --> 00:42:29,160 is that when he regains his appetite for recording 839 00:42:29,160 --> 00:42:33,290 and wants to prove a point in 1966, 840 00:42:33,290 --> 00:42:35,200 he makes a gospel record again. 841 00:42:35,200 --> 00:42:37,370 Elvis: ♪ Talkin' to the man from Galilee ♪ 842 00:42:37,370 --> 00:42:39,000 Jorgensen: During the middle of The Beatles, 843 00:42:39,000 --> 00:42:40,540 and The Birds and The Stones, 844 00:42:40,540 --> 00:42:43,950 and Elvis makes a gospel record when he wants to come back. 845 00:42:43,950 --> 00:42:46,500 Elvis: ♪ Great God Almighty, let me tell you what he said ♪ 846 00:42:46,500 --> 00:42:49,080 ♪ Go tell that long-tongued liar ♪ 847 00:42:49,080 --> 00:42:51,450 ♪ Go tell that midnight rider ♪ 848 00:42:51,450 --> 00:42:53,040 ♪ Tell the gambler, rambler ♪ 849 00:42:53,040 --> 00:42:55,870 Light: Elvis is connecting to new music. 850 00:42:55,870 --> 00:42:57,870 He wants a more modern sound, 851 00:42:57,870 --> 00:42:59,790 a more aggressive rhythm section, 852 00:42:59,790 --> 00:43:01,200 a rock and roll mix. 853 00:43:01,200 --> 00:43:03,790 Elvis: ♪ Run on for a long time ♪ 854 00:43:03,790 --> 00:43:06,120 ♪ Let me tell you, God Almighty's gonna cut you down ♪ 855 00:43:06,120 --> 00:43:08,450 ♪ You may throw your rock and hide your hand ♪ 856 00:43:08,450 --> 00:43:10,250 Springsteen: I think Elvis's return to gospel 857 00:43:10,250 --> 00:43:13,870 was a part of simply the deep religiousness of the South 858 00:43:13,870 --> 00:43:16,290 and his upbringing. 859 00:43:16,290 --> 00:43:19,000 But in the late '60s, people were having a hard time 860 00:43:19,000 --> 00:43:20,950 looking past the kitsch aspect 861 00:43:20,950 --> 00:43:22,790 of some of the things that Elvis did. 862 00:43:22,790 --> 00:43:25,750 Elvis: ♪ You gonna reap just what you sow ♪ 863 00:43:25,750 --> 00:43:27,330 Springsteen: To appreciate that music, 864 00:43:27,330 --> 00:43:29,330 that stuff couldn't bother you. 865 00:43:29,330 --> 00:43:30,580 Chorus: ♪ Long time ♪ 866 00:43:30,580 --> 00:43:32,790 Elvis: ♪ Run on for a long time ♪ 867 00:43:41,500 --> 00:43:43,410 Man: What do you think of yourself now? 868 00:43:44,700 --> 00:43:47,080 Elvis: You mean, uh, as an entertainer 869 00:43:47,080 --> 00:43:48,500 or an individual or what? 870 00:43:48,500 --> 00:43:49,790 Man: Both. 871 00:43:49,790 --> 00:43:52,660 Elvis: I can sum it up fairly easily. 872 00:43:52,660 --> 00:43:54,910 I, uh, as a-- as a human being, really, 873 00:43:54,910 --> 00:43:58,750 who's been very extremely fortunate in so many ways... 874 00:44:00,120 --> 00:44:02,250 I've a lot that I'd like to do, 875 00:44:02,250 --> 00:44:06,330 a lot that I'd like to accomplish. 876 00:44:06,330 --> 00:44:08,750 I'd like to get married. I'd like to have a family. 877 00:44:11,790 --> 00:44:14,200 I suppose the most important thing 878 00:44:14,200 --> 00:44:16,950 in a person's life is, uh, is happiness. 879 00:44:16,950 --> 00:44:19,620 I mean, not wordly things, because... 880 00:44:19,620 --> 00:44:21,790 You realize, I mean, you can have cars. 881 00:44:21,790 --> 00:44:23,950 You can have money. You can have a fabulous home. 882 00:44:23,950 --> 00:44:25,830 You can have everything. 883 00:44:25,830 --> 00:44:27,750 If you're not happy, what have you got? 884 00:44:34,790 --> 00:44:37,200 Priscilla: I was very young and very in love, 885 00:44:37,200 --> 00:44:40,290 and I wanted to be with him a lot. 886 00:44:40,290 --> 00:44:42,160 The times that we were together, 887 00:44:42,160 --> 00:44:43,580 I-I cherished. 888 00:44:55,450 --> 00:44:57,750 Woman: ♪ I picked up my bag ♪ 889 00:44:57,750 --> 00:45:01,200 ♪ And went looking for a place to hide ♪ 890 00:45:01,200 --> 00:45:04,580 ♪ When I saw old Carmen and the devil ♪ 891 00:45:04,580 --> 00:45:07,500 ♪ Walking side by side ♪ 892 00:45:07,500 --> 00:45:09,620 Springsteen: I mean, 1968 was a wild 893 00:45:09,620 --> 00:45:12,540 and violent year in American history. 894 00:45:14,580 --> 00:45:16,580 Woman: ♪ She said I gotta go ♪ 895 00:45:16,580 --> 00:45:19,040 ♪ But my friend here can stick around ♪ 896 00:45:19,040 --> 00:45:21,660 Light: At the beginning of the year, Lisa Marie is born. 897 00:45:22,830 --> 00:45:25,000 And then a couple of months later, 898 00:45:25,000 --> 00:45:27,000 Martin Luther King is assassinated. 899 00:45:27,000 --> 00:45:28,620 Woman: ♪ Take a load off, Fanny ♪ 900 00:45:28,620 --> 00:45:30,620 Schilling: We were making a movie at MGM 901 00:45:30,620 --> 00:45:34,250 when we heard on the radio about Martin Luther King. 902 00:45:35,540 --> 00:45:39,040 King was that hope to bring us all together, 903 00:45:39,040 --> 00:45:40,870 and Elvis knew that. 904 00:45:42,450 --> 00:45:45,750 Elvis looked down and he said, 905 00:45:45,750 --> 00:45:48,370 "He always told the truth." 906 00:45:48,370 --> 00:45:50,450 Woman: ♪ It's just old Luke ♪ 907 00:45:50,450 --> 00:45:52,700 ♪ And Luke's waiting on Judgment Day ♪ 908 00:45:52,700 --> 00:45:55,750 Light: There's this contentious presidential election going on. 909 00:45:55,750 --> 00:45:58,410 Bobby Kennedy is assassinated. 910 00:45:58,410 --> 00:46:01,870 There's chaos at the Democratic convention in Chicago. 911 00:46:01,870 --> 00:46:04,200 Woman: ♪ Baby now, won't you stay ♪ 912 00:46:04,200 --> 00:46:06,580 Priscilla: Things were just in disarray, 913 00:46:06,580 --> 00:46:08,870 and it was never the same after that. 914 00:46:19,450 --> 00:46:21,040 Nik Cohn: By '68, 915 00:46:21,040 --> 00:46:24,330 most Elvis fans had, more or less, given up the ghost. 916 00:46:24,330 --> 00:46:26,080 There'd been so many poor movies, 917 00:46:26,080 --> 00:46:28,750 so many throwaway singles. 918 00:46:28,750 --> 00:46:30,620 Jackson: Elvis starts to think about, 919 00:46:30,620 --> 00:46:32,580 "Okay, so how can I play live again? 920 00:46:32,580 --> 00:46:35,910 There's no infrastructure for me to do that." 921 00:46:35,910 --> 00:46:39,450 Landau: A couple of really bright guys who got Elvis 922 00:46:39,450 --> 00:46:43,080 talked their way into making a TV special. 923 00:46:43,080 --> 00:46:46,000 Their mission was to remind everybody 924 00:46:46,000 --> 00:46:48,040 just who Elvis had been, 925 00:46:48,040 --> 00:46:50,580 and who he still was-- 926 00:46:50,580 --> 00:46:54,200 in a sense, to erase the last seven years 927 00:46:54,200 --> 00:46:56,910 of the movie soundtracks. 928 00:46:56,910 --> 00:47:00,620 Light: When the opportunity for the TV special is presented, 929 00:47:00,620 --> 00:47:04,290 he hasn't performed for an audience for years. 930 00:47:04,290 --> 00:47:07,200 Priscilla: He was actually thinking what he would do 931 00:47:07,200 --> 00:47:09,450 if everything went wrong. 932 00:47:09,450 --> 00:47:12,370 This was his career. This was his life. 933 00:47:12,370 --> 00:47:15,620 This was the moment of realization that this is it, 934 00:47:15,620 --> 00:47:18,290 that this is gonna be either a complete failure 935 00:47:18,290 --> 00:47:20,330 or it'll change everything. 936 00:47:21,410 --> 00:47:22,950 Springsteen: Well, I remember I waited 937 00:47:22,950 --> 00:47:25,120 for weeks for the '68 Special 938 00:47:25,120 --> 00:47:26,330 'cause I knew it was coming. 939 00:47:26,330 --> 00:47:28,500 I can remember exactly where our TV 940 00:47:28,500 --> 00:47:30,540 was set up in the dining room, 941 00:47:30,540 --> 00:47:32,580 the exact place I was sitting. 942 00:47:32,580 --> 00:47:33,790 I mean, it's one of those things 943 00:47:33,790 --> 00:47:36,410 that's imprinted on my memory forever. 944 00:47:36,410 --> 00:47:39,830 But you weren't sure if he had the ability to focus 945 00:47:39,830 --> 00:47:41,870 and gather it all together one more time 946 00:47:41,870 --> 00:47:44,000 to create musical explosiveness. 947 00:47:45,500 --> 00:47:48,160 Host: Uh, welcome to NBC, 948 00:47:48,160 --> 00:47:50,830 and the Elvis Presley Special. 949 00:47:53,160 --> 00:47:55,500 You can do better than that. I'm gonna say it all over again. 950 00:47:55,500 --> 00:47:57,790 Now, I wanna really hear something. 951 00:47:57,790 --> 00:48:00,580 Schilling: When I went with him to NBC, 952 00:48:00,580 --> 00:48:02,080 he was very quiet. 953 00:48:02,080 --> 00:48:05,620 He didn't know how people were gonna feel about it. 954 00:48:05,620 --> 00:48:08,040 Priscilla: He was extremely nervous that night. 955 00:48:08,040 --> 00:48:09,540 It's all new again, 956 00:48:09,540 --> 00:48:14,200 and I'd never seen Elvis perform live before. 957 00:48:14,200 --> 00:48:16,160 I didn't really know what to expect. 