’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
When it comes to timeless blues, Jimmy Reed’s “Baby What You Want Me to Do” stands tall, resonating with its mid-tempo shuffle and distinctive vocals, guitar, and harmonica blend. This iconic blues piece, recorded in 1959, has left an indelible mark on the music scene, transcending genres and capturing the hearts of music enthusiasts across the globe.
The Rhythmic Composition
“Baby What You Want Me to Do” is a mid-tempo blues shuffle rooted in the key of E, showcasing Reed’s unique and lazy loping vocal style. Described as “uninhibited and swampy” by Billboard magazine in 1959, the song delivers a classic, gutbucket feel that remains unparalleled. Music critic Cub Koda aptly calls it “deceptively simple,” labeling it as one of the true irreducibles of the blues, a song that feels like it has existed forever.
Unlike typical twelve-bar blues, this composition deviates with chord substitutions in bars nine and ten, adding an extra layer of complexity to its charm. The musical backdrop features Reed’s wife, Mary “Mama” Reed, contributing harmonious vocals, along with Eddie Taylor and Lefty Bates on guitars, Marcus Johnson on bass, and Earl Phillips on drums.
Behind the Scenes: Composition Credits
Jimmy Reed may have received sole credit for this masterpiece, but blues historian Gerard Herzhaft suggests that, like many of Reed’s pieces, the true genius lies with his wife, Mama Reed. In a recording session snippet, Mama Reed playfully suggests different names for the song, highlighting the creative collaboration that often goes unnoticed.
The song can be found on Jimmy Reed’s second album, “Found Love” (1960), the “Jimmy Reed at Carnegie Hall” album (1961), and numerous compilation albums. Interestingly, the lyrics “baby what you want me to do” are absent in the original recording, with later cover versions mistakenly incorporating this phrase instead of the initial “baby why you wanna let go.”
Chart-Topping Success and Recognition
In 1960, “Baby What You Want Me to Do” secured its place on the Billboard Hot R&B Singles chart, reaching an impressive number 10. The track also made its mark on the Hot 100, claiming the 37th spot. Fast forward to 2004, and the Blues Foundation Hall of Fame recognized Reed’s masterpiece in the “Classic of Blues Recordings” category, cementing its status as a blues standard.
The Enduring Legacy: Notable Cover Versions
The beauty of “Baby What You Want Me to Do” lies not only in Reed’s rendition but also in its ability to inspire a multitude of cover versions across different genres. One notable rendition comes from Etta James, featured on her 1963 album, “Etta James Rocks the House.” Elvis Presley also paid homage to this blues classic during his ’68 Comeback Special in 1968, underlining its influence on rock and R&B.
As we delve into the rich tapestry of blues history, “Baby What You Want Me to Do” emerges as a timeless masterpiece that continues to captivate audiences worldwide. Its rhythmic allure and soulful resonance make it a beacon in the vast sea of musical compositions, ensuring its place in the hearts of generations to come.
In conclusion, Reed’s bluesy creation transcends the confines of time, leaving an indelible imprint on the musical landscape. “Baby What You Want Me to Do” is not just a song; it’s a journey through the soulful realms of blues, a journey that resonates with anyone fortunate enough to experience its melodic magic.