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Edited at https://subtitletools.com

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Priscilla Presley:
Elvis was a searcher.

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It's a part of him
that never left.

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♪ ♪

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Announcer:
The following program
is brought to you

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in living color, on NBC.

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Singer presents  Elvis,

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starring Elvis Presley
in his first TV special,

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his first personal performance
on TV in nearly ten years.

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(blues music playing)

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♪ If you're lookin'
for trouble ♪

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♪ ♪

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♪ You came to the right place ♪

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♪ ♪

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♪ If you're lookin'
for trouble ♪

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♪ ♪

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♪ Just look right in my face ♪

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♪ ♪

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♪ I was born standin' up ♪

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♪ ♪

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♪ And talkin' back ♪

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♪ My daddy was
a green-eyed mountain jack ♪

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♪ Because I'm evil ♪

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♪ My middle name is Misery ♪

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♪ Well, I'm evil ♪

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♪ Ah, so don't you
mess around with me ♪

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♪ ♪

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Priscilla:
In '68, he was
a nervous wreck.

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Nervous because he didn't know

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if his audience was
going to accept him.

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People had not seen him
perform in so long.

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It felt like his record career
was over as well.

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It was intense.

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The  '68 Special,
it was either the beginning
or the end of his career.

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Tom Petty:
You know, God bless him.

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He was a light for all of us.

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We all owe him
for going first into battle.

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(Petty laughs)

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He had no road map,

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and he forged a path
of what to do
and what not to do.

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We shouldn't
make the mistake

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of writing off
a great artist

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by all the clatter
that came later.

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We should dwell in what he did

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that was so beautiful
and everlasting,

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which was that
great, great music.

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♪ ♪

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Elvis:
♪ Yes, my baby left me ♪

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♪ Never said a word ♪

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♪ Was it something I done ♪

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♪ Something that she heard? ♪

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♪ My baby left me,
my baby left me ♪

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♪ My baby even left me ♪

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♪ Never said a word ♪

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♪ Lord, I stand at my window ♪

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♪ Wring my hands and cry ♪

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♪ I hate to lose that woman ♪

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♪ Hate to say goodbye ♪

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♪ You know, she left me ♪

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♪ Yeah, she left me ♪

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♪ My baby even left me ♪

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♪ Never said a word ♪

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♪ Play it blues, boy ♪

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♪ ♪

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(film projector whirring)

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♪ ♪

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Jerry Schilling:
Elvis always remembered

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what it was like
to have nothing,

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and to have no respect,
to be looked down upon.

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Priscilla:
Elvis never forgot
the experience

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of being in poverty, ever.

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It stuck with him
all his life.

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♪ ♪

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When I look at photos of Elvis
when he was young,

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I see that little boy in him,

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that playfulness,
the curiosity in his eyes.

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But I also see how he felt
responsibility for his mother.

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♪ ♪

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Bill Ferris:
Elvis was born
in a shotgun house.

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The poorest of the poor
lived in those houses.

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His twin brother
did not survive birth.

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And it's said that
his mother would tell him

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that if he sang when
the moon was full at night,

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his twin brother
could hear him.

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Priscilla:
Gladys was a doting mother,

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but she could be
quite firm as well.

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Always very protective of him.

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He was her only child.

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She lived for him, and...

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he lived for her.

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When Elvis was
three years old in 1938,

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his father was sentenced
to three years in prison

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for forging a check.

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The check was to buy food
to put on the table.

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Gladys would take him
to see his father.

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Vernon was so embarrassed.

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John Jackson:
Thankfully, he doesn't have
to spend the three years.

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He only spends
six months in prison.

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But what it does is

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it starts a pattern
of Vernon being away

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and Elvis and Gladys being
left to their own devices.

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And they move around and live
in different boarding houses.

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Schilling:
This was the end
of the Depression.

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Vernon, after that experience
at Parchman Prison,

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he had a hard time
finding jobs.

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Priscilla:
Elvis told me that his father
really lost his spirit.

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And his mother had to work
really hard during that time.

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Man:
Yes, that's it.

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(guitar playing)

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Ready here for the slate. 802.

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(music continues)
(clapping)

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♪ ♪

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Steve Binder:
When I first got
the phone call

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to get involved with Elvis...

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my partner at the time,
Bones Howe,

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who was a very successful
record producer,

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was really flabbergasted
when I said no.

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And he came over to me
right after I hung up
the phone,

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and he said,
"Steve, I engineered
an Elvis Presley album.

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I know Elvis Presley,
and I think you guys
would hit it off great."

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♪ ♪

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(playing continues)

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Bones Howe:
Elvis was a guy
who sang from his gut.

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This is something
you're born with.

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You're born with that
commitment to the music.

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♪ ♪

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The one thing I remember

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that stuck with me
all these years,
was Binder said,

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"People need to see him
the way he really is.

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"He had to dig back
to find his real self,

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and it was like looking
back into the past."

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(gospel music playing)

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(wind howling)

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(gospel music continuing)

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Red West:
Vernon and Gladys
heard this loud roar,

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half in their sleep.

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They picked Elvis up.

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Thought they were putting
him out a window

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to get him away
from the train
that was coming.

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Threw him right into a wall,

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and he bounced off
and fell on the floor.

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(laughs)
His cryin' woke them up,

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and they saw it was no train.

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It was a tornado
that went through Tupelo.

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Ferris:
Southern religion
reminds its believers

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that we're here
for a short time.

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If you lost your life
or you were spared,

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it was because
of divine providence.

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The loss of life,
the destruction of property,

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it was a reminder
of the fragility of life.

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(piano playing on record)

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Priscilla:
Going to church
with his parents,

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hearing gospel music,

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being a part of people
getting in touch,

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moving with the music,
getting lost in the music.

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Record:
♪ I've got that
old-time religion ♪

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♪ Got that old-time religion ♪

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♪ That is why I'm satisfied ♪

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Larry Strickland:
If you lived in a rural area,

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there wasn't much else
but the music and the church.

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It wasn't like you'd be
going there and sitting back

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and crossin' your legs
and relaxing.

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You know, you get very involved
and very energetic.

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It's as much a feeling
as it is a hearing.

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Elvis Presley:
I've always liked music.

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My mother and dad
both loved to sing.

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They'd tell me that when I was
about three or four years old,

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I got away from
them in church
and walked up

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in front of the choir
and started beatin' time.

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Man:
♪ Have you seen ♪

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♪ Where the Lord's gone? ♪
♪ Tell me now ♪

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♪ Where he's gone ♪
♪ Where he's gone ♪

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(singing continues, indistinct)

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Ferris:
The hymns were more
than religious.

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They were fundamental
building blocks of music.

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Rhythmic, hard-hitting,

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you had the foundation
of rock and roll bands,

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playing in churches.

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♪ When I sit down ♪
♪ Lord, sit down ♪

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♪ Something will be over ♪
♪ Lord, sit down ♪

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♪ When I sit down ♪
♪ Lord, sit down ♪

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♪ Gonna say come over here ♪

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(screaming)

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(indistinct excited speaking)

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(inaudible)
Man: I'm so glad!

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I'm working over here!

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Ferris:
People came to be excited,

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and taken out
of their daily experience.

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♪ ♪

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Elvis was like
Huck Finn exploring.

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At night, he would slip
in to black churches.

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He would listen
to gospel music

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and to the sermons.

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♪ ♪

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Priscilla:
Gladys let him
pursue the music

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that he could
surround himself with.

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Petty:
Elvis was very different.

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Color lines were
rarely crossed.

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You just didn't find
white people

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that tuned into black music

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and stayed there

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and found it interesting

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and studied it.

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David Porter:
A time where the country

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was into racism
and segregation,

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and here was a young kid.

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He was not afraid to go
and be exposed to it,

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so he could learn
even more about it.

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Schilling:
He was doing what
he enjoyed doing.

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I don't think
it was conscious,

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but he absorbed
everything that he saw.

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Man:
♪ That's all right ♪

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Jackson:
He would seek out people
in his neighborhood

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who could play music
or had records,

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or had a radio.

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Man:
♪ Any way you do ♪

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Bruce Springsteen:
You could turn a dial
and hear gospel.

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♪ Well, my mama,
she done told me ♪

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Springsteen:
Turn a dial
and hear country.

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Turn a dial and hear blues.

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Turn the dial and hear
Sunday Night Creatures,
you know?

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I mean, it was all just there

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in the Southern atmosphere
he grew up in.

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♪ That's all right now, mama ♪

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♪ ♪

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(Elvis humming)

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Elvis:
♪ If today ♪

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♪ Was not an endless highway ♪

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♪ If tonight ♪

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♪ Was not an endless trail ♪

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♪ If tomorrow ♪

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♪ Wasn't such a long time ♪

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♪ Then lonesome
would mean nothing ♪

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♪ To me at all ♪

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♪ Yes, and only ♪

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Elvis:
I always felt that
someday, somehow,

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something would happen
to change everything for me.

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And I'd daydream
about how it would be.

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♪ If I could hear her heart ♪

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(music fades)

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(traffic honking)

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Priscilla:
Once he moved to Memphis,

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everything started
opening up for him.

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He was 13.

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♪ ♪

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Ferris:
As BB King once said,
when he moved to Memphis,

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"It was like moving to Paris."

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It was a different culture,

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and a sense in which

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things were connected
and happening,

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that someone like Elvis

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could not even
imagine in Tupelo.

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The wealth, the affluence,

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the scale of buildings,

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the power of that river
flowing by.

256
00:13:46,434 --> 00:13:49,434
Jackson:
Memphis is
a very diverse city,

257
00:13:49,434 --> 00:13:52,064
not an integrated city,
but a very diverse city.

258
00:13:52,064 --> 00:13:54,814
So you had a lot
of people moving there

259
00:13:54,814 --> 00:13:56,274
after the war.

260
00:13:56,274 --> 00:13:58,684
Man:
♪ Well, you know
I love my baby ♪

261
00:13:58,684 --> 00:14:02,394
Jackson:
It was really the hub
for people from that Southern

262
00:14:02,394 --> 00:14:04,274
cotton plantation area

263
00:14:04,274 --> 00:14:08,894
to either stay or use it
as a stepping stone
to go somewhere else.

264
00:14:08,894 --> 00:14:11,104
Ferris:
Like many Southern families,

265
00:14:11,104 --> 00:14:13,854
the Presleys moved
to the big city

266
00:14:13,854 --> 00:14:17,274
seeking a little better
opportunity.

267
00:14:17,274 --> 00:14:21,854
Portia Maultsby:
Memphis developed a very
vibrant entertainment district,

268
00:14:21,854 --> 00:14:26,474
'cause, you know,
people brought with them
their music, their culture.

269
00:14:28,934 --> 00:14:32,224
Petty:
You've got that spill
there of the blues,

270
00:14:32,224 --> 00:14:36,024
of gospel, pop music,
country music.

271
00:14:36,024 --> 00:14:40,223
All those things,
they cross over each other,

272
00:14:40,223 --> 00:14:42,274
and radio definitely
had to play

273
00:14:42,274 --> 00:14:44,564
a big role in his influences,

274
00:14:44,564 --> 00:14:47,564
because I don't think he was
carrying the kind of dough

275
00:14:47,564 --> 00:14:49,643
to have an enormous
record collection.

276
00:14:49,643 --> 00:14:50,934
(Petty chuckles)

277
00:14:52,523 --> 00:14:56,103
Porter:
WDIA, it was a 50,000 watt
African-American radio station

278
00:14:56,103 --> 00:14:59,103
that artists like
Bobby "Blue" Bland
were being played

279
00:14:59,103 --> 00:15:01,564
'cause the whole emphasis
was black music.

280
00:15:01,564 --> 00:15:05,433
Black music was just beginning
to take root in our area,

281
00:15:05,433 --> 00:15:07,144
and there's no doubt in mind

282
00:15:07,144 --> 00:15:09,394
that Elvis Presley
listened to WDIA.

283
00:15:09,394 --> 00:15:11,563
Percy Mayfield (on radio):
It's a real pleasure
to invite you

284
00:15:11,563 --> 00:15:14,473
to keep your radio
dial turned to 1070.

285
00:15:14,473 --> 00:15:16,104
That means WDIA.

286
00:15:16,104 --> 00:15:18,684
That's 50,000 watts
of powered entertainment
for your pleasure.

287
00:15:18,684 --> 00:15:20,643
(children chattering)

288
00:15:20,643 --> 00:15:23,354
West:
We were both just
above the poverty level.

289
00:15:23,354 --> 00:15:25,474
I lived in one housing project,

290
00:15:25,474 --> 00:15:27,023
and he lived in
Lauderdale Courts

291
00:15:27,023 --> 00:15:28,974
about three or four
miles away.

292
00:15:28,974 --> 00:15:30,523
We grew up the hard way.

293
00:15:30,523 --> 00:15:32,564
(children chattering)

294
00:15:32,564 --> 00:15:34,644
Alan Light:
The apartment
in Lauderdale Courts

295
00:15:34,644 --> 00:15:36,433
that the Presleys moved into

296
00:15:36,433 --> 00:15:40,353
was part of the early
New Deal housing program.

297
00:15:40,353 --> 00:15:43,643
It was affordable,
but it was bigger than
anything they were used to.

298
00:15:48,603 --> 00:15:49,933
They gave him everything.

299
00:15:49,933 --> 00:15:51,434
They let him sleep
in the big bedroom.

300
00:15:51,434 --> 00:15:54,144
They saved what
little money they had

301
00:15:54,144 --> 00:15:57,394
so that he could buy a guitar,
he could buy a record player.

302
00:15:57,394 --> 00:16:00,104
And they gave him that
same sort of independence

303
00:16:00,104 --> 00:16:03,434
to go out in the city
and be exposed to other musics.

304
00:16:03,434 --> 00:16:06,144
(jazz playing)

305
00:16:07,563 --> 00:16:11,103
♪ Train I ride ♪

306
00:16:11,103 --> 00:16:13,024
Priscilla:
He loved the bright lights.

307
00:16:13,024 --> 00:16:14,683
He loved the music in the city.

308
00:16:14,683 --> 00:16:16,933
He loved hearing people
in the street.

309
00:16:16,933 --> 00:16:20,063
He loved listening to music
coming from the bars.

310
00:16:20,063 --> 00:16:22,024
And he'd study them.

311
00:16:22,024 --> 00:16:23,683
Porter:
Elvis was a student.

312
00:16:23,683 --> 00:16:26,103
As a kid, I would go
to the Flamingo Room,

313
00:16:26,103 --> 00:16:29,853
myself and Elvis would hang
at the Flamingo Room.

314
00:16:29,853 --> 00:16:33,313
When you realize that Elvis
knew where Beale Street was,

315
00:16:33,313 --> 00:16:34,724
and knew what that all meant,

316
00:16:34,724 --> 00:16:36,433
you could sense
that he was different.

317
00:16:36,433 --> 00:16:39,023
♪ ♪

318
00:16:39,023 --> 00:16:40,813
You walk in the Flamingo Room
on a Saturday night

319
00:16:40,813 --> 00:16:43,063
or a Friday night,
you're in another world.

320
00:16:43,063 --> 00:16:44,723
It's like a Mardi Gras
celebration,

321
00:16:44,723 --> 00:16:46,393
except the music is soulful.

322
00:16:46,393 --> 00:16:48,313
♪ ♪

323
00:16:48,313 --> 00:16:52,063
There was so much color
in clothing, in dress, in vibe,

324
00:16:52,063 --> 00:16:54,603
and the music
was tremendously upbeat.

325
00:16:54,603 --> 00:16:57,643
♪ Comin' on 'round the bend ♪

326
00:16:57,643 --> 00:16:59,313
You're not seeing
that for one night.

327
00:16:59,313 --> 00:17:02,313
You're seeing that
everytime you go there.

328
00:17:02,313 --> 00:17:05,683
Rufus Thomas:
Beale Street was
the black man's haven.

329
00:17:05,683 --> 00:17:08,853
When he'd come here,
everything lit up.

330
00:17:08,853 --> 00:17:12,773
Lit up like a slot machine.
Everything was fired up!

331
00:17:12,773 --> 00:17:15,433
Beale Street was the place.

332
00:17:15,433 --> 00:17:17,433
Porter:
You'd go out
on your weekend night,

333
00:17:17,433 --> 00:17:19,433
and you were
an African-American,
at that time,

334
00:17:19,433 --> 00:17:20,853
you're making small wages.

335
00:17:20,853 --> 00:17:22,603
You were in a racially
prejudiced time,

336
00:17:22,603 --> 00:17:24,273
and you had to have an escape.

337
00:17:24,273 --> 00:17:27,273
And the legitimacy of the
Flamingo Room experience,

338
00:17:27,273 --> 00:17:28,643
and the Beale Street
experience,

339
00:17:28,643 --> 00:17:30,273
was something
that took your mind

340
00:17:30,273 --> 00:17:33,183
totally away
from those things.

341
00:17:33,183 --> 00:17:35,273
But if you had
the right kind of personality

342
00:17:35,273 --> 00:17:37,433
and spirit about you,
regardless of who you were,

343
00:17:37,433 --> 00:17:39,603
you could come in
and check out the music.

344
00:17:39,603 --> 00:17:40,723
♪ ♪

345
00:17:40,723 --> 00:17:43,103
♪ Train, train ♪

346
00:17:43,103 --> 00:17:45,273
Preston Lauterbach:
BB King, Rufus Thomas,

347
00:17:45,273 --> 00:17:47,433
Johnny Ace,
Bobby "Blue" Bland.

348
00:17:47,433 --> 00:17:49,563
You know, these giants
were playing

349
00:17:49,563 --> 00:17:51,723
little neighborhood
juke joints.

350
00:17:51,723 --> 00:17:53,223
Porter:
Looking at that,
you would see

351
00:17:53,223 --> 00:17:56,472
how powerful it would be
connecting to an audience.

352
00:17:56,472 --> 00:18:01,353
♪ Oh-oh,
stop your train, darlin' ♪

353
00:18:01,353 --> 00:18:05,433
♪ Let a ♪

354
00:18:05,433 --> 00:18:08,643
♪ A poor boy ride ♪

355
00:18:08,643 --> 00:18:12,642
♪ Why don't you hear
me cryin'? ♪

356
00:18:12,642 --> 00:18:15,682
♪ Woo-hoo ♪

357
00:18:15,682 --> 00:18:18,812
Porter:
If you're a young kid,
a black kid or a white kid,

358
00:18:18,812 --> 00:18:21,313
you were not
analytical about it,

359
00:18:21,313 --> 00:18:23,183
but you certainly knew
the difference

360
00:18:23,183 --> 00:18:25,392
between feeling
and not feeling.

361
00:18:25,392 --> 00:18:27,852
And you heard it,
and you felt it.

362
00:18:29,773 --> 00:18:33,473
Ike Turner:
Elvis, he would park his truck
in the alley behind the club,

363
00:18:33,473 --> 00:18:36,853
and he used to come around
to the back of this place,

364
00:18:36,853 --> 00:18:39,893
and he would watch me play
the old upright piano.

365
00:18:39,893 --> 00:18:42,063
When you see him stand up
and he'd be doing his legs,

366
00:18:42,063 --> 00:18:43,682
when he'd be playing
with the guitar,

367
00:18:43,682 --> 00:18:47,813
all this came
from back in those days
when we used to do it.

368
00:18:47,813 --> 00:18:51,683
Howlin' Wolf:
♪ Don't you hear me
talkin' to you, woman? ♪

369
00:18:51,683 --> 00:18:55,023
♪ Whoo-hoo ♪

370
00:18:55,023 --> 00:18:58,523
♪ Whoo-oo ♪

371
00:18:58,523 --> 00:19:01,932
♪ Since I've been gone ♪

372
00:19:01,932 --> 00:19:03,933
Schilling:
Elvis picked up everything.

373
00:19:03,933 --> 00:19:06,602
He was the most
eclectic human being

374
00:19:06,602 --> 00:19:07,933
I have ever been around.

375
00:19:07,933 --> 00:19:10,683
He would pick up something
from another singer,

376
00:19:10,683 --> 00:19:11,932
or he would pick up something

377
00:19:11,932 --> 00:19:13,933
from a guy
walking down the street,

378
00:19:13,933 --> 00:19:15,892
and say, "Jerry,
look at that walk.

379
00:19:15,892 --> 00:19:17,852
I'm gonna use that walk."

380
00:19:17,852 --> 00:19:22,272
Warren Zanes:
He's looking around
for pockets of expression

381
00:19:22,272 --> 00:19:26,103
and putting together
his version of himself

382
00:19:26,103 --> 00:19:30,392
based on these
highly expressive models
that are often quite different.

383
00:19:30,392 --> 00:19:32,143
You know, the Dean Martins
of the world,

384
00:19:32,143 --> 00:19:35,393
the Mario Lanzas,
the black church.

385
00:19:35,393 --> 00:19:36,562
♪ ♪

386
00:19:36,562 --> 00:19:38,182
Jackson:
At this point,
Elvis and his parents

387
00:19:38,182 --> 00:19:41,022
are going to a lot
of gospel services,

388
00:19:41,022 --> 00:19:44,392
musical events around
the town in Memphis,

389
00:19:44,392 --> 00:19:45,972
both black and white.

390
00:19:45,972 --> 00:19:48,852
(up-tempo piano playing)

391
00:19:48,852 --> 00:19:51,683
♪ Rock my soul
in the bosom of Abraham ♪

392
00:19:51,683 --> 00:19:53,142
Tony Brown:
Quartets were the alter ego

393
00:19:53,142 --> 00:19:55,722
of the Christian people
back in those days.

394
00:19:55,722 --> 00:19:57,773
♪ In the bosom of Abraham,
Oh, rock my soul... ♪

395
00:19:57,773 --> 00:19:59,972
Brown:
'Cause they wore
really tight, cool suits,

396
00:19:59,972 --> 00:20:03,893
and they had slick-back hair
and sideburns.

397
00:20:03,893 --> 00:20:06,933
♪ Rock my soul
in the bosom of Abraham ♪

398
00:20:06,933 --> 00:20:08,352
Brown:
We looked at those people

399
00:20:08,352 --> 00:20:10,393
like they were our
pop stars in a way,

400
00:20:10,393 --> 00:20:12,392
which is what Elvis
really wanted to do.

401
00:20:12,392 --> 00:20:14,472
You know, he wanted to be
in the Blackwood Brothers.

402
00:20:14,472 --> 00:20:17,932
Petty:
Elvis, he longed to be
a great gospel singer.

403
00:20:17,932 --> 00:20:20,272
I think he wanted to be
in a gospel group.

404
00:20:20,272 --> 00:20:22,312
He wold have been
a great tenor.

405
00:20:22,312 --> 00:20:24,182
♪ I'm glad I've got ♪

406
00:20:24,182 --> 00:20:26,182
♪ That old-time religion ♪

407
00:20:26,182 --> 00:20:27,432
♪ It helps me on my journey... ♪

408
00:20:27,432 --> 00:20:28,892
Bill Malone:
Those Pentecostal preachers

409
00:20:28,892 --> 00:20:31,522
were pretty dynamic
individuals, you know.

410
00:20:31,522 --> 00:20:33,682
Back and forth
across the stage

411
00:20:33,682 --> 00:20:35,932
and shouting
and raising their hands

412
00:20:35,932 --> 00:20:37,772
and being very theatrical.

413
00:20:37,772 --> 00:20:39,682
♪ Oh, I couldn't get along ♪

414
00:20:39,682 --> 00:20:41,723
♪ Without Jesus ♪
♪ I couldn't sing my song ♪

415
00:20:41,723 --> 00:20:43,562
♪ Without Jesus ♪
♪ I wouldn't know
how to pray ♪

416
00:20:43,562 --> 00:20:45,892
♪ Without Jesus ♪
♪ I wouldn't know
what to say ♪

417
00:20:45,892 --> 00:20:49,722
♪ Without Jesus ♪
♪ Joy bells couldn't ring ♪

418
00:20:49,722 --> 00:20:51,722
♪ Without Jesus ♪
♪ Angels couldn't sing ♪

419
00:20:51,722 --> 00:20:53,852
♪ Without Jesus ♪
♪ My life wouldn't
mean a thing ♪

420
00:20:53,852 --> 00:20:55,972
♪ Without Jesus ♪
♪ I couldn't reach my goal ♪

421
00:20:55,972 --> 00:20:58,062
♪ Without Jesus ♪
♪ With no one to keep
my soul ♪

422
00:20:58,062 --> 00:21:00,392
♪ Hey, tell me,
what can I do without... ♪

423
00:21:00,392 --> 00:21:03,681
Springsteen:
Front man is something
that was derived from preacher,

424
00:21:03,681 --> 00:21:05,682
you know, fronting
the choir in church.

425
00:21:05,682 --> 00:21:07,852
So whether you're
James Brown or Elvis

426
00:21:07,852 --> 00:21:09,562
or anyone out there,

427
00:21:09,562 --> 00:21:10,812
your position, basically,

428
00:21:10,812 --> 00:21:15,022
is always proto-religious,
you know?

429
00:21:15,022 --> 00:21:16,351
Those are its roots.

430
00:21:16,351 --> 00:21:19,022
♪ Oh, tell me what
would I do without Jesus ♪

431
00:21:19,022 --> 00:21:24,022
♪ In my life ♪

432
00:21:24,022 --> 00:21:25,851
(applause)

433
00:21:28,142 --> 00:21:31,062
♪ ♪

434
00:21:37,852 --> 00:21:41,351
Jackson:
Elvis always was
seeking a way

435
00:21:41,351 --> 00:21:45,642
to manifest his musical
interest in some way.

436
00:21:45,642 --> 00:21:48,682
Elvis:
And I went to Humes
High School in Memphis.

437
00:21:48,682 --> 00:21:50,681
I was taking music.
I flunked music.

438
00:21:50,681 --> 00:21:52,272
Just flat, man. Whew!

439
00:21:52,272 --> 00:21:55,642
"F." The only thing
I ever failed.

440
00:21:55,642 --> 00:21:58,062
West:
They had a little
talent show every year.

441
00:21:58,062 --> 00:22:00,521
People would sing,
dance, whatever.

442
00:22:01,772 --> 00:22:03,721
(Elvis speaking)

443
00:22:09,521 --> 00:22:11,352
West:
I had a little
four-piece band,

444
00:22:11,352 --> 00:22:12,471
I was playing the trumpet.

445
00:22:12,471 --> 00:22:14,352
And Elvis had a guitar,

446
00:22:14,352 --> 00:22:16,892
and he got up
and he sang, "Old Shep."

447
00:22:16,892 --> 00:22:21,721
Red Foley's sad song
about his old dog that died.

448
00:22:21,721 --> 00:22:24,472
Elvis:
♪ And one day ♪

449
00:22:24,472 --> 00:22:29,311
♪ The doctor looked at me ♪

450
00:22:29,311 --> 00:22:31,141
♪ And said ♪

451
00:22:31,141 --> 00:22:37,062
♪ "I can do no more
for him, Jim" ♪

452
00:22:37,062 --> 00:22:40,022
Petty:
I think that's the moment
where the school

453
00:22:40,022 --> 00:22:41,431
sort of throws down and goes,

454
00:22:41,431 --> 00:22:44,181
"That's what this
weird kid's about."

455
00:22:45,472 --> 00:22:47,931
The moment that
applause broke through,

456
00:22:47,931 --> 00:22:52,772
that's probably the first
real validation that he's had.

457
00:22:54,271 --> 00:22:57,271
West:
Singing that tearjerker,
he put emotion into it.

458
00:22:57,271 --> 00:23:00,521
Sang the heck out of it,
and he won first place!

459
00:23:00,521 --> 00:23:02,931
And my little band
didn't do shit.

460
00:23:04,352 --> 00:23:07,522
Petty:
That's a big step
for a young man.

461
00:23:07,522 --> 00:23:10,932
At that moment, he had to see
the power of the material.

462
00:23:10,932 --> 00:23:14,102
He had to go,
"This is what I am.

463
00:23:14,102 --> 00:23:16,972
This is what
I'm going to do."

464
00:23:18,101 --> 00:23:20,772
Elvis:
It was amazing how--

465
00:23:20,772 --> 00:23:22,971
how popular I became
in school after that.

466
00:23:22,971 --> 00:23:24,101
(chuckles)

467
00:23:25,391 --> 00:23:28,021
♪ ♪

468
00:23:30,721 --> 00:23:36,062
♪ Just walking in the rain... ♪

469
00:23:36,062 --> 00:23:38,771
(Elvis speaking)

470
00:23:43,471 --> 00:23:45,602
James Tipler:
When he wasn't
driving the truck,

471
00:23:45,602 --> 00:23:48,141
he'd help the electricians
pull wire

472
00:23:48,141 --> 00:23:49,971
or whatever they
needed him to do.

473
00:23:49,971 --> 00:23:51,601
Gladys Tipler:
He had long hair.

474
00:23:51,601 --> 00:23:52,681
It was real thick,

475
00:23:52,681 --> 00:23:55,471
and looked like it was
pasted down really.

476
00:23:55,471 --> 00:23:57,641
James:
We all laughed at him
about that.

477
00:23:57,641 --> 00:24:00,311
(Elvis speaking)

478
00:24:01,681 --> 00:24:03,471
Gladys:
He just what
he wanted to do

479
00:24:03,471 --> 00:24:05,311
is to get in some
kind of business

480
00:24:05,311 --> 00:24:07,601
where he could make
his mother a living,

481
00:24:07,601 --> 00:24:10,391
where she would not have
to struggle for it anymore.

482
00:24:11,971 --> 00:24:14,221
♪ Shake their heads... ♪

483
00:24:14,221 --> 00:24:15,431
Ernst Jorgensen:
At that time,

484
00:24:15,431 --> 00:24:17,431
The Prisonaires had
recorded their big hit,

485
00:24:17,431 --> 00:24:19,221
"Walking in the Rain."

486
00:24:19,221 --> 00:24:20,681
Jackson:
The Prisonaires
were a group

487
00:24:20,681 --> 00:24:22,601
that Sam Phillips
was recording.

488
00:24:22,601 --> 00:24:26,061
Sam Phillips, he grew to be
one of the most famous

489
00:24:26,061 --> 00:24:28,181
and celebrated
record producers of all time,

490
00:24:28,181 --> 00:24:30,891
but at first,
he started his own label.

491
00:24:30,891 --> 00:24:32,521
Schilling:
The Prisonaires.

492
00:24:32,521 --> 00:24:34,521
They were brought out
with handcuffs

493
00:24:34,521 --> 00:24:37,221
into Sun Records to record.

494
00:24:38,521 --> 00:24:40,221
Light:
To even conceive of that

495
00:24:40,221 --> 00:24:42,430
as a possible source
for great music

496
00:24:42,430 --> 00:24:43,851
that people should hear,

497
00:24:43,851 --> 00:24:47,181
there's just a
democratization of...

498
00:24:47,181 --> 00:24:49,641
of art,
of the possibilities for art.

499
00:24:49,641 --> 00:24:54,930
♪ Walkin' in the rain ♪

500
00:24:54,930 --> 00:24:56,561
♪ ♪

501
00:24:56,561 --> 00:24:59,311
Ferris:
What happened in
Memphis at that time

502
00:24:59,311 --> 00:25:02,521
was a convergence
of forces.

503
00:25:02,521 --> 00:25:05,771
The emergence of radio,

504
00:25:05,771 --> 00:25:09,221
deejays, and artists.

505
00:25:09,221 --> 00:25:12,181
And then you add
to that concoction,

506
00:25:12,181 --> 00:25:14,931
the genius of producers

507
00:25:14,931 --> 00:25:16,890
like Sam Phillips.

508
00:25:16,890 --> 00:25:20,891
Lauterbach:
There wasn't much
in the way of rhythm and blues,

509
00:25:20,891 --> 00:25:23,640
black music recording
infrastructure.

510
00:25:23,640 --> 00:25:27,721
It was very much
a do-it-yourself,
mom-and-pop business.

511
00:25:27,721 --> 00:25:30,721
Maultsby:
Sam Phillips loved the blues,

512
00:25:30,721 --> 00:25:33,851
and he was interested
in recording

513
00:25:33,851 --> 00:25:37,271
as many blues
performers as he could.

514
00:25:37,271 --> 00:25:40,601
Schilling:
Elvis was aware
of what Sam had recorded

515
00:25:40,601 --> 00:25:42,470
at Sun Studios.

516
00:25:42,470 --> 00:25:43,771
Rufus Thomas.

517
00:25:43,771 --> 00:25:45,020
Ike Turner.

518
00:25:45,020 --> 00:25:46,431
The Prisonaires.

519
00:25:46,431 --> 00:25:50,061
Petty:
I really believe Sam Phillips,
for a long time,

520
00:25:50,061 --> 00:25:53,890
had the idea of finding
a white singer

521
00:25:53,890 --> 00:25:55,771
that could bring black music

522
00:25:55,771 --> 00:25:58,220
into the white mainstream.

523
00:25:58,220 --> 00:26:00,770
For a lot of noble reasons,

524
00:26:00,770 --> 00:26:03,520
not just commercial.

525
00:26:03,520 --> 00:26:07,560
Schilling:
Everybody thinks that Sam
was looking for a white boy

526
00:26:07,560 --> 00:26:09,101
to do black music.

527
00:26:09,101 --> 00:26:11,891
But Elvis was looking
for Sam Phillips.

528
00:26:11,891 --> 00:26:15,970
Sam Phillips:
I had seen him go by
in his Crown Electric truck

529
00:26:15,970 --> 00:26:17,140
a number of different times,

530
00:26:17,140 --> 00:26:19,310
'cause we had
an open storefront.

531
00:26:19,310 --> 00:26:21,221
He'd go by and go back,

532
00:26:21,221 --> 00:26:23,430
and go by and go back.

533
00:26:23,430 --> 00:26:25,680
This guy would not
come in the studio

534
00:26:25,680 --> 00:26:28,310
and ask me to audition him
for nothin'.

535
00:26:28,310 --> 00:26:30,561
Elvis had never
been in a studio.

536
00:26:30,561 --> 00:26:31,850
Jorgensen:
There was a newspaper story

537
00:26:31,850 --> 00:26:33,811
about how you could
get lucky at Sun Records,

538
00:26:33,811 --> 00:26:36,390
and Elvis just went for it.

539
00:26:36,390 --> 00:26:38,430
(Elvis speaking)

540
00:26:46,930 --> 00:26:50,970
Elvis:
♪ If you ♪

541
00:26:50,970 --> 00:26:54,060
♪ Find your sweetheart ♪

542
00:26:54,060 --> 00:26:58,180
♪ In the arms of a friend ♪

543
00:26:59,221 --> 00:27:00,770
Schilling:
Elvis went in to do

544
00:27:00,770 --> 00:27:02,271
what he thought
he should do

545
00:27:02,271 --> 00:27:04,140
to get a record deal.

546
00:27:04,140 --> 00:27:06,060
West:
He had this beautiful voice,

547
00:27:06,060 --> 00:27:10,770
a high voice, singing
slow love longs, ballads.

548
00:27:10,770 --> 00:27:12,520
Schilling:
And he sang Dean Martin.

549
00:27:12,520 --> 00:27:14,520
He sang Ink Spots--

550
00:27:14,520 --> 00:27:17,560
black but white-accepted music.

551
00:27:17,560 --> 00:27:20,020
There was nothing
that was exciting Sam.

552
00:27:20,020 --> 00:27:21,520
Phillips:
I didn't want that.

553
00:27:21,520 --> 00:27:23,430
It had to have a feel.

554
00:27:23,430 --> 00:27:24,600
(feedback whines)

555
00:27:24,600 --> 00:27:26,180
I did have the feeling

556
00:27:26,180 --> 00:27:28,560
that this guy had
something in the raw

557
00:27:28,560 --> 00:27:30,431
that we could
do something with

558
00:27:30,431 --> 00:27:32,810
if we even knew
what the hell we were doing.