958 00:48:16,160 --> 00:48:19,290 Binder: We didn't know where it was gonna go, period. 959 00:48:22,540 --> 00:48:25,540 Just before it began, on the first taping, 960 00:48:25,540 --> 00:48:28,290 Elvis called me into the makeup room. 961 00:48:28,290 --> 00:48:33,330 He was sitting there and he asked everybody in the room to leave, 962 00:48:33,330 --> 00:48:36,040 so he could just be with me one on one. 963 00:48:36,040 --> 00:48:38,580 I said, "What's-- what's the problem?" 964 00:48:38,580 --> 00:48:40,200 "Problem is I changed my mind. 965 00:48:40,200 --> 00:48:42,750 I don't wanna do this." 966 00:48:42,750 --> 00:48:45,700 Man: May we strike the coil and cable off the platform, please? 967 00:48:45,700 --> 00:48:47,950 Priscilla: We weren't seeing, sitting in the audience, 968 00:48:47,950 --> 00:48:49,580 what was going on. 969 00:48:49,580 --> 00:48:52,000 I'd stayed away from the dressing room. 970 00:48:52,000 --> 00:48:54,450 He didn't want anyone around. 971 00:48:54,450 --> 00:48:57,120 I was sitting there going, "Oh my gosh," you know. 972 00:48:57,120 --> 00:48:59,370 "Is he gonna be able to pull this off?" 973 00:48:59,370 --> 00:49:01,370 Binder: I said, "What are you talking about?" 974 00:49:01,370 --> 00:49:06,080 And he said, "I don't remember anything I sang in the dressing room. 975 00:49:06,080 --> 00:49:09,540 "I don't remember any stories that I told. 976 00:49:09,540 --> 00:49:11,500 "My mind is a blank, Steve. 977 00:49:11,500 --> 00:49:15,540 Let's just call it off. It's not gonna happen." 978 00:49:15,540 --> 00:49:19,160 Binder: I said, "Elvis, I've never asked you to do anything 979 00:49:19,160 --> 00:49:21,200 that you don't wanna do..." 980 00:49:21,200 --> 00:49:23,410 Host: Mr. Elvis Presley. 981 00:49:23,410 --> 00:49:25,790 Binder: "...but you've got to go out there." 982 00:49:41,540 --> 00:49:43,410 Thank you very much. 983 00:49:46,290 --> 00:49:50,250 Schilling: I don't know how this happened, 984 00:49:50,250 --> 00:49:52,080 but I saw him relax. 985 00:49:52,080 --> 00:49:54,000 Elvis: They want me to sit on the floor! 986 00:50:06,870 --> 00:50:08,950 Man: ♪ It's all right ♪ 987 00:50:10,950 --> 00:50:12,620 ♪ It's all right ♪ 988 00:50:15,160 --> 00:50:16,410 ♪ It's all right ♪ 989 00:50:16,410 --> 00:50:18,450 ♪ Yeah, man ♪ ♪ It's all right ♪ 990 00:50:19,330 --> 00:50:20,790 ♪ It's all right ♪ 991 00:50:20,790 --> 00:50:22,830 ♪ It's all right ♪ 992 00:50:22,830 --> 00:50:24,830 ♪ It's all right ♪ 993 00:50:24,830 --> 00:50:25,870 Oh, yeah! 994 00:50:28,870 --> 00:50:31,290 Binder: I had no knowledge or understanding 995 00:50:31,290 --> 00:50:35,540 about how incredibly talented he really was until that show. 996 00:50:39,950 --> 00:50:43,330 Zanes: He's having an experience in the moment. 997 00:50:43,330 --> 00:50:46,540 During the years he was doing Hollywood movies, 998 00:50:46,540 --> 00:50:49,250 you never got to see him in the moment. 999 00:50:52,830 --> 00:50:54,500 Yeah, baby! 1000 00:51:14,080 --> 00:51:18,040 ♪ We're goin' up, we're goin' down ♪ 1001 00:51:18,040 --> 00:51:22,330 ♪ We're going up, down, down, up any way you want ♪ 1002 00:51:22,330 --> 00:51:24,410 ♪ Let's roll ♪ 1003 00:51:24,410 --> 00:51:27,160 ♪ Yeah, yeah, yeah ♪ 1004 00:51:29,700 --> 00:51:32,160 ♪ You got me doin' what you want me ♪ 1005 00:51:32,160 --> 00:51:34,500 ♪ Oh baby, what do you want me to do? ♪ 1006 00:51:36,200 --> 00:51:39,160 Schilling: The interplay with Scotty and DJ 1007 00:51:39,160 --> 00:51:43,200 who's playing drums on the back of a guitar case. 1008 00:51:43,200 --> 00:51:46,000 DJ Fontana: It felt like we were back home again. 1009 00:51:51,080 --> 00:51:52,660 Yeah! 1010 00:51:52,660 --> 00:51:53,950 ♪ All right ♪ 1011 00:51:53,950 --> 00:51:57,040 Hep, hep, hep, hep, hep, hep! 1012 00:51:59,000 --> 00:52:01,000 Boones Howe: Those are guys who grew up together, 1013 00:52:01,000 --> 00:52:03,750 and they suddenly have a moment 1014 00:52:03,750 --> 00:52:06,250 of reflection. 1015 00:52:06,250 --> 00:52:09,450 The past, their early days. 1016 00:52:09,450 --> 00:52:12,750 ♪ Down, any way you wanna let it roll ♪ 1017 00:52:12,750 --> 00:52:16,040 Cohn: He was rediscovering the sheer animal joy 1018 00:52:16,040 --> 00:52:20,250 of making music, and realizing, for the first time in years, 1019 00:52:20,250 --> 00:52:21,950 just how good he was. 1020 00:52:21,950 --> 00:52:25,580 ♪ Baby, what do you want me to do? ♪ 1021 00:52:27,330 --> 00:52:29,750 ♪ You got me doing what you want me ♪ 1022 00:52:29,750 --> 00:52:32,910 ♪ Oh baby, what do you want me to do? ♪ 1023 00:52:35,290 --> 00:52:37,790 Man: All right! You got it! 1024 00:52:37,790 --> 00:52:41,500 Landau: That show was 1,000% Elvis. 1025 00:52:41,500 --> 00:52:47,160 His fingerprint was on the first frame to the last frame. 1026 00:52:47,160 --> 00:52:49,000 He was a man on a mission. 1027 00:52:50,290 --> 00:52:52,580 Priscilla: And that night when it premiered on TV, 1028 00:52:52,580 --> 00:52:54,040 we were all silent. 1029 00:52:54,040 --> 00:52:55,870 We just sat there and watched the show 1030 00:52:55,870 --> 00:52:57,540 and never said a word. 1031 00:52:57,540 --> 00:53:01,040 And then, of course, the telephone calls were coming in, and reviews. 1032 00:53:01,040 --> 00:53:04,330 And, oh my gosh, it was such a relief. 1033 00:53:07,500 --> 00:53:10,290 It was so great to see him smile again. 1034 00:53:16,450 --> 00:53:18,000 Elvis: ♪ We're caught in a trap ♪ 1035 00:53:18,000 --> 00:53:19,700 Schilling: After the comeback special, 1036 00:53:19,700 --> 00:53:22,200 Elvis didn't have to look too far 1037 00:53:22,200 --> 00:53:24,910 to find his way back to the source. 1038 00:53:24,910 --> 00:53:28,540 Elvis: ♪ Because I love you too much, baby ♪ 1039 00:53:28,540 --> 00:53:29,750 Springsteen: It was the old story. 1040 00:53:29,750 --> 00:53:31,160 You could take the boy out of Memphis. 1041 00:53:31,160 --> 00:53:32,620 You really couldn't take Memphis 1042 00:53:32,620 --> 00:53:34,540 out of the boy, you know? 1043 00:53:34,540 --> 00:53:36,200 The roots that you come from 1044 00:53:36,200 --> 00:53:38,250 are always compelling to return to 1045 00:53:38,250 --> 00:53:40,410 no matter how far away you get. 1046 00:53:40,410 --> 00:53:43,290 Schilling: By that point, he only had a couple of movies left. 1047 00:53:43,290 --> 00:53:45,750 And so when he went back to the studio, 1048 00:53:45,750 --> 00:53:49,080 he wanted to do things differently. 1049 00:53:49,080 --> 00:53:51,620 Preston Lauterbach: Elvis returned home to restart 1050 00:53:51,620 --> 00:53:54,790 his career as a recording artist, 1051 00:53:54,790 --> 00:53:56,500 with local musicians, 1052 00:53:56,500 --> 00:54:01,370 with a local producer in a little humble storefront, north Memphis, 1053 00:54:01,370 --> 00:54:04,950 that's where Elvis returned to essentially save his career. 1054 00:54:07,870 --> 00:54:11,700 Porter: Chips Moman, his job was writer and producer. 1055 00:54:11,700 --> 00:54:14,620 Lauterbach: He had evolved from Stax Records 1056 00:54:14,620 --> 00:54:18,080 as a producer primarily associated with soul 1057 00:54:18,080 --> 00:54:19,700 and with black artists. 1058 00:54:19,700 --> 00:54:22,500 But Chips was one of these trans-racial kinda figures. 1059 00:54:22,500 --> 00:54:26,540 He thought in terms of style, in terms of sound. 1060 00:54:26,540 --> 00:54:29,200 And he really did embody Memphis music. 1061 00:54:29,200 --> 00:54:30,750 Elvis: ♪ Asking where I've been ♪ 1062 00:54:30,750 --> 00:54:33,330 Priscilla: It was the greatest sessions, the greatest. 1063 00:54:33,330 --> 00:54:36,290 My gosh, I mean, he came alive again. 1064 00:54:36,290 --> 00:54:37,660 He was liberated. 1065 00:54:37,660 --> 00:54:40,790 It was, uh, a beautiful marriage. 1066 00:54:40,790 --> 00:54:45,250 Elvis: ♪ We can't go on together ♪ 1067 00:54:45,250 --> 00:54:47,620 ♪ With suspicious minds ♪ 1068 00:54:49,580 --> 00:54:51,410 ♪ And we can't build our dreams ♪ 1069 00:54:51,410 --> 00:54:54,620 Schilling: He told Elvis, "I have a stack of records here 1070 00:54:54,620 --> 00:54:55,950 "I think are hits, 1071 00:54:55,950 --> 00:54:57,660 "and you don't have any publishing. 1072 00:54:57,660 --> 00:54:59,080 What do you wanna do?" 1073 00:54:59,080 --> 00:55:01,580 Elvis: ♪ Oh, let our love survive ♪ 1074 00:55:01,580 --> 00:55:04,620 Schilling: Elvis said, "Chips, I need hit records." 