’68 Comeback Special
In the annals of auditory opulence, “Elvis” stands as the sonorous opus accompanying the televised spectacle of the eponymous American rock and roll luminary, Elvis Presley, in 1968. This resonant compendium, disseminated by RCA Records, emanated from the live resonances within the hallowed halls of NBC Studios in Burbank, California, complemented by supplementary studio endeavors at Western Recorders during the ephemeral epoch of June 1968. Subsequently ascending to the zenith of the Billboard 200 at the prestigious No. 8 echelon, this harmonious convergence, coupled with the televised extravaganza, wrought a renaissance in Presley’s vocational trajectory, resuscitating it from a prolonged period of waning commercial and critical fortunes. The RIAA duly anointed it with Gold certification on July 22, 1969, and Platinum laurels on July 15, 1999.
The sonic panorama encapsulated in the Elvis special’s live album manifests as the acoustic manifestation of the televised spectacle, a kaleidoscopic amalgam of studio harmonies and live reverberations. The live repertoire itself is a variegated tapestry, alternating between “sit-down” renditions with a diminutive ensemble and “stand-up” compositions accompanied by a symphony orchestra.
In stark contradistinction to the arduous monotony that often permeates feature film soundtrack productions, Presley approached this project with genuine enthusiasm. The auditory canvas of the album delineates Presley in three distinct tableaus: elaborate production sequences interweaving medleys of his oeuvre, an unceremonious ensemble rendering full-length compositions before a live audience, and two original compositions wherein Presley is buttressed by an orchestra amid a live auditory assembly. Of note, the two mellifluous ballads from this opus were disseminated as singles. “If I Can Dream” made its auditory debut earlier in the month, sharing the B-side with a melody from his concurrent cinematic offering, “Live a Little, Love a Little,” thereby effectuating a dual promotional thrust within a single phonographic artifact. This duet soared to the pinnacle of the Billboard Hot 100 at No. 12, marking Presley’s most exalted charting since 1965. Subsequently, “Memories” surfaced over a bi-monthly interval after its broadcast, concomitant with the title track of his subsequent cinematic endeavor, “Charro!” This strategic release maneuver propelled the album into the top tier of the chart, breathing vitality into a recording career that had languished at a despondent No. 82 in its antecedent iteration. Presley staunchly advocated for the preservation of the mono mixes for these harmonies on the album.
The chronological tapestry of reissues unfurls as a symphony of untapped auditory wealth, wherein myriad hours of musical opulence were documented during the special’s genesis. RCA, on August 27, 1991, unfurled an augmented iteration for compact disc consumption titled “NBC-TV Special,” encompassing unabridged renditions of the medleys in select instances. The annus mirabilis of 1998 witnessed the advent of two expansive compact disc compilations: “Memories: The ’68 Comeback Special,” showcasing more exhaustive incarnations of the production and orchestral harmonies, and “Tiger Man,” spotlighting the entire evening recital of the two intimate ensemble concerts transpiring on June 27, 1968. The latter duo of small ensemble showcases subsequently graced vinyl grooves under the aegis of “The King in the Ring” during Record Store Day 2018.
In the verdant ides of July 1999, a solitary-CD corollary christened “Burbank ’68: The NBC-TV ‘Comeback Special'” made its debut under the imprimatur of Follow that Dream Records (FTD), the dedicated collectors’ label of Sony/RCA commemorated to unearthing archival treasures ensconced within RCA’s repository of Presley’s studio, live, and rehearsal recordings. “Burbank ’68” bestowed auditory aficionados with snippets of the June 25th rehearsal, the latter segment of the stand-up spectacle on June 29, and select studio renditions fashioned for the special.
On August 5, 2008, the magnum opus entitled “The Complete ’68 Comeback Special” was disseminated by Legacy, a monumental quadruple-CD assemblage encapsulating recording sessions and integral live renditions consummated for the special. This grandiloquent release commemorated the quadragenarian milestone of the TV special’s inception. May of 2016 witnessed the advent of an expanded incarnation of “Elvis (NBC-TV Special)” under the aegis of FTD (Follow that Dream Records).
The chronological tableau transitioned to November 30, 2018, where the 40th-anniversary casket, “The Complete ’68 Comeback Special,” underwent augmentation and resuscitation as the ’68 Comeback Special – 50th Anniversary Edition. This opulent reissue introduced novel stereo interpretations of “Memories” and “If I Can Dream,” supplementing its auditory banquet with a bonus (fifth) disc housing sessions and alternate takes, many of which had erstwhile graced the FTD edition of the album. Additionally, two Blu-ray discs were appended to the trove, encapsulating visual delights. The 2018 iteration judiciously excised a rendition of “A Little Less Conversation,” heretofore included in the 2008 anthology and the 1998 opus “Memories: The 68 Comeback Special.” This editorial decision derived from the discernment that, while this version and arrangement of the composition had been contemplated for the special, it had ultimately been consigned to the annals as an alternative rendition (take 2) for its inaugural purpose in Presley’s cinematic foray, “Live a Little, Love a Little.”
About the Song
“Trouble” is a blues song written by Jerry Leiber and Mike Stoller, first performed by Elvis Presley in 1958. It was featured in the motion picture “King Creole,” and Presley’s recording of the song was included on the movie’s soundtrack. The song, which includes Scotty Moore on guitar, was one of the three songs written by Leiber and Stoller for the film.
In “King Creole,” Presley’s performance of “Trouble” alludes to the styles of Muddy Waters and Bo Diddley. The lyrics convey a sense of danger and rebellion, with Presley singing lines like, “If you’re looking for trouble, then look right in my face. Because I’m evil. My middle name is Misery.” Music critic Maury Dean has suggested that “Trouble,” with Presley’s “growling snarl,” is one of the earliest proto-punk rock songs.
A decade later, in his 1968 comeback special, Elvis Presley opened with a performance of “Trouble.” The sequence featured dark, moody lighting to highlight Presley’s sneer, playing into his “dangerous” image. This performance aimed to showcase that Presley still possessed a “sexy, surly, and downright provocative” demeanor. The song was then seamlessly followed by “Guitar Man” with a “Jailhouse Rock” backdrop and male dancers in cells.
Presley continued to perform “Trouble” several times on tour in the early 1970s, and unofficial recordings of these live performances have circulated among fans. It’s worth noting that in 1975, Presley recorded another song titled “T-R-O-U-B-L-E” for a single, but this is an entirely different composition.
Oldies Songs