559
00:27:32,810 --> 00:27:34,560
Brought in Scotty Moore,

560
00:27:34,560 --> 00:27:37,350
he was working at his
brother's dry cleaning plant,

561
00:27:37,350 --> 00:27:39,520
and Scotty played the guitar

562
00:27:39,520 --> 00:27:42,470
and was not afraid
to experiment.

563
00:27:42,470 --> 00:27:45,060
Bill Black, I knew could
play a good slap bass.

564
00:27:45,060 --> 00:27:48,640
Black was working
in an appliance store
repairing appliances.

565
00:27:48,640 --> 00:27:51,220
And I said,
"Go and woodshed, boys."

566
00:27:51,220 --> 00:27:54,770
Scotty Moore:
Sam said, "All I need is just
a little background noise.

567
00:27:54,770 --> 00:27:57,220
"You don't have
to worry about
arrangements or anything.

568
00:27:57,220 --> 00:28:00,470
"Don't need the whole band,
just a little rhythm stuff."

569
00:28:00,470 --> 00:28:02,310
I knew Sam was looking
for something,

570
00:28:02,310 --> 00:28:05,560
but he couldn't tell you
what he was looking for,
you know?  (chuckles)

571
00:28:05,560 --> 00:28:08,219
Phillips:
This day we had wound up

572
00:28:08,219 --> 00:28:10,100
just about ready to give up

573
00:28:10,100 --> 00:28:12,890
on having any success
on a session.

574
00:28:12,890 --> 00:28:16,100
About ready to bag up
the instruments and go home.

575
00:28:16,100 --> 00:28:18,220
I knew Sun Records
had to make it

576
00:28:18,220 --> 00:28:21,270
on something that
was a little bit
out of the ordinary

577
00:28:21,270 --> 00:28:23,310
or we may as well forget it.

578
00:28:23,310 --> 00:28:24,810
Jackson:
Things aren't going well.

579
00:28:24,810 --> 00:28:26,560
Elvis is nervous.

580
00:28:26,560 --> 00:28:28,640
Moore:
We'd been there
two, three hours,

581
00:28:28,640 --> 00:28:29,889
and it was starting
to get late

582
00:28:29,889 --> 00:28:31,140
and we were getting tired.

583
00:28:31,140 --> 00:28:34,060
And, uh, we stopped
and had a Coke or something.

584
00:28:34,060 --> 00:28:37,020
Jackson:
Elvis was just about
a year out of high school,

585
00:28:37,020 --> 00:28:39,429
19 years old.

586
00:28:39,429 --> 00:28:42,180
Moore:
He wanted to please Sam,

587
00:28:42,180 --> 00:28:46,720
and he knew he had
to prove himself.

588
00:28:47,810 --> 00:28:50,560
Robbie Robertson:
It was in that moment

589
00:28:50,560 --> 00:28:52,559
that the world changed.

590
00:28:54,430 --> 00:28:57,770
(up-tempo music playing)

591
00:28:59,890 --> 00:29:02,430
Moore:
Elvis sets his Coke down,
picks up the guitar,

592
00:29:02,430 --> 00:29:04,889
starts just frailing,
you know, fire out of it.

593
00:29:04,889 --> 00:29:06,890
I mean, he was beating
his rhythm thing.

594
00:29:06,890 --> 00:29:09,100
Well, Bill picked his bass,
started slapping,

595
00:29:09,100 --> 00:29:11,309
playing along with him.
Just-- just all rhythm.

596
00:29:11,309 --> 00:29:13,809
Guitar was leaning up
on the amp and I picked it up

597
00:29:13,809 --> 00:29:16,140
and started just kinda
vamping along with him.

598
00:29:16,140 --> 00:29:18,850
Elvis:
♪ Well, Mama,
she done told me ♪

599
00:29:18,850 --> 00:29:21,179
♪ Papa done told me too ♪

600
00:29:21,179 --> 00:29:23,309
♪ "Son, that gal
you fooling with ♪

601
00:29:23,309 --> 00:29:25,220
♪ She ain't no good for you" ♪

602
00:29:25,220 --> 00:29:27,970
♪ Well, that's all right ♪

603
00:29:27,970 --> 00:29:30,810
Phillips:
Although Elvis knew
a lot of blues,

604
00:29:30,810 --> 00:29:33,599
country and pop,
it shocked me,

605
00:29:33,599 --> 00:29:37,180
because here is
a classic blues number,

606
00:29:37,180 --> 00:29:40,810
and here is a white cat
not imitating

607
00:29:40,810 --> 00:29:43,139
or mimicking or anything,

608
00:29:43,139 --> 00:29:47,640
but just putting
his feel into it.

609
00:29:47,640 --> 00:29:50,310
Blew me away!

610
00:29:50,310 --> 00:29:53,390
Springsteen:
You hear performers
in the thrall

611
00:29:53,390 --> 00:29:55,059
of the beauty of invention,

612
00:29:55,059 --> 00:29:57,389
not knowing quite
where they're going to go,

613
00:29:57,389 --> 00:29:59,890
not knowing exactly
what they're doing.

614
00:29:59,890 --> 00:30:02,019
Elvis:
♪ I'm leaving town, baby ♪

615
00:30:02,019 --> 00:30:03,809
♪ I'm leaving town for sure ♪

616
00:30:03,809 --> 00:30:05,720
Springsteen:
Just discovering it
and doing it

617
00:30:05,720 --> 00:30:08,179
literally as the music
is being played.

618
00:30:08,179 --> 00:30:09,679
You're out on the frontier,

619
00:30:09,679 --> 00:30:13,179
and it's a very pristine
and exciting place to be.

620
00:30:13,179 --> 00:30:16,559
Elvis:
♪ That's all right now, mama ♪

621
00:30:16,559 --> 00:30:20,019
♪ Any way you do ♪

622
00:30:20,019 --> 00:30:22,469
(scatting to rhythm)

623
00:30:27,679 --> 00:30:29,849
♪ That's all right ♪

624
00:30:29,849 --> 00:30:31,519
♪ It's all right ♪

625
00:30:31,519 --> 00:30:34,350
♪ That's all right, now, mama ♪

626
00:30:34,350 --> 00:30:36,719
♪ Any way you do ♪

627
00:30:36,719 --> 00:30:38,059
One more time, baby.

628
00:30:38,059 --> 00:30:39,719
One more!

629
00:30:39,719 --> 00:30:41,429
Ha!

630
00:30:41,429 --> 00:30:43,519
♪ ♪

631
00:30:43,519 --> 00:30:44,929
(women screaming)

632
00:30:48,389 --> 00:30:50,060
♪ Yeah, baby ♪

633
00:30:58,269 --> 00:31:00,969
♪ Well, my Mama
she done told me ♪

634
00:31:00,969 --> 00:31:02,639
♪ Papa done told me too ♪

635
00:31:02,639 --> 00:31:04,719
♪ They said, "Son,
this gal you foolin' with ♪

636
00:31:04,719 --> 00:31:06,389
♪ She ain't no good for you" ♪

637
00:31:06,389 --> 00:31:08,099
(screams)

638
00:31:08,099 --> 00:31:10,059
♪ ♪

639
00:31:10,059 --> 00:31:13,099
♪ That's all right,
little mama ♪

640
00:31:13,099 --> 00:31:15,719
♪ Any way you do ♪

641
00:31:16,849 --> 00:31:18,268
Give it all, baby!

642
00:31:18,268 --> 00:31:20,469
(scatting to rhythm)

643
00:31:25,429 --> 00:31:29,389
♪ That's all right ♪

644
00:31:29,389 --> 00:31:32,099
♪ That's all right,
little mama ♪

645
00:31:32,099 --> 00:31:34,719
♪ Any way you do ♪

646
00:31:34,719 --> 00:31:37,018
(scatting)
(screams)

647
00:31:37,018 --> 00:31:38,099
(song ends)

648
00:31:38,099 --> 00:31:39,719
Whoo!
(cheers, screams)

649
00:31:41,179 --> 00:31:42,599
Moore:
We knew it was
a little different.

650
00:31:42,599 --> 00:31:44,639
We didn't know
what it was really.

651
00:31:44,639 --> 00:31:47,429
There was no mention
of, you know,
get this out or anything,

652
00:31:47,429 --> 00:31:49,309
'cause we didn't know.

653
00:31:50,469 --> 00:31:52,269
(up-tempo piano playing)

654
00:31:57,809 --> 00:32:00,719
♪ Write me a letter ♪

655
00:32:00,719 --> 00:32:06,309
(Dewey Phillips
speaking indistinctly)

656
00:32:06,309 --> 00:32:07,469
Just flat fixin' to bring you

657
00:32:07,469 --> 00:32:08,808
the hottest thing
in the country.

658
00:32:08,808 --> 00:32:11,219
Red, Hot, and Blue coming
to you, WHBQ,

659
00:32:11,219 --> 00:32:13,099
in Memphis, Tennessee
and it's Friday night.

660
00:32:13,099 --> 00:32:16,099
Tomorrow's payday
and bath day.
That's a good deal.

661
00:32:16,099 --> 00:32:17,469
Schilling:
Growing up in Memphis,

662
00:32:17,469 --> 00:32:19,519
I'd been listening
to Dewey Phillips

663
00:32:19,519 --> 00:32:21,018
and his Red, Hot,
and Blue show

664
00:32:21,018 --> 00:32:23,179
for two years
before Elvis came on.

665
00:32:23,179 --> 00:32:26,469
DJ Fontana:
He was the number one jock
in Memphis at the time.

666
00:32:27,598 --> 00:32:29,969
Schilling:
When Elvis was played,

667
00:32:29,969 --> 00:32:31,969
it was just different.

668
00:32:31,969 --> 00:32:34,138
It wasn't really
rhythm and blues,

669
00:32:34,138 --> 00:32:35,599
and it wasn't country.

670
00:32:35,599 --> 00:32:37,558
Moore:
Dewey's program,
he started playing it

671
00:32:37,558 --> 00:32:39,179
and phones was
ringing off the wall.

672
00:32:39,179 --> 00:32:41,849
In fact, they went,
took Elvis out of the movie
he was at,

673
00:32:41,849 --> 00:32:43,058
and told him that, uh,

674
00:32:43,058 --> 00:32:45,519
that Dewey wanted
to talk to him on the radio.

675
00:32:45,519 --> 00:32:48,139
Schilling:
He came on,
did the interview.

676
00:32:48,139 --> 00:32:50,559
He was nervous
and he stuttered.

677
00:32:51,809 --> 00:32:53,518
Phillips:
"That's All Right, Mama"
was a hit

678
00:32:53,518 --> 00:32:55,678
in Memphis, Tennessee,
overnight.

679
00:32:55,678 --> 00:32:57,219
Moore:
It was quite
phenomenal, really,

680
00:32:57,219 --> 00:33:00,349
getting that kinda response
off a local radio station.

681
00:33:00,349 --> 00:33:02,598
Fontana:
Dewey played it on the air,
just the one side,

682
00:33:02,598 --> 00:33:03,969
and Sam got
ahold of us, and,

683
00:33:03,969 --> 00:33:05,178
"Gotta get back in here.

684
00:33:05,178 --> 00:33:06,889
We got to have another
side for this record."

685
00:33:06,889 --> 00:33:09,058
Phillips:
I said, "Do you know
anything else

686
00:33:09,058 --> 00:33:11,138
that's as wild as that?"

687
00:33:11,138 --> 00:33:12,719
♪ ♪

688
00:33:24,718 --> 00:33:28,469
Man:
♪ Blue moon of Kentucky ♪

689
00:33:28,469 --> 00:33:30,678
♪ Keep on shining ♪

690
00:33:31,769 --> 00:33:35,309
♪ Shine on the one
that's gone ♪

691
00:33:35,309 --> 00:33:38,389
♪ And proved untrue ♪

692
00:33:38,389 --> 00:33:40,518
Elvis:
♪ Blue moon ♪

693
00:33:40,518 --> 00:33:42,638
♪ Blue moon ♪

694
00:33:42,638 --> 00:33:46,678
♪ Blue moon
keep shining bright ♪

695
00:33:46,678 --> 00:33:48,928
♪ Blue moon, keep on
shining bright ♪

696
00:33:48,928 --> 00:33:51,268
♪ You're gonna bring me
back my baby tonight ♪

697
00:33:51,268 --> 00:33:52,968
♪ Blue moon ♪

698
00:33:52,968 --> 00:33:54,928
♪ Keep shining bright ♪

699
00:33:54,928 --> 00:33:59,888
Ferris:
That one record
summed up his roots--

700
00:33:59,888 --> 00:34:03,098
the very best of
both black blues

701
00:34:03,098 --> 00:34:04,768
and white bluegrass.

702
00:34:04,768 --> 00:34:07,098
Elvis:
♪ Blue moon of Kentucky
keep on shining ♪

703
00:34:07,098 --> 00:34:08,768
Petty:
He knew the blues.

704
00:34:08,768 --> 00:34:12,218
He knew Arthur Crudup,
Bill Munroe.

705
00:34:12,218 --> 00:34:15,178
He knew that stuff by memory.

706
00:34:15,178 --> 00:34:18,178
Elvis:
♪ Stars shinnin' bright ♪

707
00:34:18,178 --> 00:34:20,598
Phillips:
The elements there
that came together

708
00:34:20,598 --> 00:34:23,848
were things that I had
prayed for so long:

709
00:34:23,848 --> 00:34:28,178
To record a black low-down
almost gut-bucket blues,

710
00:34:28,178 --> 00:34:32,888
and turn around
and put a classic,
classic bluegrass number,

711
00:34:32,888 --> 00:34:34,927
"Blue Moon of Kentucky,"
on the other side.

712
00:34:36,638 --> 00:34:38,768
It didn't have
to have a color.

713
00:34:38,768 --> 00:34:40,388
It didn't need a color.

714
00:34:40,388 --> 00:34:42,768
Petty:
I don't know if Elvis
was looking at it

715
00:34:42,768 --> 00:34:44,928
all in that noble of a light.

716
00:34:44,928 --> 00:34:46,428
It was just music he liked.

717
00:34:46,428 --> 00:34:49,058
Elvis:
♪ Oh, well, I said,
blue moon of Kentucky ♪

718
00:34:49,058 --> 00:34:50,517
♪ Just keep on shining ♪

719
00:34:50,517 --> 00:34:51,768
Petty:
"Blue Moon of Kentucky,"

720
00:34:51,768 --> 00:34:55,558
he has got this entirely
original take on the bluegrass

721
00:34:55,558 --> 00:34:57,308
and it transforms into

722
00:34:57,308 --> 00:34:59,598
what would later
be called rock and roll.

723
00:34:59,598 --> 00:35:04,348
Elvis:
♪ Shine on the one
who's gone and left me blue ♪

724
00:35:05,308 --> 00:35:08,638
(Sam Phillips talking)

725
00:35:08,638 --> 00:35:11,178
(laughter)

726
00:35:11,178 --> 00:35:15,178
Emmylou Harris:
There's no one that
creates music in a vacuum.

727
00:35:15,178 --> 00:35:17,848
We're all influenced
by what we've heard

728
00:35:17,848 --> 00:35:19,468
and what has come before.

729
00:35:19,468 --> 00:35:22,678
But occasionally, you have
those crossroads moments

730
00:35:22,678 --> 00:35:25,217
when something
completely new is born.

731
00:35:26,718 --> 00:35:28,807
Petty:
It was a beautiful,
beautiful thing.

732
00:35:28,807 --> 00:35:30,018
It was high art,

733
00:35:30,018 --> 00:35:32,678
in the greatest degree,
you know, this is Picasso.

734
00:35:32,678 --> 00:35:36,018
I mean, this is really
taking your influences

735
00:35:36,018 --> 00:35:37,847
and going somewhere with them,

736
00:35:37,847 --> 00:35:39,968
to a place that's new.

737
00:35:41,347 --> 00:35:43,218
West:
Now, Elvis had a hit record,

738
00:35:43,218 --> 00:35:45,928
and he was touring
every night somewhere,

739
00:35:45,928 --> 00:35:48,018
each night a different place.

740
00:35:48,018 --> 00:35:50,717
Jorgensen:
The basic mistake
people make about Elvis

741
00:35:50,717 --> 00:35:53,177
was that he came along
and got lucky.

742
00:35:53,177 --> 00:35:55,308
No, he didn't get lucky.

743
00:35:55,308 --> 00:35:57,768
He worked hard
and he created the music

744
00:35:57,768 --> 00:35:59,467
with great musicians.

745
00:35:59,467 --> 00:36:01,558
He had a drive
that motivated him,

746
00:36:01,558 --> 00:36:03,678
and it was there
from day one.

747
00:36:03,678 --> 00:36:06,888
Elvis:
♪ Well, what a fool I was ♪

748
00:36:06,888 --> 00:36:10,718
♪ To think that you
could love me too ♪

749
00:36:13,218 --> 00:36:14,558
Bill Malone:
In those early days,

750
00:36:14,558 --> 00:36:17,558
whether it was Slim Whitman
or Jim Reeves

751
00:36:17,558 --> 00:36:19,057
or Elvis Presley,

752
00:36:19,057 --> 00:36:21,057
if they wanted to survive,

753
00:36:21,057 --> 00:36:22,597
they had to hit the road.

754
00:36:22,597 --> 00:36:24,347
Springsteen:
It's an old-fashioned
experience

755
00:36:24,347 --> 00:36:27,177
in the sense that he was
part of a touring band.

756
00:36:28,217 --> 00:36:30,018
Which meant that
night after night,

757
00:36:30,018 --> 00:36:32,177
he was putting on his act.

758
00:36:32,177 --> 00:36:33,967
And there's something
that happens

759
00:36:33,967 --> 00:36:35,217
through extensive touring

760
00:36:35,217 --> 00:36:37,467
that you can't
get anywhere else.

761
00:36:37,467 --> 00:36:39,927
Jackson:
You look back at the
calendar of his dates,

762
00:36:39,927 --> 00:36:42,927
and he's literally playing
dates every single night.

763
00:36:42,927 --> 00:36:44,467
The circuit that
they're working

764
00:36:44,467 --> 00:36:46,767
is probably one
of the most thankless

765
00:36:46,767 --> 00:36:48,428
and low-paying,

766
00:36:48,428 --> 00:36:52,597
just grind-of-a-circuit
that you could imagine.

767
00:36:52,597 --> 00:36:54,928
Springsteen:
There's a depth of craft
that's attained

768
00:36:54,928 --> 00:36:58,138
through simply constantly
doing it night after night,

769
00:36:58,138 --> 00:37:01,597
having to satisfy all
different types of audiences.

770
00:37:01,597 --> 00:37:03,267
West:
You know, you have
the stereotype

771
00:37:03,267 --> 00:37:05,467
of the bass being
tied on top of the car.

772
00:37:05,467 --> 00:37:08,597
That was true.
They really did that.

773
00:37:08,597 --> 00:37:10,718
Man:
May I ask, where did you
pick up your style?

774
00:37:10,718 --> 00:37:13,848
Elvis:
My very first appearance
after I started recording.

775
00:37:13,848 --> 00:37:15,597
I was on a show
and I was scared stiff.

776
00:37:15,597 --> 00:37:18,557
And I came out and I was
doing a fast type tune.

777
00:37:18,557 --> 00:37:21,767
Everybody was hollering,
and I didn't know what
they were hollering at.

778
00:37:21,767 --> 00:37:24,307
Everybody was screaming
and then I came offstage,

779
00:37:24,307 --> 00:37:26,467
and my manager told me
that they was hollering

780
00:37:26,467 --> 00:37:28,307
because I was
wiggling my legs.

781
00:37:28,307 --> 00:37:31,347
I was unaware, and so
I went back out for an encore,

782
00:37:31,347 --> 00:37:32,677
and I did a little more.

783
00:37:32,677 --> 00:37:34,307
And the more I did,
the louder they went.

784
00:37:34,307 --> 00:37:36,307
♪ ♪

785
00:37:41,637 --> 00:37:45,307
Jackson:
Sam Phillips was able to get
Elvis on the Opry in Nashville,

786
00:37:45,307 --> 00:37:46,597
which was massive.

787
00:37:46,597 --> 00:37:49,807
I mean, you don't just
get on the Grand Ole Opry.

788
00:37:49,807 --> 00:37:52,967
The Opry, you had to be
a member, be in this club,

789
00:37:52,967 --> 00:37:57,557
the traditional
Nashville establishment.

790
00:37:57,557 --> 00:38:00,217
You had to dress the way
that they wanted you to dress

791
00:38:00,217 --> 00:38:02,967
and sing the way
they wanted you to sing.

792
00:38:02,967 --> 00:38:06,637
The Opry was very,
very segregated.

793
00:38:06,637 --> 00:38:09,217
♪ ♪

794
00:38:12,847 --> 00:38:14,847
Moore:
This was an older audience.

795
00:38:14,847 --> 00:38:17,767
They had their artists
that they went to see.

796
00:38:17,767 --> 00:38:20,467
And here's a kid
dressed funny,

797
00:38:20,467 --> 00:38:23,767
coming out, doing one
of their idols' songs

798
00:38:23,767 --> 00:38:26,717
in a blasphemous way.

799
00:38:26,717 --> 00:38:28,846
They didn't get up
and cheer and holler.

800
00:38:30,517 --> 00:38:32,216
Phillips:
Now, if you are fainthearted,

801
00:38:32,216 --> 00:38:33,847
you're gonna
give up in a hurry

802
00:38:33,847 --> 00:38:36,307
on a situation like that.

803
00:38:36,307 --> 00:38:38,596
We were not fainthearted.

804
00:38:38,596 --> 00:38:41,716
But we certainly didn't know
whether we would win it.

805
00:38:41,716 --> 00:38:44,556
We knew in time
that something this great

806
00:38:44,556 --> 00:38:47,886
could not be kept
under a bushel.

807
00:38:50,307 --> 00:38:52,677
Ferris:
You cannot understand Elvis

808
00:38:52,677 --> 00:38:55,057
apart from country music,

809
00:38:55,057 --> 00:38:57,426
but he was pulling it away

810
00:38:57,426 --> 00:39:00,846
from the traditional
Grand Ole Opry sound

811
00:39:00,846 --> 00:39:06,097
and shaping it as a new,
bluesier version.

812
00:39:07,467 --> 00:39:10,637
While country music
could recognize it,

813
00:39:10,637 --> 00:39:13,556
they also knew it was
a threatening sound

814
00:39:13,556 --> 00:39:16,716
that would ultimately
destroy the power

815
00:39:16,716 --> 00:39:18,427
of the Grand Ole Opry.

816
00:39:20,217 --> 00:39:22,216
Jackson:
So four months after

817
00:39:22,216 --> 00:39:23,637
the release
of the first single,

818
00:39:23,637 --> 00:39:26,637
they play their first
Louisiana Hayride show.

819
00:39:26,637 --> 00:39:27,597
(man speaking)

820
00:39:27,597 --> 00:39:29,927
(Elvis speaking)
(man speaking)

821
00:39:29,927 --> 00:39:31,766
(Elvis speaking)
(feedback whines)

822
00:39:31,766 --> 00:39:35,967
Elvis:
♪ Tweedle, tweedle,
tweedle, dee ♪

823
00:39:35,967 --> 00:39:37,427
♪ ♪

824
00:39:37,427 --> 00:39:40,926
♪ I'm as happy as can be ♪

825
00:39:40,926 --> 00:39:44,556
Fontana:
The Louisiana Hayride was
strictly a country show.

826
00:39:44,556 --> 00:39:47,806
Webb Pierce, Faron Young,
Nat Stuckey, George Jones,

827
00:39:47,806 --> 00:39:50,136
just about everybody
played the Hayride.

828
00:39:50,136 --> 00:39:54,096
Robertson:
The Louisiana Hayride
was really the place

829
00:39:54,096 --> 00:39:57,056
where country music and blues

830
00:39:57,056 --> 00:40:00,056
hit one another and exploded.

831
00:40:00,056 --> 00:40:03,386
Ferris:
It was a critical moment
in his career.

832
00:40:04,717 --> 00:40:06,636
The radio broadcasts

833
00:40:06,636 --> 00:40:09,306
had an enormous
impact in Memphis,

834
00:40:09,306 --> 00:40:14,387
but the Louisiana Hayride was
a whole different audience.

835
00:40:14,387 --> 00:40:16,136
Malone:
Hayride could be heard

836
00:40:16,136 --> 00:40:18,426
all through the western
part of the South,

837
00:40:18,426 --> 00:40:21,926
so it had a pretty wide
geographical audience.

838
00:40:21,926 --> 00:40:25,966
Ferris:
That was a kind of
testing of his ability

839
00:40:25,966 --> 00:40:27,806
to reach audiences

840
00:40:27,806 --> 00:40:30,636
beyond his own home
in Memphis.

841
00:40:30,636 --> 00:40:32,466
♪ ♪

842
00:40:33,676 --> 00:40:36,016
Malone:
The Louisiana Hayride
did send out

843
00:40:36,016 --> 00:40:38,466
road tours
to surrounding towns.

844
00:40:38,466 --> 00:40:40,306
The entire show would move.

845
00:40:40,306 --> 00:40:42,216
Jackson:
They'd start to build
these touring routes

846
00:40:42,216 --> 00:40:45,466
that bring them back
to Shreveport once a week.

847
00:40:46,466 --> 00:40:49,306
That's a big turning point,

848
00:40:49,306 --> 00:40:51,426
not only from
a financial perspective

849
00:40:51,426 --> 00:40:54,886
but also from
a exposure perspective.

850
00:40:54,886 --> 00:40:58,176
Jorgensen:
Elvis played a lot
of these first shows

851
00:40:58,176 --> 00:41:02,056
with Jim Ed and Maxine Brown,
Bud Deckelman,

852
00:41:02,056 --> 00:41:04,846
uh, Betty Amos--
successful country artists,

853
00:41:04,846 --> 00:41:08,176
but not on a real top level.

854
00:41:08,176 --> 00:41:11,056
Zanes:
Those performers are
competing with one another.

855
00:41:11,056 --> 00:41:14,636
Somebody wants to leave there
feeling like they won.

856
00:41:14,636 --> 00:41:16,306
And being on bills like that,

857
00:41:16,306 --> 00:41:19,426
you are amongst people
who are gonna
teach you things.

858
00:41:19,426 --> 00:41:21,846
And that's a big part
of what made Elvis

859
00:41:21,846 --> 00:41:24,306
in those early becoming years

860
00:41:24,306 --> 00:41:26,516
was that he had
an antenna that was up,

861
00:41:26,516 --> 00:41:30,096
and he was stealing tricks,
he was learning lessons.

862
00:41:30,096 --> 00:41:34,016
He was bringing it all in
without it seeming like

863
00:41:34,016 --> 00:41:38,266
he was just doing
somebody else's act.

864
00:41:39,556 --> 00:41:41,386
Fontana:
He could go out there,
and the audience

865
00:41:41,386 --> 00:41:43,466
wouldn't be on his side
for maybe five minutes.

866
00:41:43,466 --> 00:41:46,386
But all of a sudden,
somehow or another,
he'd turn 'em around.

867
00:41:46,386 --> 00:41:48,216
Moore:
He could read
an audience very well.

868
00:41:48,216 --> 00:41:49,556
He could tell
if it didn't seem

869
00:41:49,556 --> 00:41:51,136
like he was going
or just right,

870
00:41:51,136 --> 00:41:52,216
he'd do something,

871
00:41:52,216 --> 00:41:54,636
something you wouldn't
even expect.

872
00:41:54,636 --> 00:41:58,135
Jorgensen:
He often started
a song by like a wail

873
00:41:58,135 --> 00:41:59,466
and then left it
hanging there,

874
00:41:59,466 --> 00:42:01,215
so people were like,
"What's going on?"

875
00:42:01,215 --> 00:42:03,136
He would stop
in the middle of a song

876
00:42:03,136 --> 00:42:05,516
and turn around
or walk away,

877
00:42:05,516 --> 00:42:08,886
and then go back,
or do something with
a microphone stand.

878
00:42:10,176 --> 00:42:12,926
Schilling:
And he would grab
that microphone,

879
00:42:12,926 --> 00:42:16,595
and he would drag it
across the stage.

880
00:42:16,595 --> 00:42:19,096
He was so
sophisticated already

881
00:42:19,096 --> 00:42:21,266
about making contact
with an audience.

882
00:42:21,266 --> 00:42:25,426
If the audience reacted
a lot to something he did,

883
00:42:25,426 --> 00:42:26,925
he did it again.

884
00:42:26,925 --> 00:42:28,306
(distant screaming)

885
00:42:28,306 --> 00:42:30,386
He just had this look,

886
00:42:30,386 --> 00:42:33,426
like a wild, captured animal.

887
00:42:33,426 --> 00:42:36,345
Shook his head and his hair
was down in his face,

888
00:42:36,345 --> 00:42:40,016
and just to watch him
walk from that curtain

889
00:42:40,016 --> 00:42:43,096
to the microphone,
you felt a part of it.

890
00:42:44,466 --> 00:42:46,766
Jorgensen:
He gets presence
on the charts,

891
00:42:46,766 --> 00:42:48,675
and his records
kept doing well,

892
00:42:48,675 --> 00:42:51,715
and eventually, he gets voted
the Most Promising New Artist.

893
00:42:53,096 --> 00:42:54,715
Fontana:
And he finally got a Cadillac.

894
00:42:56,966 --> 00:42:59,306
♪ ♪

895
00:43:13,465 --> 00:43:15,216
Elvis:
And when I was
driving a truck,

896
00:43:15,216 --> 00:43:17,425
every time a big,
shiny car drove by,

897
00:43:17,425 --> 00:43:19,305
it started me
sorta daydreaming.

898
00:43:21,636 --> 00:43:23,595
I'd daydream...

899
00:43:25,965 --> 00:43:27,806
about how it would be.

900
00:43:33,135 --> 00:43:34,635
And the first car
I ever bought

901
00:43:34,635 --> 00:43:36,515
was the most beautiful car
I've ever seen.

902
00:43:40,885 --> 00:43:42,555
It was secondhand,
but I parked it

903
00:43:42,555 --> 00:43:45,715
outside of my hotel
the day I got it.

904
00:43:48,515 --> 00:43:50,515
Elvis:
I sat up all night
just looking at it.

905
00:43:52,766 --> 00:43:54,925
And the next day,
well the thing caught fire

906
00:43:54,925 --> 00:43:56,515
and burned up on the road.

907
00:43:58,095 --> 00:44:01,515
Uh, I've got a lot of cars,

908
00:44:01,515 --> 00:44:03,885
but none of 'em would take
the place of that first one.

909
00:44:11,175 --> 00:44:13,675
♪ ♪

910
00:44:22,215 --> 00:44:26,555
Zanes:
The story that we hear
about early rock and roll

911
00:44:26,555 --> 00:44:29,015
is that the major labels,
in the main,

912
00:44:29,015 --> 00:44:30,465
passed on rock and roll.

913
00:44:30,465 --> 00:44:32,305
And so the indie
labels took it up,

914
00:44:32,305 --> 00:44:35,305
and it took the
major labels a while

915
00:44:35,305 --> 00:44:38,095
to see that rock and roll
wasn't going away.

916
00:44:38,095 --> 00:44:40,555
Man:
♪ Now if you've got a woman ♪

917
00:44:40,555 --> 00:44:44,095
Victor Linn:
The RCAs, the Capitols,
the Columbias, the Deccas,

918
00:44:44,095 --> 00:44:47,675
they were called the majors.

919
00:44:47,675 --> 00:44:50,515
All the other people,
these were independent
businessmen

920
00:44:50,515 --> 00:44:53,845
who sold records to stores.

921
00:44:53,845 --> 00:44:55,425
Phillips:
I have a small
record company,

922
00:44:55,425 --> 00:44:57,215
been in business five years,

923
00:44:57,215 --> 00:45:00,385
worked the lower
of my anatomy off,

924
00:45:00,385 --> 00:45:02,765
peddling days of me
on the road

925
00:45:02,765 --> 00:45:05,595
to the tune of
70,000 miles a year.

926
00:45:08,015 --> 00:45:09,635
Linn:
When we say "independent,"

927
00:45:09,635 --> 00:45:11,805
Sam was connected to no one

928
00:45:11,805 --> 00:45:14,015
at the major labels
in any way.

929
00:45:14,015 --> 00:45:16,465
He would produce what
he wanted to produce.

930
00:45:16,465 --> 00:45:18,135
♪ Dog that bite your hand ♪

931
00:45:18,135 --> 00:45:22,135
It means record it.
It means edit it.

932
00:45:22,135 --> 00:45:24,885
They went into the lab
and did the mastering.

933
00:45:24,885 --> 00:45:26,465
Packaging was already done,

934
00:45:26,465 --> 00:45:28,765
and then they put a bunch
of singles in the car,

935
00:45:28,765 --> 00:45:32,175
and got on the road
and went into the hills
of Tennessee.

936
00:45:32,175 --> 00:45:35,555
And this is really a very
traditional way of doing it.

937
00:45:37,345 --> 00:45:38,885
♪ I went down to the river ♪

938
00:45:38,885 --> 00:45:41,845
Linn:
Now what the record company
would like to see happen

939
00:45:41,845 --> 00:45:44,845
is they could spread
that regionality,

940
00:45:44,845 --> 00:45:48,135
get it from northern
Georgia to Alabama,

941
00:45:48,135 --> 00:45:50,595
and from Alabama
across to Mississippi.

942
00:45:50,595 --> 00:45:53,465
You know, then they've got
national distribution.

943
00:45:53,465 --> 00:45:56,675
Phillips:
I knew, really, so little
about the business

944
00:45:56,675 --> 00:45:59,805
when it came
to merchandising records
and this sort of thing.

945
00:45:59,805 --> 00:46:04,135
The main thing that
did more for us
than anything else

946
00:46:04,135 --> 00:46:08,845
was it created excitement
amongst the major labels.

947
00:46:08,845 --> 00:46:11,304
A lot of hard work
went into this thing,

948
00:46:11,304 --> 00:46:12,595
both on the part of Elvis

949
00:46:12,595 --> 00:46:15,635
and the part of Scotty,
and Bill, and myself.

950
00:46:15,635 --> 00:46:18,965
Schilling:
Elvis, when he was
19 years old,

951
00:46:18,965 --> 00:46:22,095
he knew what he had to do

952
00:46:22,095 --> 00:46:23,764
to get where he wanted to.

953
00:46:23,764 --> 00:46:25,515
He was a very driven man.

954
00:46:25,515 --> 00:46:27,174
Every two months,
he was releasing

955
00:46:27,174 --> 00:46:30,514
another single
at Sun Records.

956
00:46:30,514 --> 00:46:33,594
Robertson:
Sam knew what to ask for,
what to push for,

957
00:46:33,594 --> 00:46:36,514
and all of those pieces,
the way they fit together,

958
00:46:36,514 --> 00:46:40,845
it was like Sam Phillips
was the other member
of that group.

959
00:46:40,845 --> 00:46:43,554
(train whistle blows)

960
00:46:43,554 --> 00:46:45,714
Springsteen:
The Sun space was
pretty indicative

961
00:46:45,714 --> 00:46:49,344
of most small recording
studios of the era.

962
00:46:49,344 --> 00:46:51,095
You know, they were intimate.

963
00:46:51,095 --> 00:46:53,014
They were small.

964
00:46:53,014 --> 00:46:56,014
You were up close
with everybody and everything.

965
00:46:57,055 --> 00:46:59,014
Harris:
And those early records,

966
00:46:59,014 --> 00:47:00,964
they almost knock you
off your heels,

967
00:47:00,964 --> 00:47:05,514
because all that big sound
is coming from so little.

968
00:47:07,264 --> 00:47:08,884
Springsteen:
I think people
make the mistake

969
00:47:08,884 --> 00:47:11,924
that when they think
of rock and roll,
they think of drums.