1075 00:55:04,620 --> 00:55:09,200 Elvis: ♪ I'll dry the tears from your eyes ♪ 1076 00:55:09,200 --> 00:55:12,620 ♪ Let's don't let a good thing die ♪ 1077 00:55:12,620 --> 00:55:15,750 Petty: He decides he's gonna sing contemporary material. 1078 00:55:15,750 --> 00:55:18,330 Publishing be damned. He's gonna do what he wants. 1079 00:55:18,330 --> 00:55:20,370 Elvis: ♪ Lied to you ♪ 1080 00:55:20,370 --> 00:55:22,410 ♪ Ooh ♪ 1081 00:55:24,000 --> 00:55:26,790 ♪ Yes, yes ♪ 1082 00:55:28,290 --> 00:55:31,120 ♪ We're caught in a trap ♪ 1083 00:55:31,120 --> 00:55:34,700 West: The songs, every one of 'em, was a hit. 1084 00:55:34,700 --> 00:55:38,120 That's the biggest sales Elvis had had ever. 1085 00:55:38,120 --> 00:55:41,750 Elvis: ♪ Love you too much baby ♪ 1086 00:55:41,750 --> 00:55:43,870 Schilling: You would think that would've been 1087 00:55:43,870 --> 00:55:46,870 the next recording session. 1088 00:55:46,870 --> 00:55:49,000 Never recorded with Chips again. 1089 00:55:49,000 --> 00:55:51,250 Elvis: ♪ I can't walk out ♪ 1090 00:56:17,000 --> 00:56:19,830 Ronnie Tutt: August '69, he got a chance to play live 1091 00:56:19,830 --> 00:56:21,500 at the International Hotel. 1092 00:56:21,500 --> 00:56:24,750 Schilling: Vegas was a huge event for him. 1093 00:56:24,750 --> 00:56:29,500 Back in the '50s, he wasn't accepted too much then in Vegas. 1094 00:56:29,500 --> 00:56:31,700 Howe: Vegas, it's not about teenyboppers. 1095 00:56:31,700 --> 00:56:34,000 It's aimed at a particular audience-- 1096 00:56:34,000 --> 00:56:36,000 people interested in a show that's there, 1097 00:56:36,000 --> 00:56:38,040 so that they'll stop in the casino, 1098 00:56:38,040 --> 00:56:40,870 on the way in or out, and drop some money. 1099 00:56:46,500 --> 00:56:49,370 Petty: Their burning thing to go to Las Vegas 1100 00:56:49,370 --> 00:56:51,120 and play long stands, you know, 1101 00:56:51,120 --> 00:56:56,000 that doesn't happen till they've virtually run aground in the film business. 1102 00:56:57,200 --> 00:56:59,250 There isn't a single studio 1103 00:56:59,250 --> 00:57:02,040 that will throw down any significant money 1104 00:57:02,040 --> 00:57:03,700 for Elvis in a movie. 1105 00:57:03,700 --> 00:57:06,790 So, they look around go, "Well, what we gonna do now?" 1106 00:57:06,790 --> 00:57:10,700 Elvis is going on stage, you know. Thank God. 1107 00:57:18,200 --> 00:57:22,000 And "You Don't Have to Say You Love Me, and, uh... 1108 00:57:22,000 --> 00:57:25,950 Schilling: I was able to witness him put a band together. 1109 00:57:27,000 --> 00:57:28,790 When he goes out to Vegas, 1110 00:57:28,790 --> 00:57:30,790 he's really making decisions 1111 00:57:30,790 --> 00:57:33,540 that are a little more for Elvis 1112 00:57:33,540 --> 00:57:36,080 than what came before. 1113 00:57:36,080 --> 00:57:38,290 Zanes: He's wanting to play with the band. 1114 00:57:38,290 --> 00:57:41,080 He's wanting to go through a deep catalog, 1115 00:57:41,080 --> 00:57:44,580 you know, big parts of which remind him or his own youth. 1116 00:57:44,580 --> 00:57:47,750 ♪ Well, you may go to college ♪ 1117 00:57:47,750 --> 00:57:50,000 ♪ May go to school ♪ 1118 00:57:50,000 --> 00:57:52,200 ♪ You may get religion, baby ♪ 1119 00:57:52,200 --> 00:57:54,290 ♪ Don't you be nobody's fool ♪ 1120 00:57:54,290 --> 00:57:56,410 ♪ Now baby, come back, baby ♪ 1121 00:57:56,410 --> 00:57:58,540 Tutt: I personally went to him and said, "Elvis, 1122 00:57:58,540 --> 00:58:00,700 "I wanted to know if you wanted me 1123 00:58:00,700 --> 00:58:03,290 "to try to duplicate classic songs. 1124 00:58:03,290 --> 00:58:04,950 What was done previously." 1125 00:58:04,950 --> 00:58:06,290 He said, "Absolutely not. 1126 00:58:06,290 --> 00:58:08,290 Just do what you do, that's why you're here." 1127 00:58:08,290 --> 00:58:10,700 I thought it was good that he would try different songs 1128 00:58:10,700 --> 00:58:12,540 that he liked the sound of. 1129 00:58:12,540 --> 00:58:14,040 Glen D. was the arranger, 1130 00:58:14,040 --> 00:58:16,370 and he would write these great arrangements for him, 1131 00:58:16,370 --> 00:58:18,370 and they would-- they would be exciting. 1132 00:58:18,370 --> 00:58:21,160 Elvis: ♪ Come back, baby, come ♪ 1133 00:58:21,160 --> 00:58:25,000 ♪ Come back, baby, I wanna play house with you ♪ 1134 00:58:25,000 --> 00:58:26,950 Elvis: Then it goes into this one. 1135 00:58:26,950 --> 00:58:28,200 I wanna try something. 1136 00:58:28,200 --> 00:58:29,790 And since, this is last verse... 1137 00:58:29,790 --> 00:58:34,910 Schilling: I think the vocals were just as important to Elvis. 1138 00:58:34,910 --> 00:58:37,370 Okay. The horns are answering it then. 1139 00:58:37,370 --> 00:58:40,830 Schilling: He had to have The Sweet Inspirations. 1140 00:58:40,830 --> 00:58:44,620 They had been working with Wilson Pickett and Aretha Franklin. 1141 00:58:44,620 --> 00:58:48,660 ♪ Talk in everlasting words ♪ ♪ Talk, words ♪ 1142 00:58:48,660 --> 00:58:51,830 ♪ And dedicate them all to me ♪ 1143 00:58:51,830 --> 00:58:54,750 ♪ Dedicate them all to me ♪ 1144 00:58:54,750 --> 00:58:57,040 Cissy Houston: Elvis did whatever he wanted to do. 1145 00:58:57,040 --> 00:59:00,000 If he was feeling it, we had to feel it too. 1146 00:59:00,000 --> 00:59:01,700 And we could connect, 1147 00:59:01,700 --> 00:59:03,330 because we were from gospel. 1148 00:59:03,330 --> 00:59:04,660 We were raised gospel. 1149 00:59:04,660 --> 00:59:08,790 ♪ You think that I don't even mean ♪ 1150 00:59:08,790 --> 00:59:12,660 ♪ A single word I say ♪ 1151 00:59:13,580 --> 00:59:16,620 ♪ It's only words ♪ 1152 00:59:16,620 --> 00:59:19,500 ♪ And words are all I have ♪ 1153 00:59:19,500 --> 00:59:21,330 ♪ To steal your heart away ♪ 1154 00:59:22,830 --> 00:59:25,870 Schilling: Colonel Parker, he had billboards all over. 1155 00:59:25,870 --> 00:59:27,540 There was a vibe. 1156 00:59:27,540 --> 00:59:31,540 Everybody knew that Elvis was there. 1157 00:59:31,540 --> 00:59:34,040 He was a nervous wreck. 1158 00:59:34,040 --> 00:59:37,870 It's one thing to have a small invited audience. 1159 00:59:37,870 --> 00:59:41,540 Now he's going on the biggest stage in the world. 1160 00:59:41,540 --> 00:59:43,330 It's Las Vegas. 1161 00:59:44,660 --> 00:59:46,160 This is the nitty-gritty time 1162 00:59:46,160 --> 00:59:48,950 as far as being nervous, you know. 1163 00:59:48,950 --> 00:59:50,160 Opening night, man. 1164 00:59:51,450 --> 00:59:54,160 West: He was excited, and also nervous. 1165 00:59:54,160 --> 00:59:56,790 He didn't know exactly how he was gonna be received, 1166 00:59:56,790 --> 00:59:59,160 and he wanted the best of everything. 1167 00:59:59,160 --> 01:00:02,370 Tutt: There were all these big goals as far as attendance, 1168 01:00:02,370 --> 01:00:04,910 and he had a very competitive nature. 1169 01:00:04,910 --> 01:00:07,620 So he wanted to be able to be as powerful 1170 01:00:07,620 --> 01:00:10,250 and popular as Sinatra, Tom Jones. 1171 01:00:10,250 --> 01:00:12,750 He wanted to take his music to a whole different level. 1172 01:00:26,450 --> 01:00:28,450 Priscilla: The first time I ever saw him on stage, 1173 01:00:28,450 --> 01:00:32,160 was the first time he played in Vegas in '69. 1174 01:00:32,160 --> 01:00:35,540 The '68 special, it was more of a controlled environment. 1175 01:00:35,540 --> 01:00:37,250 It was for television. 1176 01:00:37,250 --> 01:00:40,750 But in Vegas, to actually see him walk out there 1177 01:00:40,750 --> 01:00:43,250 and own that stage, 1178 01:00:43,250 --> 01:00:46,500 it was like, "Oh my gosh, I get it. 1179 01:00:46,500 --> 01:00:48,410 I get it!" 1180 01:00:48,410 --> 01:00:50,620 ♪ Well, that's all right, mama ♪ 1181 01:00:50,620 --> 01:00:52,450 ♪ That's all right with you ♪ 1182 01:00:52,450 --> 01:00:53,950 ♪ That's all right, mama ♪ 1183 01:00:53,950 --> 01:00:55,500 ♪ Do it any way you do ♪ 1184 01:00:55,500 --> 01:00:57,000 ♪ That's all right ♪ ♪ That's all right ♪ 1185 01:00:57,000 --> 01:00:58,660 ♪ Yeah, that's all right ♪ ♪ That's all right ♪ 1186 01:00:58,660 --> 01:01:01,500 ♪ That's all right, mama ♪ ♪ That's all right ♪ 1187 01:01:01,500 --> 01:01:03,830 ♪ Any way you do ♪ 1188 01:01:05,870 --> 01:01:07,950 ♪ Well, Mama, she done told me ♪ 1189 01:01:07,950 --> 01:01:09,620 ♪ Papa done told me too ♪ 1190 01:01:09,620 --> 01:01:11,290 ♪ Son, that gal you foolin' with ♪ 1191 01:01:11,290 --> 01:01:12,750 ♪ She ain't no good for you ♪ 1192 01:01:12,750 --> 01:01:14,330 ♪ Well, that's all right ♪ ♪ That's all right ♪ 1193 01:01:14,330 --> 01:01:16,200 ♪ Yeah, that's all right now ♪ ♪ That's all right ♪ 1194 01:01:16,200 --> 01:01:18,620 ♪ That's all right now, mama ♪ 1195 01:01:18,620 --> 01:01:20,330 ♪ Any way you do ♪ 1196 01:01:20,330 --> 01:01:22,250 Play it. 1197 01:01:28,540 --> 01:01:30,580 Priscilla: I remember looking around. 1198 01:01:30,580 --> 01:01:32,370 They're all applauding. 1199 01:01:32,370 --> 01:01:34,160 So drawn into him. 1200 01:01:34,160 --> 01:01:37,160 I'd never seen anyone control an audience that way. 1201 01:01:37,160 --> 01:01:40,000 It was like he rehearsed that show all his life. 1202 01:01:47,080 --> 01:01:48,830 ♪ That's all right ♪ ♪ That's all right ♪ 1203 01:01:48,830 --> 01:01:50,500 ♪ Yeah, that's all right ♪ ♪ That's all right ♪ 1204 01:01:50,500 --> 01:01:53,160 ♪ That's all right now, mama ♪ 1205 01:01:53,160 --> 01:01:56,000 ♪ Any way you do ♪ 1206 01:01:57,330 --> 01:02:00,000 ♪ Well, that's all right now, mama ♪ 1207 01:02:00,000 --> 01:02:02,040 ♪ Any way you do ♪ 1208 01:02:13,370 --> 01:02:18,080 Woman: ♪ There's a place on Lonely Street ♪ 1209 01:02:18,080 --> 01:02:21,540 ♪ They call it Heartbreak Hotel ♪ 1210 01:02:21,540 --> 01:02:25,200 ♪ Where brokenhearted lovers go ♪ 1211 01:02:25,200 --> 01:02:28,120 Schilling: It was great, staying up all night, being in Vegas. 1212 01:02:28,120 --> 01:02:29,660 We never left the hotel. 1213 01:02:29,660 --> 01:02:31,330 But psychologically, 1214 01:02:31,330 --> 01:02:33,370 at a point, it weighs on you, 1215 01:02:33,370 --> 01:02:35,080 and you may not even know it. 1216 01:02:36,870 --> 01:02:39,200 Woman: ♪ Heartbreak Hotel, where I'll be ♪ 1217 01:02:39,200 --> 01:02:42,700 ♪ I'll be so lonely ♪ 1218 01:02:43,700 --> 01:02:47,500 ♪ I'll be so lonely, I could die ♪ 1219 01:02:47,500 --> 01:02:49,410 ♪ Although it's always crowded ♪ 1220 01:02:49,410 --> 01:02:51,580 ♪ You still can find a room ♪ 1221 01:02:51,580 --> 01:02:53,750 ♪ For brokenhearted lovers ♪ 1222 01:02:53,750 --> 01:02:57,750 Schilling: Thirty days, 61 shows, first engagement. 1223 01:02:57,750 --> 01:03:01,160 Six months later, the second engagement. 1224 01:03:01,160 --> 01:03:03,160 The third engagement. 1225 01:03:03,160 --> 01:03:05,120 Woman: ♪ Die ♪ 1226 01:03:05,120 --> 01:03:08,160 Schilling: Playing that much for weeks on time, 1227 01:03:08,160 --> 01:03:09,910 not seeing daylight. 1228 01:03:11,370 --> 01:03:13,910 Dave Marsh: Locked up in a hotel room, what is there to do? 1229 01:03:13,910 --> 01:03:16,080 Talking to the same 15 guys every day? 1230 01:03:16,080 --> 01:03:17,410 Bored out of your mind, 1231 01:03:17,410 --> 01:03:21,080 and it all kind of conspires to make Elvis vulnerable 1232 01:03:21,080 --> 01:03:24,290 in ways that if he had a more rational life, 1233 01:03:24,290 --> 01:03:25,870 he would not be vulnerable. 1234 01:03:25,870 --> 01:03:28,580 Woman: ♪ You got a tale to tell ♪ 1235 01:03:28,580 --> 01:03:30,200 Bearde: And that's when the Colonel took over 1236 01:03:30,200 --> 01:03:32,250 and went back into modus operandi. 1237 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. 1238 01:03:36,910 --> 01:03:38,790 Tutt: It worked great in the beginning. 1239 01:03:38,790 --> 01:03:41,540 It just got to be same old stuff. 1240 01:03:41,540 --> 01:03:44,040 Woman: ♪ Die ♪ 1241 01:03:44,040 --> 01:03:46,870 Tutt: He realized that fans want to hear the hits-- 1242 01:03:46,870 --> 01:03:50,200 kind of painted himself into a corner, so to speak. 1243 01:03:51,700 --> 01:03:52,950 Brown: Back in those days, 1244 01:03:52,950 --> 01:03:54,790 there was a dinner show and then a late show. 1245 01:03:54,790 --> 01:03:56,290 So all the tables up front, 1246 01:03:56,290 --> 01:03:58,120 they were serving dinner and drinks and stuff. 1247 01:03:58,120 --> 01:04:00,330 And the only people that could afford the up-front seats 1248 01:04:00,330 --> 01:04:02,950 were the high-rollers, the older cats. 1249 01:04:02,950 --> 01:04:06,120 Elvis needed connection with the audience. 1250 01:04:06,120 --> 01:04:09,950 And Vegas, it was a very reserved, rich crowd 1251 01:04:09,950 --> 01:04:11,660 dressed up for the Elvis show. 1252 01:04:11,660 --> 01:04:14,160 It frustrated Elvis that he couldn't quite seem 1253 01:04:14,160 --> 01:04:16,330 to get the mayhem going. 1254 01:04:16,330 --> 01:04:18,120 Priscilla: He felt like really what he needed 1255 01:04:18,120 --> 01:04:20,580 was to get outside of Vegas and go out 1256 01:04:20,580 --> 01:04:22,700 and get connected with people 1257 01:04:22,700 --> 01:04:27,000 though he hadn't been on tour for over 13 years. 1258 01:04:27,000 --> 01:04:29,370 Man: What, uh, what made you decide to come to Texas? 1259 01:04:29,370 --> 01:04:32,000 Well, I think the most important thing is the, uh, 1260 01:04:32,000 --> 01:04:36,000 the inspiration that I get from a live audience. I was missing that. 1261 01:04:36,000 --> 01:04:40,000 ♪ Well, I never been to Heaven ♪ 1262 01:04:41,750 --> 01:04:45,330 ♪ But I've been to Oklahoma ♪ 1263 01:04:47,290 --> 01:04:50,500 ♪ Well, they tell me I was born there ♪ 1264 01:04:52,910 --> 01:04:56,500 ♪ But I really don't remember ♪ 1265 01:04:59,500 --> 01:05:02,580 ♪ In Oklahoma ♪ 1266 01:05:02,580 --> 01:05:04,700 ♪ Or Arizona ♪ 1267 01:05:04,700 --> 01:05:07,950 ♪ Yeah, what does it matter? ♪ 1268 01:05:07,950 --> 01:05:10,200 ♪ What does it matter? ♪ 1269 01:05:10,200 --> 01:05:12,120 Landau: Back in the 1970s, 1270 01:05:12,120 --> 01:05:14,410 I was working for Rolling Stone. 1271 01:05:14,410 --> 01:05:18,660 They sent me to Boston to review an Elvis concert. 1272 01:05:18,660 --> 01:05:20,870 "He stands there in a black jumpsuit, 1273 01:05:20,870 --> 01:05:23,120 "gold spangles and an orange cape. 1274 01:05:23,120 --> 01:05:24,540 "When he stretches out his hands, 1275 01:05:24,540 --> 01:05:26,410 "the cape forms a half-sun 1276 01:05:26,410 --> 01:05:27,870 "under his outstretched arms, 1277 01:05:27,870 --> 01:05:30,910 and he looks like the true king of rock and roll. 1278 01:05:32,450 --> 01:05:35,200 "He parades in front of 15,000 people, 1279 01:05:35,200 --> 01:05:37,700 "and waits for the applause to wash over, 1280 01:05:38,910 --> 01:05:40,910 "and it comes as it always does 1281 01:05:40,910 --> 01:05:42,950 "and as he knows it will. 1282 01:05:44,250 --> 01:05:45,950 "Elvis Presley has lived through 1283 01:05:45,950 --> 01:05:48,410 "the greatest superstar trip of any performer, 1284 01:05:48,410 --> 01:05:51,580 "and he survived it in his own kind of way. 1285 01:05:51,580 --> 01:05:56,580 "Elvis participates in a pure one-to-one relationship with his audience. 1286 01:05:58,000 --> 01:05:59,790 "When he steps on the stage, 1287 01:05:59,790 --> 01:06:02,370 "it is he and he alone who is the subject 1288 01:06:02,370 --> 01:06:06,040 of the manic, ecstatic, irrational adoration." 1289 01:06:06,040 --> 01:06:09,080 Elvis: ♪ I've never been to Heaven ♪ 1290 01:06:09,080 --> 01:06:11,700 Landau: "His brilliance is reflected in his control." 1291 01:06:11,700 --> 01:06:13,580 ♪ But I've been to Oklahoma ♪ 1292 01:06:13,580 --> 01:06:16,330 Landau: "He never moves too far in any one direction, 1293 01:06:16,330 --> 01:06:17,750 and never loses his grip." 1294 01:06:17,750 --> 01:06:20,370 ♪ They tell me I was born there ♪ 1295 01:06:22,040 --> 01:06:25,790 ♪ But I really don't remember ♪ 1296 01:06:29,120 --> 01:06:31,700 ♪ In Oklahoma ♪ 1297 01:06:31,700 --> 01:06:33,750 ♪ Or Arizona ♪ 1298 01:06:33,750 --> 01:06:35,620 Landau: "To me, no matter how frustrating 1299 01:06:35,620 --> 01:06:38,450 "the lapses in his career have been, 1300 01:06:38,450 --> 01:06:40,660 he remains an artist..." 1301 01:06:40,660 --> 01:06:43,000 Elvis: ♪ In Oklahoma ♪ 1302 01:06:43,000 --> 01:06:45,790 ♪ Or Arizona ♪ 1303 01:06:45,790 --> 01:06:49,700 Landau: "...an American artist, whom we should be proud to claim as our own." 1304 01:06:49,700 --> 01:06:52,000 Elvis: ♪ Yeah, yeah ♪ 1305 01:06:58,200 --> 01:07:01,620 Thank you. 1306 01:07:01,620 --> 01:07:04,950 Brown: Elvis, in concert, covered all kinda genres, you know. 1307 01:07:04,950 --> 01:07:07,660 And he came out and he would do all those songs 1308 01:07:07,660 --> 01:07:10,040 from the '50s and '60s that he broke with. 1309 01:07:10,040 --> 01:07:12,910 But during the show, there was a lot of country standards. 1310 01:07:12,910 --> 01:07:14,910 He just did things that he liked. 1311 01:07:14,910 --> 01:07:16,160 Man: You have any thoughts about 1312 01:07:16,160 --> 01:07:17,830 the rising interest in country music? 1313 01:07:17,830 --> 01:07:19,830 I think it's fantastic. 1314 01:07:19,830 --> 01:07:22,950 You see, country music was always a part of the influence 1315 01:07:22,950 --> 01:07:25,580 on my-- on my type of music anyway. 