970
00:47:11,924 --> 00:47:13,514
Elvis:
♪ Oh, baby, baby, baby ♪

971
00:47:13,514 --> 00:47:15,715
Springsteen:
If you listen to a lot
of the early rock and roll,

972
00:47:15,715 --> 00:47:17,214
rhythm came out
of the slap bass,

973
00:47:17,214 --> 00:47:19,214
rhythmic hitting
of the guitar,

974
00:47:19,214 --> 00:47:21,514
and the swing
of the singer's voice.

975
00:47:21,514 --> 00:47:24,264
Elvis:
♪ Come back, baby,
I wanna play house with you ♪

976
00:47:26,094 --> 00:47:28,555
Jon Landau:
There was only a couple
of microphones.

977
00:47:28,555 --> 00:47:30,714
It was-- it was pretty
straightforward.

978
00:47:30,714 --> 00:47:32,764
Elvis:
♪ You may have
a pink Cadillac ♪

979
00:47:32,764 --> 00:47:34,715
♪ But don't you be
nobody's fool ♪

980
00:47:34,715 --> 00:47:36,174
♪ Now, baby, come back ♪

981
00:47:36,174 --> 00:47:38,884
Porter:
You could feel the true
artistry in that period,

982
00:47:38,884 --> 00:47:41,054
because there was not
a lot of recording equipment

983
00:47:41,054 --> 00:47:43,764
to sonically make records
sound a certain kind of way.

984
00:47:43,764 --> 00:47:45,844
♪ ♪

985
00:47:45,844 --> 00:47:48,884
Elvis:
♪ I say meet me in a hurry
behind the barn ♪

986
00:47:48,884 --> 00:47:51,554
Lauterbach:
Elvis listened to everything
that came his way.

987
00:47:51,554 --> 00:47:53,594
Sam was the same way,
only he was...

988
00:47:53,594 --> 00:47:55,714
he was into
the technical aspect of it,

989
00:47:55,714 --> 00:47:57,554
but very much a natural.

990
00:47:57,554 --> 00:47:59,264
Elvis:
♪ I heard the news ♪

991
00:47:59,264 --> 00:48:01,554
Lauterbach:
He didn't want to
overproduce anything.

992
00:48:01,554 --> 00:48:03,884
He wanted to capture raw sound.

993
00:48:03,884 --> 00:48:06,924
♪ ♪

994
00:48:12,924 --> 00:48:16,424
In Elvis, he found
a combination

995
00:48:16,424 --> 00:48:19,634
of rawness with that vision.

996
00:48:19,634 --> 00:48:22,264
The drive of the black music,

997
00:48:22,264 --> 00:48:23,464
you can hear just as well,

998
00:48:23,464 --> 00:48:26,714
the twang on the
white side of music.

999
00:48:26,714 --> 00:48:29,264
♪ ♪

1000
00:48:29,264 --> 00:48:32,014
Landau:
Scotty Moore,
he and Bill Black

1001
00:48:32,014 --> 00:48:33,804
and DJ Fontana

1002
00:48:33,804 --> 00:48:36,674
were an enormous
blessing for Elvis

1003
00:48:36,674 --> 00:48:40,134
and the coherence of the
records they made together.

1004
00:48:41,764 --> 00:48:45,964
Elvis:
♪ Well, if I had
to do it over ♪

1005
00:48:45,964 --> 00:48:48,134
Moore:
I tried to play what
I thought would fit

1006
00:48:48,134 --> 00:48:50,383
the way he was
singing the song.

1007
00:48:50,383 --> 00:48:52,883
Tried to do solos
and fills that--

1008
00:48:52,883 --> 00:48:55,924
that made sense
on that song.

1009
00:48:55,924 --> 00:48:58,804
Elvis:
♪ Baby, trying to get to you ♪

1010
00:49:00,014 --> 00:49:01,174
Petty:
Scotty is brilliant,

1011
00:49:01,174 --> 00:49:03,384
one of the great
musicians of all time.

1012
00:49:03,384 --> 00:49:05,763
Never plays
unless it's necessary.

1013
00:49:05,763 --> 00:49:09,764
Elvis:
♪ Could keep me
away from you ♪

1014
00:49:09,764 --> 00:49:13,674
♪ When your
loving letter told me ♪

1015
00:49:13,674 --> 00:49:17,014
Petty:
Bill Black, the bassist,
the way he pops the strings,

1016
00:49:17,014 --> 00:49:19,464
it's him plucking
the bass string,

1017
00:49:19,464 --> 00:49:21,013
rather than just striking it.

1018
00:49:21,013 --> 00:49:22,514
(Petty imitates bass strumming)

1019
00:49:22,514 --> 00:49:25,173
Pretty fierce stuff.
(laughs)

1020
00:49:25,173 --> 00:49:27,923
Elvis:
♪ Brought me through ♪

1021
00:49:27,923 --> 00:49:29,804
Robertson:
But the basic setup,

1022
00:49:29,804 --> 00:49:33,054
when it was just
Elvis, Scotty, Bill

1023
00:49:33,054 --> 00:49:36,673
and a beautiful
echo tape delay,

1024
00:49:36,673 --> 00:49:38,014
it was all you needed.

1025
00:49:38,014 --> 00:49:40,633
With that voice,
you could do anything.

1026
00:49:43,883 --> 00:49:47,514
♪ ♪

1027
00:49:53,924 --> 00:49:57,424
Elvis (echoing):
♪ Blue moon ♪

1028
00:49:57,424 --> 00:50:02,963
♪ You saw me standing alone ♪

1029
00:50:02,963 --> 00:50:06,093
♪ Without a dream in my heart ♪

1030
00:50:06,093 --> 00:50:09,884
Springsteen:
Elvis's early recordings are
marked by, one of the things,

1031
00:50:09,884 --> 00:50:13,714
the freedom of not having
heard yourself very often.

1032
00:50:13,714 --> 00:50:15,713
So, they're very,
very un-self-conscious.

1033
00:50:15,713 --> 00:50:19,214
Elvis:
♪ Blue moon ♪

1034
00:50:19,214 --> 00:50:24,763
♪ You knew just
what I was there for ♪

1035
00:50:24,763 --> 00:50:26,513
♪ You heard me saying... ♪

1036
00:50:26,513 --> 00:50:29,054
Springsteen:
Elvis's voice has
plenty of space

1037
00:50:29,054 --> 00:50:31,263
and beautiful
geography to it.

1038
00:50:31,263 --> 00:50:33,423
Elvis:
♪ Someone I really
could care for ♪

1039
00:50:33,423 --> 00:50:35,963
Springsteen:
And the way he was
recorded by Sam Phillips

1040
00:50:35,963 --> 00:50:38,093
is tremendously pure.

1041
00:50:38,093 --> 00:50:43,263
(Elvis vocalizing)

1042
00:50:44,884 --> 00:50:46,883
You know, there's a looseness,

1043
00:50:46,883 --> 00:50:50,053
as there usually is,
in your early recordings.

1044
00:50:51,264 --> 00:50:55,593
You're excited about
a sudden discovery of self...

1045
00:50:57,053 --> 00:50:59,513
of your powers,
your abilities,

1046
00:50:59,513 --> 00:51:01,593
and what you can
do with them.

1047
00:51:02,883 --> 00:51:08,423
Elvis:
♪ You saw me standing alone ♪

1048
00:51:08,423 --> 00:51:13,923
♪ Without a dream
in my heart ♪

1049
00:51:13,923 --> 00:51:19,633
♪ Without a love of my own ♪

1050
00:51:19,633 --> 00:51:21,963
Springsteen:
I hear all that on
the Sun sessions.

1051
00:51:21,963 --> 00:51:25,463
(Elvis vocalizing)

1052
00:51:36,093 --> 00:51:40,173
Elvis:
♪ Without a love of my own ♪

1053
00:51:40,173 --> 00:51:41,633
(song fades)

1054
00:51:46,673 --> 00:51:49,093
(man speaking)

1055
00:51:49,093 --> 00:51:51,133
(Elvis speaking)

1056
00:52:02,423 --> 00:52:05,883
(man speaking)

1057
00:52:07,303 --> 00:52:09,672
(Elvis speaking)

1058
00:52:15,053 --> 00:52:16,513
(typewriter clacking)

1059
00:52:16,513 --> 00:52:18,173
(typewriter bell dings)

1060
00:52:20,463 --> 00:52:22,012
Vernon Presley:
In 1955,

1061
00:52:22,012 --> 00:52:24,553
Colonel Parker was booking
shows down through Florida.

1062
00:52:24,553 --> 00:52:27,673
People like Hank Snow,
Marty Robbins.

1063
00:52:27,673 --> 00:52:28,882
(audience cheering)

1064
00:52:28,882 --> 00:52:33,013
(Colonel Tom Parker speaking)

1065
00:52:34,342 --> 00:52:36,013
(audience screaming)

1066
00:52:41,763 --> 00:52:44,712
Mike Stoller:
He knew he had
something very special

1067
00:52:44,712 --> 00:52:47,052
and he knew from
the audience reaction.

1068
00:52:47,052 --> 00:52:50,592
He promoted him.
He dropped his other artists

1069
00:52:50,592 --> 00:52:53,632
and devoted himself
entirely to Elvis.

1070
00:52:53,632 --> 00:52:55,213
Elvis:
♪ Keep my eyes on you ♪

1071
00:52:55,213 --> 00:53:00,172
Schilling:
The Colonel, he's a very
hard guy to understand.

1072
00:53:00,172 --> 00:53:02,712
His past was complicated.

1073
00:53:02,712 --> 00:53:05,053
I think there was
a real respect

1074
00:53:05,053 --> 00:53:06,962
between Elvis
and the Colonel,

1075
00:53:06,962 --> 00:53:09,762
but he was a promoter,
he wasn't a creative guy.

1076
00:53:09,762 --> 00:53:11,553
He was a brilliant promoter.

1077
00:53:14,463 --> 00:53:17,263
Jorgensen:
There was a big tour
in February '55.

1078
00:53:17,263 --> 00:53:19,012
Hank Snow was the headliner,

1079
00:53:19,012 --> 00:53:20,593
and Colonel Parker
had managed

1080
00:53:20,593 --> 00:53:22,342
as a favor and a plot,

1081
00:53:22,342 --> 00:53:25,962
to get Elvis on as
an extra added thing.

1082
00:53:25,962 --> 00:53:29,763
Being on a Hank Snow show
was a real big step forward.

1083
00:53:29,763 --> 00:53:32,342
The Colonel planned it
to be a big step forward.

1084
00:53:32,342 --> 00:53:34,842
He wanted to see
how far Elvis could go.

1085
00:53:34,842 --> 00:53:37,712
Elvis:
♪ Gimme, gimme, gimme
all the love you got ♪

1086
00:53:37,712 --> 00:53:39,173
Jorgensen:
Just three months later,

1087
00:53:39,173 --> 00:53:41,963
they realized that
the star, Hank Snow,

1088
00:53:41,963 --> 00:53:44,672
couldn't close
the show anymore.

1089
00:53:44,672 --> 00:53:47,922
After Elvis had performed,
people left.

1090
00:53:50,262 --> 00:53:51,763
From June of '55,

1091
00:53:51,763 --> 00:53:54,422
you know, basically a year
into Elvis's stay at Sun,

1092
00:53:54,422 --> 00:53:57,592
people are making offers
to buy Elvis's contract.

1093
00:53:57,592 --> 00:53:59,212
The Colonel was afraid

1094
00:53:59,212 --> 00:54:02,302
that if Elvis became
much more successful

1095
00:54:02,302 --> 00:54:03,802
than he already was,

1096
00:54:03,802 --> 00:54:05,842
that he was eventually
not gonna be able

1097
00:54:05,842 --> 00:54:07,463
to take over his management.

1098
00:54:07,463 --> 00:54:08,712
He would be so big

1099
00:54:08,712 --> 00:54:12,632
that he was no longer needed
to bring it further.

1100
00:54:12,632 --> 00:54:14,302
So over the next month,

1101
00:54:14,302 --> 00:54:16,963
he actually starts
manipulating everything.

1102
00:54:17,962 --> 00:54:20,712
And after that,
it became obvious

1103
00:54:20,712 --> 00:54:22,922
between the management
of Bob Neal

1104
00:54:22,922 --> 00:54:25,922
and Sam's little independent
record company,

1105
00:54:25,922 --> 00:54:28,092
they couldn't
push a record

1106
00:54:28,092 --> 00:54:30,922
the way the big
companies could.

1107
00:54:30,922 --> 00:54:34,172
Elvis starts worrying
about that element.

1108
00:54:34,172 --> 00:54:36,802
Mae Axton:
A lot of my listeners
have seen you

1109
00:54:36,802 --> 00:54:37,962
and they've heard
your records,

1110
00:54:37,962 --> 00:54:39,262
and they think
they're very wonderful.

1111
00:54:39,262 --> 00:54:40,962
And of course, you really
skyrocketed to fame

1112
00:54:40,962 --> 00:54:42,762
on "That's All right, Mama,"
wasn't that the one?

1113
00:54:42,762 --> 00:54:44,302
Elvis:
Well, yes, ma'am.
That was the one

1114
00:54:44,302 --> 00:54:45,842
that got me on my way
and everything.

1115
00:54:45,842 --> 00:54:47,342
I wasn't very
well-known down here.

1116
00:54:47,342 --> 00:54:49,172
I mean, you know,
I'm just with a small company,

1117
00:54:49,172 --> 00:54:51,802
and, uh, my records
don't have the distribution

1118
00:54:51,802 --> 00:54:53,422
that they should have,
but, uh...

1119
00:54:53,422 --> 00:54:55,342
Axton:
Oh, of course that--
that's coming, you know.

1120
00:54:55,342 --> 00:54:56,672
It takes a little bit
of time for that

1121
00:54:56,672 --> 00:54:58,462
and to get distribution
all over the United States,

1122
00:54:58,462 --> 00:55:01,172
but I think you are one of
the fastest rising young stars

1123
00:55:01,172 --> 00:55:02,462
perhaps in the field.

1124
00:55:02,462 --> 00:55:03,842
Do you know what
I can't understand,

1125
00:55:03,842 --> 00:55:06,962
is how you keep that leg
shaking just as-- just at...

1126
00:55:06,962 --> 00:55:10,421
Schilling:
Elvis, he knew,
"I've got to make a choice."

1127
00:55:10,421 --> 00:55:14,342
He and Sam spoke the same
language creatively.

1128
00:55:14,342 --> 00:55:16,462
And they loved each other.

1129
00:55:16,462 --> 00:55:20,552
But he knew
that Colonel Parker

1130
00:55:20,552 --> 00:55:21,962
was about national,

1131
00:55:21,962 --> 00:55:24,512
about movies,
and about television.

1132
00:55:26,011 --> 00:55:28,092
And that if he chose
Colonel Parker,

1133
00:55:28,092 --> 00:55:29,922
Sam would be gone.

1134
00:55:30,962 --> 00:55:33,632
Priscilla:
Sam Phillips saw in Elvis

1135
00:55:33,632 --> 00:55:35,961
what Elvis dreamed of

1136
00:55:35,961 --> 00:55:37,882
and no one else
could understand.

1137
00:55:39,632 --> 00:55:41,921
West:
Elvis was still underage,

1138
00:55:41,921 --> 00:55:43,382
under 21.

1139
00:55:43,382 --> 00:55:45,211
The Colonel set up
an appointment

1140
00:55:45,211 --> 00:55:48,171
with Vernon Presley
and Gladys and talked to 'em.

1141
00:55:48,171 --> 00:55:51,051
"I'd like to buy
his contract from Bob.

1142
00:55:51,051 --> 00:55:53,052
I think he has
a lot of potential."

1143
00:55:54,711 --> 00:55:56,512
They were suspicious
of everybody,

1144
00:55:56,512 --> 00:55:58,802
and they should've been
suspicious of the Colonel,

1145
00:55:58,802 --> 00:56:02,092
but the Colonel filled 'em
with all kinda hope.

1146
00:56:02,092 --> 00:56:04,842
They said, "Well, okay."

1147
00:56:04,842 --> 00:56:06,881
Jorgensen:
In that whole
scenario here,

1148
00:56:06,881 --> 00:56:09,512
we have the Colonel
locked in on the idea

1149
00:56:09,512 --> 00:56:11,262
that he wanted RCA.

1150
00:56:11,262 --> 00:56:13,881
Because he knew RCA
from Hank Snow,

1151
00:56:13,881 --> 00:56:16,591
and he even puts up
money of his own

1152
00:56:16,591 --> 00:56:19,421
as an opening
to the dealings with RCA,

1153
00:56:19,421 --> 00:56:24,012
which he would lose
if he didn't bring in
the RCA contract.

1154
00:56:24,012 --> 00:56:26,802
He really believed
in Elvis's potential.

1155
00:56:32,421 --> 00:56:34,591
Linn:
When I got into
the music business

1156
00:56:34,591 --> 00:56:37,801
in, uh, November of 1956,

1157
00:56:37,801 --> 00:56:41,461
in those days,
most of the-- most, not all,

1158
00:56:41,461 --> 00:56:44,921
but most of the records
that were being recorded
were ballads.

1159
00:56:44,921 --> 00:56:48,091
♪ Just walkin' in the rain ♪

1160
00:56:48,091 --> 00:56:50,631
(whistling)

1161
00:56:50,631 --> 00:56:53,341
♪ Getting soaking wet ♪

1162
00:56:53,341 --> 00:56:55,051
(whistling)

1163
00:56:55,051 --> 00:56:57,801
♪ Torture in my heart ♪

1164
00:56:57,801 --> 00:57:01,091
Linn:
You know, they weren't stuff
like Elvis was doing.

1165
00:57:01,091 --> 00:57:03,421
It wasn't what, unfortunately,

1166
00:57:03,421 --> 00:57:07,301
had the nomer of "race music"
and rock and roll,

1167
00:57:07,301 --> 00:57:10,631
and they released as little
of it as they possibly could.

1168
00:57:10,631 --> 00:57:12,421
They felt they had
the shareholders

1169
00:57:12,421 --> 00:57:13,801
of the company
to worry about.

1170
00:57:13,801 --> 00:57:15,631
They had distributors
to worry about.

1171
00:57:15,631 --> 00:57:17,261
They had stores
to worry about.

1172
00:57:17,261 --> 00:57:19,171
They had radio stations
to worry about.

1173
00:57:19,171 --> 00:57:22,591
They said, "Our whole world
is tied up in white music."

1174
00:57:22,591 --> 00:57:27,012
♪ People come to their windows ♪

1175
00:57:27,012 --> 00:57:28,341
♪ They always... ♪

1176
00:57:28,341 --> 00:57:30,552
Linn:
They were very,
very reluctant

1177
00:57:30,552 --> 00:57:32,671
to expose black music

1178
00:57:32,671 --> 00:57:35,801
until such times they
couldn't avoid it anymore.

1179
00:57:35,801 --> 00:57:39,131
Elvis:
♪ You know what it takes,
you got it, baby ♪

1180
00:57:39,131 --> 00:57:41,261
♪ ♪

1181
00:57:41,261 --> 00:57:45,511
♪ You are the only one
I've chose ♪

1182
00:57:45,511 --> 00:57:49,342
♪ Don't leave me here
with all these heartaches ♪

1183
00:57:49,342 --> 00:57:51,341
Jorgensen:
After a lot of going
back and forth,

1184
00:57:51,341 --> 00:57:54,011
eventually the Colonel
pushes RCA

1185
00:57:54,011 --> 00:57:55,512
to buy the contract,

1186
00:57:55,512 --> 00:57:57,671
and all the recordings
that were made,

1187
00:57:57,671 --> 00:58:00,761
both that were released
and those that weren't.

1188
00:58:00,761 --> 00:58:03,631
Elvis:
♪ When it rains,
it really pours ♪

1189
00:58:03,631 --> 00:58:05,801
Linn:
I think he's the test object

1190
00:58:05,801 --> 00:58:08,211
for the majors to really
get in the game,

1191
00:58:08,211 --> 00:58:09,801
and it worked.

1192
00:58:11,051 --> 00:58:13,421
Phillips:
People have asked
me repeatedly,

1193
00:58:13,421 --> 00:58:15,591
"Do you regret
selling Elvis Presley?"

1194
00:58:15,591 --> 00:58:18,261
Elvis:
♪ I got a feeling
for you, baby ♪

1195
00:58:18,261 --> 00:58:19,551
Phillips:
I do not.

1196
00:58:19,551 --> 00:58:24,381
Elvis:
♪ And you're the only one
who knows ♪

1197
00:58:24,381 --> 00:58:28,171
♪ About my troubles,
troubles, troubles ♪

1198
00:58:28,171 --> 00:58:30,381
Man: It'll just be
one second, Elvis.
All right.

1199
00:58:30,381 --> 00:58:32,381
(audience chuckles)

1200
00:58:32,381 --> 00:58:34,211
Elvis:
My boy, my boy,
got my guitar.

1201
00:58:34,211 --> 00:58:36,051
Man:
Uh, Steve?

1202
00:58:36,051 --> 00:58:38,051
Can we have a lot of gain
on this playback?

1203
00:58:38,051 --> 00:58:39,710
Steve: More gain.
Man: Right.

1204
00:58:44,091 --> 00:58:46,211
Are we on television?

1205
00:58:46,211 --> 00:58:47,881
Binder: Huh?
Are we on television?

1206
00:58:47,881 --> 00:58:49,341
Just a minute.

1207
00:58:49,341 --> 00:58:52,300
Binder: One day
in the middle of taping
a production number...

1208
00:58:52,300 --> 00:58:55,631
(playing guitar)
...we're called into
Colonel Parker's office.

1209
00:58:55,631 --> 00:58:59,421
Elvis:
♪ I'll have a blue ♪

1210
00:58:59,421 --> 00:59:01,300
♪ Christmas ♪
Binder: Colonel says,

1211
00:59:01,300 --> 00:59:03,591
"It's been called
to my attention

1212
00:59:03,591 --> 00:59:05,881
that we don't have a
Christmas song in the show."

1213
00:59:05,881 --> 00:59:09,841
♪ And when those blue ♪

1214
00:59:09,841 --> 00:59:13,341
Binder:
"Elvis wants a Christmas
song in the show.

1215
00:59:13,341 --> 00:59:14,921
Don't you, Elvis?"

1216
00:59:14,921 --> 00:59:17,260
Man: Aw, yeah!
♪ You'll be doing... ♪

1217
00:59:17,260 --> 00:59:19,091
Binder:
His hands cross,

1218
00:59:19,091 --> 00:59:21,631
his head goes down,

1219
00:59:21,631 --> 00:59:24,131
and I hear Elvis
mumble, "Yes, sir."

1220
00:59:26,131 --> 00:59:30,170
I watched Elvis
cower to Parker.

1221
00:59:30,170 --> 00:59:34,051
Elvis:
♪ Blue, blue Christmas ♪
(women scream)

1222
00:59:34,051 --> 00:59:36,050
I said, "If that's
what Elvis wants,

1223
00:59:36,050 --> 00:59:37,591
that's what I'll do."

1224
00:59:37,591 --> 00:59:40,631
The Colonel says, "Okay,
then we're all in agreement."

1225
00:59:40,631 --> 00:59:42,800
Elvis walks out the door.

1226
00:59:42,800 --> 00:59:43,961
♪ ♪

1227
00:59:43,961 --> 00:59:46,301
Head goes up, lot of energy,

1228
00:59:46,301 --> 00:59:48,130
and he jams me in the ribs,

1229
00:59:48,130 --> 00:59:50,131
and says, "Fuck him."
(chuckles)

1230
00:59:50,131 --> 00:59:53,461
♪ Blue, blue, blue Christmas ♪

1231
00:59:53,461 --> 00:59:55,460
♪ ♪

1232
00:59:55,460 --> 01:00:00,091
♪ Decorations of red ♪

1233
01:00:00,091 --> 01:00:04,130
♪ On a green Christmas tree ♪

1234
01:00:04,130 --> 01:00:06,631
♪ ♪

1235
01:00:06,631 --> 01:00:09,801
♪ Won't be the same dear ♪

1236
01:00:09,801 --> 01:00:13,550
♪ If you're not here with me ♪

1237
01:00:13,550 --> 01:00:17,630
♪ And when those blue ♪

1238
01:00:17,630 --> 01:00:22,211
♪ Snowflakes start fallin' ♪

1239
01:00:22,211 --> 01:00:23,460
♪ ♪

1240
01:00:23,460 --> 01:00:27,380
♪ That's when those blue ♪

1241
01:00:27,380 --> 01:00:31,671
♪ Memories start callin' ♪

1242
01:00:31,671 --> 01:00:33,921
♪ ♪

1243
01:00:33,921 --> 01:00:38,760
♪ You'll be doin' all right ♪

1244
01:00:38,760 --> 01:00:42,170
♪ With your Christmas of white ♪

1245
01:00:42,170 --> 01:00:44,051
(song fades)

1246
01:00:44,051 --> 01:00:46,170
Petty:
Elvis was one of
the first artists

1247
01:00:46,170 --> 01:00:48,840
that actually
produced himself.

1248
01:00:48,840 --> 01:00:51,010
By the time he lands at RCA,

1249
01:00:51,010 --> 01:00:52,510
he's in charge.

1250
01:00:52,510 --> 01:00:54,010
They're a rock and roll band,

1251
01:00:54,010 --> 01:00:55,920
and Steve Sholes
didn't know

1252
01:00:55,920 --> 01:00:57,670
how to make
one of those records.

1253
01:00:57,670 --> 01:00:59,381
Elvis did.

1254
01:00:59,381 --> 01:01:01,550
Light:
Elvis was a very
different person

1255
01:01:01,550 --> 01:01:02,671
and a very different artist

1256
01:01:02,671 --> 01:01:05,380
going in to make
the first RCA record

1257
01:01:05,380 --> 01:01:08,881
than he was walking in
as an absolute rookie at Sun.

1258
01:01:08,881 --> 01:01:12,171
He'd been out touring
and playing in front of people

1259
01:01:12,171 --> 01:01:14,050
for those months in-between.

1260
01:01:14,050 --> 01:01:15,880
He had experience
in the studio.

1261
01:01:15,880 --> 01:01:18,840
He had had the inspiration
of Sam Phillips,

1262
01:01:18,840 --> 01:01:21,880
watching, pick the songs
and the arrangements
and all of that.

1263
01:01:21,880 --> 01:01:23,920
Petty:
You can hear
"Heartbreak Hotel"

1264
01:01:23,920 --> 01:01:25,420
has got echo chamber,

1265
01:01:25,420 --> 01:01:27,801
because he's clearly
asking for echo.

1266
01:01:27,801 --> 01:01:31,210
And they don't know
how to give him the slapbacks,

1267
01:01:31,210 --> 01:01:32,800
so they're turning up
the chamber,

1268
01:01:32,800 --> 01:01:35,340
and he's just like,
"Okay, I'll make this work."

1269
01:01:35,340 --> 01:01:37,710
And he does.
(laughs)

1270
01:01:37,710 --> 01:01:40,670
Petty (imitating Elvis):
♪ Heartbreak Hotel,
where I will be ♪

1271
01:01:40,670 --> 01:01:43,260
♪ So lonesome, baby ♪

1272
01:01:43,260 --> 01:01:45,420
♪ I'll be so lonely, baby ♪

1273
01:01:45,420 --> 01:01:49,420
Elvis:
♪ They're so lonely,
they could die ♪

1274
01:01:49,420 --> 01:01:52,710
♪ Now, the bellhop's
tears keep flowing ♪

1275
01:01:52,710 --> 01:01:55,840
Howe:
My function was in the booth.

1276
01:01:55,840 --> 01:01:59,340
But I always spent a lot
of time out in the studio.

1277
01:01:59,340 --> 01:02:00,960
What you saw from Elvis

1278
01:02:00,960 --> 01:02:02,960
was that being in
a recording studio

1279
01:02:02,960 --> 01:02:05,629
or being on stage was
exactly the same thing to him.

1280
01:02:05,629 --> 01:02:07,710
Elvis:
♪ They're so lonely ♪

1281
01:02:07,710 --> 01:02:09,170
Howe:
He was always a real

1282
01:02:09,170 --> 01:02:12,800
organic part
of the music physically.

1283
01:02:12,800 --> 01:02:14,959
Extremely animated
when he sang.

1284
01:02:14,959 --> 01:02:16,420
He never stood still.

1285
01:02:16,420 --> 01:02:18,420
Elvis:
♪ Take a walk down
Lonely Street to♪

1286
01:02:18,420 --> 01:02:19,880
♪ Heartbreak Hotel ♪

1287
01:02:19,880 --> 01:02:22,260
♪ Where you will be,
you will be so lonely ♪

1288
01:02:22,260 --> 01:02:26,300
Howe:
And the guys, they just
shifted right into that mode

1289
01:02:26,300 --> 01:02:27,509
that Elvis was in.

1290
01:02:27,509 --> 01:02:29,670
Elvis:
♪ So lonely, you could die ♪

1291
01:02:29,670 --> 01:02:32,510
♪ ♪

1292
01:02:32,510 --> 01:02:33,959
Howe:
If something wasn't
working right

1293
01:02:33,959 --> 01:02:35,630
or it was too slow
or too fast,

1294
01:02:35,630 --> 01:02:37,800
they all looked to him,

1295
01:02:39,010 --> 01:02:40,920
and then he would
move to the music.

1296
01:02:40,920 --> 01:02:42,510
If the music was right,

1297
01:02:42,510 --> 01:02:43,920
he was a show out there.

1298
01:02:43,920 --> 01:02:45,959
He was a captivating person,

1299
01:02:45,959 --> 01:02:48,920
and nobody made
suggestions to Elvis.

1300
01:02:48,920 --> 01:02:50,710
♪ ♪

1301
01:02:50,710 --> 01:02:53,800
Elvis:
♪ Although it's always crowded ♪

1302
01:02:53,800 --> 01:02:56,339
♪ You still can find some room ♪

1303
01:02:56,339 --> 01:03:00,800
♪ For brokenhearted lovers
to cry when they're blue ♪

1304
01:03:00,800 --> 01:03:02,129
♪ Where they'll be so ♪

1305
01:03:02,129 --> 01:03:04,460
♪ They'll be so lonely, baby ♪

1306
01:03:04,460 --> 01:03:07,130
♪ Well, they're so lonely ♪

1307
01:03:07,130 --> 01:03:12,340
♪ They'll be so lonely
they could die ♪

1308
01:03:12,340 --> 01:03:15,670
♪ ♪

1309
01:03:15,670 --> 01:03:18,509
Springsteen:
Elvis's music was shot
through with the blues,

1310
01:03:18,509 --> 01:03:20,209
which he played
quite a bit of.

1311
01:03:20,209 --> 01:03:22,460
But he was always
mixing genres.

1312
01:03:24,629 --> 01:03:27,799
Zanes:
Elvis, by the
first RCA record,

1313
01:03:27,799 --> 01:03:31,340
is already showing
that he can pull in

1314
01:03:31,340 --> 01:03:33,549
a wide range of genres,

1315
01:03:33,549 --> 01:03:36,839
but they all come out Elvis.

1316
01:03:36,839 --> 01:03:40,299
Petty:
He didn't invent
rock and roll, per se.

1317
01:03:40,299 --> 01:03:42,709
I mean, you've got
Little Richard and Joe Turner

1318
01:03:42,709 --> 01:03:45,050
and all these people
on that tip,

1319
01:03:45,050 --> 01:03:48,210
but what Elvis did isn't that.

1320
01:03:48,210 --> 01:03:50,049
(laughs)
You know what--

1321
01:03:50,049 --> 01:03:52,299
What he did is different.

1322
01:03:52,299 --> 01:03:54,380
It's bringing
the country music in,

1323
01:03:54,380 --> 01:03:57,839
bringing white
gospel music in,

1324
01:03:57,839 --> 01:04:00,510
and it becomes pop music.

1325
01:04:00,510 --> 01:04:02,709
Maultsby:
Most of Presley's
first recordings

1326
01:04:02,709 --> 01:04:06,340
were basically covers
of black singers.
(piano playing)

1327
01:04:06,340 --> 01:04:10,339
Little Richard, Arthur Crudup,
Joe Turner, Lloyd Price.

1328
01:04:10,339 --> 01:04:11,879
♪ ♪

1329
01:04:11,879 --> 01:04:16,509
Lloyd Price:
♪ Well, now, lawdy,
lawdy, lawdy, Miss Clawdy ♪

1330
01:04:16,509 --> 01:04:20,709
♪ Girl, you sure
look good to me ♪

1331
01:04:22,340 --> 01:04:25,550
♪ Please don't
excite me, baby ♪

1332
01:04:25,550 --> 01:04:28,590
♪ Know it can't be me ♪

1333
01:04:30,259 --> 01:04:31,590
♪ ♪

1334
01:04:31,590 --> 01:04:35,379
Elvis:
♪ Because I give you
all of my money ♪

1335
01:04:35,379 --> 01:04:39,919
♪ Yeah, but you just
won't treat me right ♪

1336
01:04:39,919 --> 01:04:41,589
Springsteen:
Elvis and Elvis's music

1337
01:04:41,589 --> 01:04:43,379
pointed to black culture
and said,

1338
01:04:43,379 --> 01:04:47,089
"This is something that's
filled with the force of life."

1339
01:04:47,089 --> 01:04:51,259
If you want to be a complete
and fulfilled person,

1340
01:04:51,259 --> 01:04:54,049
if you want to be
an American,

1341
01:04:54,049 --> 01:04:57,129
this is something
you need to pay attention to.

1342
01:04:57,129 --> 01:04:59,089
♪ ♪

1343
01:05:02,709 --> 01:05:05,629
Petty:
The American teen
just knew it rocked.

1344
01:05:05,629 --> 01:05:07,879
No white music
had ever done that.

1345
01:05:07,879 --> 01:05:09,629
Plenty of black music had.

1346
01:05:09,629 --> 01:05:11,549
♪ Tell my mama ♪

1347
01:05:11,549 --> 01:05:17,089
♪ Lord, I swear to God,
what you been doin' to me ♪

1348
01:05:17,089 --> 01:05:19,419
♪ I'm gonna tell everybody... ♪

1349
01:05:19,419 --> 01:05:21,669
Porter:
Elvis was able
to bring a value

1350
01:05:21,669 --> 01:05:24,259
to the presentation
of black music,

1351
01:05:24,259 --> 01:05:25,589
African-American artists,

1352
01:05:25,589 --> 01:05:27,259
at a period that
they were being ignored

1353
01:05:27,259 --> 01:05:29,799
by the great artists,
in a credible way,

1354
01:05:29,799 --> 01:05:32,299
because he learned it
from the source.

1355
01:05:32,299 --> 01:05:36,419
♪ Girl, I don't be
comin' no more ♪

1356
01:05:37,918 --> 01:05:41,048
♪ Goodbye to little darlin' ♪

1357
01:05:41,048 --> 01:05:43,758
♪ Down the road I go ♪

1358
01:05:43,758 --> 01:05:45,629
Can't stop me now, man.
We can't stop.

1359
01:05:45,629 --> 01:05:47,338
Man:
All right, all right.

1360
01:05:47,338 --> 01:05:49,799
♪ I said, bye ♪
(cheers)

1361
01:05:49,799 --> 01:05:50,919
♪ Bye, bye, baby ♪

1362
01:05:50,919 --> 01:05:53,009
(screaming)
♪ Girl, I won't... ♪

1363
01:05:53,009 --> 01:05:54,799
Jorgensen:
In the Colonel's view,

1364
01:05:54,799 --> 01:05:56,009
whatever the songs were,

1365
01:05:56,009 --> 01:05:57,799
whoever played on it
didn't matter.

1366
01:05:57,799 --> 01:05:59,089
It was Elvis.

1367
01:05:59,089 --> 01:06:02,209
It was, in his mind,
about the merchandise.

1368
01:06:02,209 --> 01:06:04,509
He always called it
"the merchandise."

1369
01:06:04,509 --> 01:06:08,209
And that's what it was
to him and to RCA.

1370
01:06:08,209 --> 01:06:10,169
♪ ♪

1371
01:06:13,009 --> 01:06:14,958
Announcer:
We think tonight
that he's going to make

1372
01:06:14,958 --> 01:06:16,299
television history for you.

1373
01:06:16,299 --> 01:06:18,258
We'd like you
to meet him now.
Elvis Presley!

1374
01:06:18,258 --> 01:06:20,169
West:
Colonel knew how to do it,

1375
01:06:20,169 --> 01:06:22,128
and had the contacts
with the--

1376
01:06:22,128 --> 01:06:23,509
the show in New York,

1377
01:06:23,509 --> 01:06:25,128
the Tommy Dorsey Show.

1378
01:06:25,128 --> 01:06:28,839
Jorgensen:
RCA didn't seem to be able
to secure TV performances,

1379
01:06:28,839 --> 01:06:31,548
and eventually,
Colonel Parker secures
Elvis for shows

1380
01:06:31,548 --> 01:06:34,878
to coincide with the release
of the record in January.

1381
01:06:34,878 --> 01:06:37,708
♪ ♪

1382
01:06:37,708 --> 01:06:39,129
Light:
The earliest shows,

1383
01:06:39,129 --> 01:06:41,879
he doesn't have that much
material to draw from.

1384
01:06:41,879 --> 01:06:44,959
What he's doing really
are the-- the covers.

1385
01:06:44,959 --> 01:06:46,628
These songs
initially recorded

1386
01:06:46,628 --> 01:06:49,089
by black songwriters,
black performers:

1387
01:06:49,089 --> 01:06:51,049
"Shake, Rattle, and Roll"
and "Money Honey"

1388
01:06:51,049 --> 01:06:52,588
and "Flip, Flop and Fly."

1389
01:06:52,588 --> 01:06:56,298
♪ ♪

1390
01:06:56,298 --> 01:06:58,339
Petty:
He was an
incredible performer

1391
01:06:58,339 --> 01:07:01,669
in that his body
really picked up

1392
01:07:01,669 --> 01:07:04,669
all the intricacies
of the rhythm.

1393
01:07:04,669 --> 01:07:06,208
It's so lighthearted,

1394
01:07:06,208 --> 01:07:09,758
but it's so deep
and meaningful
at the same time.

1395
01:07:09,758 --> 01:07:14,708
♪ ♪

1396
01:07:17,508 --> 01:07:20,089
It's such a magical
thing to see.

1397
01:07:21,338 --> 01:07:24,208
He looks really supernatural,

1398
01:07:24,208 --> 01:07:25,919
'cause of the kinescopes,

1399
01:07:25,919 --> 01:07:28,588
just the way
it distorts the image.

1400
01:07:30,208 --> 01:07:32,419
There's some beautiful thing
going down there,

1401
01:07:32,419 --> 01:07:36,258
you know, and it must
have been really incredible

1402
01:07:36,258 --> 01:07:38,379
to see it with no warning.

1403
01:07:38,379 --> 01:07:40,418
♪ ♪

1404
01:07:44,088 --> 01:07:45,758
(scatting)

1405
01:07:47,208 --> 01:07:48,918
(audience cheering)

1406
01:07:55,008 --> 01:07:56,758
♪ I'm like
a Mississippi bullfrog ♪

1407
01:07:56,758 --> 01:07:58,418
♪ Sittin' on a hollow stump ♪

1408
01:07:58,418 --> 01:07:59,668
♪ ♪

1409
01:07:59,668 --> 01:08:01,208
♪ I'm like
a Mississippi bullfrog ♪

1410
01:08:01,208 --> 01:08:02,798
♪ Sittin' on a hollow stump ♪

1411
01:08:02,798 --> 01:08:04,128
♪ ♪

1412
01:08:04,128 --> 01:08:05,298
♪ I got so many women ♪

1413
01:08:05,298 --> 01:08:07,258
♪ I don't know
which way to jump ♪

1414
01:08:07,258 --> 01:08:10,548
♪ Well, I said
flip, flop and fly ♪

1415
01:08:10,548 --> 01:08:12,418
♪ I don't care if I die ♪

1416
01:08:12,418 --> 01:08:15,088
♪ I said flip, flop and fly ♪

1417
01:08:15,088 --> 01:08:17,048
♪ Don't care if I die ♪

1418
01:08:17,048 --> 01:08:20,758
♪ Don't ever leave me,
don't ever say goodbye ♪

1419
01:08:20,758 --> 01:08:22,628
♪ ♪

1420
01:08:22,628 --> 01:08:24,338
(applause and cheers)

1421
01:08:26,298 --> 01:08:29,208
West:
He just did all those
Tommy and Jimmy Dorsey shows.

1422
01:08:29,208 --> 01:08:31,418
That was nationwide TV.

1423
01:08:31,418 --> 01:08:34,798
And it all went through
the roof from then on.

1424
01:08:34,798 --> 01:08:37,088
Robertson:
That's when
we saw somebody

1425
01:08:37,088 --> 01:08:39,878
that could sing better
than other people,

1426
01:08:39,878 --> 01:08:42,008
could move better
than other people,

1427
01:08:42,008 --> 01:08:45,338
had style that was better
than other people.

1428
01:08:45,338 --> 01:08:47,088
In the pop world,

1429
01:08:47,088 --> 01:08:49,668
when this came along
it broke glass.

1430
01:08:49,668 --> 01:08:52,548
Elvis:
♪ You ain't nothin'
but a hound dog ♪

1431
01:08:52,548 --> 01:08:54,758
♪ Cryin' all the time ♪

1432
01:08:54,758 --> 01:08:57,507
♪ You ain't nothin'
but a hound dog ♪

1433
01:08:57,507 --> 01:08:59,958
Springsteen:
When you look at those
television performances,

1434
01:08:59,958 --> 01:09:01,668
you see the band
watching Elvis.

1435
01:09:01,668 --> 01:09:03,507
They all got their
eyes on Elvis.

1436
01:09:04,628 --> 01:09:07,338
♪ Well, they said
you was high class ♪

1437
01:09:07,338 --> 01:09:10,668
Springsteen:
That was essential
to the way the band swung.

1438
01:09:10,668 --> 01:09:13,297
Elvis is simply
swinging your world

1439
01:09:13,297 --> 01:09:15,048
with the way
he's swinging his hips

1440
01:09:15,048 --> 01:09:17,378
and moving his legs
and his shoulders.

1441
01:09:17,378 --> 01:09:19,667
He's pushing and pushing
his musicians.

1442
01:09:19,667 --> 01:09:22,587
♪ You ain't nothin'
but a hound dog ♪
(screams)

1443
01:09:22,587 --> 01:09:24,758
♪ Cryin' all the time ♪

1444
01:09:24,758 --> 01:09:26,418
♪ You ain't nothin'
but a hound dog ♪

1445
01:09:26,418 --> 01:09:28,048
Fontana:
We were doing
The Milton Berle Show,

1446
01:09:28,048 --> 01:09:29,798
and we was doing "Hound Dog."

1447
01:09:29,798 --> 01:09:31,957
Right at the end,
we usually go out.

1448
01:09:31,957 --> 01:09:34,088
♪ You ain't
no friend of mine ♪

1449
01:09:34,088 --> 01:09:37,258
Fontana:
All of a sudden, he went
into this half-time bluesy

1450
01:09:37,258 --> 01:09:39,168
"You ain't nothin'
but a hound dog," slow.

1451
01:09:39,168 --> 01:09:41,337
(screaming)
And we had never
did it that way.

1452
01:09:41,337 --> 01:09:44,087
We all looked at each other.
"What do we do now?

1453
01:09:44,087 --> 01:09:45,758
We'd better follow him."

1454
01:09:45,758 --> 01:09:47,837
♪ You ain't nothin' but a... ♪

1455
01:09:47,837 --> 01:09:50,008
Fontana:
I just figured, well,
I better catch his blues licks

1456
01:09:50,008 --> 01:09:51,958
and his legs and arms
and do everything I can.

1457
01:09:51,958 --> 01:09:54,878
It was like every man
for himself, actually.

1458
01:09:54,878 --> 01:09:56,168
♪ Well ♪

1459
01:09:56,168 --> 01:09:58,458
Fontana:
Everytime he'd move
a finger, a leg, an arm,

1460
01:09:58,458 --> 01:10:00,707
or run across the stage
like a machine gun.

1461
01:10:00,707 --> 01:10:03,087
(Fontana imitates drumming)

1462
01:10:03,087 --> 01:10:05,298
Just every lick
I could catch, you know?

1463
01:10:05,298 --> 01:10:06,757
♪ ♪

1464
01:10:06,757 --> 01:10:09,167
Priscilla:
My parents are watching it.

1465
01:10:09,167 --> 01:10:11,548
They don't know
I'm watching it.

1466
01:10:11,548 --> 01:10:14,088
They're looking,
and...  (laughing)

1467
01:10:14,088 --> 01:10:16,757
My mother's saying,
"That's disgusting!"

1468
01:10:16,757 --> 01:10:18,417
♪ Crying all the time ♪

1469
01:10:20,088 --> 01:10:23,758
♪ Well, you ain't never
caught a rabbit ♪

1470
01:10:23,758 --> 01:10:25,207
♪ You ain't no... ♪

1471
01:10:25,207 --> 01:10:26,958
Petty:
As a little kid,
I can remember

1472
01:10:26,958 --> 01:10:28,797
the living room discussion.

1473
01:10:28,797 --> 01:10:33,088
His appearances on TV
were of a sexual nature.

1474
01:10:33,088 --> 01:10:36,418
He had really
stepped over the line

1475
01:10:36,418 --> 01:10:39,298
of what's decent
on television.

1476
01:10:39,298 --> 01:10:42,258
Priscilla:
After that, our parents
wouldn't let us see him.

1477
01:10:42,258 --> 01:10:45,047
The ministers, reverends
told our parents,

1478
01:10:45,047 --> 01:10:47,707
"Keep him away
from your children.

1479
01:10:47,707 --> 01:10:49,298
He's the devil."

1480
01:10:49,298 --> 01:10:51,958
So, he's forbidden fruit.

1481
01:10:51,958 --> 01:10:52,957
(flashbulbs popping)

1482
01:10:52,957 --> 01:10:54,547
Man:
On your personal
appearances,

1483
01:10:54,547 --> 01:10:56,047
you create
a sort of mass hysteria

1484
01:10:56,047 --> 01:10:57,797
amongst your audiences
of teenagers.

1485
01:10:57,797 --> 01:10:59,337
Is your shaking
and quaking in the nature

1486
01:10:59,337 --> 01:11:02,207
of an involuntary response
to this hysteria?

1487
01:11:02,207 --> 01:11:03,877
Elvis: Involuntary?
Man: Yeah.

1488
01:11:03,877 --> 01:11:06,957
Uh, well, I'm aware
of everything I do at all times,

1489
01:11:06,957 --> 01:11:09,417
but, uh, it's just
the way I feel.

1490
01:11:09,417 --> 01:11:11,008
Man:
And do you think
you've learned anything

1491
01:11:11,008 --> 01:11:12,377
from the criticism
leveled at you?

1492
01:11:12,377 --> 01:11:14,008
Elvis: No, I haven't.
Man: You haven't, huh?

1493
01:11:14,008 --> 01:11:16,627
Because, uh, I don't--
I don't feel I'm doing
anything wrong.

1494
01:11:16,627 --> 01:11:18,297
Man:
Do you read the stuff?

1495
01:11:18,297 --> 01:11:21,087
Nik Cohn:
One of the paradoxes
with Elvis is

1496
01:11:21,087 --> 01:11:24,757
how could a boy
so in love with God,

1497
01:11:24,757 --> 01:11:27,757
so obsessively in love
with his mother,

1498
01:11:27,757 --> 01:11:29,087
so decent,

1499
01:11:29,087 --> 01:11:31,797
and "yes, ma'am,"
and "yes, sir"
and all of that,

1500
01:11:31,797 --> 01:11:34,667
how could he be so
unconfined on the stage?

1501
01:11:34,667 --> 01:11:36,587
How could he do this?

1502
01:11:36,587 --> 01:11:38,507
Maultsby:
That was just totally
unacceptable,

1503
01:11:38,507 --> 01:11:40,257
because the mid '50s being

1504
01:11:40,257 --> 01:11:42,877
the beginning of the
civil rights movement,

1505
01:11:42,877 --> 01:11:46,007
the biggest fear that
most Southerners had

1506
01:11:46,007 --> 01:11:48,297
was so-called race mixing.

1507
01:11:50,297 --> 01:11:55,377
♪ ♪

1508
01:11:55,377 --> 01:11:58,337
Ferris:
Elvis's first television
appearances

1509
01:11:58,337 --> 01:12:01,667
were earth-shattering.

1510
01:12:01,667 --> 01:12:05,007
He sang at a moment
in the history of the South

1511
01:12:05,007 --> 01:12:06,457
in the early '50s,

1512
01:12:06,457 --> 01:12:11,257
when his music was truly
a revolutionary sound

1513
01:12:11,257 --> 01:12:15,757
that bridged the black
and white musics
of Southern worlds

1514
01:12:15,757 --> 01:12:19,797
in a way that had
never been heard before.

1515
01:12:19,797 --> 01:12:21,877
Petty:
I don't think
he was, necessarily,

1516
01:12:21,877 --> 01:12:25,257
trying to shake
the world in that sense,

1517
01:12:25,257 --> 01:12:28,047
but I think he...
he knew what he was onto.

1518
01:12:28,047 --> 01:12:29,666
He knew it
made him feel great,

1519
01:12:29,666 --> 01:12:32,706
and he knew there was
a rebellious streak in it.

1520
01:12:32,706 --> 01:12:33,957
He had to know that,

1521
01:12:33,957 --> 01:12:35,626
and it made him powerful.

1522
01:12:35,626 --> 01:12:37,627
They're clearly
afraid of him...

1523
01:12:37,627 --> 01:12:39,547
(Petty laughs)

1524
01:12:39,547 --> 01:12:41,377
...to some degree.

1525
01:12:41,377 --> 01:12:45,757
Zanes:
If you see a large social
anxiety on the horizon,

1526
01:12:45,757 --> 01:12:50,127
there's probably issues
of bodies in control involved.

1527
01:12:50,127 --> 01:12:51,506
Young people,

1528
01:12:51,506 --> 01:12:53,507
whether they were
physically mixing

1529
01:12:53,507 --> 01:12:55,257
black and white or not,

1530
01:12:55,257 --> 01:12:58,507
they were culturally
mixing black and white,

1531
01:12:58,507 --> 01:13:00,706
the way they were
expressing themselves,

1532
01:13:00,706 --> 01:13:04,757
the movements in space
as that mixing happened

1533
01:13:04,757 --> 01:13:06,587
were sexual in nature.

1534
01:13:06,587 --> 01:13:10,456
♪ ♪

1535
01:13:13,756 --> 01:13:15,957
Zanes:
And I think,
in the case of Elvis,

1536
01:13:15,957 --> 01:13:18,087
the fearful response,

1537
01:13:18,087 --> 01:13:21,007
it had a racial component

1538
01:13:21,007 --> 01:13:23,046
and a sexual component.

1539
01:13:23,046 --> 01:13:25,876
You know, it's all about
fear and the body.

1540
01:13:27,417 --> 01:13:31,007
Cohn:
I and millions of other
kids growing up,

1541
01:13:31,007 --> 01:13:33,507
we all had this feeling

1542
01:13:33,507 --> 01:13:36,046
that Elvis was,
sort of, sent to us,

1543
01:13:36,046 --> 01:13:39,416
to lead us out of the darkness
of our own confusion,

1544
01:13:39,416 --> 01:13:41,126
sexual confusion,

1545
01:13:41,126 --> 01:13:42,837
social confusion,

1546
01:13:42,837 --> 01:13:44,456
ineptitude.

1547
01:13:44,456 --> 01:13:47,456
♪ ♪

1548
01:13:51,166 --> 01:13:53,127
Robertson:
Here's what it was for me.

1549
01:13:53,127 --> 01:13:54,756
Elvis came along,

1550
01:13:54,756 --> 01:13:57,876
and this soundwave came out

1551
01:13:57,876 --> 01:14:00,006
that ran right through me.

1552
01:14:00,006 --> 01:14:02,127
♪ ♪

1553
01:14:02,127 --> 01:14:03,876
Priscilla:
You felt like
he was looking at you.

1554
01:14:03,876 --> 01:14:04,917
I mean, he had these eyes,

1555
01:14:04,917 --> 01:14:07,506
and he was connecting
with his audience.

1556
01:14:07,506 --> 01:14:08,957
As teenagers,
it was liberating.

1557
01:14:08,957 --> 01:14:11,297
Now we had something
to claim for ours.

1558
01:14:13,756 --> 01:14:15,626
Light:
I don't think there
was any context

1559
01:14:15,626 --> 01:14:20,086
for the kind of shift
that Elvis represented.

1560
01:14:20,086 --> 01:14:22,166
I don't think there was
any-- any possible way

1561
01:14:22,166 --> 01:14:24,127
to know that that
was going to resonate

1562
01:14:24,127 --> 01:14:27,547
and shake young people
to their core

1563
01:14:27,547 --> 01:14:29,666
in such a profound way.

1564
01:14:32,006 --> 01:14:35,336
Steve Allen:
The reason I booked him,
I recognized right away

1565
01:14:35,336 --> 01:14:37,916
that he had something,
a cuteness.

1566
01:14:37,916 --> 01:14:39,256
It was chiefly his face,

1567
01:14:39,256 --> 01:14:41,836
but a beautiful sound,
he really never had.

1568
01:14:41,836 --> 01:14:45,456
Landau:
The thing is that it was
well-known that Steve Allen,

1569
01:14:45,456 --> 01:14:48,836
who fancied himself
a major songwriter,

1570
01:14:48,836 --> 01:14:50,416
hated rock and roll.

1571
01:14:50,416 --> 01:14:52,797
And his purpose
in having Elvis was,

1572
01:14:52,797 --> 01:14:55,546
first and foremost,
he needed the ratings,

1573
01:14:55,546 --> 01:14:58,506
but secondly,
to be sarcastic

1574
01:14:58,506 --> 01:15:01,006
and condescending to Elvis

1575
01:15:01,006 --> 01:15:04,706
and to the music
he openly despised.

1576
01:15:04,706 --> 01:15:08,206
Elvis:
♪ You ain't nothin'
but a hound dog ♪

1577
01:15:08,206 --> 01:15:10,626
♪ Cryin' all the time ♪

1578
01:15:10,626 --> 01:15:13,376
♪ You ain't nothin'
but a hound dog ♪

1579
01:15:13,376 --> 01:15:15,256
♪ Cryin' all the time ♪

1580
01:15:15,256 --> 01:15:19,376
Dave Marsh:
Steve Allen, he was out
to humiliate an entire culture

1581
01:15:19,376 --> 01:15:21,756
of what he would've
called "hillbillies."

1582
01:15:21,756 --> 01:15:23,546
It was all a sneer.

1583
01:15:23,546 --> 01:15:25,206
Priscilla:
It's a control thing.

1584
01:15:25,206 --> 01:15:26,456
It was humiliating.

1585
01:15:26,456 --> 01:15:28,836
After that, he didn't
like Steve Allen at all.

1586
01:15:28,836 --> 01:15:30,206
♪ Well, that was just a lie ♪

1587
01:15:30,206 --> 01:15:33,206
Marsh:
As a child,
I was deeply offended.

1588
01:15:33,206 --> 01:15:34,456
There was something
wrong there.

1589
01:15:34,456 --> 01:15:37,126
Elvis, why are you
letting him do this to you?

1590
01:15:37,126 --> 01:15:39,795
♪ ♪

1591
01:15:39,795 --> 01:15:43,876
Ferris:
We can look at Elvis
as a Southern trickster figure.

1592
01:15:43,876 --> 01:15:47,296
You deal with power
by yes-ing them to death,

1593
01:15:47,296 --> 01:15:49,756
and that's what Elvis did.

1594
01:15:49,756 --> 01:15:52,916
Very polite, very deferential,

1595
01:15:52,916 --> 01:15:55,585
but with his eye
on the sparrow.

1596
01:15:55,585 --> 01:15:59,756
He was basically
a good-natured Southern kid,

1597
01:15:59,756 --> 01:16:04,835
but he was on a mission
to deliver this music.

1598
01:16:04,835 --> 01:16:06,666
Schilling:
By 1956,

1599
01:16:06,666 --> 01:16:09,706
Elvis was coming
into his own.

1600
01:16:09,706 --> 01:16:12,256
The RCA singles were enormous.

1601
01:16:12,256 --> 01:16:14,295
"Hound Dog,"
"Don't Be Cruel."

1602
01:16:14,295 --> 01:16:17,085
They sold
three million copies.

1603
01:16:17,085 --> 01:16:19,206
Light:
When Elvis's
first album came out,

1604
01:16:19,206 --> 01:16:21,125
that sold 300,000 copies.

1605
01:16:21,125 --> 01:16:24,125
"Heartbreak Hotel" topped
all three Billboard charts:

1606
01:16:24,125 --> 01:16:26,126
country, pop, and R&B.

1607
01:16:27,125 --> 01:16:28,336
This was now a career

1608
01:16:28,336 --> 01:16:32,586
that was going to these
unimaginable heights.

1609
01:16:33,876 --> 01:16:35,296
Petty:
I often wonder

1610
01:16:35,296 --> 01:16:38,336
if there had ever
been a 21-year-old

1611
01:16:38,336 --> 01:16:40,045
that had that power,

1612
01:16:40,045 --> 01:16:43,125
that could mobilize
millions of youths

1613
01:16:43,125 --> 01:16:45,415
with the wave of his hand.

1614
01:16:49,666 --> 01:16:51,955
♪ ♪

1615
01:16:54,046 --> 01:16:56,166
Priscilla:
His mother worried
so much about him.

1616
01:16:56,166 --> 01:16:57,955
He always wanted
to be a good son,

1617
01:16:57,955 --> 01:16:59,206
mostly to his mom,

1618
01:16:59,206 --> 01:17:01,255
and didn't want
to give her fears.

1619
01:17:01,255 --> 01:17:03,006
They would talk
every single day,

1620
01:17:03,006 --> 01:17:04,455
and he was comforting her

1621
01:17:04,455 --> 01:17:07,005
that he'd be okay
and not to worry so much.

1622
01:17:07,005 --> 01:17:09,126
(screaming)

1623
01:17:12,336 --> 01:17:15,586
Light:
By the time Elvis made
the first appearance

1624
01:17:15,586 --> 01:17:17,165
on  The Ed Sullivan Show,

1625
01:17:17,165 --> 01:17:20,665
it was already something
everybody was waiting for,
watching for.

1626
01:17:20,665 --> 01:17:21,956
There was all kinds
of pressure

1627
01:17:21,956 --> 01:17:23,505
and all kinds of expectation.

1628
01:17:23,505 --> 01:17:25,586
The Sullivan Show
was the crown jewel,

1629
01:17:25,586 --> 01:17:28,626
that was the biggest
game in town.

1630
01:17:28,626 --> 01:17:31,206
Priscilla:
It was almost like,
okay, you know,

1631
01:17:31,206 --> 01:17:34,336
"I'll do these shows,
I'm doing my song,
I'm doing my thing."

1632
01:17:34,336 --> 01:17:38,505
But he's not letting go
of his roots.

1633
01:17:38,505 --> 01:17:43,956
Elvis:
♪ Well, the morning's
so bright ♪

1634
01:17:43,956 --> 01:17:45,545
♪ And the lamp... ♪

1635
01:17:45,545 --> 01:17:47,456
Gordon Stoker:
He wanted to do
"Peace in the Valley"

1636
01:17:47,456 --> 01:17:49,045
on  The Ed Sullivan Show.

1637
01:17:49,045 --> 01:17:51,755
They said, "No, we've
never had a religious song
on this show,

1638
01:17:51,755 --> 01:17:54,045
and you're not going
to sing one now."

1639
01:17:54,045 --> 01:17:56,546
Priscilla:
That's one of the songs
his mother loved

1640
01:17:56,546 --> 01:17:58,755
was "Peace in the Valley."

1641
01:17:58,755 --> 01:18:00,255
He fought for that song.

1642
01:18:00,255 --> 01:18:02,255
No one wanted him
to do that song.

1643
01:18:02,255 --> 01:18:05,165
Elvis:
♪ There will be peace ♪

1644
01:18:05,165 --> 01:18:07,955
♪ In the valley ♪

1645
01:18:07,955 --> 01:18:09,625
♪ For me ♪

1646
01:18:09,625 --> 01:18:12,456
Priscilla:
But it was important for him
to sing it for his mother,

1647
01:18:12,456 --> 01:18:15,506
to his mother,
and keep his roots intact.

1648
01:18:15,506 --> 01:18:19,335
Elvis:
♪ Peace in the valley ♪

1649
01:18:19,335 --> 01:18:20,755
♪ For me ♪

1650
01:18:20,755 --> 01:18:23,755
Schilling:
If you really look at Elvis
on the Dorsey shows,

1651
01:18:23,755 --> 01:18:25,125
that's the rebel.

1652
01:18:25,125 --> 01:18:28,455
But then you see him
doing "Peace in the Valley"

1653
01:18:28,455 --> 01:18:30,255
on  The Sullivan Show,

1654
01:18:30,255 --> 01:18:32,875
that's the good-natured
Southern kid.

1655
01:18:32,875 --> 01:18:35,755
♪ Trouble I see ♪

1656
01:18:35,755 --> 01:18:38,545
♪ There will be peace ♪

1657
01:18:38,545 --> 01:18:41,415
♪ In the valley ♪

1658
01:18:41,415 --> 01:18:45,255
♪ For me ♪

1659
01:18:45,255 --> 01:18:47,125
Man:
Okay, Elvis, this is
sort of off-the-cuff,

1660
01:18:47,125 --> 01:18:49,295
but how does it feel to be
right up there on top,

1661
01:18:49,295 --> 01:18:50,755
right with the best of 'em,

1662
01:18:50,755 --> 01:18:52,505
since you are
one of that class,
how does that feel?

1663
01:18:52,505 --> 01:18:55,415
Elvis:
Uh, it all happened so fast,
so I don't know.

1664
01:18:55,415 --> 01:18:58,165
I'm afraid to wake up,
afraid it's liable to be
a dream, you know?

1665
01:18:58,165 --> 01:18:59,255
Man:
Mm-hmm.

1666
01:18:59,255 --> 01:19:02,704
♪ ♪

1667
01:19:08,754 --> 01:19:11,295
♪ ♪

1668
01:19:21,125 --> 01:19:23,915
(man speaking)

1669
01:19:26,955 --> 01:19:29,295
(Elvis speaking)

1670
01:19:31,755 --> 01:19:34,625
Elvis:
We got a seven-year contract
with Paramount Pictures.

1671
01:19:36,954 --> 01:19:39,205
It's a dream come true,
you know?

1672
01:19:39,205 --> 01:19:41,045
I've had people ask me
was I gonna sing

1673
01:19:41,045 --> 01:19:43,084
in the movies, I'm-- I'm not.

1674
01:19:45,205 --> 01:19:48,085
Man: I see you're signed
by Hal Wallis and company,
out of Paramount.

1675
01:19:48,085 --> 01:19:49,624
Elvis: Yes.
Man: Can you
tell us anything

1676
01:19:49,624 --> 01:19:51,505
about the first movie
that will be made?

1677
01:19:51,505 --> 01:19:53,004
Elvis:
We'll have
a movie coming out,

1678
01:19:53,004 --> 01:19:55,624
uh, we start making it
in June. It's, uh...

1679
01:19:55,624 --> 01:19:57,705
It's a movie
with Burt Lancaster
and Katharine Hepburn

1680
01:19:57,705 --> 01:19:59,164
called  The Rainmaker.

1681
01:20:01,165 --> 01:20:03,005
Schilling:
He didn't get
The Rainmaker.

1682
01:20:03,005 --> 01:20:06,835
They talked him into
doing  Love Me Tender.

1683
01:20:06,835 --> 01:20:09,044
And then talked him
into four songs.

1684
01:20:10,545 --> 01:20:15,665
Jorgensen:
I think that Elvis brought
a lot of insecurity with him.

1685
01:20:15,665 --> 01:20:17,205
He wanted to be a movie star,

1686
01:20:17,205 --> 01:20:20,504
that was much bigger
than being a recording star,

1687
01:20:20,504 --> 01:20:23,045
and he was fairly disheartened
when he learned

1688
01:20:23,045 --> 01:20:26,005
that he had to sing
for these movies.

1689
01:20:26,005 --> 01:20:27,454
Priscilla:
In the first four movies,

1690
01:20:27,454 --> 01:20:29,295
you see him so into the part,

1691
01:20:29,295 --> 01:20:32,295
and you see him really
taking the role seriously.

1692
01:20:32,295 --> 01:20:33,794
He learned everyone's lines.

1693
01:20:33,794 --> 01:20:37,204
He thought that's
what an actor did.

1694
01:20:37,204 --> 01:20:39,954
Training himself to be
more like a Marlon Brando

1695
01:20:39,954 --> 01:20:42,794
or a James Dean
or a Humphrey Bogart.

1696
01:20:42,794 --> 01:20:44,545
He respected
these actors very much,

1697
01:20:44,545 --> 01:20:47,335
and this is where he thought
his future was going.

1698
01:20:49,124 --> 01:20:52,504
Landau:
The movie people
took him very seriously.

1699
01:20:52,504 --> 01:20:55,204
These were
carefully made films.

1700
01:20:55,204 --> 01:20:56,504
They had scripts.

1701
01:20:56,504 --> 01:20:58,204
They had emotion.

1702
01:20:58,204 --> 01:21:02,204
King Creole,
Love Me Tender,
Jailhouse Rock.

1703
01:21:02,204 --> 01:21:05,754
They assigned him
stellar people.

1704
01:21:05,754 --> 01:21:09,204
Michael Curtiz,
who directed  King Creole,

1705
01:21:09,204 --> 01:21:13,255
is the same Michael Curtiz
who directed  Casablanca.

1706
01:21:13,255 --> 01:21:16,085
So they treated him
with respect.

1707
01:21:17,664 --> 01:21:22,044
Schilling:
King Creole, it was being
prepped for James Dean...

1708
01:21:22,044 --> 01:21:24,084
before the fatal crash.

1709
01:21:24,084 --> 01:21:27,334
Woman:
♪ Crawfish ♪

1710
01:21:27,334 --> 01:21:31,414
♪ Fresh and ready ♪

1711
01:21:31,414 --> 01:21:33,754
♪ To cook ♪

1712
01:21:33,754 --> 01:21:36,374
♪ ♪

1713
01:21:36,374 --> 01:21:40,004
Elvis:
♪ Crawfish ♪

1714
01:21:40,004 --> 01:21:43,584
♪ Crawfish ♪

1715
01:21:43,584 --> 01:21:46,374
♪ See, I got 'em ♪

1716
01:21:46,374 --> 01:21:48,504
♪ See the size ♪

1717
01:21:48,504 --> 01:21:50,334
♪ Stripped and cleaned ♪

1718
01:21:50,334 --> 01:21:52,834
♪ Before your eyes ♪

1719
01:21:52,834 --> 01:21:56,834
♪ Sweet meat, look ♪
♪ Sweet meat, look ♪

1720
01:21:56,834 --> 01:22:00,454
♪ Fresh and ready to cook ♪
♪ Fresh and ready to cook ♪

1721
01:22:00,454 --> 01:22:08,124
♪ Crawfish ♪

1722
01:22:08,124 --> 01:22:12,124
♪ Now take Mr. Crawfish
in your hand ♪

1723
01:22:12,124 --> 01:22:15,953
♪ He's gonna look good
in your frying pan ♪

1724
01:22:15,953 --> 01:22:18,044
♪ If you fry him crisp ♪

1725
01:22:18,044 --> 01:22:19,794
♪ Or you boil him right ♪

1726
01:22:19,794 --> 01:22:24,294
♪ He'll be sweeter than sugar
with every bite ♪

1727
01:22:24,294 --> 01:22:31,454
♪ Crawfish ♪

1728
01:22:32,374 --> 01:22:34,504
♪ See I got 'em ♪

1729
01:22:34,504 --> 01:22:36,164
♪ See the size ♪

1730
01:22:36,164 --> 01:22:38,254
♪ Stripped and cleaned ♪
♪ Stripped and cleaned ♪

1731
01:22:38,254 --> 01:22:40,704
♪ Before your eyes ♪

1732
01:22:40,704 --> 01:22:44,624
♪ Sweet meat, look ♪
♪ Sweet meat, look ♪

1733
01:22:44,624 --> 01:22:47,253
♪ Fresh and ready to cook ♪
♪ Fresh and ready to cook ♪

1734
01:22:47,253 --> 01:22:50,793
♪ Crawfish... ♪

1735
01:22:50,793 --> 01:22:52,374
Priscilla:
Out of all those movies,

1736
01:22:52,374 --> 01:22:54,454
King Creole was
really his favorite.

1737
01:22:54,454 --> 01:22:56,453
It was Leiber
and Stoller songs.

1738
01:22:56,453 --> 01:22:59,334
It was songs that he loved.

1739
01:22:59,334 --> 01:23:00,954
Marsh:
Jerry Leiber and Mike Stoller,

1740
01:23:00,954 --> 01:23:04,084
they were two of the greatest
songwriters in Americas

1741
01:23:04,084 --> 01:23:06,954
during the late '50s
and early '60s.

1742
01:23:06,954 --> 01:23:08,504
♪ If you're lookin'
for trouble ♪

1743
01:23:09,663 --> 01:23:11,334
♪ You came to
the right place ♪

1744
01:23:12,413 --> 01:23:13,874
♪ If you're lookin'
for trouble ♪

1745
01:23:15,293 --> 01:23:16,794
♪ Just look right in my face ♪

1746
01:23:16,794 --> 01:23:19,043
Stoller:
When we first met him,
we hit it off.

1747
01:23:19,043 --> 01:23:22,874
We were talking
about different records
that we knew.

1748
01:23:22,874 --> 01:23:27,873
♪ My daddy was a green-eyed
mountain jack ♪

1749
01:23:27,873 --> 01:23:31,253
♪ That's why I'm evil ♪

1750
01:23:31,253 --> 01:23:33,584
Stoller:
Elvis was into blues.

1751
01:23:33,584 --> 01:23:37,043
We thought we were
the only white guys
who were into blues.

1752
01:23:38,954 --> 01:23:41,874
♪ Well, I'm evil ♪

1753
01:23:43,004 --> 01:23:46,084
♪ So don't you
mess around with me ♪

1754
01:23:46,084 --> 01:23:48,254
Jorgensen:
In order to control music,

1755
01:23:48,254 --> 01:23:49,913
and in order
to make more money,

1756
01:23:49,913 --> 01:23:51,794
Colonel Parker set up
music companies

1757
01:23:51,794 --> 01:23:54,203
that would deliver songs.

1758
01:23:54,203 --> 01:23:56,203
Stoller:
We were given assignments,

1759
01:23:56,203 --> 01:23:58,794
but they also went
to all the other writers

1760
01:23:58,794 --> 01:24:01,294
who were assigned
to Hill & Range Songs.

1761
01:24:01,294 --> 01:24:03,253
Thus the owners
of Hill & Range

1762
01:24:03,253 --> 01:24:05,163
controlled
Elvis Presley music.

1763
01:24:05,163 --> 01:24:06,914
Elvis:
♪ Flesh, blood and bone ♪

1764
01:24:06,914 --> 01:24:09,623
Stoller: Hill & Range was
one of the biggest publishers
in the United States.