1316 01:07:25,580 --> 01:07:28,330 It's a combination of, uh... 1317 01:07:28,330 --> 01:07:30,290 country music, and gospel, 1318 01:07:30,290 --> 01:07:31,830 and rhythm and blues all combined. 1319 01:07:31,830 --> 01:07:33,370 That's what it really was. 1320 01:07:33,370 --> 01:07:35,620 As a child, I was influenced by all of that. 1321 01:07:35,620 --> 01:07:39,040 But I like the blues, and I like, uh, the gospel music, 1322 01:07:39,040 --> 01:07:40,950 gospel quartets and all that. 1323 01:07:40,950 --> 01:07:43,500 Thank you. Good rehearsal, see you soon. 1324 01:07:43,500 --> 01:07:45,370 Springsteen: If you look at the band he put together 1325 01:07:45,370 --> 01:07:49,040 for the '70s shows, there was a huge gospel contingent. 1326 01:07:49,040 --> 01:07:51,160 Those sections of the show were so powerful. 1327 01:07:51,160 --> 01:07:54,120 Straight out of white and black gospel tradition. 1328 01:07:54,120 --> 01:07:57,450 Elvis: ♪ Hallelujah ♪ 1329 01:07:57,450 --> 01:08:01,290 Springsteen: In the '70s, Elvis had moved on to "American Trilogy." 1330 01:08:01,290 --> 01:08:05,910 His show was consisting of a huge cross-cultural picture 1331 01:08:05,910 --> 01:08:09,330 of America and Americana. 1332 01:08:13,200 --> 01:08:15,120 Springsteen: He was trying to encompass 1333 01:08:15,120 --> 01:08:17,450 an image of the country as a whole 1334 01:08:17,450 --> 01:08:19,410 that he could be a vessel that could contain 1335 01:08:19,410 --> 01:08:21,620 the entirety of American experience. 1336 01:08:21,620 --> 01:08:25,410 ♪ Oh hush, little baby ♪ 1337 01:08:25,410 --> 01:08:29,450 ♪ Don't you cry ♪ 1338 01:08:29,450 --> 01:08:31,540 Petty: You know, that version of "Dixie" 1339 01:08:31,540 --> 01:08:34,040 and uh, the "Battle Hymn of the Republic," 1340 01:08:34,040 --> 01:08:35,700 it's so beautiful! 1341 01:08:35,700 --> 01:08:39,450 You know, the band he's put together is so over-the-top, 1342 01:08:39,450 --> 01:08:44,000 and only Elvis would have that kinda spending power, 1343 01:08:44,000 --> 01:08:47,290 and just audacious craziness. 1344 01:08:50,160 --> 01:08:54,450 Choirs, and orchestras, and a great rhythm section, 1345 01:08:54,450 --> 01:08:58,080 maybe another gospel group on the side. 1346 01:08:58,080 --> 01:09:00,370 None of it makes sense until you suddenly 1347 01:09:00,370 --> 01:09:02,250 hear something like that, 1348 01:09:02,250 --> 01:09:05,410 and they're all playing a role in that, 1349 01:09:05,410 --> 01:09:08,410 and it's very moving music. 1350 01:09:14,410 --> 01:09:16,120 When you see him do that music 1351 01:09:16,120 --> 01:09:19,120 in those little pieces of film that I've seen of him, 1352 01:09:19,120 --> 01:09:22,660 that's the pure joy of music in the man. 1353 01:09:22,660 --> 01:09:25,950 You know, that's when I see everything stop. 1354 01:09:44,160 --> 01:09:48,330 ♪ Glory, glory ♪ 1355 01:09:48,330 --> 01:09:53,910 ♪ Hallelujah ♪ 1356 01:09:53,910 --> 01:09:57,330 ♪ His truth is ♪ 1357 01:09:57,330 --> 01:10:00,000 ♪ Marching ♪ 1358 01:10:00,000 --> 01:10:04,830 ♪ On ♪ 1359 01:10:04,830 --> 01:10:08,160 ♪ His truth is ♪ 1360 01:10:08,160 --> 01:10:10,910 ♪ Marching ♪ 1361 01:10:10,910 --> 01:10:17,870 ♪ On ♪ 1362 01:10:20,330 --> 01:10:22,500 Elvis: Whoo! 1363 01:10:22,500 --> 01:10:24,120 Thank you, thank you. 1364 01:10:29,040 --> 01:10:31,160 Whew! Boy. 1365 01:10:31,160 --> 01:10:32,580 How was the sound in that building? 1366 01:10:32,580 --> 01:10:35,500 Very good, very good. Here. Hold on. 1367 01:10:37,410 --> 01:10:41,000 Strickland: That was his life. He lived to sing and perform. 1368 01:10:41,000 --> 01:10:42,620 It's a hot time in Florida. 1369 01:10:42,620 --> 01:10:44,040 Man: Boy, it is. 1370 01:10:44,040 --> 01:10:45,620 Springsteen: An artist like Elvis is, 1371 01:10:45,620 --> 01:10:48,540 rather than pretending when he goes on the stage, 1372 01:10:48,540 --> 01:10:51,040 he's actually pretending, when he's home, to be normal. 1373 01:10:51,040 --> 01:10:52,910 And when he goes out on stage at night, 1374 01:10:52,910 --> 01:10:55,540 it's who he actually is. 1375 01:10:55,540 --> 01:10:58,250 It's a very difficult dichotomy. 1376 01:11:03,910 --> 01:11:07,200 Priscilla: To see him become even bigger than life, 1377 01:11:07,200 --> 01:11:09,200 he had so much so soon. 1378 01:11:13,080 --> 01:11:16,160 Harris: He was snatched from the ordinary life 1379 01:11:16,160 --> 01:11:18,580 of a-- of a young man 1380 01:11:18,580 --> 01:11:22,500 into a place that no one else had ever been 1381 01:11:22,500 --> 01:11:24,540 in society or in our culture. 1382 01:11:37,750 --> 01:11:41,370 Zanes: To have that success, and to experience it, 1383 01:11:41,370 --> 01:11:45,410 he had to hand over significant portions of youth. 1384 01:11:45,410 --> 01:11:47,200 That was the trade. 1385 01:11:48,750 --> 01:11:54,410 He is unmoored from the Earth experience. 1386 01:11:54,410 --> 01:11:56,250 Priscilla: We were living two different lives. 1387 01:11:56,250 --> 01:11:58,540 He was performing, and, uh, 1388 01:11:58,540 --> 01:12:00,370 and he was home very, very little. 1389 01:12:00,370 --> 01:12:02,950 It was very difficult to communicate at that time. 1390 01:12:02,950 --> 01:12:08,290 Uh, Elvis had a horrible fear of not sleeping. 1391 01:12:08,290 --> 01:12:10,750 He would spend many, many nights alone, 1392 01:12:10,750 --> 01:12:13,580 and he would think and that would keep him up. 1393 01:12:13,580 --> 01:12:15,790 So he started on sleeping pills, 1394 01:12:15,790 --> 01:12:18,080 and he thought that he had it under control. 1395 01:12:20,410 --> 01:12:22,950 Everything that he ever had was prescribed. 1396 01:12:27,330 --> 01:12:29,450 Man: Are you satisfied with the image you've established? 1397 01:12:29,450 --> 01:12:33,040 Uh... well, the image is one thing, 1398 01:12:33,040 --> 01:12:36,500 and a human being is another, you know, so. 1399 01:12:36,500 --> 01:12:38,330 Man: How close does the image come to the man? 1400 01:12:38,330 --> 01:12:42,000 It's very hard to live up to an image, I'll put it that way. 1401 01:12:43,870 --> 01:12:45,830 Parker: Come on, bring your cameras over here. 1402 01:12:45,830 --> 01:12:48,200 Come on through here. 1403 01:12:48,200 --> 01:12:50,620 Elvis: Soon as the Colonel gets through talking, I'll tell you-- 1404 01:12:50,620 --> 01:12:51,870 I'm-- I'm sorry. 1405 01:12:51,870 --> 01:12:53,540 Oh, yeah, I'd like to do something. 1406 01:12:53,540 --> 01:12:55,950 Uh, there's so many places that I haven't been yet. 1407 01:12:55,950 --> 01:12:57,080 I'd like to go to Europe. 1408 01:12:57,080 --> 01:12:59,160 I'd like to go to Japan and all those places. 1409 01:12:59,160 --> 01:13:00,500 I-I've never been out of this country 1410 01:13:00,500 --> 01:13:02,830 except in the service, you know. 1411 01:13:02,830 --> 01:13:04,410 Light: Elvis, from early on, 1412 01:13:04,410 --> 01:13:06,660 had expressed interest in touring overseas 1413 01:13:06,660 --> 01:13:07,870 having no idea 1414 01:13:07,870 --> 01:13:10,120 that Colonel Parker was never going to let him. 1415 01:13:10,120 --> 01:13:12,500 Because if the Colonel went with him, 1416 01:13:12,500 --> 01:13:15,330 he was afraid he was not gonna be let back into America. 1417 01:13:17,120 --> 01:13:20,830 Schilling: Colonel knowing that Elvis wanted to tour overseas, 1418 01:13:20,830 --> 01:13:23,330 colonel not wanting anybody to know 1419 01:13:23,330 --> 01:13:25,950 that he wasn't a US citizen, 1420 01:13:25,950 --> 01:13:28,120 how could he answer Elvis 1421 01:13:28,120 --> 01:13:33,200 but come up with something that nobody had ever done. 1422 01:13:34,870 --> 01:13:36,700 Jackson: Instead of shutting down the idea 1423 01:13:36,700 --> 01:13:38,500 of Elvis playing in different countries 1424 01:13:38,500 --> 01:13:40,540 and just sort of curtailing it for now, 1425 01:13:40,540 --> 01:13:42,620 he actually uses it to his advantage, 1426 01:13:42,620 --> 01:13:46,580 and creates the first-ever live concert simulcast 1427 01:13:46,580 --> 01:13:48,200 on satellite television, 1428 01:13:48,200 --> 01:13:51,160 so that people in every country all over the world 1429 01:13:51,160 --> 01:13:53,950 can see Elvis play a concert. 1430 01:13:53,950 --> 01:13:55,910 Light: By the time of the Aloha special, 1431 01:13:55,910 --> 01:13:58,160 Elvis had been touring non-stop. 1432 01:13:58,160 --> 01:14:00,450 His health wasn't great, his weight wasn't great, 1433 01:14:00,450 --> 01:14:03,700 and now he was confronted with this performance 1434 01:14:03,700 --> 01:14:07,580 that was gonna be seen by a billion people around the world. 