1765
01:24:09,623 --> 01:24:13,504
And if you wanted
to be on an Elvis record,

1766
01:24:13,504 --> 01:24:15,083
you were gonna play ball.

1767
01:24:15,083 --> 01:24:18,413
The publisher gets half,
and the writer gets half.

1768
01:24:22,043 --> 01:24:26,794
Light:
As Elvis is becoming
an A-list superstar,

1769
01:24:26,794 --> 01:24:29,414
he's reaching
a level of success

1770
01:24:29,414 --> 01:24:31,703
that nobody had
ever had before.

1771
01:24:31,703 --> 01:24:35,584
In fact, several big pop hits
into his career,

1772
01:24:35,584 --> 01:24:37,913
he makes a feature film,

1773
01:24:37,913 --> 01:24:40,873
and then, very soon
signs a contract

1774
01:24:40,873 --> 01:24:43,623
for a bunch of feature films.

1775
01:24:43,623 --> 01:24:44,954
Nobody had ever done that.

1776
01:24:44,954 --> 01:24:48,414
There's nobody, who
this early in their career,

1777
01:24:48,414 --> 01:24:51,834
is given all
of this territory

1778
01:24:51,834 --> 01:24:53,753
between the radio,

1779
01:24:53,753 --> 01:24:56,623
the television
and the movie screen.

1780
01:24:59,413 --> 01:25:00,874
There was no blueprint

1781
01:25:00,874 --> 01:25:03,453
for how you navigate
something like that.

1782
01:25:10,623 --> 01:25:12,293
(horn honking)

1783
01:25:18,413 --> 01:25:21,873
(horn honking)

1784
01:25:26,333 --> 01:25:28,503
Priscilla:
Actually, it was
Vernon and Gladys

1785
01:25:28,503 --> 01:25:32,253
that found Graceland
and showed it to him.

1786
01:25:32,253 --> 01:25:34,503
He fell in love with it,
but more than that,

1787
01:25:34,503 --> 01:25:37,503
it was to give
a beautiful home to his mom.

1788
01:25:37,503 --> 01:25:40,253
And of course, his father too,
but really for his mother,

1789
01:25:40,253 --> 01:25:42,873
because he saw her
working so hard.

1790
01:25:42,873 --> 01:25:46,123
He wanted to be a great son.

1791
01:25:46,123 --> 01:25:51,543
Schilling: He was living
the most hectic time
of his life, career-wise.

1792
01:25:53,453 --> 01:25:57,003
This was his
controlled escape.

1793
01:25:58,163 --> 01:25:59,663
Springsteen:
Graceland.

1794
01:25:59,663 --> 01:26:01,003
Just the name of it itself

1795
01:26:01,003 --> 01:26:04,203
pulled directly out
of gospel tradition.

1796
01:26:04,203 --> 01:26:06,373
It's an idealized home.

1797
01:26:06,373 --> 01:26:09,373
The perfect symbol of someone
who's come up from the bottom

1798
01:26:09,373 --> 01:26:12,333
and-- and enjoyed the best
the country has to offer.

1799
01:26:14,373 --> 01:26:18,373
It was a huge moment for Elvis
to walk through those doors

1800
01:26:18,373 --> 01:26:20,753
and call that place his home.

1801
01:26:20,753 --> 01:26:23,373
Ferris:
It had all of the things

1802
01:26:23,373 --> 01:26:26,583
that Elvis had never
known as a kid.

1803
01:26:27,793 --> 01:26:29,503
It's not a lavish home.

1804
01:26:29,503 --> 01:26:31,503
It's not Tara.

1805
01:26:31,503 --> 01:26:35,452
But it is everything
that money and fame

1806
01:26:35,452 --> 01:26:40,123
could deliver according
to his specifications.

1807
01:26:40,123 --> 01:26:42,623
Man:
Yeah, I understand that you
bought a home for your folks.

1808
01:26:42,623 --> 01:26:44,292
And even though
your father is only 39,

1809
01:26:44,292 --> 01:26:46,913
you've insisted
that he retire.
Is that true?

1810
01:26:46,913 --> 01:26:48,332
Uh, yes.

1811
01:26:48,332 --> 01:26:50,452
Well, he's more help, I mean,

1812
01:26:50,452 --> 01:26:52,453
he's more help at home
than he is anywhere else,

1813
01:26:52,453 --> 01:26:53,912
because, uh...

1814
01:26:53,912 --> 01:26:55,203
he can take care
of all my business.

1815
01:26:55,203 --> 01:26:57,582
He can, uh, look after
things when I'm gone.

1816
01:26:57,582 --> 01:26:59,703
Man:
Well, I think that's--
I think that's very smart.

1817
01:26:59,703 --> 01:27:00,912
I, of course...

1818
01:27:00,912 --> 01:27:03,122
Priscilla:
Elvis gave Vernon
a huge obligation.

1819
01:27:03,122 --> 01:27:04,413
"Take care of me."

1820
01:27:05,793 --> 01:27:07,122
He had an office.

1821
01:27:07,122 --> 01:27:08,373
It gave him a job.

1822
01:27:08,373 --> 01:27:09,872
It gave him something to do,

1823
01:27:09,872 --> 01:27:11,453
and it was for his son.

1824
01:27:11,453 --> 01:27:14,083
They made sure that
they kept everything in order,

1825
01:27:14,083 --> 01:27:18,003
because he was really in fear
of not doing the right thing.

1826
01:27:18,003 --> 01:27:20,583
Schilling:
Vernon's office,
you can tell,

1827
01:27:20,583 --> 01:27:24,792
didn't come from
a sophisticated
business manager.

1828
01:27:24,792 --> 01:27:29,252
It came from a poor man
from Tupelo, Mississippi.

1829
01:27:29,252 --> 01:27:31,452
Harris:
Elvis had all the
money in the world.

1830
01:27:31,452 --> 01:27:33,123
He had anything he wanted.

1831
01:27:33,123 --> 01:27:34,952
He built Graceland,

1832
01:27:34,952 --> 01:27:37,702
and yet, he had
some sweetness about him

1833
01:27:37,702 --> 01:27:39,203
that kind of
breaks your heart.

1834
01:27:39,203 --> 01:27:41,872
I mean, really.
I don't think he--
he ever lost that.

1835
01:27:41,872 --> 01:27:44,082
(man speaking)

1836
01:27:48,913 --> 01:27:51,002
(Elvis speaking)

1837
01:28:08,003 --> 01:28:09,832
Priscilla:
Elvis never wanted to go back

1838
01:28:09,832 --> 01:28:11,413
to the days
where they struggled,

1839
01:28:11,413 --> 01:28:12,702
the days of poverty.

1840
01:28:17,333 --> 01:28:18,832
♪ ♪

1841
01:28:36,502 --> 01:28:39,832
Light:
In 1958, Elvis was
drafted into the Army.

1842
01:28:39,832 --> 01:28:42,122
And no matter how much
he'd been through

1843
01:28:42,122 --> 01:28:44,162
on the road
and making movies,

1844
01:28:44,162 --> 01:28:46,582
the notion of going
to another continent

1845
01:28:46,582 --> 01:28:47,702
away from his family,

1846
01:28:47,702 --> 01:28:51,622
was a difficult thing
for him to consider.

1847
01:28:51,622 --> 01:28:54,752
Jorgensen:
The idea was, of course,
that Elvis would do his duty,

1848
01:28:54,752 --> 01:28:57,582
so he could come back
and be respectable

1849
01:28:57,582 --> 01:29:01,292
in the Colonel's new vision
of the future Elvis Presley,

1850
01:29:01,292 --> 01:29:03,202
which was a brilliant vision.

1851
01:29:03,202 --> 01:29:06,252
He knew exactly where
he wanted to take Elvis.

1852
01:29:06,252 --> 01:29:08,332
West:
Colonel said,
"We don't want any favors.

1853
01:29:08,332 --> 01:29:09,872
"He's not gonna be
in entertainment.

1854
01:29:09,872 --> 01:29:11,702
He's gonna be a soldier."

1855
01:29:11,702 --> 01:29:14,952
Reporter:
Elvis, you don't get out
of the Army until 1960.

1856
01:29:14,952 --> 01:29:17,161
If rock and roll should
diminish in popularity,

1857
01:29:17,161 --> 01:29:19,662
or even disappear,
what would you do?

1858
01:29:21,202 --> 01:29:22,622
(chuckles)

1859
01:29:22,622 --> 01:29:24,452
Well, uh...

1860
01:29:24,452 --> 01:29:26,541
I would probably try acting.

1861
01:29:26,541 --> 01:29:28,162
I mean, you know, I, uh...

1862
01:29:28,162 --> 01:29:29,831
Priscilla:
Being drafted
was something

1863
01:29:29,831 --> 01:29:32,502
he never thought
about happening to him.

1864
01:29:32,502 --> 01:29:34,752
Petty:
The Army, which is odd,

1865
01:29:34,752 --> 01:29:36,952
because there was no war on.

1866
01:29:36,952 --> 01:29:39,752
There's not a lot
of people being drafted.

1867
01:29:39,752 --> 01:29:43,252
But Elvis, he goes
along with it.

1868
01:29:43,252 --> 01:29:45,831
Zanes:
The biggest star in the world

1869
01:29:45,831 --> 01:29:47,582
going into the Army.

1870
01:29:47,582 --> 01:29:49,582
You know, from our
historical perspective,

1871
01:29:49,582 --> 01:29:53,002
that's a very
strange episode.

1872
01:29:53,002 --> 01:29:57,452
But then if you try
to get in to his experience,

1873
01:29:57,452 --> 01:30:02,872
having gone through this
profound rise to fame,

1874
01:30:02,872 --> 01:30:04,751
there's total uncertainty

1875
01:30:04,751 --> 01:30:07,451
as to what
he will return home to,

1876
01:30:07,451 --> 01:30:09,622
if he returns.

1877
01:30:09,622 --> 01:30:10,911
Springsteen:
Elvis in his 20s,

1878
01:30:10,911 --> 01:30:13,162
he was still inventing
all the rules.

1879
01:30:13,162 --> 01:30:15,792
In those days,
there was no perception

1880
01:30:15,792 --> 01:30:17,912
that a rock and roll musician

1881
01:30:17,912 --> 01:30:19,791
could have a long
and lasting career.

1882
01:30:19,791 --> 01:30:22,122
People expected
that kind of a career

1883
01:30:22,122 --> 01:30:24,042
to be over within moments.

1884
01:30:24,042 --> 01:30:26,291
Jorgensen:
RCA panicked.

1885
01:30:26,291 --> 01:30:29,291
The pushed the Colonel
to set up recording sessions

1886
01:30:29,291 --> 01:30:32,331
before Elvis left,
so they could record
a lot of material.

1887
01:30:32,331 --> 01:30:34,452
Light:
The impulse was
to flood the market,

1888
01:30:34,452 --> 01:30:36,081
give the fans
as much as possible,

1889
01:30:36,081 --> 01:30:38,541
and keep riding this
as hard as you can.

1890
01:30:38,541 --> 01:30:41,371
Jorgensen:
And the Colonel works it
the opposite way.

1891
01:30:41,371 --> 01:30:45,541
His idea was to have
just enough material

1892
01:30:45,541 --> 01:30:48,201
to keep Elvis's name alive.

1893
01:30:48,201 --> 01:30:50,831
Priscilla:
He wanted to keep the mystery.

1894
01:30:51,831 --> 01:30:53,831
He kept Elvis away
from performing,

1895
01:30:53,831 --> 01:30:56,792
serving for his country
like a good soldier.

1896
01:30:56,792 --> 01:30:59,662
He had fans waiting
for him to come back.

1897
01:31:00,661 --> 01:31:03,201
Man: "I..."
I, Elvis Presley...

1898
01:31:04,661 --> 01:31:06,331
"do solemnly swear..."

1899
01:31:06,331 --> 01:31:08,161
do solemnly swear...

1900
01:31:08,161 --> 01:31:10,501
"that I will bear
true faith and allegiance,"

1901
01:31:10,501 --> 01:31:13,201
that I will bear
true faith and allegiance,

1902
01:31:14,832 --> 01:31:16,911
"to the United States
of America."

1903
01:31:16,911 --> 01:31:19,911
to the United States
of America.

1904
01:31:19,911 --> 01:31:22,501
Priscilla:
His mother was concerned
about him going to Germany,

1905
01:31:22,501 --> 01:31:24,792
'cause all they heard
at that time was Russia.

1906
01:31:24,792 --> 01:31:27,412
She thought
he was going to war.

1907
01:31:27,412 --> 01:31:29,121
Her son was leaving
for two years,

1908
01:31:29,121 --> 01:31:32,661
and he'd never been
out of the United States.

1909
01:31:32,661 --> 01:31:34,501
When he went
to basic training in Texas,

1910
01:31:34,501 --> 01:31:36,541
they talked every day.

1911
01:31:36,541 --> 01:31:40,202
And kept saying, "Mama,
I'm gonna be okay.
I'm gonna be okay.

1912
01:31:40,202 --> 01:31:43,162
I'm gonna be fighting."

1913
01:31:43,162 --> 01:31:45,541
But she just couldn't
get it into her head.

1914
01:31:46,871 --> 01:31:50,121
♪ ♪

1915
01:31:50,121 --> 01:31:52,832
(wind whistling)

1916
01:31:58,541 --> 01:32:00,751
(choir singing)

1917
01:32:04,201 --> 01:32:10,161
♪ Oh, by and by ♪

1918
01:32:11,662 --> 01:32:16,411
Elvis:
♪ Tempted and tried ♪

1919
01:32:16,411 --> 01:32:20,951
♪ We're oft made ♪

1920
01:32:20,951 --> 01:32:25,791
♪ To wonder ♪

1921
01:32:25,791 --> 01:32:32,541
♪ Why it should be thus ♪

1922
01:32:32,541 --> 01:32:35,911
Priscilla:
Before he left
to serve in Germany,

1923
01:32:35,911 --> 01:32:38,581
Gladys suddenly got sick
and she passed.

1924
01:32:38,581 --> 01:32:41,621
♪ ♪

1925
01:32:41,621 --> 01:32:43,250
West:
When those things
happen like that,

1926
01:32:43,250 --> 01:32:45,001
you don't do
a lot of talking.

1927
01:32:45,001 --> 01:32:46,200
Elvis and his mother,

1928
01:32:46,200 --> 01:32:48,291
that's the closest
I've ever seen anybody

1929
01:32:48,291 --> 01:32:50,501
as far as that goes.

1930
01:32:50,501 --> 01:32:52,410
Sure was.

1931
01:32:52,410 --> 01:32:54,081
Priscilla:
She worried about him
night and day,

1932
01:32:54,081 --> 01:32:56,451
because he was
such a sensitive boy.

1933
01:32:56,451 --> 01:32:58,580
And yes, she was
overly protective,

1934
01:32:58,580 --> 01:33:01,331
but because of the loss
of the twin brother,

1935
01:33:01,331 --> 01:33:03,581
that protectiveness
really lingered

1936
01:33:03,581 --> 01:33:06,121
until the day she--
she passed.

1937
01:33:06,121 --> 01:33:08,250
♪ ♪

1938
01:33:08,250 --> 01:33:13,291
Elvis:
♪ Farther along ♪

1939
01:33:13,291 --> 01:33:16,451
♪ We'll know ♪

1940
01:33:16,451 --> 01:33:22,541
♪ All about it ♪

1941
01:33:22,541 --> 01:33:26,950
♪ Farther along ♪

1942
01:33:26,950 --> 01:33:30,500
Cohn:
Easy to sneer that Elvis
was a mama's boy and so on,

1943
01:33:30,500 --> 01:33:31,701
but it wasn't that.

1944
01:33:31,701 --> 01:33:35,451
It was one of those relations
between a mother and son

1945
01:33:35,451 --> 01:33:38,291
where you could hardly say
where the mother ends

1946
01:33:38,291 --> 01:33:40,080
and where the son begins.

1947
01:33:40,080 --> 01:33:43,080
And when his mother died,
it left a hole in him.

1948
01:33:43,080 --> 01:33:45,161
He was never whole again
as it were.

1949
01:33:46,330 --> 01:33:50,371
He deeply feared
not being a good man,

1950
01:33:50,371 --> 01:33:52,000
being a godly man.

1951
01:33:52,000 --> 01:33:54,541
He needed her there
to say, "I love you,

1952
01:33:54,541 --> 01:33:55,830
"and you're doing
the right thing,

1953
01:33:55,830 --> 01:33:57,121
and I know you're good."

1954
01:33:57,121 --> 01:33:59,200
He needed her. Absolutely.

1955
01:33:59,200 --> 01:34:01,080
♪ By and by ♪

1956
01:34:01,080 --> 01:34:05,500
Priscilla:
The loss was the most
devastating time in his life.

1957
01:34:05,500 --> 01:34:08,370
It was all fun before that.

1958
01:34:08,370 --> 01:34:10,790
It was the skating rink,
it was the theater.

1959
01:34:10,790 --> 01:34:13,161
It was making a movie,
then going back to Memphis

1960
01:34:13,161 --> 01:34:15,451
being with his friends
and playing.

1961
01:34:15,451 --> 01:34:18,040
And then, of course,
having Graceland
as the center.

1962
01:34:18,040 --> 01:34:20,160
Fixing all that up
for the family,

1963
01:34:20,160 --> 01:34:22,161
and so, he matured a lot

1964
01:34:22,161 --> 01:34:24,000
because of the loss
of his mother.

1965
01:34:25,701 --> 01:34:28,661
It was unbearable
for him during that time.

1966
01:34:28,661 --> 01:34:32,830
♪ ♪

1967
01:34:32,830 --> 01:34:36,000
Elvis:
♪ Then do we... ♪

1968
01:34:40,250 --> 01:34:41,870
Man:
Now, as we're getting
closer and closer

1969
01:34:41,870 --> 01:34:44,501
to the time that
they're gonna pull
that gangplank away,

1970
01:34:44,501 --> 01:34:45,830
and you'll be on your way.

1971
01:34:45,830 --> 01:34:48,040
Since this is probably
the last chance

1972
01:34:48,040 --> 01:34:50,501
that you'll have to say
something to your fans,

1973
01:34:50,501 --> 01:34:52,910
do you have any
particular message?

1974
01:34:55,290 --> 01:34:57,870
Elvis:
Well...

1975
01:34:57,870 --> 01:35:00,540
I'm gonna be very
honest about it.

1976
01:35:00,540 --> 01:35:02,751
Uh, in spite of the fact
that I am going away

1977
01:35:02,751 --> 01:35:06,251
and that I'll be
out of their eyes
for some time,

1978
01:35:06,251 --> 01:35:07,870
I hope that I'm not
out of their minds.

1979
01:35:07,870 --> 01:35:09,581
And, uh, I'll be
looking forward

1980
01:35:09,581 --> 01:35:11,000
to the time
when I can come back

1981
01:35:11,000 --> 01:35:14,660
and entertain
again like I did, and...

1982
01:35:14,660 --> 01:35:17,410
Man:
All we can do is
wish you a wonderful trip

1983
01:35:17,410 --> 01:35:19,870
and all the best
luck in the world
and come home soon.

1984
01:35:19,870 --> 01:35:21,951
Elvis:
Well, thank you very much.
I'll do my very best.

1985
01:35:23,330 --> 01:35:26,250
Jorgensen:
Elvis hadn't had
much time to himself

1986
01:35:26,250 --> 01:35:29,660
between that summer day when
he recorded "That's All Right"

1987
01:35:29,660 --> 01:35:32,200
and when he was
shipped to Germany.

1988
01:35:32,200 --> 01:35:34,950
Suddenly, on a boat
to Germany,

1989
01:35:34,950 --> 01:35:36,910
there was lots of time.

1990
01:35:36,910 --> 01:35:38,580
That's where he meets
Charlie Hodge,

1991
01:35:38,580 --> 01:35:41,000
and they start talking
about music together.

1992
01:35:41,000 --> 01:35:42,370
They start singing.

1993
01:35:42,370 --> 01:35:46,000
(guitar playing)
Elvis:
♪ Mona Lisa ♪

1994
01:35:46,000 --> 01:35:49,500
♪ Mona Lisa,
men have named you ♪

1995
01:35:49,500 --> 01:35:52,040
Light:
Charlie Hodge had
been a gospel singer,

1996
01:35:52,040 --> 01:35:54,290
who Elvis had heard sing.

1997
01:35:55,450 --> 01:35:56,910
Schilling:
He liked Charlie

1998
01:35:56,910 --> 01:35:59,040
because Charlie was
in the music business

1999
01:35:59,040 --> 01:36:01,910
and somebody he could
relate to that way.

2000
01:36:03,660 --> 01:36:07,080
Elvis was so down that
Charlie would tell jokes

2001
01:36:07,080 --> 01:36:09,159
and try to keep him up.

2002
01:36:09,159 --> 01:36:10,950
♪ ♪

2003
01:36:10,950 --> 01:36:15,409
Elvis:
♪ Do you smile to tempt
a lover, Mona Lisa ♪

2004
01:36:15,409 --> 01:36:17,500
Light:
To have somebody who
he felt understood him,

2005
01:36:17,500 --> 01:36:18,699
that he could lean on,

2006
01:36:18,699 --> 01:36:21,869
and also to be able
to turn to that music

2007
01:36:21,869 --> 01:36:23,330
was tremendously important

2008
01:36:23,330 --> 01:36:25,250
for him to get
through that time

2009
01:36:25,250 --> 01:36:26,580
and everything
that was going on.

2010
01:36:26,580 --> 01:36:31,830
♪ Brought to your doorstep ♪

2011
01:36:31,830 --> 01:36:36,040
♪ They just lie there ♪

2012
01:36:36,040 --> 01:36:40,749
♪ And they die ♪

2013
01:36:40,749 --> 01:36:42,750
♪ Are you warm? ♪

2014
01:36:42,750 --> 01:36:48,290
♪ Are you real, Mona Lisa? ♪

2015
01:36:48,290 --> 01:36:52,330
♪ Or just a cold and lonely ♪

2016
01:36:52,330 --> 01:36:57,000
♪ Lovely work of art? ♪

2017
01:36:58,160 --> 01:37:01,330
(Elvis vocalizing)

2018
01:37:02,659 --> 01:37:04,870
Jorgensen:
When he gets to Germany,
yes, he's--

2019
01:37:04,870 --> 01:37:09,830
he's obviously, uh, committed
to, uh, the hours every day,

2020
01:37:09,830 --> 01:37:13,040
but there's, again,
a lot of spare time

2021
01:37:13,040 --> 01:37:15,369
in an apartment
or at a house in Germany

2022
01:37:15,369 --> 01:37:17,370
where he doesn't know anybody.

2023
01:37:17,370 --> 01:37:20,699
So there's a lot of time
for reflection.

2024
01:37:20,699 --> 01:37:22,200
Petty:
He goes into the Army,

2025
01:37:22,200 --> 01:37:24,039
which is where
he gets the, um,

2026
01:37:24,039 --> 01:37:27,079
the pep pills
for the first time,
the methadrine,

2027
01:37:27,079 --> 01:37:29,620
to stay up on watch.

2028
01:37:29,620 --> 01:37:31,039
Priscilla:
That was the beginning.

2029
01:37:31,039 --> 01:37:33,749
He started with the uppers
to get him through the Army,

2030
01:37:33,749 --> 01:37:35,540
to get him through
the cold days,

2031
01:37:35,540 --> 01:37:37,539
to get him through
the lonely nights.

2032
01:37:40,789 --> 01:37:44,700
Man:
Do you have any time
for, uh, music anymore?

2033
01:37:44,700 --> 01:37:46,409
Elvis:
Well, uh, only at night.

2034
01:37:46,409 --> 01:37:49,449
You see, I get off work
at five o'clock
in the afternoon...

2035
01:37:49,449 --> 01:37:52,199
(beeps)
...and, uh, I have a guitar
up here in the room,

2036
01:37:52,199 --> 01:37:54,750
and I sit around,
and you know, up here.

2037
01:37:54,750 --> 01:37:57,080
I don't want to get out
of practice, you know,
if I can help it.

2038
01:37:57,080 --> 01:37:58,949
Man:
I sure hope not.
Let me tell you...

2039
01:37:58,949 --> 01:38:01,000
Light:
The struggle while
Elvis was in the Army

2040
01:38:01,000 --> 01:38:02,909
was a mandate
from Colonel Parker

2041
01:38:02,909 --> 01:38:05,449
that he not record
and not make new music

2042
01:38:05,449 --> 01:38:07,200
since he wouldn't
be able to promote it.

2043
01:38:07,200 --> 01:38:08,449
But what Elvis didn't know

2044
01:38:08,449 --> 01:38:12,159
was Parker was not a legal
resident in the United States.

2045
01:38:12,159 --> 01:38:14,199
And without
legitimate papers,

2046
01:38:14,199 --> 01:38:15,579
any travel that he took

2047
01:38:15,579 --> 01:38:17,249
could present
big problems for him

2048
01:38:17,249 --> 01:38:19,079
trying to get back in.

2049
01:38:19,079 --> 01:38:20,499
The Colonel,
he would come up with

2050
01:38:20,499 --> 01:38:22,750
excuses and
explanations to Elvis,

2051
01:38:22,750 --> 01:38:24,249
to his family.

2052
01:38:24,249 --> 01:38:26,249
Priscilla:
There'd be telegrams
from Colonel Parker

2053
01:38:26,249 --> 01:38:27,869
telling him not to worry,

2054
01:38:27,869 --> 01:38:29,579
"I've done this,
I've done this."

2055
01:38:29,579 --> 01:38:31,699
Parker was releasing
songs for him

2056
01:38:31,699 --> 01:38:33,119
every few months

2057
01:38:33,119 --> 01:38:35,699
to keep the fans interested.

2058
01:38:35,699 --> 01:38:36,999
Light:
But it's not a lot,

2059
01:38:36,999 --> 01:38:39,039
and not at the pace
that they were used to

2060
01:38:39,039 --> 01:38:41,329
and that the machine required.

2061
01:38:41,329 --> 01:38:43,579
This approach to Elvis's career

2062
01:38:43,579 --> 01:38:46,619
was preying on
his vulnerability.

2063
01:38:46,619 --> 01:38:49,249
This was certainly
an opportunity for the Colonel

2064
01:38:49,249 --> 01:38:53,369
to fully seize the role
of parent, mentor.

2065
01:38:53,369 --> 01:38:54,829
The one person who could

2066
01:38:54,829 --> 01:38:56,789
take him through
this difficult time

2067
01:38:56,789 --> 01:38:59,079
and lead him out
the other way.

2068
01:38:59,079 --> 01:39:00,749
Priscilla:
Colonel was like
a father figure.

2069
01:39:00,749 --> 01:39:02,449
There's no doubt
about that.

2070
01:39:02,449 --> 01:39:04,949
And he felt Colonel knew
what he was doing.

2071
01:39:04,949 --> 01:39:08,369
I mean, Colonel brought him
to where he was.

2072
01:39:08,369 --> 01:39:10,869
Sam Phillips couldn't do
what Colonel Parker did.

2073
01:39:10,869 --> 01:39:12,998
He was bright enough
to know that.

2074
01:39:12,998 --> 01:39:16,409
So he was gonna follow
what Colonel Parker said.

2075
01:39:16,409 --> 01:39:18,659
He'd been right so far.

2076
01:39:20,749 --> 01:39:24,079
Elvis:
♪ Oh, rock ♪

2077
01:39:24,079 --> 01:39:28,658
♪ Of ages ♪

2078
01:39:28,658 --> 01:39:34,039
♪ Hide thou me ♪

2079
01:39:34,039 --> 01:39:35,329
♪ ♪

2080
01:39:35,329 --> 01:39:39,829
♪ There is no other ♪

2081
01:39:39,829 --> 01:39:43,659
♪ Refuge can save... ♪

2082
01:39:43,659 --> 01:39:49,159
Schilling:
Anytime Elvis was going
through a really rough time,

2083
01:39:49,159 --> 01:39:51,499
he always went
to gospel music.

2084
01:39:51,499 --> 01:39:53,998
♪ This old world ♪

2085
01:39:53,998 --> 01:39:55,659
Springsteen:
What is gospel?

2086
01:39:55,659 --> 01:39:59,749
Gospel is a place where
you go for transcendence,

2087
01:39:59,749 --> 01:40:01,789
where you go for peace,

2088
01:40:01,789 --> 01:40:04,369
where you go for a
certain type of security.

2089
01:40:05,659 --> 01:40:06,949
It's a home.

2090
01:40:06,949 --> 01:40:10,038
It's a deep home within
your soul and your body.

2091
01:40:10,038 --> 01:40:13,038
♪ Ages ♪

2092
01:40:13,038 --> 01:40:22,328
♪ Hide thou me ♪

2093
01:40:25,868 --> 01:40:27,699
Priscilla:
We just went to Germany.

2094
01:40:27,699 --> 01:40:30,039
My father was stationed there.
Air Force.

2095
01:40:30,039 --> 01:40:31,538
And a man came up
to me and said,

2096
01:40:31,538 --> 01:40:33,409
"Would you like
to meet Elvis Presley?"

2097
01:40:33,409 --> 01:40:36,699
And I thought
he was kidding.
I said, "Sure."

2098
01:40:36,699 --> 01:40:37,948
He goes, "No,
I'm really serious."

2099
01:40:37,948 --> 01:40:39,749
I told him if I were to--
to meet him,

2100
01:40:39,749 --> 01:40:41,078
he'd have to ask my parents,

2101
01:40:41,078 --> 01:40:43,748
and my parents
were very reluctant,

2102
01:40:43,748 --> 01:40:47,288
and I persuaded them
to at least let me,
you know, meet him.

2103
01:40:47,288 --> 01:40:51,409
Elvis:
♪ I will spend
my whole life through ♪

2104
01:40:52,449 --> 01:40:56,748
♪ Loving you, loving you ♪

2105
01:40:56,748 --> 01:40:59,698
Priscilla:
What does anyone say
to a famous person?

2106
01:40:59,698 --> 01:41:03,078
Elvis:
♪ Winter, summer,
springtime too ♪

2107
01:41:03,078 --> 01:41:06,158
Priscilla:
Elvis was sitting in a chair,
his legs crossed.

2108
01:41:06,158 --> 01:41:07,949
Elvis walked over to me,
and he said,

2109
01:41:07,949 --> 01:41:09,368
"Oh, what do we have here?"

2110
01:41:11,578 --> 01:41:13,749
He started playing the piano

2111
01:41:13,749 --> 01:41:15,448
looking over at me,

2112
01:41:15,448 --> 01:41:17,788
and I kind of smiled at him.

2113
01:41:17,788 --> 01:41:19,118
The more I looked over,

2114
01:41:19,118 --> 01:41:21,618
the more he would
entertain even more.

2115
01:41:23,249 --> 01:41:25,288
Three days later,
I get a call

2116
01:41:25,288 --> 01:41:28,328
that Elvis would like
to see me again.

2117
01:41:28,328 --> 01:41:32,448
And the rest is history.
Elvis:
♪ I'll always be ♪

2118
01:41:32,448 --> 01:41:39,079
♪ Loving you ♪

2119
01:41:40,328 --> 01:41:42,948
Priscilla:
I learned so much
from Elvis about music.

2120
01:41:44,578 --> 01:41:45,829
Songs that he played

2121
01:41:45,829 --> 01:41:48,869
when I was in Germany
with him for those six months,

2122
01:41:48,869 --> 01:41:51,659
some of 'em
I could hardly connect to.

2123
01:41:51,659 --> 01:41:55,618
I was listening
to Frankie Avalon, Fabian.

2124
01:41:55,618 --> 01:41:58,698
And his selection of music,
I never heard really.

2125
01:41:58,698 --> 01:42:01,538
Elvis:
♪ I'll be true ♪

2126
01:42:01,538 --> 01:42:04,948
Priscilla:
The Ink Spots, The Platters,
Faye Adams, "Shake a Hand."

2127
01:42:04,948 --> 01:42:06,788
I didn't know
any of these people.

2128
01:42:08,498 --> 01:42:11,618
That's when I realized that
music was so much bigger

2129
01:42:11,618 --> 01:42:13,498
than what my music was.

2130
01:42:13,498 --> 01:42:16,448
Songs of loss,
songs of departing,

2131
01:42:16,448 --> 01:42:18,618
songs of hope.

2132
01:42:20,618 --> 01:42:24,368
I couldn't really even see him
as a movie star anymore,

2133
01:42:24,368 --> 01:42:26,908
that he was so much deeper.

2134
01:42:26,908 --> 01:42:30,868
Elvis:
♪ I'll always be ♪

2135
01:42:30,868 --> 01:42:36,248
♪ Loving ♪

2136
01:42:36,248 --> 01:42:39,828
♪ You ♪

2137
01:42:39,828 --> 01:42:43,328
Man:
Do you have any idea when
you'll be traveling back home?

2138
01:42:43,328 --> 01:42:46,658
Elvis:
Uh, no, I don't know.

2139
01:42:46,658 --> 01:42:49,158
Uh, I wish
I did know, you know.

2140
01:42:49,158 --> 01:42:51,447
Uh, how 'bout it?
Do you miss home?

2141
01:42:51,447 --> 01:42:54,038
Oh, boy,
you-- you--  (laughs)

2142
01:42:54,038 --> 01:42:55,948
I can't hardly talk.
(man laughs)

2143
01:42:55,948 --> 01:42:59,158
That's kind of--
kind of a silly question
on my part, I guess.

2144
01:43:00,328 --> 01:43:04,448
Elvis:
♪ It's a lonely man ♪

2145
01:43:04,448 --> 01:43:09,538
♪ Who wanders all around ♪
♪ Lonely man ♪

2146
01:43:11,748 --> 01:43:15,868
♪ It's a lonely man ♪

2147
01:43:15,868 --> 01:43:21,038
♪ Who roams from
town to town ♪

2148
01:43:24,038 --> 01:43:25,947
♪ Searchin' ♪

2149
01:43:25,947 --> 01:43:29,287
♪ Always searchin' ♪

2150
01:43:29,287 --> 01:43:35,077
♪ For something
he can't find ♪

2151
01:43:35,077 --> 01:43:40,408
♪ Hoping, always hoping ♪

2152
01:43:40,408 --> 01:43:46,248
♪ That someday
fate will be kind ♪

2153
01:43:46,248 --> 01:43:49,868
♪ It's a lonely man ♪

2154
01:43:49,868 --> 01:43:54,407
♪ Who travels all alone ♪
Chorus: ♪ A lonely man ♪

2155
01:43:57,077 --> 01:44:01,448
Elvis:
♪ When he has no one ♪

2156
01:44:01,448 --> 01:44:06,367
♪ That he can call his own ♪

2157
01:44:06,367 --> 01:44:08,328
Man:
Well, Elvis, now
you're really home.

2158
01:44:08,328 --> 01:44:09,577
How does it feel?

2159
01:44:09,577 --> 01:44:11,078
Elvis:
It's hard to get used
to it, you know?

2160
01:44:11,078 --> 01:44:13,287
I mean, I've been looking
forward to it for two years.

2161
01:44:13,287 --> 01:44:15,657
That-- that was the
hardest part of all.

2162
01:44:15,657 --> 01:44:17,498
Just being away
from show business.

2163
01:44:17,498 --> 01:44:19,907
It wasn't the Army,
it wasn't the other men.

2164
01:44:19,907 --> 01:44:23,287
It was that.
It stayed on my mind.

2165
01:44:23,287 --> 01:44:25,657
I kept thinking about
the past all the time.

2166
01:44:26,908 --> 01:44:28,657
Contemplating the future.

2167
01:44:31,577 --> 01:44:35,947
♪ It's a lonely man ♪

2168
01:44:35,947 --> 01:44:40,997
♪ Who wanders all around ♪

2169
01:44:43,947 --> 01:44:48,617
♪ It's a lonely man ♪

2170
01:44:48,617 --> 01:44:53,617
♪ Who roams
from town to town ♪

2171
01:44:57,197 --> 01:45:03,077
♪ Searchin',
always searchin' ♪

2172
01:45:03,077 --> 01:45:09,447
♪ For something he can't find ♪

2173
01:45:09,447 --> 01:45:14,997
♪ Hopin', always hopin' ♪

2174
01:45:14,997 --> 01:45:21,327
♪ That someday
fate will be kind ♪

2175
01:45:21,327 --> 01:45:25,327
♪ It's a lonely man ♪

2176
01:45:25,327 --> 01:45:30,697
♪ Who travels all alone ♪

2177
01:45:33,197 --> 01:45:37,697
♪ When he has no one ♪

2178
01:45:37,697 --> 01:45:43,497
♪ That he can call his own ♪

2179
01:45:46,327 --> 01:45:51,447
♪ Always so unhappy ♪

2180
01:45:51,447 --> 01:45:54,197
♪ Taking shelter ♪

2181
01:45:54,197 --> 01:45:57,657
♪ Where he can ♪

2182
01:45:57,657 --> 01:45:59,657
♪ Here I am ♪

2183
01:45:59,657 --> 01:46:03,657
♪ Come meet a lonely ♪

2184
01:46:03,657 --> 01:46:07,537
♪ Lonely man ♪

2185
01:46:29,157 --> 01:46:31,907
Man: All right, we have
a wide shot, so no one
can be in here.

2186
01:46:33,987 --> 01:46:36,107
Standing by.

2187
01:46:36,107 --> 01:46:37,607
9:12.

2188
01:46:37,607 --> 01:46:41,107
♪ ♪

2189
01:46:45,447 --> 01:46:48,027
Jerry Schilling:
The '  68 Special
really showed

2190
01:46:48,027 --> 01:46:51,657
Elvis's career in its entirety.

2191
01:46:51,657 --> 01:46:54,607
They took Elvis's
original songs

2192
01:46:54,607 --> 01:46:57,197
and they made 'em more modern.

2193
01:46:57,197 --> 01:47:00,447
Priscilla Presley:
This was bringing him
back to the beginning

2194
01:47:00,447 --> 01:47:03,157
but yet going into the future.

2195
01:47:03,157 --> 01:47:05,567
♪ Well, I quit my job
down at the car wash ♪

2196
01:47:05,567 --> 01:47:07,527
♪ I left my mama
a goodbye note ♪

2197
01:47:07,527 --> 01:47:11,157
Schilling:
There was the jam session
with his original musicians.

2198
01:47:11,157 --> 01:47:14,697
It had simplicity, spontaneity.

2199
01:47:14,697 --> 01:47:18,027
And it also had
the choreographed pieces

2200
01:47:18,027 --> 01:47:20,657
that really was
a reflection of the movies

2201
01:47:20,657 --> 01:47:22,447
and the post-Army years.

2202
01:47:22,447 --> 01:47:25,357
♪ But nobody wanted
to hire a guitar man ♪

2203
01:47:25,357 --> 01:47:27,567
♪ ♪

2204
01:47:27,567 --> 01:47:29,657
Steve Binder:
The real spine
of the special

2205
01:47:29,657 --> 01:47:31,907
came from our writers.

2206
01:47:31,907 --> 01:47:34,197
They locked themselves
in their office

2207
01:47:34,197 --> 01:47:37,817
and played every Elvis record
you could find.

2208
01:47:37,817 --> 01:47:40,907
Chris Bearde:
We wove a story of Elvis

2209
01:47:40,907 --> 01:47:43,857
from his beginnings
to being a superstar.

2210
01:47:43,857 --> 01:47:47,067
It gave everybody a look
at Elvis as a musician.

2211
01:47:47,067 --> 01:47:49,407
♪ I'm hopin' I can
make myself a dollar ♪

2212
01:47:49,407 --> 01:47:51,197
♪ Makin' music on my guitar ♪

2213
01:47:51,197 --> 01:47:53,857
Priscilla:
It's funny. It's telling
Elvis's story, yes,

2214
01:47:53,857 --> 01:47:55,197
in a variety show.

2215
01:47:55,197 --> 01:47:57,657
It's got the girls.
It's got him playing guitar.

2216
01:47:58,567 --> 01:48:01,107
I look back now...

2217
01:48:01,107 --> 01:48:03,527
his life was so big,

2218
01:48:03,527 --> 01:48:07,447
I don't know if you can
get it in an hour.  (laughs)

2219
01:48:07,447 --> 01:48:11,907
♪ ♪

2220
01:48:11,907 --> 01:48:14,697
Elvis:
♪ Yes, I'm gonna walk ♪

2221
01:48:14,697 --> 01:48:17,407
♪ On that milky white way ♪

2222
01:48:17,407 --> 01:48:22,027
♪ Oh Lord, some of these days ♪

2223
01:48:22,027 --> 01:48:24,737
Elvis:
I started out when I was
just out of high school,

2224
01:48:24,737 --> 01:48:26,447
I started out
driving a truck,

2225
01:48:26,447 --> 01:48:28,407
and, uh, I was training
to be an electrician.

2226
01:48:28,407 --> 01:48:30,567
♪ Some of these days ♪

2227
01:48:30,567 --> 01:48:32,777
♪ Well, well, well, well ♪

2228
01:48:33,697 --> 01:48:35,067
One day at my lunch break,

2229
01:48:35,067 --> 01:48:38,527
I went into this
little record company
to make a record.

2230
01:48:38,527 --> 01:48:41,487
The guy put the record out,
and overnight, in my hometown,

2231
01:48:41,487 --> 01:48:43,737
people were saying,
you know, "Who is he?"

2232
01:48:43,737 --> 01:48:48,317
♪ I'm gonna walk
on that milky white way ♪

2233
01:48:48,317 --> 01:48:50,357
♪ Oh Lord, some of these days ♪

2234
01:48:50,357 --> 01:48:53,197
I started to play
little nightclubs
and little football fields.

2235
01:48:53,197 --> 01:48:56,197
Like a year and a half,
I was doing this,
I met Colonel Parker.

2236
01:48:56,197 --> 01:48:59,527
♪ My mother howdy,
howdy, howdy... ♪

2237
01:48:59,527 --> 01:49:03,157
In 1956, they arranged to,
uh, to put me on television.

2238
01:49:03,157 --> 01:49:04,857
So they dressed me
in a tuxedo,

2239
01:49:04,857 --> 01:49:07,567
had me singing
to a dog on a stool.

2240
01:49:07,567 --> 01:49:11,357
♪ My mother howdy
when I get home ♪

2241
01:49:11,357 --> 01:49:13,817
I went to Hollywood
and I did four pictures.

2242
01:49:13,817 --> 01:49:15,947
I was really getting used
to the movie star bit.

2243
01:49:15,947 --> 01:49:18,907
♪ I'm gonna shake
my mama's hand ♪

2244
01:49:18,907 --> 01:49:21,067
Just overnight
it was all-- all changed.

2245
01:49:21,067 --> 01:49:23,657
♪ I will shake her hands
that day ♪

2246
01:49:23,657 --> 01:49:25,447
I got drafted.

2247
01:49:25,447 --> 01:49:27,447
♪ That's when we walk ♪

2248
01:49:27,447 --> 01:49:29,987
♪ On that milky white way ♪

2249
01:49:29,987 --> 01:49:32,277
♪ Oh Lord, one of these days ♪

2250
01:49:32,277 --> 01:49:35,607
Choir:
♪ On some of these days ♪

2251
01:49:35,607 --> 01:49:37,607
Warren Zanes:
Returning from the Army,

2252
01:49:37,607 --> 01:49:40,987
coming back home,
getting ready to perform again,

2253
01:49:40,987 --> 01:49:43,657
it's obviously not the '60s.

2254
01:49:43,657 --> 01:49:45,697
Those '60s haven't come yet.

2255
01:49:45,697 --> 01:49:48,737
This is pre-civil rights.

2256
01:49:48,737 --> 01:49:50,447
Things are happening
in that regard,

2257
01:49:50,447 --> 01:49:54,317
but it's not really
coming to a head yet.

2258
01:49:54,317 --> 01:49:58,027
I'm sure he was aware
of how much had gone on.

2259
01:49:59,027 --> 01:50:03,157
He could've gone
in several directions.

2260
01:50:03,157 --> 01:50:05,067
Man:
Well, Elvis, now
you're really home.

2261
01:50:05,067 --> 01:50:06,447
How does it feel?

2262
01:50:07,947 --> 01:50:09,907
It's pretty hard
to describe, I'll tell ya.

2263
01:50:09,907 --> 01:50:11,567
It's hard to get
used to it, you know?

2264
01:50:11,567 --> 01:50:13,697
I mean, I've been looking
forward to it for two years,

2265
01:50:13,697 --> 01:50:15,447
and, all of a sudden,
here it is.

2266
01:50:15,447 --> 01:50:16,737
It's, uh...

2267
01:50:16,737 --> 01:50:18,817
It's not easy
to adjust to it.

2268
01:50:18,817 --> 01:50:21,107
Man: Elvis, do you think
the music has changed

2269
01:50:21,107 --> 01:50:22,697
since you've been
out of the service?

2270
01:50:22,697 --> 01:50:25,027
I mean, since you've
been in the service.

2271
01:50:25,027 --> 01:50:27,697
Possibly, yes.
I-I... I can't say really.

2272
01:50:27,697 --> 01:50:29,657
I haven't been here
long enough to even know.

2273
01:50:29,657 --> 01:50:31,697
♪ ♪

2274
01:50:31,697 --> 01:50:34,277
Elvis:
The only thing I can say
is if it has changed,

2275
01:50:34,277 --> 01:50:36,237
well, I would be
foolish not to...

2276
01:50:36,237 --> 01:50:38,777
try to change
with it, you know?

2277
01:50:38,777 --> 01:50:41,407
♪ ♪

2278
01:50:41,407 --> 01:50:43,697
John Jackson:
When Elvis gets back
from the Army,

2279
01:50:43,697 --> 01:50:46,697
he was still
one of the biggest
stars on the planet.

2280
01:50:46,697 --> 01:50:49,567
But rock and roll,
that force that happened

2281
01:50:49,567 --> 01:50:52,157
between '54 and '59,

2282
01:50:52,157 --> 01:50:54,857
basically had evaporated
while he was away.

2283
01:50:54,857 --> 01:50:58,817
And you see,
immediately, the results
of the Colonel plotting--

2284
01:50:58,817 --> 01:51:03,447
"How do I make him
as widespread as possible
and polish his image?"

2285
01:51:03,447 --> 01:51:06,817
Get him on the path
towards being a Frank Sinatra

2286
01:51:06,817 --> 01:51:07,987
or a Dean Martin,

2287
01:51:07,987 --> 01:51:10,907
pop singers who have
very long careers.

2288
01:51:12,697 --> 01:51:15,907
Alan Light:
This was a curious
crossroads in his career.

2289
01:51:15,907 --> 01:51:17,737
It was open field to see

2290
01:51:17,737 --> 01:51:20,567
what was he gonna do
and where was he gonna go.

2291
01:51:20,567 --> 01:51:23,447
The work that he had done
during his time in the Army

2292
01:51:23,447 --> 01:51:26,197
broadens the scope
of the music

2293
01:51:26,197 --> 01:51:28,317
that he was interested in.

2294
01:51:28,317 --> 01:51:30,737
Priscilla:
He didn't wanna
do the same music.

2295
01:51:30,737 --> 01:51:32,527
He wanted to grow.

2296
01:51:32,527 --> 01:51:34,237
He wanted to evolve in a way

2297
01:51:34,237 --> 01:51:37,907
that he could offer something
different in his music.

2298
01:51:37,907 --> 01:51:42,067
Ernst Jorgensen: With Elvis,
it was always about
the challenge, the motivation.

2299
01:51:42,067 --> 01:51:45,407
He's already in
the recording studio
in Nashville

2300
01:51:45,407 --> 01:51:47,277
two weeks after coming home.

2301
01:51:47,277 --> 01:51:48,607
He knew what was at stake,

2302
01:51:48,607 --> 01:51:50,947
so did the Colonel
and the engineers,
everybody.

2303
01:51:50,947 --> 01:51:54,947
There was this
tension in the room:
"What's it gonna be like?"

2304
01:51:54,947 --> 01:51:56,817
Man:
You ready?
(guitar plays)

2305
01:51:56,817 --> 01:51:58,027
Let's cut one.

2306
01:51:58,027 --> 01:52:00,277
LTWB0081, take one.

2307
01:52:00,277 --> 01:52:04,657
(train whistling)
♪ ♪

2308
01:52:09,357 --> 01:52:13,487
Elvis:
♪ I just got
your letter, baby ♪

2309
01:52:13,487 --> 01:52:17,107
♪ Too bad you can't
come home ♪

2310
01:52:17,107 --> 01:52:19,527
Jorgensen:
They all relaxed after
just a few takes

2311
01:52:19,527 --> 01:52:21,277
because he's so on top of it.

2312
01:52:21,277 --> 01:52:24,777
He's been longing
for this moment--

2313
01:52:24,777 --> 01:52:26,857
both to get his
career started

2314
01:52:26,857 --> 01:52:29,697
but also to express
a new range of music,

2315
01:52:29,697 --> 01:52:31,567
his new understanding of music.

2316
01:52:31,567 --> 01:52:33,987
Everything he could do.

2317
01:52:33,987 --> 01:52:38,237
Elvis:
♪ I ain't slept a wink
since Sunday ♪

2318
01:52:38,237 --> 01:52:42,777
♪ I can't eat a thing all day ♪

2319
01:52:42,777 --> 01:52:46,567
Light:
Since the last  Ed Sullivan Show
appearance in 1957,

2320
01:52:46,567 --> 01:52:49,487
the Colonel decided to take
Elvis off of television.

2321
01:52:49,487 --> 01:52:51,407
He didn't want
to give Elvis away

2322
01:52:51,407 --> 01:52:54,197
when you could sell tickets
in a movie theater.

2323
01:52:54,197 --> 01:52:55,857
Jorgensen:
But in the relaunch,

2324
01:52:55,857 --> 01:52:57,237
he wasn't gonna gamble.

2325
01:52:57,237 --> 01:53:00,487
He wanted exposure to make
sure they got a head start.

2326
01:53:00,487 --> 01:53:02,657
Now it was time to deliver.

2327
01:53:02,657 --> 01:53:05,527
Jackson:
The Colonel's plan was
get Elvis on television

2328
01:53:05,527 --> 01:53:07,357
in front of as many
people as possible

2329
01:53:07,357 --> 01:53:09,817
with the world's
other most famous singer.

2330
01:53:09,817 --> 01:53:11,277
Make it fun and exciting,

2331
01:53:11,277 --> 01:53:13,697
so that now the career
can continue.
(women screaming)

2332
01:53:17,197 --> 01:53:22,737
♪ I know that I ♪

2333
01:53:22,737 --> 01:53:25,607
♪ Held nothing ♪

2334
01:53:25,607 --> 01:53:27,697
♪ Waa-ooh-waa-ooh ♪

2335
01:53:27,697 --> 01:53:32,737
♪ If you should go away ♪

2336
01:53:34,567 --> 01:53:36,157
♪ But to know ♪

2337
01:53:36,157 --> 01:53:39,857
♪ That you love me brings ♪

2338
01:53:39,857 --> 01:53:42,157
Bruce Springsteen:
The Sinatra show,

2339
01:53:42,157 --> 01:53:45,157
it was a very conservative
move at the time.

2340
01:53:45,157 --> 01:53:47,027
It was just trying
to find his place

2341
01:53:47,027 --> 01:53:49,697
after coming out of the Army.

2342
01:53:49,697 --> 01:53:51,527
He simply had to believe
in himself,

2343
01:53:51,527 --> 01:53:53,237
and that's what Elvis did.

2344
01:53:53,237 --> 01:53:54,567
♪ ♪

2345
01:53:54,567 --> 01:53:57,777
♪ Fame and fortune ♪

2346
01:53:57,777 --> 01:54:00,907
♪ My way ♪

2347
01:54:00,907 --> 01:54:04,487
♪ Ooh, ooh, ooh, ooh ♪

2348
01:54:04,487 --> 01:54:06,357
(women screaming)

2349
01:54:06,357 --> 01:54:09,567
Springsteen:
Elvis put himself forth
as somebody who was not
a flash in the pan

2350
01:54:09,567 --> 01:54:13,407
but who was in a long line
of a tradition of American
pop singers.

2351
01:54:13,407 --> 01:54:16,697
They were saying there's
a life for Elvis after Elvis.

2352
01:54:16,697 --> 01:54:18,987
Elvis...
(screaming continues)

2353
01:54:18,987 --> 01:54:20,567
I tell ya something,
it was great!

2354
01:54:20,567 --> 01:54:24,277
Jon Landau:
I remember when he appeared
on the Frank Sinatra special.

2355
01:54:24,277 --> 01:54:26,607
That show was
very much the opposite

2356
01:54:26,607 --> 01:54:28,157
of  The Steve Allen Show.

2357
01:54:28,157 --> 01:54:31,527
There was
a collegial atmosphere.

2358
01:54:31,527 --> 01:54:35,817
Frank Sinatra and Elvis
had two different styles

2359
01:54:35,817 --> 01:54:39,657
but were in an incredibly
exclusive club.

2360
01:54:39,657 --> 01:54:42,407
♪ ♪

2361
01:54:44,407 --> 01:54:47,607
We work in the same way
only in different areas.

2362
01:54:47,607 --> 01:54:49,777
(laughter)

2363
01:54:50,857 --> 01:54:52,697
♪ Love me tender ♪

2364
01:54:52,697 --> 01:54:54,777
♪ Love me sweet ♪

2365
01:54:54,777 --> 01:54:57,857
♪ Never let me go ♪

2366
01:54:57,857 --> 01:55:00,237
Jackson:
Trading their own hits
with each other

2367
01:55:00,237 --> 01:55:03,567
is the big moment
that the Colonel
engineered for him.

2368
01:55:03,567 --> 01:55:07,067
♪ Those fingers
in my hair ♪
(women screaming)

2369
01:55:07,067 --> 01:55:09,607
Jackson:
You can hear the women
in the crowd start screaming.

2370
01:55:09,607 --> 01:55:11,907
Elvis sexes it up a little bit.

2371
01:55:11,907 --> 01:55:14,407
♪ That strips
my conscience bare ♪

2372
01:55:14,407 --> 01:55:16,567
♪ It's witchcraft ♪

2373
01:55:16,567 --> 01:55:18,737
♪ Love me tender ♪
(women screaming)

2374
01:55:18,737 --> 01:55:19,987
♪ Love me true ♪

2375
01:55:19,987 --> 01:55:22,157
Jackson:
Sinatra, he's fitting
"Love Me Tender"

2376
01:55:22,157 --> 01:55:25,067
into that swing thing.
He's born on the beat.

2377
01:55:25,067 --> 01:55:28,567
♪ Oh my darling,
I love you ♪

2378
01:55:28,567 --> 01:55:30,817
♪ And I always will ♪

2379
01:55:30,817 --> 01:55:33,027
♪ It's such
an ancient pitch ♪

2380
01:55:33,027 --> 01:55:34,987
(women screaming)

2381
01:55:34,987 --> 01:55:38,107
♪ One I wouldn't switch ♪

2382
01:55:38,107 --> 01:55:40,657
♪ 'Cause there's
no nicer witch ♪

2383
01:55:40,657 --> 01:55:43,197
♪ Than witchcraft ♪

2384
01:55:43,197 --> 01:55:45,567
♪ I love you ♪

2385
01:55:45,567 --> 01:55:47,737
♪ And I always will ♪

2386
01:55:47,737 --> 01:55:49,987
♪ ♪

2387
01:55:49,987 --> 01:55:53,607
(harmonizing)
♪ For my darling ♪

2388
01:55:53,607 --> 01:55:57,197
♪ I love you ♪

2389
01:55:57,197 --> 01:55:59,737
Man, that's pretty.
(laughter)

2390
01:55:59,737 --> 01:56:05,357
Both:
♪ And I always will ♪

2391
01:56:05,357 --> 01:56:08,197
Jackson:
He's embraced
by the community

2392
01:56:08,197 --> 01:56:10,657
that had previously
put him down,

2393
01:56:10,657 --> 01:56:13,027
and that signaled
he was now ready

2394
01:56:13,027 --> 01:56:16,907
to take on this role
of cultural icon.

2395
01:56:16,907 --> 01:56:18,237
Jorgensen:
You get this new Elvis,

2396
01:56:18,237 --> 01:56:20,197
the Elvis that
Colonel Parker wanted,

2397
01:56:20,197 --> 01:56:23,857
the Elvis that had grown up
exactly the same way

2398
01:56:23,857 --> 01:56:26,817
that his core audience
had grown older.

2399
01:56:26,817 --> 01:56:29,697
They were gone
from being teenagers
to being young adults.

2400
01:56:29,697 --> 01:56:33,857
So for him, it was
the perfect launch.

2401
01:56:33,857 --> 01:56:36,067
The public widely
accepted that,

2402
01:56:36,067 --> 01:56:38,777
but, obviously,
this was a transition.

2403
01:56:41,777 --> 01:56:44,237
♪ ♪

2404
01:56:46,777 --> 01:56:50,657
Elvis:
♪ You gave me love to enjoy ♪

2405
01:56:50,657 --> 01:56:56,857
♪ Like a bright shiny toy
to a baby ♪

2406
01:56:56,857 --> 01:56:59,907
♪ ♪

2407
01:56:59,907 --> 01:57:03,777
♪ No matter what
you would do ♪

2408
01:57:03,777 --> 01:57:06,817
♪ I depended on you ♪

2409
01:57:06,817 --> 01:57:10,067
♪ Like a baby ♪

2410
01:57:10,067 --> 01:57:13,197
♪ ♪

2411
01:57:13,197 --> 01:57:15,857
Priscilla:
He knew that next album
was important.

2412
01:57:15,857 --> 01:57:17,737
He gave it a lot of thought.

2413
01:57:17,737 --> 01:57:22,657
Light:
The  Elvis is Back!  album
reveals new influences,

2414
01:57:22,657 --> 01:57:25,607
new interests,
new arrangements.

2415
01:57:25,607 --> 01:57:27,947
Jackson:
He had been getting
ready for this mentally

2416
01:57:27,947 --> 01:57:29,657
while he was in Germany.

2417
01:57:29,657 --> 01:57:33,027
There's a little bit of R&B,
there's a little bit of pop,

2418
01:57:33,027 --> 01:57:34,947
ballads, country.

2419
01:57:34,947 --> 01:57:36,907
♪ ♪

2420
01:57:36,907 --> 01:57:39,527
Light:
New songs that represented
a different vocal approach

2421
01:57:39,527 --> 01:57:41,907
than anything
he had tried before that.

2422
01:57:41,907 --> 01:57:44,607
Elvis:
♪ I was blind,
'cause I just ♪

2423
01:57:44,607 --> 01:57:47,527
David Briggs:
His voice was very much
in tune always,

2424
01:57:47,527 --> 01:57:50,317
and that's because he didn't
have to fight the band.

2425
01:57:50,317 --> 01:57:52,907
Those guys were soft
and they didn't push him,

2426
01:57:52,907 --> 01:57:54,857
and they weren't too busy.

2427
01:57:54,857 --> 01:57:58,607
Jorgensen:
The band had the ability
to play all this music

2428
01:57:58,607 --> 01:58:01,237
that came from
so many different sources.

2429
01:58:01,237 --> 01:58:02,657
Elvis:
♪ Like a baby ♪

2430
01:58:02,657 --> 01:58:04,157
Jorgensen:
That was the true magic

2431
01:58:04,157 --> 01:58:06,487
of Elvis combining
with this band.

2432
01:58:06,487 --> 01:58:08,947
They perfectly
understood each other.

2433
01:58:08,947 --> 01:58:13,487
(Elvis vocalizing)

2434
01:58:13,487 --> 01:58:16,657
Red West:
Those musicians
were incredible.

2435
01:58:16,657 --> 01:58:18,817
Bobby Moore on bass,

2436
01:58:18,817 --> 01:58:20,817
Floyd Cramer on piano.

2437
01:58:20,817 --> 01:58:23,157
Man, those guys
heard a demo once

2438
01:58:23,157 --> 01:58:25,157
and bam,
they were ready to go.

2439
01:58:25,157 --> 01:58:27,237
Briggs:
They were a real tight group.

2440
01:58:27,237 --> 01:58:28,947
Nobody played anything
that didn't go

2441
01:58:28,947 --> 01:58:30,777
with what the other one
was playing.

2442
01:58:30,777 --> 01:58:32,607
Elvis:
♪ I need soul ♪

2443
01:58:32,607 --> 01:58:34,277
Briggs:
DJ and Scotty
were still there,

2444
01:58:34,277 --> 01:58:36,487
but they began to play
a lesser and lesser role

2445
01:58:36,487 --> 01:58:38,357
and that made it
a little more sophisticated.

2446
01:58:38,357 --> 01:58:40,947
Elvis:
♪ Then I broke down
and cried ♪

2447
01:58:40,947 --> 01:58:43,027
Priscilla:
He liked the way
the music sounded.

2448
01:58:43,027 --> 01:58:45,817
Technology, it evolved
while he was gone.

2449
01:58:45,817 --> 01:58:49,107
Jackson:
RCA Studios got
a three-track recorder.

2450
01:58:49,107 --> 01:58:52,657
That immediately adds
a technical professionalism

2451
01:58:52,657 --> 01:58:55,567
as recording technology
is moving into the future.

2452
01:58:55,567 --> 01:58:58,107
Elvis:
♪ Like a baby ♪

2453
01:58:58,107 --> 01:59:00,237
Priscilla:
He started feeling confidence,

2454
01:59:00,237 --> 01:59:03,197
because these were
his song choices.

2455
01:59:03,197 --> 01:59:06,277
These were songs that
he was singing in Germany.

2456
01:59:06,277 --> 01:59:08,277
That's the freedom
that he wanted.

2457
01:59:08,277 --> 01:59:09,857
That's what
he was looking for.

2458
01:59:09,857 --> 01:59:11,157
Elvis:
♪ Like a baby ♪

2459
01:59:11,157 --> 01:59:13,407
Priscilla:
And that's why
it was so successful.

2460
01:59:14,527 --> 01:59:16,527
Just blew people away.

2461
01:59:18,317 --> 01:59:20,567
Landau:
Elvis, when he came back,

2462
01:59:20,567 --> 01:59:24,907
clearly in finding the songs
and making the records,

2463
01:59:24,907 --> 01:59:26,697
was very driven.

2464
01:59:26,697 --> 01:59:28,657
His vision was very intact,

2465
01:59:28,657 --> 01:59:31,157
and I don't think
he could be distracted.

2466
01:59:31,157 --> 01:59:34,567
Zanes:
Elvis was so attuned
to the emotional.

2467
01:59:34,567 --> 01:59:39,737
He was always on the search
for emotional music.

2468
01:59:39,737 --> 01:59:41,027
Priscilla:
I asked him one day,

2469
01:59:41,027 --> 01:59:43,567
"What makes you
pick out your songs?"

2470
01:59:43,567 --> 01:59:46,907
He said, "I wanna be able
to reach and feel

2471
01:59:46,907 --> 01:59:49,407
what we all go through
as human beings."

2472
01:59:49,407 --> 01:59:51,567
♪ Ooh ♪

2473
01:59:51,567 --> 01:59:53,607
Zanes:
This is the mysterious
part about music.

2474
01:59:53,607 --> 01:59:56,357
How do we know when
we're listening to a song

2475
01:59:56,357 --> 01:59:58,527
that someone means it?

2476
01:59:58,527 --> 01:59:59,567
We just know.

2477
01:59:59,567 --> 02:00:02,067
Elvis:
♪ Are you lonesome tonight ♪

2478
02:00:02,067 --> 02:00:03,407
Zanes:
And the people who mean it

2479
02:00:03,407 --> 02:00:06,407
are generally the ones
who are processing

2480
02:00:06,407 --> 02:00:10,607
some kind of loss
through music,

2481
02:00:10,607 --> 02:00:14,697
and we can hear them
negotiating their loss,

2482
02:00:14,697 --> 02:00:17,567
and we connect to it.

2483
02:00:17,567 --> 02:00:22,607
Elvis:
♪ Does your memory stray ♪

2484
02:00:22,607 --> 02:00:27,317
♪ To a bright summer day ♪

2485
02:00:27,317 --> 02:00:29,947
♪ When I kissed you ♪

2486
02:00:29,947 --> 02:00:34,027
♪ And called you sweetheart? ♪

2487
02:00:34,027 --> 02:00:37,987
David Porter:
Those who are truly
a recording artist,

2488
02:00:37,987 --> 02:00:40,607
you go into
the artistic aspect

2489
02:00:40,607 --> 02:00:42,357
of what makes
whatever you're doing

2490
02:00:42,357 --> 02:00:45,027
alive and unique
for that song.

2491
02:00:45,027 --> 02:00:48,277
So he would lose himself
in an artistic way

2492
02:00:48,277 --> 02:00:51,027
in order for people to feel it.

2493
02:00:51,027 --> 02:00:52,857
Elvis:
♪ And picture me ♪

2494
02:00:52,857 --> 02:00:55,607
Porter:
That's called soul.

2495
02:00:55,607 --> 02:01:00,357
Elvis:
♪ Is your heart
filled with pain? ♪

2496
02:01:00,357 --> 02:01:05,317
♪ Shall I come back again? ♪

2497
02:01:05,317 --> 02:01:07,817
♪ Tell me, dear ♪

2498
02:01:07,817 --> 02:01:12,987
♪ Are you lonesome tonight? ♪

2499
02:01:14,987 --> 02:01:17,277
Man:
Usually when we chat, Elvis,
we ask you to, uh,

2500
02:01:17,277 --> 02:01:19,407
select your favorite song
of all your recordings.

2501
02:01:19,407 --> 02:01:21,487
What's the current
favorite of yours?

2502
02:01:21,487 --> 02:01:23,697
Elvis:
I think, uh,
"Now or Never."

2503
02:01:23,697 --> 02:01:25,657
It's "Now or Never."

2504
02:01:25,657 --> 02:01:28,067
♪ Ooh ♪

2505
02:01:28,067 --> 02:01:31,697
♪ ♪

2506
02:01:31,697 --> 02:01:35,107
♪ Ooh, ooh, ooh ♪

2507
02:01:35,107 --> 02:01:37,527
♪ ♪

2508
02:01:37,527 --> 02:01:40,487
Elvis:
♪ It's now or never ♪

2509
02:01:40,487 --> 02:01:43,947
Jorgensen:
Everything was
a level up on the '50s.

2510
02:01:43,947 --> 02:01:46,857
The three singles,
"Stuck on You,"
"It's Now or Never"

2511
02:01:46,857 --> 02:01:50,197
and "Are You Lonesome Tonight?"
were number one hits.

2512
02:01:50,197 --> 02:01:52,067
It was a true triumph

2513
02:01:52,067 --> 02:01:55,697
and a whole new ballgame
of what pop music was.

2514
02:01:55,697 --> 02:02:00,157
Elvis:
♪ Tomorrow will be too late ♪

2515
02:02:00,157 --> 02:02:02,857
Landau:
Rhythmically,
his sense of time,

2516
02:02:02,857 --> 02:02:06,697
his phrasing, musicality,
Elvis was impeccable.

2517
02:02:07,947 --> 02:02:10,527
Elvis:
♪ When I first saw you ♪

2518
02:02:10,527 --> 02:02:11,907
Priscilla:
He loved opera singers.

2519
02:02:11,907 --> 02:02:13,907
He loved the range
of an opera singer.

2520
02:02:13,907 --> 02:02:16,357
"It's Now or Never"
is very much like that.

2521
02:02:16,357 --> 02:02:20,407
Elvis:
♪ My heart was captured ♪

2522
02:02:20,407 --> 02:02:22,107
Tom Petty:
What he did that was unusual

2523
02:02:22,107 --> 02:02:25,567
was he could slide up the scale
into a tenor voice

2524
02:02:25,567 --> 02:02:27,357
and then back down, you know.

2525
02:02:27,357 --> 02:02:30,407
And he's just having fun.

2526
02:02:31,857 --> 02:02:33,777
He's sliding
all over the scale.

2527
02:02:33,777 --> 02:02:37,107
It's so human.
It's so real.

2528
02:02:38,157 --> 02:02:42,277
Elvis:
♪ It's now or never ♪

2529
02:02:42,277 --> 02:02:45,317
♪ Come hold me tight ♪

2530
02:02:45,317 --> 02:02:48,447
Light:
"It's Now or Never" was
adapted from "O Sole Mio,"

2531
02:02:48,447 --> 02:02:49,857
the Italian song.

2532
02:02:49,857 --> 02:02:51,947
Elvis had always
had this interest

2533
02:02:51,947 --> 02:02:54,277
in the Italian crooners.

2534
02:02:54,277 --> 02:02:57,107
When he was in the Army
with Charlie Hodge,

2535
02:02:57,107 --> 02:03:00,817
they were exploring that
kind of drama in his singing.

2536
02:03:00,817 --> 02:03:05,107
That sound, that style
became one of the staples

2537
02:03:05,107 --> 02:03:08,857
of Elvis's musical range
from then on.

2538
02:03:08,857 --> 02:03:11,067
Elvis:
♪ Just like a willow ♪

2539
02:03:11,067 --> 02:03:12,357
Jorgensen:
It's about challenge.

2540
02:03:12,357 --> 02:03:16,277
It was the challenge that
made him do that extra thing.

2541
02:03:16,277 --> 02:03:18,607
And hitting the high notes
at the end

2542
02:03:18,607 --> 02:03:21,027
on "It's Now or Never"
was the challenge.

2543
02:03:21,027 --> 02:03:22,857
Elvis:
♪ And sweet devotion ♪

2544
02:03:22,857 --> 02:03:25,407
Jorgensen:
He can't really reach it,
and the engineer says,

2545
02:03:25,407 --> 02:03:27,947
"We can cut the ending only,"
and Elvis goes back and says,

2546
02:03:27,947 --> 02:03:31,777
"No, if I can't sing it
the whole way through,
I'm not gonna do it."

2547
02:03:31,777 --> 02:03:33,567
Elvis:
♪ For who knows when ♪

2548
02:03:33,567 --> 02:03:35,027
Priscilla:
He challenged himself.

2549
02:03:35,027 --> 02:03:39,107
He got a thrill out of
hitting a note so high.

2550
02:03:39,107 --> 02:03:44,237
Elvis:
♪ It's now or never ♪

2551
02:03:44,237 --> 02:03:49,317
♪ My love won't wait ♪

2552
02:03:49,317 --> 02:03:50,907
♪ ♪

2553
02:03:50,907 --> 02:03:54,447
♪ It's now or never ♪

2554
02:03:54,447 --> 02:03:58,527
♪ My love won't wait ♪

2555
02:04:00,697 --> 02:04:04,357
(folk music playing)

2556
02:04:04,357 --> 02:04:06,987
♪ ♪

2557
02:04:09,987 --> 02:04:12,987
♪ Can't you see
I love you? ♪

2558
02:04:12,987 --> 02:04:16,697
♪ Please don't break
my heart in two ♪

2559
02:04:16,697 --> 02:04:18,857
♪ That's not hard to do ♪

2560
02:04:18,857 --> 02:04:23,737
♪ 'Cause I don't have
a wooden heart ♪

2561
02:04:23,737 --> 02:04:24,697
(laughter)

2562
02:04:24,697 --> 02:04:27,697
♪ And if you say goodbye ♪

2563
02:04:27,697 --> 02:04:30,657
♪ Then I know
that I would cry ♪

2564
02:04:30,657 --> 02:04:33,487
Jorgensen:
For Elvis to have
to do  G.I. Blues,

2565
02:04:33,487 --> 02:04:36,317
reflecting his two years
in the Army

2566
02:04:36,317 --> 02:04:40,567
in a way that probably
doesn't compare a lot
to what it was like,

2567
02:04:40,567 --> 02:04:43,527
I don't think he really
enjoyed that.