1435 01:14:07,580 --> 01:14:09,750 Whew! 1436 01:14:09,750 --> 01:14:13,040 It's so very hard to comprehend it, 1437 01:14:13,040 --> 01:14:15,080 because I... 1438 01:14:15,080 --> 01:14:17,870 In 15 years, it's hard to comprehend that happening. 1439 01:14:17,870 --> 01:14:20,790 To all the countries all over the world via satellite, 1440 01:14:20,790 --> 01:14:22,790 it's very difficult to comprehend. 1441 01:14:22,790 --> 01:14:25,540 Jackson: It becomes the biggest media moment 1442 01:14:25,540 --> 01:14:28,080 of his career up to that point. 1443 01:14:28,080 --> 01:14:30,660 And he knows this. He's trimmed down for it. 1444 01:14:30,660 --> 01:14:31,790 He looks amazing. 1445 01:14:31,790 --> 01:14:34,040 The band is super tight. 1446 01:14:34,040 --> 01:14:36,750 Light: Aloha does represent Elvis music, 1447 01:14:36,750 --> 01:14:41,250 the moment that Elvis brought together all of his influences 1448 01:14:41,250 --> 01:14:44,410 to solidify an image of Elvis, 1449 01:14:44,410 --> 01:14:47,120 a look and a style and a presentation 1450 01:14:47,120 --> 01:14:50,330 that seals in amber, this is what Elvis is. 1451 01:14:52,540 --> 01:14:56,200 Zanes: Elvis was the first major 1452 01:14:56,200 --> 01:14:59,410 televisual musical star. 1453 01:14:59,410 --> 01:15:02,450 We can see him, but we can't touch him. 1454 01:15:07,410 --> 01:15:10,870 Elvis, without intending to, 1455 01:15:10,870 --> 01:15:14,080 created an image of himself 1456 01:15:14,080 --> 01:15:17,120 he would never live past. 1457 01:15:22,910 --> 01:15:25,750 ♪ Yeah, now this time ♪ 1458 01:15:25,750 --> 01:15:28,660 ♪ Lord, you gave me ♪ 1459 01:15:28,660 --> 01:15:31,790 ♪ A mountain ♪ 1460 01:15:33,700 --> 01:15:35,790 ♪ A mountain ♪ 1461 01:15:35,790 --> 01:15:39,870 ♪ I may never climb ♪ 1462 01:15:43,410 --> 01:15:44,830 ♪ It isn't ♪ 1463 01:15:44,830 --> 01:15:46,330 Landau: That show was another way 1464 01:15:46,330 --> 01:15:50,160 in which he was truly disserved by the Colonel. 1465 01:15:53,040 --> 01:15:57,040 It's a bit of a metaphor for keeping the blinders on, 1466 01:15:57,040 --> 01:16:01,450 which is what I think the Colonel is all about. 1467 01:16:01,450 --> 01:16:03,410 Petty: My picture of the Colonel really is 1468 01:16:03,410 --> 01:16:05,660 someone that loves selling merchandise, 1469 01:16:05,660 --> 01:16:07,660 you know, that wants it to the end, 1470 01:16:07,660 --> 01:16:12,000 walk the aisle selling posters and ballpoint pens. 1471 01:16:12,000 --> 01:16:13,910 It doesn't make any sense really 1472 01:16:13,910 --> 01:16:16,410 to keep him from touring other countries, 1473 01:16:16,410 --> 01:16:19,870 to keep him from really going to, you know, 1474 01:16:19,870 --> 01:16:21,700 the whole way with the music, 1475 01:16:21,700 --> 01:16:24,370 like, letting him be an artist. 1476 01:16:26,370 --> 01:16:29,330 Elvis: Thank you! 1477 01:16:29,330 --> 01:16:33,580 Schilling: I think the troubles between Elvis and the Colonel 1478 01:16:33,580 --> 01:16:36,330 started getting worse at that point. 1479 01:16:36,330 --> 01:16:38,200 There was the bond, 1480 01:16:38,200 --> 01:16:42,450 but they were two very different people. 1481 01:16:42,450 --> 01:16:45,250 Priscilla: Elvis outgrew Colonel Parker as an artist, 1482 01:16:45,250 --> 01:16:49,000 but he, um, didn't know how to cut the strings. 1483 01:16:51,700 --> 01:16:55,000 Light: By this time, he had started to turn to prescription drugs 1484 01:16:55,000 --> 01:16:56,580 to keep himself going. 1485 01:16:56,580 --> 01:16:59,660 He was on a relentless wheel 1486 01:16:59,660 --> 01:17:03,080 of performance to travel to performance to travel, 1487 01:17:03,080 --> 01:17:05,410 and you start to see the stress of that. 1488 01:17:09,660 --> 01:17:12,250 Binder: All the things he told me that he wanted to do-- 1489 01:17:12,250 --> 01:17:15,080 travel the world, meet new audiences-- 1490 01:17:15,080 --> 01:17:16,910 none of that happened. 1491 01:17:19,330 --> 01:17:22,250 All the light went out of his eyes. 1492 01:17:24,250 --> 01:17:27,750 Zanes: With an addiction to prescription pills, 1493 01:17:27,750 --> 01:17:29,910 if you are a performer, 1494 01:17:29,910 --> 01:17:33,790 what you're after is the anesthetizing part of it. 1495 01:17:33,790 --> 01:17:35,910 But that's gonna take you away 1496 01:17:35,910 --> 01:17:38,330 from your powers as a performer, 1497 01:17:38,330 --> 01:17:42,500 and he's gonna go on stage nonetheless. 1498 01:17:49,790 --> 01:17:52,450 Landau: He had many afflictions, 1499 01:17:52,450 --> 01:17:55,160 and he hurt himself in many ways. 1500 01:17:55,160 --> 01:17:57,950 But there was a core in there, 1501 01:17:57,950 --> 01:18:00,870 that, if you let it, would shine through, 1502 01:18:00,870 --> 01:18:04,580 and sometimes in the most unlikely places. 1503 01:18:09,620 --> 01:18:11,200 ♪ Lord Almighty ♪ 1504 01:18:11,200 --> 01:18:14,500 ♪ I feel my temperature rising ♪ 1505 01:18:14,500 --> 01:18:15,660 ♪ Hmm ♪ 1506 01:18:15,660 --> 01:18:18,120 Tutt: We has basically tried to influence him 1507 01:18:18,120 --> 01:18:19,660 to do more rock and roll. 1508 01:18:19,660 --> 01:18:22,120 "Burning Love," that one had some potential. 1509 01:18:22,120 --> 01:18:23,750 He never felt comfortable with it, 1510 01:18:23,750 --> 01:18:26,620 because he had a hard time with the lyrics. 1511 01:18:26,620 --> 01:18:28,620 Priscilla: He was going through a lot at that time, 1512 01:18:28,620 --> 01:18:30,160 so he didn't want to do the song, 1513 01:18:30,160 --> 01:18:33,200 and the guys kept expressing that he should do it, 1514 01:18:33,200 --> 01:18:35,540 and he was really fighting it. 1515 01:18:35,540 --> 01:18:37,000 Landau: "Burning Love," 1516 01:18:37,000 --> 01:18:39,160 well, it's one of the greatest records he ever made. 1517 01:18:39,160 --> 01:18:42,750 ♪ Like the sweet song of the choir ♪ 1518 01:18:42,750 --> 01:18:45,580 ♪ And you light my morning sky ♪ 1519 01:18:45,580 --> 01:18:47,500 ♪ With burning love ♪ 1520 01:18:48,910 --> 01:18:50,620 ♪ With burning love ♪ 1521 01:18:50,620 --> 01:18:52,700 Chorus: ♪ Hunk of burning love ♪ 1522 01:18:52,700 --> 01:18:55,160 Elvis: ♪ Just a hunk of hunk of burning love ♪ 1523 01:18:55,160 --> 01:18:58,580 Chorus: Ahhh! ♪ A hunk of hunk of burning love ♪ 1524 01:18:58,580 --> 01:19:00,540 Chorus: Ahhh! ♪ A hunk of hunk of-- ♪ 1525 01:19:03,040 --> 01:19:05,290 Priscilla: It was a hard song for him to sing 1526 01:19:05,290 --> 01:19:07,040 and to get into. 1527 01:19:07,040 --> 01:19:09,620 About them lyrics... 1528 01:19:09,620 --> 01:19:12,040 It was only one, and I hit my mouth. 1529 01:19:12,040 --> 01:19:13,910 Priscilla: He wanted to let out his feelings 1530 01:19:13,910 --> 01:19:17,370 in a-- in a song that related to how he felt. 1531 01:19:17,370 --> 01:19:19,330 It was difficult to be given music 1532 01:19:19,330 --> 01:19:22,370 for something that's really uplifting, upbeat, 1533 01:19:22,370 --> 01:19:24,040 and that's not matching his tone, 1534 01:19:24,040 --> 01:19:25,700 that's not matching his feelings. 1535 01:19:32,750 --> 01:19:35,370 ♪ I see a change ♪ 1536 01:19:35,370 --> 01:19:38,450 ♪ Is coming to our lives ♪ 1537 01:19:38,450 --> 01:19:43,910 ♪ It's not the same as it used to be ♪ 1538 01:19:43,910 --> 01:19:46,410 ♪ And it's not too late ♪ 1539 01:19:46,410 --> 01:19:48,950 ♪ To realize our mistake ♪ 1540 01:19:48,950 --> 01:19:50,790 ♪ We're just not right ♪ 1541 01:19:50,790 --> 01:19:55,450 ♪ For each other ♪ 1542 01:19:56,830 --> 01:19:59,700 ♪ Love has slipped away ♪ 1543 01:19:59,700 --> 01:20:02,200 ♪ Left us only friends ♪ 1544 01:20:02,200 --> 01:20:07,290 ♪ We almost seem like strangers ♪ 1545 01:20:07,290 --> 01:20:09,620 ♪ All that's left between us ♪ 1546 01:20:09,620 --> 01:20:12,540 ♪ Are the memories we share ♪ 1547 01:20:12,540 --> 01:20:15,080 ♪ Of times we thought we cared ♪ 1548 01:20:15,080 --> 01:20:20,410 ♪ For each other ♪ 1549 01:20:20,410 --> 01:20:23,410 Priscilla: Elvis was very family oriented. 1550 01:20:23,410 --> 01:20:25,580 He did cherish family, 1551 01:20:25,580 --> 01:20:27,620 but Elvis wanted it all. 1552 01:20:27,620 --> 01:20:30,790 ♪ Pieces left behind us ♪ 1553 01:20:30,790 --> 01:20:33,120 Priscilla: It takes two in a relationship. 1554 01:20:33,120 --> 01:20:37,160 Having a child, not being able to do the traveling. 1555 01:20:37,160 --> 01:20:40,120 I was a mother. 1556 01:20:40,120 --> 01:20:42,620 He always used to say, "You can't serve two masters." 