2568
02:04:43,527 --> 02:04:46,357
G.I. Blues was
a family type of film

2569
02:04:46,357 --> 02:04:50,197
moving Elvis's image
in a completely
different direction

2570
02:04:50,197 --> 02:04:54,067
from the very young,
aggressive characters
in the '50s movies.

2571
02:04:55,947 --> 02:04:59,567
But he was given the promise
that there would be two films

2572
02:04:59,567 --> 02:05:02,107
for 20th Century Fox,
following this,

2573
02:05:02,107 --> 02:05:04,407
that were serious roles.

2574
02:05:04,407 --> 02:05:09,607
It may have been a reasonable
bargain for Elvis at the time.

2575
02:05:09,607 --> 02:05:13,027
Priscilla:
When he found out the songs
that he had to do
in  G.I. Blues,

2576
02:05:13,027 --> 02:05:15,657
he said, "Baby, I don't know
how this is gonna go.

2577
02:05:15,657 --> 02:05:17,487
I'm a little disappointed."

2578
02:05:17,487 --> 02:05:19,777
Jorgensen:
The songs they had
to fit into the plot,

2579
02:05:19,777 --> 02:05:22,197
but musically, they were
not where Elvis was at.

2580
02:05:24,067 --> 02:05:25,947
He makes a compromise.

2581
02:05:25,947 --> 02:05:29,027
That was the really
disheartening part for Elvis.

2582
02:05:31,527 --> 02:05:33,357
The soundtrack of  G.I. Blues,

2583
02:05:33,357 --> 02:05:36,737
it was the most successful
album they had made.

2584
02:05:36,737 --> 02:05:40,237
It sold much more
than the absolutely
brilliant studio album

2585
02:05:40,237 --> 02:05:42,277
that came out
some months before.

2586
02:05:43,567 --> 02:05:45,607
Schilling:
Elvis is now a big business.

2587
02:05:45,607 --> 02:05:47,357
So instead of going out,

2588
02:05:47,357 --> 02:05:50,527
getting the best
songwriters in general,

2589
02:05:50,527 --> 02:05:52,157
Hill & Range,
from the Colonel,

2590
02:05:52,157 --> 02:05:54,277
were hiring a couple
of songwriters

2591
02:05:54,277 --> 02:05:56,947
to write Elvis songs.

2592
02:05:56,947 --> 02:06:00,527
Briggs:
They would bring
all of the material,

2593
02:06:00,527 --> 02:06:03,357
that was the unspoken rule.

2594
02:06:03,357 --> 02:06:05,487
Nobody else was allowed

2595
02:06:05,487 --> 02:06:08,197
to bring any music
into the session.

2596
02:06:08,197 --> 02:06:12,237
That was very tightly
controlled by the Colonel,

2597
02:06:12,237 --> 02:06:13,737
by the publishing company,

2598
02:06:13,737 --> 02:06:16,447
and by the record company.

2599
02:06:16,447 --> 02:06:18,317
West:
The Colonel eventually
started getting

2600
02:06:18,317 --> 02:06:20,067
a percentage of everything.

2601
02:06:20,067 --> 02:06:21,317
He was a businessman.

2602
02:06:21,317 --> 02:06:24,277
He didn't give a damn
if it was worth a crap.

2603
02:06:24,277 --> 02:06:28,407
Schilling:
Elvis could care less
about the songwriting,

2604
02:06:28,407 --> 02:06:30,197
publishing in general.

2605
02:06:30,197 --> 02:06:32,157
Some of it,
he got and understood,

2606
02:06:32,157 --> 02:06:36,277
but he cared more
about good material.

2607
02:06:36,277 --> 02:06:38,777
Petty:
It was more about the Colonel
owning the publishing,

2608
02:06:38,777 --> 02:06:43,657
which was a huge
stone in his shoes
the rest of his life.

2609
02:06:43,657 --> 02:06:47,657
It was this business of
"We must own the copyright

2610
02:06:47,657 --> 02:06:50,777
or we don't
want you to do it."

2611
02:06:50,777 --> 02:06:53,067
Priscilla:
Elvis said, "I'm starting
to feel the pressure.

2612
02:06:53,067 --> 02:06:54,317
"I'm obligated here.

2613
02:06:54,317 --> 02:06:56,277
I don't think there's
a way out for me."

2614
02:06:56,277 --> 02:06:58,487
And I said, "Well, can't you
talk to Colonel?"

2615
02:06:58,487 --> 02:07:01,697
And that's when I think
he started getting
disillusioned.

2616
02:07:01,697 --> 02:07:04,357
Basically, Colonel
was part of it.

2617
02:07:04,357 --> 02:07:07,357
Already, he's feeling
that he's not in control,

2618
02:07:07,357 --> 02:07:09,857
and this is really early on.

2619
02:07:14,777 --> 02:07:19,447
Gladys Presley:
♪ Oh, home sweet home ♪

2620
02:07:19,447 --> 02:07:24,907
♪ There's no place like home ♪

2621
02:07:24,907 --> 02:07:27,737
(song continues)

2622
02:07:36,777 --> 02:07:40,357
Priscilla:
I already had a feeling
of what Graceland was like

2623
02:07:40,357 --> 02:07:43,067
through Elvis's description.

2624
02:07:43,067 --> 02:07:44,317
He told me in Germany,

2625
02:07:44,317 --> 02:07:46,407
"I want you to come
and see Graceland."

2626
02:07:47,737 --> 02:07:49,907
And he would give me images.

2627
02:07:53,107 --> 02:07:55,107
When I came, the first time,

2628
02:07:55,107 --> 02:07:58,447
he told me to close my eyes,
and not to open them.

2629
02:07:58,447 --> 02:08:02,447
We're driving, and then
he said, "Open them."

2630
02:08:05,317 --> 02:08:07,407
The gates of Graceland open up.

2631
02:08:09,237 --> 02:08:12,277
It was everything
that he'd described.

2632
02:08:12,277 --> 02:08:15,027
It was bigger
than life for me.

2633
02:08:15,027 --> 02:08:16,947
His safe haven.

2634
02:08:20,817 --> 02:08:22,487
Schilling:
Graceland always represented

2635
02:08:22,487 --> 02:08:26,447
something more than
just a house to Elvis.

2636
02:08:26,447 --> 02:08:28,027
Light:
Graceland was
something initially

2637
02:08:28,027 --> 02:08:31,067
that he had bought
with and for his parents,

2638
02:08:31,067 --> 02:08:33,607
and it reminded him
of his mother,

2639
02:08:33,607 --> 02:08:37,067
her presence and her
influence in his life,

2640
02:08:37,067 --> 02:08:40,317
which didn't end
after she died.

2641
02:08:40,317 --> 02:08:41,907
Priscilla:
I opened up a closet

2642
02:08:41,907 --> 02:08:43,817
and it was filled
with her clothes.

2643
02:08:45,857 --> 02:08:48,737
And I had such a sense of her.

2644
02:08:48,737 --> 02:08:50,697
She liked soft fabric.

2645
02:08:50,697 --> 02:08:53,107
Her hats, her shoes--

2646
02:08:53,107 --> 02:08:56,487
he hung on
to those personal things.

2647
02:08:56,487 --> 02:08:58,527
Even though
it had been a few years,

2648
02:08:58,527 --> 02:09:02,487
there was still a lingering
scent there, of her.

2649
02:09:03,657 --> 02:09:06,817
It really showed me
the love that he had for her.

2650
02:09:08,067 --> 02:09:11,197
Elvis:
She never really
wanted anything,

2651
02:09:11,197 --> 02:09:12,777
you know, anything fancy.

2652
02:09:12,777 --> 02:09:15,817
She just stayed the same
all the way through
the whole thing.

2653
02:09:17,317 --> 02:09:19,657
There's a lot
of things happened,

2654
02:09:19,657 --> 02:09:21,237
and there are times
when it feels like

2655
02:09:21,237 --> 02:09:23,697
I don't know what
I'm gonna do next, you know?

2656
02:09:24,947 --> 02:09:27,157
Light:
Once he got back
to Graceland

2657
02:09:27,157 --> 02:09:30,697
and wanted to reconnect
with the spirit he was
brought up in

2658
02:09:30,697 --> 02:09:33,407
and the memory of his mother,

2659
02:09:33,407 --> 02:09:35,657
the best way was
to go back to the music

2660
02:09:35,657 --> 02:09:38,277
that he had grown up with.

2661
02:09:38,277 --> 02:09:41,157
Zanes:
The theme of return,

2662
02:09:41,157 --> 02:09:44,487
and in Elvis's case,
a return to gospel,

2663
02:09:44,487 --> 02:09:48,357
is part of how
we all experience music.

2664
02:09:50,027 --> 02:09:52,567
There are these
profound experiences

2665
02:09:52,567 --> 02:09:56,817
that happen with music
at a younger age.

2666
02:09:56,817 --> 02:10:00,197
Through our lives,
we're often chasing them.

2667
02:10:03,487 --> 02:10:07,487
If you were raised
in the proximity of gospel,

2668
02:10:07,487 --> 02:10:12,197
that's what launched you into
the world of emotional music.

2669
02:10:13,737 --> 02:10:17,447
West:
He was getting into
another phase in his life,

2670
02:10:17,447 --> 02:10:21,197
and gospel, religious music,
was his favorite,

2671
02:10:21,197 --> 02:10:23,737
and that's why he did it.

2672
02:10:23,737 --> 02:10:25,567
Jorgensen:
Just on the heels
of  G.I. Blues,

2673
02:10:25,567 --> 02:10:29,567
he goes in and records
a complete album
of gospel music

2674
02:10:29,567 --> 02:10:31,567
with songs from
all his old heroes:

2675
02:10:31,567 --> 02:10:35,157
Blackwood Brothers,
Golden Gate,
Statesmen Quartet.

2676
02:10:35,157 --> 02:10:37,907
It's a tribute to everything
he came from,

2677
02:10:37,907 --> 02:10:41,107
and he does it with a voice
at his best ever.

2678
02:10:41,107 --> 02:10:43,737
Elvis:
♪ Why don't you
swing low, sweet chariot ♪

2679
02:10:43,737 --> 02:10:45,697
♪ Stop and let me ride ♪

2680
02:10:45,697 --> 02:10:47,907
Tony Brown:
It was so close
to those records

2681
02:10:47,907 --> 02:10:49,907
that the Statesmen
and Blackwoods were making.

2682
02:10:49,907 --> 02:10:53,067
It could've been those records.

2683
02:10:53,067 --> 02:10:56,157
Jorgensen:
He had the Jordanaires
as the key element

2684
02:10:56,157 --> 02:10:58,907
of developing a gospel feel

2685
02:10:58,907 --> 02:11:01,737
with a band feel that
was true to the music

2686
02:11:01,737 --> 02:11:03,567
on the  Elvis is Back!  album.

2687
02:11:03,567 --> 02:11:05,027
Elvis:
♪ Let me ride ♪

2688
02:11:05,027 --> 02:11:07,067
♪ Rock me, Lord,
rock me, Lord ♪

2689
02:11:07,067 --> 02:11:08,907
Jorgensen:
Obviously, it's not
really rock and roll,

2690
02:11:08,907 --> 02:11:11,197
but there's drums
and there's saxophones.

2691
02:11:11,197 --> 02:11:12,607
There's a lot of swing to it.

2692
02:11:12,607 --> 02:11:14,907
♪ Sweet, sweet, sweet, sweet ♪

2693
02:11:14,907 --> 02:11:17,197
Elvis:
♪ Well, well ♪

2694
02:11:17,197 --> 02:11:19,447
Petty:
The way he blended
them together

2695
02:11:19,447 --> 02:11:22,777
is an incredibly
original thing to do.

2696
02:11:22,777 --> 02:11:26,817
Sometimes, you know,
he wasn't traveling
very far away from the gospel.

2697
02:11:26,817 --> 02:11:30,067
I mean, some of it,
it was just about
putting a beat to it.

2698
02:11:30,067 --> 02:11:32,107
Elvis:
♪ Wasn't so particular
about the chariot wheel ♪

2699
02:11:32,107 --> 02:11:33,777
Petty:
That angle of the two
and the four are

2700
02:11:33,777 --> 02:11:36,947
slightly different
than gospel good.

2701
02:11:36,947 --> 02:11:39,447
Elvis:
♪ Why don't you swing down,
sweet chariot, stop ♪

2702
02:11:39,447 --> 02:11:41,317
♪ And let me ride ♪

2703
02:11:41,317 --> 02:11:44,027
Jorgensen:
You have a feeling that
he's truly enjoying this.

2704
02:11:44,027 --> 02:11:46,607
It's a very joyous
record to listen to.

2705
02:11:46,607 --> 02:11:50,157
Schilling:
His Hand in Mine
was a passion.

2706
02:11:50,157 --> 02:11:54,357
The whole gospel influence
was as much a part of him,

2707
02:11:54,357 --> 02:11:58,317
and maybe even more so
as the rhythm and blues.

2708
02:11:58,317 --> 02:12:00,777
This was just his
opportunity to get it out.

2709
02:12:00,777 --> 02:12:02,777
Priscilla:
And it was a mission
to show others,

2710
02:12:02,777 --> 02:12:05,817
the listeners, that in these
choices of music

2711
02:12:05,817 --> 02:12:07,237
and how it's embellished,

2712
02:12:07,237 --> 02:12:09,947
really what Elvis was
looking for as an artist,

2713
02:12:09,947 --> 02:12:11,657
to have that freedom.

2714
02:12:11,657 --> 02:12:13,317
It's that simple.

2715
02:12:13,317 --> 02:12:17,567
Elvis:
♪ Just wanted to lay
down this heavy load ♪

2716
02:12:17,567 --> 02:12:19,697
♪ Why don't you
swing down, sweet chariot ♪

2717
02:12:19,697 --> 02:12:21,947
♪ Stop, let me ride ♪

2718
02:12:21,947 --> 02:12:23,407
Man:
How's  Blue Hawaii  going?

2719
02:12:23,407 --> 02:12:24,737
Elvis:
It's going on very well.

2720
02:12:24,737 --> 02:12:26,237
We leave tomorrow
for Kauai, you know.
Yeah.

2721
02:12:26,237 --> 02:12:27,947
I think we'll be there
for about 10 days.

2722
02:12:27,947 --> 02:12:29,407
Man: Tell us about
Blue Hawaii a bit.

2723
02:12:29,407 --> 02:12:31,607
Elvis:
There's about
11 songs in it.

2724
02:12:31,607 --> 02:12:33,657
Some Hawaiian tunes?
Yeah.

2725
02:12:33,657 --> 02:12:35,777
You got some
special material written
for you for the picture?

2726
02:12:35,777 --> 02:12:38,907
Elvis: Yeah, we had
about 10 songs written
especially for the picture.

2727
02:12:38,907 --> 02:12:41,157
We do that, you know,
before the picture starts.

2728
02:12:41,157 --> 02:12:44,197
♪ ♪

2729
02:12:47,027 --> 02:12:50,777
Jorgensen:
The film  Blue Hawaii  was
an overwhelming success.

2730
02:12:50,777 --> 02:12:53,857
That is the point where
it gets real interesting.

2731
02:12:55,317 --> 02:12:56,697
Jackson:
The two dramas,

2732
02:12:56,697 --> 02:12:58,447
Wild in the Country
and  Flaming Star,

2733
02:12:58,447 --> 02:13:01,857
they're not as music heavy,
and they actually lose money.

2734
02:13:01,857 --> 02:13:03,737
Priscilla:
And that's when
they told him,

2735
02:13:03,737 --> 02:13:06,107
"This is proof. This is
what the public wants.

2736
02:13:06,107 --> 02:13:07,907
"People just wanna
hear your music.

2737
02:13:07,907 --> 02:13:11,027
They wanna hear you
sing in movies."

2738
02:13:11,027 --> 02:13:12,567
(crowd cheering)

2739
02:13:12,567 --> 02:13:15,737
Schilling:
The last concert he played,
for almost a decade,

2740
02:13:15,737 --> 02:13:18,197
was a charity show
near Pearl Harbor.

2741
02:13:18,197 --> 02:13:20,237
♪ ♪

2742
02:13:24,987 --> 02:13:27,697
(women screaming)

2743
02:13:29,067 --> 02:13:32,987
Elvis:
♪ Well, so long ♪

2744
02:13:32,987 --> 02:13:35,487
Jackson:
That was like the
ultimate charity show,

2745
02:13:35,487 --> 02:13:36,947
because it was
for the building

2746
02:13:36,947 --> 02:13:38,567
of the Pearl Harbor
memorial.

2747
02:13:38,567 --> 02:13:39,947
Couldn't be more patriotic.

2748
02:13:39,947 --> 02:13:41,857
Couldn't have been
more of a cause

2749
02:13:41,857 --> 02:13:43,407
that people could get behind.

2750
02:13:44,407 --> 02:13:46,357
He's back,
he's served his time.

2751
02:13:46,357 --> 02:13:47,567
He's a great patriot.

2752
02:13:47,567 --> 02:13:50,447
It was more to build
that piece of the story

2753
02:13:50,447 --> 02:13:52,447
that the Colonel
wanted to tell.

2754
02:13:52,447 --> 02:13:54,737
He's cleaned up
and he's a good boy.

2755
02:13:54,737 --> 02:13:56,907
Elvis:
♪ Let you go ahead on, baby ♪

2756
02:13:58,447 --> 02:14:01,907
♪ Pray that you'll come back
home some time ♪

2757
02:14:01,907 --> 02:14:04,277
Boots Randolph.
(women scream)

2758
02:14:04,277 --> 02:14:07,777
Jackson:
The band that he brings
with him is very interesting.

2759
02:14:07,777 --> 02:14:09,157
He has Scotty and DJ,

2760
02:14:09,157 --> 02:14:11,567
but he brings
with him his all-star

2761
02:14:11,567 --> 02:14:14,107
Nashville, session guy band,

2762
02:14:14,107 --> 02:14:17,447
including Boots Randolph,
who was a great
saxophone player.

2763
02:14:17,447 --> 02:14:19,487
♪ ♪
(women screaming)

2764
02:14:21,777 --> 02:14:24,107
Jackson:
Boots Randolph brings
in a lead instrument

2765
02:14:24,107 --> 02:14:26,737
that can balance out
Elvis's singing

2766
02:14:26,737 --> 02:14:29,317
in a way that Scotty
playing rockabilly licks

2767
02:14:29,317 --> 02:14:31,447
didn't do previously.

2768
02:14:31,447 --> 02:14:34,527
So it just becomes
a much more full sound.

2769
02:14:34,527 --> 02:14:37,907
♪ ♪

2770
02:14:37,907 --> 02:14:40,317
Light:
It's a tragedy that
he didn't continue

2771
02:14:40,317 --> 02:14:42,907
to play live
for people at that point.

2772
02:14:42,907 --> 02:14:44,777
But the Colonel knew
that the films

2773
02:14:44,777 --> 02:14:48,697
got Elvis in front of millions
of people simultaneously

2774
02:14:48,697 --> 02:14:50,697
with as little
work as possible.

2775
02:14:52,317 --> 02:14:55,317
Landau:
The post-Army films,
I went to them.

2776
02:14:55,317 --> 02:14:59,607
They were a separate category
for what happened in the '50s.

2777
02:14:59,607 --> 02:15:01,817
He finds himself
in a situation

2778
02:15:01,817 --> 02:15:03,987
where he's just
churning out stuff

2779
02:15:03,987 --> 02:15:06,317
that he couldn't possibly
have believed in.

2780
02:15:06,317 --> 02:15:08,657
Elvis:
♪ I said, take it easy,
baby, I worked all day ♪

2781
02:15:08,657 --> 02:15:10,777
♪ And my feet
feel just like lead ♪

2782
02:15:10,777 --> 02:15:13,237
♪ You got my shirttails
flying all over the place ♪

2783
02:15:13,237 --> 02:15:15,317
♪ And the sweat
poppin' outta my head ♪

2784
02:15:15,317 --> 02:15:17,657
♪ She said,
Hey, bossa nova, baby,
keep on workin' ♪

2785
02:15:17,657 --> 02:15:19,817
♪ For this ain't
no time to quit ♪

2786
02:15:19,817 --> 02:15:22,237
♪ She said,
Go bossa nova, baby,
keep on dancin' ♪

2787
02:15:22,237 --> 02:15:25,027
♪ I'm about to have
myself a fit ♪

2788
02:15:25,027 --> 02:15:29,197
♪ Bossa nova, bossa nova ♪

2789
02:15:29,197 --> 02:15:33,027
Schilling:
The Colonel negotiated
contract after contract.

2790
02:15:33,027 --> 02:15:37,277
MGM, Paramount,
United Artists, you name it.

2791
02:15:37,277 --> 02:15:40,487
Hal Blaine:
He was inundated with
work, work, work, work.

2792
02:15:40,487 --> 02:15:42,357
Elvis:
♪ I can dance with
a drink in my hand ♪

2793
02:15:42,357 --> 02:15:44,657
♪ She said,
Hey, bossa nova, baby,
keep on workin' ♪

2794
02:15:44,657 --> 02:15:46,357
♪ For this ain't
no time to drink ♪

2795
02:15:46,357 --> 02:15:49,197
Blaine:
Everybody was trying
to get every penny they could

2796
02:15:49,197 --> 02:15:51,317
out of whatever
they could.

2797
02:15:51,317 --> 02:15:56,277
♪ Bossa nova ♪

2798
02:15:56,277 --> 02:16:00,197
♪ ♪

2799
02:16:00,197 --> 02:16:02,987
Jackson:
He had to make
three movies a year.

2800
02:16:02,987 --> 02:16:05,607
So these soundtrack albums
became a big part

2801
02:16:05,607 --> 02:16:09,407
of the contractual obligation
to release music with RCA.

2802
02:16:09,407 --> 02:16:11,407
Elvis:
♪ Bossa nova ♪

2803
02:16:11,407 --> 02:16:12,857
West:
That was not his music.

2804
02:16:12,857 --> 02:16:15,107
It was killing his
recording career,

2805
02:16:15,107 --> 02:16:18,857
because they were
movie songs, situation songs.

2806
02:16:18,857 --> 02:16:22,237
Priscilla: Obviously,
in some of the movies,
you got some hits--

2807
02:16:22,237 --> 02:16:24,447
"Viva Las Vegas,"
"Bossa Nova Baby."

2808
02:16:24,447 --> 02:16:26,067
They weren't all bad,

2809
02:16:26,067 --> 02:16:28,567
but because it was
connected to a movie,

2810
02:16:28,567 --> 02:16:31,107
it wasn't like a real record.

2811
02:16:31,107 --> 02:16:33,357
The songs had to fit the scene.

2812
02:16:33,357 --> 02:16:36,487
Jorgensen:
And the Colonel obviously
knew that the best format

2813
02:16:36,487 --> 02:16:39,197
was girls and
beautiful locations.

2814
02:16:40,907 --> 02:16:43,157
Robbie Robertson:
I thought it was
terrible direction--

2815
02:16:43,157 --> 02:16:46,607
the idea to do a bunch
of corny-ass movies,

2816
02:16:46,607 --> 02:16:50,817
Where this is all being led?
It's no-man's-land.

2817
02:16:50,817 --> 02:16:55,527
Petty:
He-- he certainly knows
this music is crap.

2818
02:16:55,527 --> 02:16:58,277
The movies were
very harmful to his image.

2819
02:16:58,277 --> 02:17:01,277
As an innovator,
as a great musician,

2820
02:17:01,277 --> 02:17:02,567
they were harmful.

2821
02:17:02,567 --> 02:17:05,737
He's very talented.
I mean, he's very present.

2822
02:17:05,737 --> 02:17:08,357
It's an incredible
image of him.

2823
02:17:08,357 --> 02:17:11,817
But where he had
a nice start in the movies

2824
02:17:11,817 --> 02:17:14,857
and did do some
creative things early on,

2825
02:17:14,857 --> 02:17:18,107
and you could see
that there was great
potential for this guy,

2826
02:17:18,107 --> 02:17:20,317
there was really
no way for him

2827
02:17:20,317 --> 02:17:22,907
to become
the huge movie star

2828
02:17:22,907 --> 02:17:24,777
that he would've
liked to have been

2829
02:17:24,777 --> 02:17:27,067
and the Colonel
keep control of it.

2830
02:17:27,067 --> 02:17:28,527
You know, there's too many

2831
02:17:28,527 --> 02:17:30,817
creative aspects
gonna come in,

2832
02:17:30,817 --> 02:17:32,107
and they're gonna challenge

2833
02:17:32,107 --> 02:17:35,737
the Colonel's
carnival mentality.

2834
02:17:35,737 --> 02:17:37,987
Colonel Tom Parker:
Well, no, no, no, no, no.
No, no, no.

2835
02:17:37,987 --> 02:17:39,777
Far as I was concerned,

2836
02:17:39,777 --> 02:17:43,697
I was not involved other
than making the contract.

2837
02:17:43,697 --> 02:17:47,317
He had the opportunity to say,
"I don't want to do it

2838
02:17:47,317 --> 02:17:48,947
or I'd like to do it."

2839
02:17:48,947 --> 02:17:52,277
No one told him
he had to make a picture

2840
02:17:52,277 --> 02:17:54,197
that he didn't want to do.

2841
02:17:54,197 --> 02:17:57,067
When we had a script,
we'd deliver it to Elvis.

2842
02:17:57,067 --> 02:18:00,777
Schilling:
Elvis did refuse
a bad picture.

2843
02:18:00,777 --> 02:18:02,817
In comes the Colonel,

2844
02:18:02,817 --> 02:18:04,487
in comes the studios,

2845
02:18:04,487 --> 02:18:06,607
in comes the record company.

2846
02:18:06,607 --> 02:18:08,107
They would say to him,

2847
02:18:08,107 --> 02:18:10,527
"You don't fulfill
your contracts,

2848
02:18:10,527 --> 02:18:12,527
you won't do anything."

2849
02:18:12,527 --> 02:18:14,657
♪ Well, come on everybody ♪

2850
02:18:14,657 --> 02:18:16,607
♪ And turn your head
to the left ♪

2851
02:18:16,607 --> 02:18:18,737
♪ ♪

2852
02:18:18,737 --> 02:18:19,987
♪ Come on everybody ♪

2853
02:18:19,987 --> 02:18:21,277
Jackson:
In  Viva Las Vegas,

2854
02:18:21,277 --> 02:18:24,737
it's the closest he ever
gets to having a true co-star.

2855
02:18:24,737 --> 02:18:27,407
♪ Take a real deep breath
and repeat after me ♪

2856
02:18:27,407 --> 02:18:29,107
Jackson:
That becomes a problem
for the Colonel,

2857
02:18:29,107 --> 02:18:31,657
because he doesn't
want anybody to even

2858
02:18:31,657 --> 02:18:34,107
come close to outshining Elvis.

2859
02:18:34,107 --> 02:18:36,527
♪ Hey, hey, hey
and my baby loves me ♪

2860
02:18:36,527 --> 02:18:37,987
Chorus:
♪ My baby loves me ♪

2861
02:18:37,987 --> 02:18:42,857
♪ My baby loves me ♪
Chorus: ♪ My baby loves me ♪

2862
02:18:42,857 --> 02:18:44,697
♪ My baby loves me ♪

2863
02:18:44,697 --> 02:18:48,197
♪ I said, my baby ♪

2864
02:18:48,197 --> 02:18:51,317
Ha!
♪ My baby ♪

2865
02:18:51,317 --> 02:18:56,277
♪ Loves me ♪
Ha! Ha! Ha! Ha! Ha!

2866
02:18:57,407 --> 02:19:01,567
Ann-Margaret (laughing):
Wee-ha!

2867
02:19:01,567 --> 02:19:05,157
Binder:
The Colonel did not want
Ann-Margaret in his world

2868
02:19:05,157 --> 02:19:07,447
after she got
a lot of press.

2869
02:19:08,737 --> 02:19:12,607
Anybody who had influence
on Elvis was a threat.

2870
02:19:12,607 --> 02:19:16,237
Landau:
The tragedy of the
old style of management

2871
02:19:16,237 --> 02:19:20,357
was to try and maintain
control of the artist

2872
02:19:20,357 --> 02:19:24,447
by limiting their
exposure to opportunities.

2873
02:19:26,657 --> 02:19:28,447
The Colonel
was not interested

2874
02:19:28,447 --> 02:19:32,157
in Elvis becoming
too independent of a thinker.

2875
02:19:32,157 --> 02:19:36,237
He needed Elvis to think
that everything good
came from the Colonel

2876
02:19:36,237 --> 02:19:41,237
and anything bad came
from imagined enemies.

2877
02:19:41,237 --> 02:19:44,487
He kept that con game
going for much too long.

2878
02:19:47,777 --> 02:19:50,777
Zanes:
The years spent
chasing the movies,

2879
02:19:50,777 --> 02:19:52,447
you know, seven years,

2880
02:19:52,447 --> 02:19:55,857
they were very
destabilizing for Elvis,

2881
02:19:55,857 --> 02:19:59,907
because music
was always the buoy.

2882
02:19:59,907 --> 02:20:02,697
Jackson:
It's clear about halfway
through that period,

2883
02:20:02,697 --> 02:20:04,317
he becomes very restless,

2884
02:20:04,317 --> 02:20:07,407
and very annoyed
with the whole process.

2885
02:20:07,407 --> 02:20:10,447
Schilling:
Elvis didn't have
script approval.

2886
02:20:10,447 --> 02:20:12,317
There weren't great budgets.

2887
02:20:12,317 --> 02:20:15,237
Priscilla:
The humdrum movies
that he was given--

2888
02:20:15,237 --> 02:20:17,357
boy chase girl,
boy gets girl,

2889
02:20:17,357 --> 02:20:19,857
they get married,
and it's happily ever after--

2890
02:20:19,857 --> 02:20:21,737
that was not Elvis Presley.

2891
02:20:21,737 --> 02:20:23,737
He was not that man.

2892
02:20:23,737 --> 02:20:25,357
He was much deeper than that.

2893
02:20:26,697 --> 02:20:28,697
He had no inspiration
whatsoever.

2894
02:20:28,697 --> 02:20:30,317
He knew he had
to make it work.

2895
02:20:30,317 --> 02:20:32,317
He knew he was
under a contract,

2896
02:20:32,317 --> 02:20:34,197
and he walked through
every one of them.

2897
02:20:37,697 --> 02:20:40,527
After a movie,
he felt trapped.

2898
02:20:40,527 --> 02:20:42,527
He dreaded the next script,

2899
02:20:42,527 --> 02:20:46,487
because he knew
it would be the same thing
over and over again.

2900
02:20:46,487 --> 02:20:48,317
But the disconnect,

2901
02:20:48,317 --> 02:20:50,607
the disconnect in the two

2902
02:20:50,607 --> 02:20:53,067
was really wearing
on his mind--

2903
02:20:53,067 --> 02:20:57,987
that Colonel was not taking him
to the place he needed to be.

2904
02:20:57,987 --> 02:21:00,527
Petty:
This is what
we'll never understand

2905
02:21:00,527 --> 02:21:03,067
is why did
Colonel Parker have

2906
02:21:03,067 --> 02:21:05,567
this kind of influence
over him.

2907
02:21:05,567 --> 02:21:10,567
Why was he willing
to knowingly humiliate
himself for this man,

2908
02:21:10,567 --> 02:21:14,107
or for the money
promised him by this man?

2909
02:21:14,107 --> 02:21:15,697
He puts up with it.

2910
02:21:17,357 --> 02:21:19,777
Porter:
I have never felt
Elvis was lost.

2911
02:21:19,777 --> 02:21:21,907
He knew with all those movies,

2912
02:21:21,907 --> 02:21:23,447
as is the case
with every artist,

2913
02:21:23,447 --> 02:21:25,527
that they're taking themselves
away from their strength.

2914
02:21:25,527 --> 02:21:28,817
Many artists can't get back
to where their strengths are.

2915
02:21:30,527 --> 02:21:33,237
Emmylou Harris:
An artist has to
constantly grow,

2916
02:21:33,237 --> 02:21:35,107
and to continue creating,

2917
02:21:35,107 --> 02:21:38,857
and changing,
and being inspired
by things around him

2918
02:21:38,857 --> 02:21:41,527
in a spiritual
or a personal way.

2919
02:21:42,607 --> 02:21:44,737
♪ ♪

2920
02:21:52,407 --> 02:21:54,567
Elvis:
I'd like to stay
in the same vein.

2921
02:21:54,567 --> 02:21:56,737
I-I mean,
I wouldn't like to, uh,

2922
02:21:56,737 --> 02:21:58,607
be at a standstill,
you know what I mean?

2923
02:21:58,607 --> 02:22:02,067
I'd like--
I'd like to progress.

2924
02:22:02,067 --> 02:22:04,567
I'd like to do a lot
of things, but I...

2925
02:22:05,907 --> 02:22:08,907
I realize, uh,
that it takes time,

2926
02:22:08,907 --> 02:22:10,567
and you can't, uh,

2927
02:22:10,567 --> 02:22:15,027
you can't go out of
your, uh, capa--
uh, your limitations.

2928
02:22:16,567 --> 02:22:19,567
You have to know
your capabilities, you know.

2929
02:22:19,567 --> 02:22:22,277
Like I have people
to say to me all the time,

2930
02:22:22,277 --> 02:22:23,607
(stammering)

2931
02:22:23,607 --> 02:22:25,857
"Why don't you do
an artistic picture?

2932
02:22:25,857 --> 02:22:28,067
"Why don't you do this
picture and that picture?

2933
02:22:28,067 --> 02:22:30,567
Why don't you go
do something blah, blah?"

2934
02:22:30,567 --> 02:22:33,107
Well, that's fine, but, uh...

2935
02:22:35,027 --> 02:22:36,777
Uh, I would like to.

2936
02:22:36,777 --> 02:22:38,237
I'd like to do
something someday

2937
02:22:38,237 --> 02:22:41,447
where I feel that
I really done a good job.

2938
02:22:41,447 --> 02:22:46,107
You know, as an actor
in a certain type role,

2939
02:22:47,237 --> 02:22:49,277
if what you're doing
is doing okay,

2940
02:22:49,277 --> 02:22:52,357
you're better off
sticking with it until,
you know,

2941
02:22:52,357 --> 02:22:55,277
until just time itself
changes things.

2942
02:23:00,527 --> 02:23:04,407
♪ ♪

2943
02:23:04,407 --> 02:23:09,987
Zanes:
The great irony is that Elvis
was such a significant force

2944
02:23:09,987 --> 02:23:12,197
in the launch
of rock and roll,

2945
02:23:12,197 --> 02:23:15,697
and the very revolution
that he sparked

2946
02:23:15,697 --> 02:23:17,407
carries on without him.

2947
02:23:17,407 --> 02:23:20,817
There is a renaissance
that is underway,

2948
02:23:20,817 --> 02:23:25,487
and he is, in effect,
in a bubble in Hollywood,

2949
02:23:25,487 --> 02:23:29,067
as it passes him by.

2950
02:23:29,067 --> 02:23:32,487
Priscilla:
'63, '64, '65, when
all the bands were coming in,

2951
02:23:32,487 --> 02:23:34,487
he just didn't really
wanna hear music.

2952
02:23:34,487 --> 02:23:35,817
He didn't wanna
hear the songs.

2953
02:23:35,817 --> 02:23:39,157
Was there room for him now,
being a solo artist?