1557 01:20:49,660 --> 01:20:51,870 ♪ Someday when she's older ♪ 1558 01:20:51,870 --> 01:20:55,120 ♪ Maybe she will understand ♪ 1559 01:20:55,120 --> 01:21:00,330 ♪ Why her mom and dad are not together ♪ 1560 01:21:00,330 --> 01:21:03,160 ♪ The tears that she will cry ♪ 1561 01:21:03,160 --> 01:21:05,500 ♪ When I have to say goodbye ♪ 1562 01:21:05,500 --> 01:21:07,660 ♪ They tear at my heart ♪ 1563 01:21:07,660 --> 01:21:12,160 ♪ Forever ♪ 1564 01:21:13,450 --> 01:21:15,540 ♪ There's nothing left to do ♪ 1565 01:21:15,540 --> 01:21:18,830 ♪ But go our separate ways ♪ 1566 01:21:18,830 --> 01:21:21,500 Schilling: After he recorded "Separate Ways," 1567 01:21:21,500 --> 01:21:23,450 he wanted to go into the control room 1568 01:21:23,450 --> 01:21:27,450 and listen to that song for hours. 1569 01:21:27,450 --> 01:21:30,200 And he would just look up and shake his head, 1570 01:21:30,200 --> 01:21:33,660 'cause I know he still always loved Priscilla. 1571 01:21:35,120 --> 01:21:36,830 Priscilla: Elvis and I, 1572 01:21:36,830 --> 01:21:38,660 you know, we held hands in court. 1573 01:21:38,660 --> 01:21:41,000 There was still a lot of love there. 1574 01:21:41,000 --> 01:21:42,910 He was a doting father. 1575 01:21:42,910 --> 01:21:45,330 We kept that relationship very close. 1576 01:21:45,330 --> 01:21:47,330 I know he was always there for me, 1577 01:21:47,330 --> 01:21:48,790 and for Lisa as well, 1578 01:21:48,790 --> 01:21:50,870 but the breakup of the marriage 1579 01:21:50,870 --> 01:21:52,700 was painful for both of us. 1580 01:21:58,830 --> 01:22:01,700 Gordon Stoker: He was never the same after that. 1581 01:22:01,700 --> 01:22:03,700 He just changed. He was very moody. 1582 01:22:03,700 --> 01:22:05,830 He just wasn't well doing two shows a night. 1583 01:22:05,830 --> 01:22:08,250 And he had to take uppers to get him going 1584 01:22:08,250 --> 01:22:09,910 and downers to put him to sleep. 1585 01:22:11,660 --> 01:22:14,040 Parker: Well, I don't know, but I know one thing. 1586 01:22:14,040 --> 01:22:15,830 When I told Elvis to slow down, 1587 01:22:15,830 --> 01:22:17,790 he said, "I wanna play more dates." 1588 01:22:17,790 --> 01:22:19,040 So I booked more dates. 1589 01:22:19,040 --> 01:22:21,040 I said, "Well, I don't think you should," 1590 01:22:21,040 --> 01:22:23,080 and he said, "Well, it's what I wanna do." 1591 01:22:23,080 --> 01:22:25,330 He was very unhappy, so we started all over again. 1592 01:22:25,330 --> 01:22:28,750 Announcer: With some 25 colored portraits available... 1593 01:22:28,750 --> 01:22:31,580 Man: Souvenirs! 1594 01:22:31,580 --> 01:22:33,700 Hey! Take home a little bit of Elvis! 1595 01:22:33,700 --> 01:22:35,290 Elvis super souvenirs! 1596 01:22:35,290 --> 01:22:38,750 Cohn: I think night by night, it became harder for him to-- 1597 01:22:38,750 --> 01:22:41,200 to carry on being Elvis. 1598 01:22:41,200 --> 01:22:43,750 Drugs and the self-destructiveness 1599 01:22:43,750 --> 01:22:46,250 were all punishments. 1600 01:22:46,250 --> 01:22:49,290 He was in great pain, and yet, he gave so much pleasure. 1601 01:22:49,290 --> 01:22:52,290 He would go offstage and collapse, 1602 01:22:52,290 --> 01:22:55,910 and the audience would go out buoyed up and joyous, 1603 01:22:55,910 --> 01:22:57,580 spiritually blessed. 1604 01:23:01,410 --> 01:23:04,870 Priscilla: Elvis was always searching for answers. 1605 01:23:04,870 --> 01:23:06,450 Why him? 1606 01:23:06,450 --> 01:23:09,500 "Well, maybe God had something else planned for me. 1607 01:23:09,500 --> 01:23:11,950 Am I supposed to be giving a message?" 1608 01:23:13,540 --> 01:23:15,250 Not realizing he was doing 1609 01:23:15,250 --> 01:23:17,330 what he was supposed to be doing. 1610 01:23:20,790 --> 01:23:23,870 Petty: The last days of his life was not his best work. 1611 01:23:23,870 --> 01:23:25,910 He had a lot of problems. 1612 01:23:27,910 --> 01:23:29,040 He had gained weight 1613 01:23:29,040 --> 01:23:32,540 which is a cardinal sin in show business. 1614 01:23:32,540 --> 01:23:34,040 Isolation, you know, 1615 01:23:34,040 --> 01:23:36,540 that-- that brings on the drug abuse. 1616 01:23:36,540 --> 01:23:39,040 He's lost touch with his father. 1617 01:23:39,040 --> 01:23:41,370 His mom's gone. 1618 01:23:41,370 --> 01:23:43,910 His wife is gone. 1619 01:23:43,910 --> 01:23:47,290 It had to be very lonely, we know that. 1620 01:23:53,160 --> 01:23:55,870 There's a point when-- when you have success, 1621 01:23:55,870 --> 01:23:57,500 and you get really wealthy 1622 01:23:57,500 --> 01:24:00,330 and there is that day where the letter comes 1623 01:24:00,330 --> 01:24:03,160 that none of this is gonna make me happy. 1624 01:24:08,700 --> 01:24:12,910 And he knew he had to try to find some-- something, you know, 1625 01:24:12,910 --> 01:24:15,330 but I think he gave up. 1626 01:24:15,330 --> 01:24:19,330 I think he felt out-gunned and gave up. 1627 01:24:29,040 --> 01:24:30,290 Priscilla: Those last shows, 1628 01:24:30,290 --> 01:24:31,910 those shows those last couple of years 1629 01:24:31,910 --> 01:24:35,080 were not the most memorable as far as performance. 1630 01:24:35,080 --> 01:24:37,870 Sometimes he didn't get through a-- a song. 1631 01:24:37,870 --> 01:24:42,120 I think the last year, he was pretty much over it. 1632 01:24:42,120 --> 01:24:45,120 I don't even know why, you know, he went on stage. 1633 01:24:45,120 --> 01:24:47,040 They're just hard to watch. 1634 01:24:47,040 --> 01:24:48,660 Sometimes, I think it was better, maybe, 1635 01:24:48,660 --> 01:24:50,500 if they just canceled the show. 1636 01:24:57,790 --> 01:25:01,540 Brown: We got the call that Elvis wanted to record in Memphis. 1637 01:25:01,540 --> 01:25:03,200 Strickland: Whenever we got the call, 1638 01:25:03,200 --> 01:25:05,410 we would be there at his beck and call 1639 01:25:05,410 --> 01:25:07,290 whenever they were ready. 1640 01:25:07,290 --> 01:25:08,700 Brown: In my mind, we're going to, like, 1641 01:25:08,700 --> 01:25:12,120 Sun Records or someplace over there, Chips Moman's studio. 1642 01:25:12,120 --> 01:25:13,540 But we pull into Graceland, 1643 01:25:13,540 --> 01:25:15,120 and I say, "Well, what are we doing here?" 1644 01:25:15,120 --> 01:25:16,830 They said, "We're cutting here." 1645 01:25:16,830 --> 01:25:18,250 Strickland: He wouldn't go to the studio. 1646 01:25:18,250 --> 01:25:21,080 The studio had to come to him, right in the Jungle Room there. 1647 01:25:29,750 --> 01:25:32,370 Man: It's hard to get him to go into a studio environment, 1648 01:25:32,370 --> 01:25:34,000 because he was uncomfortable there. 1649 01:25:34,000 --> 01:25:35,500 Man 2: Didn't wanna go to Nashville, 1650 01:25:35,500 --> 01:25:36,620 didn't want to go to Stax, 1651 01:25:36,620 --> 01:25:37,910 didn't want to go to Chips Moman's. 1652 01:25:37,910 --> 01:25:40,080 He wanted to stay at home. 1653 01:25:40,080 --> 01:25:41,620 Strickland: We would come over from Nashville, 1654 01:25:41,620 --> 01:25:44,410 check into a hotel that was just right down the street. 1655 01:25:46,790 --> 01:25:49,000 Man: And then, we'd all be ready there to go, 1656 01:25:49,000 --> 01:25:50,910 and they'd say, "Elvis is still not up." 1657 01:25:50,910 --> 01:25:52,410 Strickland: He could come down at midnight 1658 01:25:52,410 --> 01:25:54,830 or it could be two o'clock in the morning. 1659 01:25:54,830 --> 01:25:57,580 You never knew what the night was gonna hold. 1660 01:25:59,290 --> 01:26:01,580 Springsteen: Elvis ended up back in the Jungle Room, 1661 01:26:01,580 --> 01:26:04,330 recording his last record. 1662 01:26:04,330 --> 01:26:06,870 Graceland can be something that's-- 1663 01:26:06,870 --> 01:26:09,450 that gives you a sense of-- of place, 1664 01:26:09,450 --> 01:26:11,370 and of-- of center. 1665 01:26:11,370 --> 01:26:14,250 Uh, but it can also be a place where-- 1666 01:26:14,250 --> 01:26:15,950 that you just disappear into. 1667 01:26:15,950 --> 01:26:19,080 It seemed to me that Elvis was caught in-between 1668 01:26:19,080 --> 01:26:20,910 doing a little bit of both there. 1669 01:26:25,450 --> 01:26:28,080 Petty: Seems to be, he's picking songs 1670 01:26:28,080 --> 01:26:31,700 that somewhat reflect his state of mind. 1671 01:26:31,700 --> 01:26:36,160 Like "Hurt" which is one of the-- the very last ones. 1672 01:26:36,160 --> 01:26:38,660 I think he's-- he's feeling very hurt. 1673 01:26:38,660 --> 01:26:41,160 He's very down. He's very alone. 1674 01:26:41,160 --> 01:26:43,950 He doesn't understand what's happened to music, 1675 01:26:43,950 --> 01:26:46,410 and he got left out of that. 1676 01:26:46,410 --> 01:26:48,830 He had become a thing. 1677 01:26:48,830 --> 01:26:51,540 He was no longer Elvis Presley. 1678 01:26:51,540 --> 01:26:53,200 He was "Elvis." 1679 01:27:02,330 --> 01:27:05,000 Norbert Putnam: Well, when I first came over to the Jungle Room, 1680 01:27:05,000 --> 01:27:06,580 they had removed all the furniture. 1681 01:27:06,580 --> 01:27:08,540 They covered the walls in blankets. 1682 01:27:08,540 --> 01:27:10,000 Strickland: There was a semi, 1683 01:27:10,000 --> 01:27:13,040 like a very large tractor trailer, out behind the house. 1684 01:27:13,040 --> 01:27:15,950 It was RCA's complete mobile recording studio. 1685 01:27:15,950 --> 01:27:18,120 They would run all their recording lines 1686 01:27:18,120 --> 01:27:19,450 into the Jungle Room. 1687 01:27:19,450 --> 01:27:21,250 Brown: It looks like you're in Tahiti or something. 1688 01:27:21,250 --> 01:27:22,750 It looked like you were in the islands. 1689 01:27:22,750 --> 01:27:25,830 But we're all just crammed into this tiny little space. 1690 01:27:25,830 --> 01:27:28,040 Tutt: It was a nightmare for the recording engineers 1691 01:27:28,040 --> 01:27:30,700 to keep that sound clean without too much bleed 1692 01:27:30,700 --> 01:27:32,040 with open microphones, 1693 01:27:32,040 --> 01:27:35,540 and we did our best to do the recordings as best we could. 1694 01:27:35,540 --> 01:27:38,370 Strickland: It wasn't like we did a lot of rehearsal 1695 01:27:38,370 --> 01:27:39,540 for the recordings. 1696 01:27:39,540 --> 01:27:41,750 It was "Turn the machine on, and he's gonna sing." 1697 01:27:41,750 --> 01:27:44,540 We would all watch each other doing it on the fly. 1698 01:27:44,540 --> 01:27:46,500 And you know, I-I remember one of the first songs 1699 01:27:46,500 --> 01:27:48,750 that I recorded with him, uh, was "Hurt." 1700 01:27:48,750 --> 01:27:51,000 We didn't have a clue of how it was gonna go down 1701 01:27:51,000 --> 01:27:53,080 or how he would perform it. 1702 01:27:53,080 --> 01:27:55,750 All of a sudden, he takes his stance. 1703 01:27:58,410 --> 01:28:01,410 Elvis: ♪ I'm ♪ 1704 01:28:01,410 --> 01:28:07,700 ♪ So hurt ♪ 1705 01:28:08,750 --> 01:28:13,450 ♪ To think that you lied to me ♪ 1706 01:28:16,500 --> 01:28:21,290 ♪ I'm hurt ♪ 1707 01:28:21,290 --> 01:28:27,120 ♪ Way down deep inside of me ♪ 1708 01:28:30,200 --> 01:28:32,540 ♪ You said ♪ 1709 01:28:32,540 --> 01:28:36,200 ♪ Our love was true ♪ 1710 01:28:36,200 --> 01:28:39,370 ♪ And we'd never ♪ 1711 01:28:39,370 --> 01:28:42,290 ♪ Never part ♪ 1712 01:28:44,790 --> 01:28:48,950 ♪ Now you want someone new ♪ 1713 01:28:48,950 --> 01:28:52,450 ♪ And it breaks my heart ♪ 1714 01:28:52,450 --> 01:28:59,410 ♪ Oh, I'm hurt ♪ 1715 01:29:02,830 --> 01:29:05,160 ♪ Much more ♪ 1716 01:29:05,160 --> 01:29:07,250 ♪ Than you'll ever know ♪ 1717 01:29:10,080 --> 01:29:12,120 ♪ Yes, darling ♪ 1718 01:29:12,120 --> 01:29:14,000 ♪ I'm so hurt ♪ 1719 01:29:15,870 --> 01:29:18,160 ♪ Because ♪ 1720 01:29:18,160 --> 01:29:20,120 ♪ I still love you so ♪ 1721 01:29:21,580 --> 01:29:23,200 ♪ But you know ♪ 1722 01:29:23,200 --> 01:29:28,000 ♪ Even though you hurt me ♪ 1723 01:29:28,000 --> 01:29:31,450 ♪ Like nobody else ♪ 1724 01:29:31,450 --> 01:29:34,370 ♪ Could ever do ♪ 1725 01:29:34,370 --> 01:29:38,620 ♪ I would never ever ♪ 1726 01:29:38,620 --> 01:29:45,580 ♪ Hurt ♪ 1727 01:29:45,580 --> 01:29:47,790 ♪ You ♪ 1728 01:29:47,790 --> 01:29:56,660 ♪ Yeah, you ♪ 1729 01:30:55,790 --> 01:31:00,910 Bearde: Elvis wanted to finish the '68 Special on a big note. 1730 01:31:04,120 --> 01:31:07,500 Quite frankly, we didn't know how to finish the show. 1731 01:31:07,500 --> 01:31:09,540 Binder: Every day at four o'clock, 1732 01:31:09,540 --> 01:31:13,830 we would all sit in the piano room, of our offices, 1733 01:31:13,830 --> 01:31:16,910 rehearsing with Elvis. 1734 01:31:16,910 --> 01:31:21,410 Bearde: While we were sitting in Steve's office with Elvis, 1735 01:31:21,410 --> 01:31:25,000 we had a little black and white television in the corner. 1736 01:31:25,000 --> 01:31:28,040 On that TV... 1737 01:31:28,040 --> 01:31:30,910 Robert Kennedy was assassinated. 1738 01:31:37,540 --> 01:31:39,370 Elvis picked up a guitar, 1739 01:31:39,370 --> 01:31:41,540 and he started playing. 1740 01:31:41,540 --> 01:31:43,950 Talking at a mile a minute. 1741 01:31:43,950 --> 01:31:48,000 He said, "I want you to understand me, 1742 01:31:48,000 --> 01:31:49,450 "because this is a moment in time 1743 01:31:49,450 --> 01:31:51,660 where we all have to understand each other." 1744 01:31:54,080 --> 01:31:58,830 ♪ There must be lights burning brighter ♪ 1745 01:31:58,830 --> 01:32:01,700 ♪ Somewhere ♪ 1746 01:32:01,700 --> 01:32:05,750 ♪ Got to be birds flying higher ♪ 1747 01:32:05,750 --> 01:32:09,000 ♪ In a sky more blue ♪ 1748 01:32:09,000 --> 01:32:13,450 ♪ If I can dream of a better land ♪ 1749 01:32:13,450 --> 01:32:17,080 ♪ Where all my brothers walk hand in hand ♪ 1750 01:32:17,080 --> 01:32:18,790 ♪ Tell me why ♪ 1751 01:32:18,790 --> 01:32:20,660 ♪ Oh, why ♪ 1752 01:32:20,660 --> 01:32:27,290 ♪ Oh, why can't my dream come true ♪ 1753 01:32:28,330 --> 01:32:31,370 ♪ Oh, why ♪ 1754 01:32:31,370 --> 01:32:36,120 ♪ There must be peace and understanding ♪ 1755 01:32:36,120 --> 01:32:38,660 ♪ Sometime ♪ 1756 01:32:38,660 --> 01:32:41,370 ♪ Strong winds of promise ♪ 1757 01:32:41,370 --> 01:32:45,160 ♪ That will blow away all the doubt ♪ 1758 01:32:45,160 --> 01:32:46,700 ♪ And fear ♪ 1759 01:32:46,700 --> 01:32:51,120 ♪ If I can dream of a warmer sun ♪ 1760 01:32:51,120 --> 01:32:54,700 ♪ Where hope keeps shining on everyone ♪ 1761 01:32:54,700 --> 01:32:56,750 ♪ Tell me why ♪ 1762 01:32:56,750 --> 01:32:58,700 ♪ Oh, why ♪ 1763 01:32:58,700 --> 01:33:02,120 ♪ Oh, why won't that sun ♪ 1764 01:33:02,120 --> 01:33:06,410 ♪ Appear ♪ 1765 01:33:11,200 --> 01:33:13,700 ♪ We're lost in a cloud ♪ 1766 01:33:14,950 --> 01:33:18,870 ♪ With too much rain ♪ 1767 01:33:18,870 --> 01:33:22,540 ♪ We're trapped in a world ♪ 1768 01:33:22,540 --> 01:33:26,200 ♪ That's troubled with pain ♪ 1769 01:33:26,200 --> 01:33:32,750 ♪ But as long as a man has the strength to dream ♪ 1770 01:33:32,750 --> 01:33:36,790 ♪ He can redeem his soul ♪ 1771 01:33:36,790 --> 01:33:40,910 ♪ And fly ♪ 1772 01:33:40,910 --> 01:33:44,120 Choir: ♪ He can fly ♪ 1773 01:33:44,120 --> 01:33:46,450 ♪ Deep in my heart ♪ 1774 01:33:46,450 --> 01:33:50,750 ♪ There's a trembling question ♪ 1775 01:33:51,750 --> 01:33:56,080 ♪ Still I am sure that the answer ♪ 1776 01:33:56,080 --> 01:33:59,250 ♪ Answer's gonna come somehow ♪ 1777 01:33:59,250 --> 01:34:03,120 ♪ Out there in the dark ♪ 1778 01:34:03,120 --> 01:34:05,910 ♪ There's a beckoning candle ♪ 1779 01:34:05,910 --> 01:34:09,450 ♪ Oh yeah, and while I can think ♪ 1780 01:34:09,450 --> 01:34:11,370 ♪ While I can talk ♪ 1781 01:34:11,370 --> 01:34:13,290 ♪ While I can stand ♪ 1782 01:34:13,290 --> 01:34:15,160 ♪ While I can walk ♪ 1783 01:34:15,160 --> 01:34:18,830 ♪ While I can dream ♪ 1784 01:34:18,830 --> 01:34:22,910 ♪ Please let my dream ♪ 1785 01:34:22,910 --> 01:34:25,250 ♪ Come true ♪ 1786 01:34:25,250 --> 01:34:27,120 ♪ Oh ♪ 1787 01:34:30,000 --> 01:34:33,790 ♪ Right now ♪ 1788 01:34:33,790 --> 01:34:38,040 ♪ Oh, let it come true right now ♪ 1789 01:34:38,040 --> 01:34:41,330 ♪ Oh, yeah ♪ 1790 01:35:41,040 --> 01:35:43,040 Petty: ♪ Can't you see ♪ 1791 01:35:43,040 --> 01:35:44,500 ♪ I love you ♪ 1792 01:35:44,500 --> 01:35:48,370 ♪ Please don't break my heart in two ♪ 1793 01:35:48,370 --> 01:35:50,540 ♪ That's not hard to do ♪ 1794 01:35:50,540 --> 01:35:55,700 ♪ 'Cause I don't have a wooden heart ♪ 1795 01:35:56,830 --> 01:35:59,870 ♪ And if you say goodbye ♪ 1796 01:35:59,870 --> 01:36:03,450 ♪ Then I know that I would cry ♪ 1797 01:36:03,450 --> 01:36:05,870 ♪ Maybe I would die ♪ 1798 01:36:05,870 --> 01:36:10,700 ♪ 'Cause I don't have a wooden heart ♪ 1799 01:36:12,040 --> 01:36:14,160 ♪ There's no strings ♪ 1800 01:36:14,160 --> 01:36:18,250 ♪ Upon this love of mine ♪ 1801 01:36:18,250 --> 01:36:22,910 ♪ It was always you from the start ♪ 1802 01:36:24,370 --> 01:36:25,950 ♪ Treat me nice ♪ 1803 01:36:25,950 --> 01:36:27,410 ♪ Treat me good ♪ 1804 01:36:27,410 --> 01:36:31,000 ♪ Treat me like you really should ♪ 1805 01:36:31,000 --> 01:36:33,540 ♪ 'Cause I'm not made of wood ♪ 1806 01:36:33,540 --> 01:36:39,450 ♪ And I don't have a wooden heart ♪ 1807 01:36:39,450 --> 01:36:45,080 ♪ No, I don't have a wooden heart ♪ 132557