2954
02:23:39,157 --> 02:23:43,407
Elvis really wasn't interested
in writing his own music,

2955
02:23:43,407 --> 02:23:44,907
and all these other
groups coming up,

2956
02:23:44,907 --> 02:23:47,107
The Beatles,
Bob Dylan, the Beach Boys,

2957
02:23:47,107 --> 02:23:49,157
they all wrote
their own songs,

2958
02:23:49,157 --> 02:23:50,567
so they could direct
their careers

2959
02:23:50,567 --> 02:23:52,027
in a way Elvis couldn't.

2960
02:23:53,527 --> 02:23:56,027
Petty:
There is no road map
at this point

2961
02:23:56,027 --> 02:23:58,697
as to what a
rock and roller does

2962
02:23:58,697 --> 02:24:00,487
when he gets older.

2963
02:24:00,487 --> 02:24:02,357
The Beatles had each other.

2964
02:24:02,357 --> 02:24:05,447
You know, they had four people
together to go through it.

2965
02:24:05,447 --> 02:24:07,777
And Elvis was totally alone.

2966
02:24:07,777 --> 02:24:10,107
There was no one
vaguely his equal.

2967
02:24:10,107 --> 02:24:14,357
There was nobody he could
bounce anything off of.

2968
02:24:17,107 --> 02:24:21,447
Priscilla:
Elvis really didn't ask
for anybody's advice.

2969
02:24:21,447 --> 02:24:23,407
He didn't ask the guys
for their advice.

2970
02:24:23,407 --> 02:24:24,947
Oh my gosh, he would never.

2971
02:24:24,947 --> 02:24:26,817
I mean, you didn't
tell Elvis what to sing

2972
02:24:26,817 --> 02:24:28,777
or what movie
he should be in.

2973
02:24:28,777 --> 02:24:30,447
Elvis was truly his own man.

2974
02:24:30,447 --> 02:24:33,657
He needed someone
to come in with a game plan
and offer it to him.

2975
02:24:33,657 --> 02:24:35,817
"What do you think of this?"

2976
02:24:35,817 --> 02:24:40,277
But he hung out with
the same people all the time.

2977
02:24:40,277 --> 02:24:42,357
We all lived in this bubble.

2978
02:24:42,357 --> 02:24:44,777
Very few outsiders came in.

2979
02:24:44,777 --> 02:24:47,607
His world was really
quite small,

2980
02:24:47,607 --> 02:24:50,697
and only consisted of us,
people that he trusted.

2981
02:24:58,777 --> 02:25:02,277
You didn't really talk about
the movies around Elvis.

2982
02:25:02,277 --> 02:25:04,657
We didn't go there.
Why get him upset?

2983
02:25:04,657 --> 02:25:07,857
And people-- the guys were
around to bring him up.

2984
02:25:07,857 --> 02:25:10,607
Schilling:
Elvis was going to us
and saying,

2985
02:25:10,607 --> 02:25:12,987
"Damn it, I know
there's good music out there.

2986
02:25:12,987 --> 02:25:16,567
I hear it.
Why am I not getting it?"

2987
02:25:16,567 --> 02:25:19,607
Petty:
You can tell his interest
in making records

2988
02:25:19,607 --> 02:25:21,317
has kind of gone away.

2989
02:25:21,317 --> 02:25:23,607
You don't get him
in the studio a lot.

2990
02:25:26,027 --> 02:25:28,907
Priscilla:
He was just struggling
with what to do next

2991
02:25:28,907 --> 02:25:32,817
and where to go,
trying to figure out
his purpose again.

2992
02:25:32,817 --> 02:25:35,697
It was very difficult
to watch.

2993
02:25:35,697 --> 02:25:37,817
♪ ♪

2994
02:25:37,817 --> 02:25:40,987
Odetta:
♪ How many roads ♪

2995
02:25:40,987 --> 02:25:45,237
♪ Must a man walk down ♪

2996
02:25:47,407 --> 02:25:51,947
♪ Before you call him a man ♪

2997
02:25:51,947 --> 02:25:53,607
Light:
By this point,

2998
02:25:53,607 --> 02:25:56,157
Elvis had grown so
disconnected from the music

2999
02:25:56,157 --> 02:25:57,947
that he was recording.

3000
02:25:57,947 --> 02:26:00,567
He knew that
it was inauthentic.

3001
02:26:00,567 --> 02:26:04,317
He knew that
it was insincere.

3002
02:26:04,317 --> 02:26:07,987
And he was looking for
some connection to music

3003
02:26:07,987 --> 02:26:10,237
that still made him
feel the way

3004
02:26:10,237 --> 02:26:13,487
that music had made him feel
when he was younger.

3005
02:26:13,487 --> 02:26:16,817
Odetta:
♪ How many times ♪

3006
02:26:16,817 --> 02:26:20,657
♪ Must a cannonball fly ♪

3007
02:26:20,657 --> 02:26:25,317
Light:
He was interested in
this new folk music--

3008
02:26:25,317 --> 02:26:27,947
Peter, Paul, & Mary,
the songs of Bob Dylan.

3009
02:26:27,947 --> 02:26:29,947
He didn't love
Bob Dylan's voice,

3010
02:26:29,947 --> 02:26:32,697
but he was interested
in this imagery

3011
02:26:32,697 --> 02:26:38,447
and this language that drew
from the gospel and the blues.

3012
02:26:38,447 --> 02:26:41,357
Priscilla:
And here he has
Odetta singing.

3013
02:26:41,357 --> 02:26:42,657
When you hear the song,

3014
02:26:42,657 --> 02:26:45,487
now you've got the lyrics
that match his feelings,

3015
02:26:45,487 --> 02:26:48,987
you've got the lyrics that
he can see himself singing.

3016
02:26:48,987 --> 02:26:54,567
Odetta:
♪ Only if my true love
was waitin' ♪

3017
02:26:54,567 --> 02:26:56,857
♪ ♪

3018
02:26:56,857 --> 02:26:58,237
♪ If I... ♪

3019
02:26:58,237 --> 02:27:00,027
Zanes:
Many of his relationships

3020
02:27:00,027 --> 02:27:02,777
with the culture of the day
were circuitous,

3021
02:27:02,777 --> 02:27:07,947
because he was Elvis
and he was behind a--
a high wall.

3022
02:27:07,947 --> 02:27:11,737
Elvis:
♪ Only she was ♪

3023
02:27:11,737 --> 02:27:16,067
♪ Lying by me ♪

3024
02:27:16,067 --> 02:27:18,357
♪ Then I'd lie ♪

3025
02:27:18,357 --> 02:27:22,487
♪ In my bed once again ♪

3026
02:27:22,487 --> 02:27:24,567
♪ ♪

3027
02:27:32,197 --> 02:27:35,157
Priscilla:
Elvis, a lot of times when
everyone had gone to bed,

3028
02:27:35,157 --> 02:27:36,567
or there was no one around,

3029
02:27:36,567 --> 02:27:39,237
he would go into the
music room at Graceland.

3030
02:27:39,237 --> 02:27:41,907
Just sit there
totally in solitude,

3031
02:27:41,907 --> 02:27:45,527
as if even I wasn't around,
and just start playing.

3032
02:27:45,527 --> 02:27:47,607
Always it was gospel.

3033
02:27:47,607 --> 02:27:50,567
Always it was
"Precious Lord."

3034
02:27:50,567 --> 02:27:53,817
Elvis:
♪ Precious Lord ♪

3035
02:27:53,817 --> 02:27:56,487
♪ Take my hand ♪

3036
02:27:56,487 --> 02:27:58,067
Priscilla:
When he would sing,

3037
02:27:58,067 --> 02:28:01,947
it was like a character study
watching him get lost.

3038
02:28:01,947 --> 02:28:04,947
Elvis:
♪ I'm tired ♪

3039
02:28:04,947 --> 02:28:07,067
♪ I'm weak ♪

3040
02:28:07,067 --> 02:28:12,107
♪ I'm worn ♪

3041
02:28:12,107 --> 02:28:13,817
♪ Through the storm ♪

3042
02:28:13,817 --> 02:28:17,607
Priscilla: And then,
he'd look over to see
how I was relating to it.

3043
02:28:17,607 --> 02:28:19,357
He'd look over
and wink at me.

3044
02:28:19,357 --> 02:28:21,777
Elvis:
♪ Lead me on ♪

3045
02:28:21,777 --> 02:28:24,857
Priscilla:
Those were times that
I cherish the most, actually.

3046
02:28:24,857 --> 02:28:26,817
He wasn't really trying
to impress anyone.

3047
02:28:26,817 --> 02:28:28,567
He was doing it for himself

3048
02:28:28,567 --> 02:28:30,567
and just getting in touch,

3049
02:28:30,567 --> 02:28:32,737
getting in touch
with his maker.

3050
02:28:32,737 --> 02:28:34,447
It was a plea.

3051
02:28:36,027 --> 02:28:39,697
Elvis:
♪ Well, you may run on
for a long time ♪

3052
02:28:39,697 --> 02:28:42,107
Chorus:
♪ Run on for a long time ♪

3053
02:28:42,107 --> 02:28:44,447
Elvis:
♪ Run on for a long time ♪

3054
02:28:44,447 --> 02:28:46,777
♪ Let me tell you,
God Almighty's
gonna cut you down ♪

3055
02:28:46,777 --> 02:28:49,107
Jorgensen:
He didn't have a
burning desire anymore

3056
02:28:49,107 --> 02:28:50,277
to record songs.

3057
02:28:50,277 --> 02:28:51,657
Elvis:
♪ Midnight rider ♪

3058
02:28:51,657 --> 02:28:54,157
Jorgensen:
The real interesting
element in that

3059
02:28:54,157 --> 02:28:58,317
is that when he regains
his appetite for recording

3060
02:28:58,317 --> 02:29:02,447
and wants to prove
a point in 1966,

3061
02:29:02,447 --> 02:29:04,357
he makes a gospel
record again.

3062
02:29:04,357 --> 02:29:06,527
Elvis:
♪ Talkin' to the man
from Galilee ♪

3063
02:29:06,527 --> 02:29:08,157
Jorgensen:
During the middle
of The Beatles,

3064
02:29:08,157 --> 02:29:09,697
and The Birds
and The Stones,

3065
02:29:09,697 --> 02:29:13,107
and Elvis makes
a gospel record when
he wants to come back.

3066
02:29:13,107 --> 02:29:15,657
Elvis:
♪ Great God Almighty,
let me tell you what he said ♪

3067
02:29:15,657 --> 02:29:18,237
♪ Go tell that
long-tongued liar ♪

3068
02:29:18,237 --> 02:29:20,607
♪ Go tell that
midnight rider ♪

3069
02:29:20,607 --> 02:29:22,197
♪ Tell the gambler, rambler ♪

3070
02:29:22,197 --> 02:29:25,027
Light:
Elvis is connecting
to new music.

3071
02:29:25,027 --> 02:29:27,027
He wants a more modern sound,

3072
02:29:27,027 --> 02:29:28,947
a more aggressive
rhythm section,

3073
02:29:28,947 --> 02:29:30,357
a rock and roll mix.

3074
02:29:30,357 --> 02:29:32,947
Elvis:
♪ Run on for a long time ♪

3075
02:29:32,947 --> 02:29:35,277
♪ Let me tell you,
God Almighty's gonna
cut you down ♪

3076
02:29:35,277 --> 02:29:37,607
♪ You may throw your rock
and hide your hand ♪

3077
02:29:37,607 --> 02:29:39,407
Springsteen:
I think Elvis's
return to gospel

3078
02:29:39,407 --> 02:29:43,027
was a part of simply the deep
religiousness of the South

3079
02:29:43,027 --> 02:29:45,447
and his upbringing.

3080
02:29:45,447 --> 02:29:48,157
But in the late '60s, people
were having a hard time

3081
02:29:48,157 --> 02:29:50,107
looking past
the kitsch aspect

3082
02:29:50,107 --> 02:29:51,947
of some of the things
that Elvis did.

3083
02:29:51,947 --> 02:29:54,907
Elvis:
♪ You gonna reap
just what you sow ♪

3084
02:29:54,907 --> 02:29:56,487
Springsteen:
To appreciate that music,

3085
02:29:56,487 --> 02:29:58,487
that stuff
couldn't bother you.

3086
02:29:58,487 --> 02:29:59,737
Chorus:
♪ Long time ♪

3087
02:29:59,737 --> 02:30:01,947
Elvis:
♪ Run on for a long time ♪

3088
02:30:02,907 --> 02:30:05,237
(film projector whirring)

3089
02:30:05,237 --> 02:30:07,107
♪ ♪

3090
02:30:10,657 --> 02:30:12,567
Man:
What do you think
of yourself now?

3091
02:30:13,857 --> 02:30:16,237
Elvis:
You mean, uh,
as an entertainer

3092
02:30:16,237 --> 02:30:17,657
or an individual or what?

3093
02:30:17,657 --> 02:30:18,947
Man:
Both.

3094
02:30:18,947 --> 02:30:21,817
Elvis:
I can sum it up
fairly easily.

3095
02:30:21,817 --> 02:30:24,067
I, uh, as a-- as a
human being, really,

3096
02:30:24,067 --> 02:30:27,907
who's been very extremely
fortunate in so many ways...

3097
02:30:29,277 --> 02:30:31,407
I've a lot that I'd like to do,

3098
02:30:31,407 --> 02:30:35,487
a lot that I'd like
to accomplish.

3099
02:30:35,487 --> 02:30:37,907
I'd like to get married.
I'd like to have a family.

3100
02:30:40,947 --> 02:30:43,357
I suppose the most
important thing

3101
02:30:43,357 --> 02:30:46,107
in a person's life is,
uh, is happiness.

3102
02:30:46,107 --> 02:30:48,777
I mean, not
wordly things, because...

3103
02:30:48,777 --> 02:30:50,947
You realize, I mean,
you can have cars.

3104
02:30:50,947 --> 02:30:53,107
You can have money.
You can have a fabulous home.

3105
02:30:53,107 --> 02:30:54,987
You can have everything.

3106
02:30:54,987 --> 02:30:56,907
If you're not happy,
what have you got?

3107
02:30:59,947 --> 02:31:01,657
♪ ♪

3108
02:31:03,947 --> 02:31:06,357
Priscilla:
I was very young
and very in love,

3109
02:31:06,357 --> 02:31:09,447
and I wanted to be
with him a lot.

3110
02:31:09,447 --> 02:31:11,317
The times that
we were together,

3111
02:31:11,317 --> 02:31:12,737
I-I cherished.

3112
02:31:12,737 --> 02:31:15,157
♪ ♪

3113
02:31:18,067 --> 02:31:21,157
♪ ♪

3114
02:31:24,607 --> 02:31:26,907
Woman:
♪ I picked up my bag ♪

3115
02:31:26,907 --> 02:31:30,357
♪ And went looking
for a place to hide ♪

3116
02:31:30,357 --> 02:31:33,737
♪ When I saw old Carmen
and the devil ♪

3117
02:31:33,737 --> 02:31:36,657
♪ Walking side by side ♪

3118
02:31:36,657 --> 02:31:38,777
Springsteen:
I mean, 1968 was a wild

3119
02:31:38,777 --> 02:31:41,697
and violent year
in American history.

3120
02:31:43,737 --> 02:31:45,737
Woman:
♪ She said I gotta go ♪

3121
02:31:45,737 --> 02:31:48,197
♪ But my friend here
can stick around ♪

3122
02:31:48,197 --> 02:31:50,817
Light:
At the beginning of the year,
Lisa Marie is born.

3123
02:31:51,987 --> 02:31:54,157
And then a couple
of months later,

3124
02:31:54,157 --> 02:31:56,157
Martin Luther King
is assassinated.

3125
02:31:56,157 --> 02:31:57,777
Woman:
♪ Take a load off, Fanny ♪

3126
02:31:57,777 --> 02:31:59,777
Schilling:
We were making
a movie at MGM

3127
02:31:59,777 --> 02:32:03,407
when we heard on the radio
about Martin Luther King.

3128
02:32:04,697 --> 02:32:08,197
King was that hope
to bring us all together,

3129
02:32:08,197 --> 02:32:10,027
and Elvis knew that.

3130
02:32:11,607 --> 02:32:14,907
Elvis looked down
and he said,

3131
02:32:14,907 --> 02:32:17,527
"He always told the truth."

3132
02:32:17,527 --> 02:32:19,607
Woman:
♪ It's just old Luke ♪

3133
02:32:19,607 --> 02:32:21,857
♪ And Luke's waiting
on Judgment Day ♪

3134
02:32:21,857 --> 02:32:24,907
Light:
There's this contentious
presidential election going on.

3135
02:32:24,907 --> 02:32:27,567
Bobby Kennedy is assassinated.

3136
02:32:27,567 --> 02:32:31,027
There's chaos
at the Democratic
convention in Chicago.

3137
02:32:31,027 --> 02:32:33,357
Woman:
♪ Baby now,
won't you stay ♪

3138
02:32:33,357 --> 02:32:35,737
Priscilla:
Things were
just in disarray,

3139
02:32:35,737 --> 02:32:38,027
and it was never
the same after that.

3140
02:32:39,317 --> 02:32:42,857
♪ ♪

3141
02:32:48,607 --> 02:32:50,197
Nik Cohn:
By '68,

3142
02:32:50,197 --> 02:32:53,487
most Elvis fans had,
more or less,
given up the ghost.

3143
02:32:53,487 --> 02:32:55,237
There'd been
so many poor movies,

3144
02:32:55,237 --> 02:32:57,907
so many throwaway singles.

3145
02:32:57,907 --> 02:32:59,777
Jackson:
Elvis starts to think about,

3146
02:32:59,777 --> 02:33:01,737
"Okay, so how can I
play live again?

3147
02:33:01,737 --> 02:33:05,067
There's no infrastructure
for me to do that."

3148
02:33:05,067 --> 02:33:08,607
Landau:
A couple of really
bright guys who got Elvis

3149
02:33:08,607 --> 02:33:12,237
talked their way
into making a TV special.

3150
02:33:12,237 --> 02:33:15,157
Their mission was
to remind everybody

3151
02:33:15,157 --> 02:33:17,197
just who Elvis had been,

3152
02:33:17,197 --> 02:33:19,737
and who he still was--

3153
02:33:19,737 --> 02:33:23,357
in a sense, to erase
the last seven years

3154
02:33:23,357 --> 02:33:26,067
of the movie soundtracks.

3155
02:33:26,067 --> 02:33:29,777
Light:
When the opportunity for
the TV special is presented,

3156
02:33:29,777 --> 02:33:33,447
he hasn't performed
for an audience for years.

3157
02:33:33,447 --> 02:33:36,357
Priscilla:
He was actually thinking
what he would do

3158
02:33:36,357 --> 02:33:38,607
if everything went wrong.

3159
02:33:38,607 --> 02:33:41,527
This was his career.
This was his life.

3160
02:33:41,527 --> 02:33:44,777
This was the moment of
realization that this is it,

3161
02:33:44,777 --> 02:33:47,447
that this is gonna be
either a complete failure

3162
02:33:47,447 --> 02:33:49,487
or it'll change everything.

3163
02:33:50,567 --> 02:33:52,107
Springsteen:
Well, I remember I waited

3164
02:33:52,107 --> 02:33:54,277
for weeks
for the '68 Special

3165
02:33:54,277 --> 02:33:55,487
'cause I knew it was coming.

3166
02:33:55,487 --> 02:33:57,657
I can remember
exactly where our TV

3167
02:33:57,657 --> 02:33:59,697
was set up
in the dining room,

3168
02:33:59,697 --> 02:34:01,737
the exact place
I was sitting.

3169
02:34:01,737 --> 02:34:02,947
I mean, it's one
of those things

3170
02:34:02,947 --> 02:34:05,567
that's imprinted
on my memory forever.

3171
02:34:05,567 --> 02:34:08,987
But you weren't sure
if he had the ability to focus

3172
02:34:08,987 --> 02:34:11,027
and gather it all
together one more time

3173
02:34:11,027 --> 02:34:13,157
to create
musical explosiveness.

3174
02:34:14,657 --> 02:34:17,317
Host:
Uh, welcome to NBC,

3175
02:34:17,317 --> 02:34:19,987
and the
Elvis Presley Special.

3176
02:34:19,987 --> 02:34:22,317
(cheers, applause)

3177
02:34:22,317 --> 02:34:24,657
You can do better than that.
I'm gonna say it all over again.

3178
02:34:24,657 --> 02:34:26,947
Now, I wanna really
hear something.

3179
02:34:26,947 --> 02:34:29,737
Schilling:
When I went with him to NBC,

3180
02:34:29,737 --> 02:34:31,237
he was very quiet.

3181
02:34:31,237 --> 02:34:34,777
He didn't know how people
were gonna feel about it.

3182
02:34:34,777 --> 02:34:37,197
Priscilla:
He was extremely
nervous that night.

3183
02:34:37,197 --> 02:34:38,697
It's all new again,

3184
02:34:38,697 --> 02:34:43,357
and I'd never seen Elvis
perform live before.

3185
02:34:43,357 --> 02:34:45,317
I didn't really know
what to expect.

3186
02:34:45,317 --> 02:34:48,447
Binder:
We didn't know where
it was gonna go, period.

3187
02:34:51,697 --> 02:34:54,697
Just before it began,
on the first taping,

3188
02:34:54,697 --> 02:34:57,447
Elvis called me
into the makeup room.

3189
02:34:57,447 --> 02:35:02,487
He was sitting there
and he asked everybody
in the room to leave,

3190
02:35:02,487 --> 02:35:05,197
so he could just be
with me one on one.

3191
02:35:05,197 --> 02:35:07,737
I said, "What's--
what's the problem?"

3192
02:35:07,737 --> 02:35:09,357
"Problem is
I changed my mind.

3193
02:35:09,357 --> 02:35:11,907
I don't wanna do this."

3194
02:35:11,907 --> 02:35:14,857
Man: May we strike
the coil and cable off
the platform, please?

3195
02:35:14,857 --> 02:35:17,107
Priscilla:
We weren't seeing,
sitting in the audience,

3196
02:35:17,107 --> 02:35:18,737
what was going on.

3197
02:35:18,737 --> 02:35:21,157
I'd stayed away
from the dressing room.

3198
02:35:21,157 --> 02:35:23,607
He didn't want
anyone around.

3199
02:35:23,607 --> 02:35:26,277
I was sitting there going,
"Oh my gosh," you know.

3200
02:35:26,277 --> 02:35:28,527
"Is he gonna be able
to pull this off?"

3201
02:35:28,527 --> 02:35:30,527
Binder:
I said, "What are you
talking about?"

3202
02:35:30,527 --> 02:35:35,237
And he said,
"I don't remember anything
I sang in the dressing room.

3203
02:35:35,237 --> 02:35:38,697
"I don't remember
any stories that I told.

3204
02:35:38,697 --> 02:35:40,657
"My mind is a blank, Steve.

3205
02:35:40,657 --> 02:35:44,697
Let's just call it off.
It's not gonna happen."

3206
02:35:44,697 --> 02:35:48,317
Binder:
I said, "Elvis, I've never
asked you to do anything

3207
02:35:48,317 --> 02:35:50,357
that you don't wanna do..."

3208
02:35:50,357 --> 02:35:52,567
Host: Mr. Elvis Presley.
(crowd cheering)

3209
02:35:52,567 --> 02:35:54,947
Binder:
"...but you've got
to go out there."

3210
02:35:54,947 --> 02:35:56,907
♪ ♪

3211
02:36:10,697 --> 02:36:12,567
Thank you very much.

3212
02:36:15,447 --> 02:36:19,407
Schilling:
I don't know
how this happened,

3213
02:36:19,407 --> 02:36:21,237
but I saw him relax.

3214
02:36:21,237 --> 02:36:23,157
Elvis:
They want me
to sit on the floor!

3215
02:36:23,157 --> 02:36:25,107
(women cheer)

3216
02:36:25,107 --> 02:36:28,817
(playing guitar)

3217
02:36:32,447 --> 02:36:34,107
♪ ♪

3218
02:36:34,107 --> 02:36:36,027
(band joins in)

3219
02:36:36,027 --> 02:36:38,107
Man:
♪ It's all right ♪

3220
02:36:40,107 --> 02:36:41,777
♪ It's all right ♪

3221
02:36:44,317 --> 02:36:45,567
♪ It's all right ♪

3222
02:36:45,567 --> 02:36:47,607
♪ Yeah, man ♪
♪ It's all right ♪

3223
02:36:48,487 --> 02:36:49,947
♪ It's all right ♪

3224
02:36:49,947 --> 02:36:51,987
♪ It's
all right ♪

3225
02:36:51,987 --> 02:36:53,987
(Elvis growls)
♪ It's all right ♪

3226
02:36:53,987 --> 02:36:55,027
Oh, yeah!

3227
02:36:55,027 --> 02:36:56,607
♪ ♪

3228
02:36:58,027 --> 02:37:00,447
Binder:
I had no knowledge
or understanding

3229
02:37:00,447 --> 02:37:04,697
about how incredibly talented
he really was until that show.

3230
02:37:04,697 --> 02:37:06,987
♪ ♪

3231
02:37:09,107 --> 02:37:12,487
Zanes:
He's having an experience
in the moment.

3232
02:37:12,487 --> 02:37:15,697
During the years
he was doing Hollywood movies,

3233
02:37:15,697 --> 02:37:18,407
you never got to see him
in the moment.

3234
02:37:18,407 --> 02:37:19,487
(screaming)

3235
02:37:21,987 --> 02:37:23,657
Yeah, baby!

3236
02:37:26,777 --> 02:37:28,987
♪ ♪

3237
02:37:37,777 --> 02:37:40,697
(speaking
indistinctly)

3238
02:37:43,237 --> 02:37:47,197
♪ We're goin' up,
we're goin' down ♪

3239
02:37:47,197 --> 02:37:51,487
♪ We're going up, down, down,
up any way you want ♪

3240
02:37:51,487 --> 02:37:53,567
♪ Let's roll ♪

3241
02:37:53,567 --> 02:37:56,317
♪ Yeah, yeah, yeah ♪

3242
02:37:58,857 --> 02:38:01,317
♪ You got me doin'
what you want me ♪

3243
02:38:01,317 --> 02:38:03,657
♪ Oh baby, what do you
want me to do? ♪

3244
02:38:05,357 --> 02:38:08,317
Schilling:
The interplay
with Scotty and DJ

3245
02:38:08,317 --> 02:38:12,357
who's playing drums
on the back of a guitar case.

3246
02:38:12,357 --> 02:38:15,157
DJ Fontana:
It felt like
we were back home again.

3247
02:38:16,777 --> 02:38:20,237
♪ ♪

3248
02:38:20,237 --> 02:38:21,817
Yeah!

3249
02:38:21,817 --> 02:38:23,107
♪ All right ♪

3250
02:38:23,107 --> 02:38:26,197
Hep, hep, hep, hep, hep, hep!

3251
02:38:28,157 --> 02:38:30,157
Boones Howe:
Those are guys
who grew up together,

3252
02:38:30,157 --> 02:38:32,907
and they suddenly
have a moment

3253
02:38:32,907 --> 02:38:35,407
of reflection.

3254
02:38:35,407 --> 02:38:38,607
The past, their early days.

3255
02:38:38,607 --> 02:38:41,907
♪ Down, any way
you wanna let it roll ♪

3256
02:38:41,907 --> 02:38:45,197
Cohn:
He was rediscovering
the sheer animal joy

3257
02:38:45,197 --> 02:38:49,407
of making music, and realizing,
for the first time in years,

3258
02:38:49,407 --> 02:38:51,107
just how good he was.

3259
02:38:51,107 --> 02:38:54,737
♪ Baby, what do you
want me to do? ♪

3260
02:38:56,487 --> 02:38:58,907
♪ You got me doing
what you want me ♪

3261
02:38:58,907 --> 02:39:02,067
♪ Oh baby, what do you
want me to do? ♪

3262
02:39:04,447 --> 02:39:06,947
(applause)
Man: All right!
You got it!

3263
02:39:06,947 --> 02:39:10,657
Landau:
That show was
1,000% Elvis.

3264
02:39:10,657 --> 02:39:16,317
His fingerprint was on the
first frame to the last frame.

3265
02:39:16,317 --> 02:39:18,157
He was a man on a mission.

3266
02:39:19,447 --> 02:39:21,737
Priscilla:
And that night
when it premiered on TV,

3267
02:39:21,737 --> 02:39:23,197
we were all silent.

3268
02:39:23,197 --> 02:39:25,027
We just sat there
and watched the show

3269
02:39:25,027 --> 02:39:26,697
and never said a word.

3270
02:39:26,697 --> 02:39:30,197
And then, of course,
the telephone calls were
coming in, and reviews.

3271
02:39:30,197 --> 02:39:33,487
And, oh my gosh,
it was such a relief.

3272
02:39:36,657 --> 02:39:39,447
It was so great
to see him smile again.

3273
02:39:40,737 --> 02:39:44,027
♪ ♪

3274
02:39:45,607 --> 02:39:47,157
Elvis:
♪ We're caught in a trap ♪

3275
02:39:47,157 --> 02:39:48,857
Schilling:
After the comeback special,

3276
02:39:48,857 --> 02:39:51,357
Elvis didn't have
to look too far

3277
02:39:51,357 --> 02:39:54,067
to find his way
back to the source.

3278
02:39:54,067 --> 02:39:57,697
Elvis:
♪ Because I love you
too much, baby ♪

3279
02:39:57,697 --> 02:39:58,907
Springsteen:
It was the old story.

3280
02:39:58,907 --> 02:40:00,317
You could take the boy
out of Memphis.

3281
02:40:00,317 --> 02:40:01,777
You really couldn't
take Memphis

3282
02:40:01,777 --> 02:40:03,697
out of the boy, you know?

3283
02:40:03,697 --> 02:40:05,357
The roots that you come from

3284
02:40:05,357 --> 02:40:07,407
are always compelling
to return to

3285
02:40:07,407 --> 02:40:09,567
no matter how
far away you get.

3286
02:40:09,567 --> 02:40:12,447
Schilling:
By that point, he only had
a couple of movies left.

3287
02:40:12,447 --> 02:40:14,907
And so when he went
back to the studio,

3288
02:40:14,907 --> 02:40:18,237
he wanted to
do things differently.

3289
02:40:18,237 --> 02:40:20,777
Preston Lauterbach:
Elvis returned home
to restart

3290
02:40:20,777 --> 02:40:23,947
his career as
a recording artist,

3291
02:40:23,947 --> 02:40:25,657
with local musicians,

3292
02:40:25,657 --> 02:40:30,527
with a local producer in
a little humble storefront,
north Memphis,

3293
02:40:30,527 --> 02:40:34,107
that's where Elvis returned
to essentially save his career.

3294
02:40:34,107 --> 02:40:37,027
♪ ♪

3295
02:40:37,027 --> 02:40:40,857
Porter:
Chips Moman, his job
was writer and producer.

3296
02:40:40,857 --> 02:40:43,777
Lauterbach:
He had evolved
from Stax Records

3297
02:40:43,777 --> 02:40:47,237
as a producer primarily
associated with soul

3298
02:40:47,237 --> 02:40:48,857
and with black artists.

3299
02:40:48,857 --> 02:40:51,657
But Chips was one of these
trans-racial kinda figures.

3300
02:40:51,657 --> 02:40:55,697
He thought in terms of style,
in terms of sound.

3301
02:40:55,697 --> 02:40:58,357
And he really did
embody Memphis music.

3302
02:40:58,357 --> 02:40:59,907
Elvis:
♪ Asking where I've been ♪

3303
02:40:59,907 --> 02:41:02,487
Priscilla:
It was the greatest sessions,
the greatest.

3304
02:41:02,487 --> 02:41:05,447
My gosh, I mean,
he came alive again.

3305
02:41:05,447 --> 02:41:06,817
He was liberated.

3306
02:41:06,817 --> 02:41:09,947
It was, uh,
a beautiful marriage.
(chuckles)

3307
02:41:09,947 --> 02:41:14,407
Elvis:
♪ We can't go on together ♪

3308
02:41:14,407 --> 02:41:16,777
♪ With suspicious minds ♪

3309
02:41:18,737 --> 02:41:20,567
♪ And we can't build
our dreams ♪

3310
02:41:20,567 --> 02:41:23,777
Schilling:
He told Elvis, "I have
a stack of records here

3311
02:41:23,777 --> 02:41:25,107
"I think are hits,

3312
02:41:25,107 --> 02:41:26,817
"and you don't
have any publishing.

3313
02:41:26,817 --> 02:41:28,237
What do you wanna do?"

3314
02:41:28,237 --> 02:41:30,737
Elvis:
♪ Oh, let our love survive ♪

3315
02:41:30,737 --> 02:41:33,777
Schilling:
Elvis said, "Chips,
I need hit records."

3316
02:41:33,777 --> 02:41:38,357
Elvis:
♪ I'll dry the tears
from your eyes ♪

3317
02:41:38,357 --> 02:41:41,777
♪ Let's don't let
a good thing die ♪

3318
02:41:41,777 --> 02:41:44,907
Petty:
He decides he's gonna
sing contemporary material.

3319
02:41:44,907 --> 02:41:47,487
Publishing be damned.
He's gonna do what he wants.

3320
02:41:47,487 --> 02:41:49,527
Elvis:
♪ Lied to you ♪

3321
02:41:49,527 --> 02:41:51,567
♪ Ooh ♪

3322
02:41:53,157 --> 02:41:55,947
♪ Yes, yes ♪

3323
02:41:57,447 --> 02:42:00,277
♪ We're caught in a trap ♪

3324
02:42:00,277 --> 02:42:03,857
West:
The songs, every one
of 'em, was a hit.

3325
02:42:03,857 --> 02:42:07,277
That's the biggest sales
Elvis had had ever.

3326
02:42:07,277 --> 02:42:10,907
Elvis:
♪ Love you too much baby ♪

3327
02:42:10,907 --> 02:42:13,027
Schilling:
You would think
that would've been

3328
02:42:13,027 --> 02:42:16,027
the next recording session.

3329
02:42:16,027 --> 02:42:18,157
Never recorded
with Chips again.

3330
02:42:18,157 --> 02:42:20,407
Elvis:
♪ I can't walk out ♪

3331
02:42:20,407 --> 02:42:22,487
(match strikes, flares)

3332
02:42:25,567 --> 02:42:27,987
♪ ♪

3333
02:42:46,157 --> 02:42:48,987
Ronnie Tutt:
August '69, he got
a chance to play live

3334
02:42:48,987 --> 02:42:50,657
at the International Hotel.

3335
02:42:50,657 --> 02:42:53,907
Schilling:
Vegas was a huge
event for him.

3336
02:42:53,907 --> 02:42:58,657
Back in the '50s,
he wasn't accepted too much
then in Vegas.

3337
02:42:58,657 --> 02:43:00,857
Howe:
Vegas, it's not
about teenyboppers.

3338
02:43:00,857 --> 02:43:03,157
It's aimed at
a particular audience--

3339
02:43:03,157 --> 02:43:05,157
people interested
in a show that's there,

3340
02:43:05,157 --> 02:43:07,197
so that they'll stop
in the casino,

3341
02:43:07,197 --> 02:43:10,027
on the way in or out,
and drop some money.

3342
02:43:15,657 --> 02:43:18,527
Petty:
Their burning thing
to go to Las Vegas

3343
02:43:18,527 --> 02:43:20,277
and play long stands,
you know,

3344
02:43:20,277 --> 02:43:25,157
that doesn't happen
till they've virtually run
aground in the film business.

3345
02:43:26,357 --> 02:43:28,407
There isn't a single studio

3346
02:43:28,407 --> 02:43:31,197
that will throw down
any significant money

3347
02:43:31,197 --> 02:43:32,857
for Elvis in a movie.

3348
02:43:32,857 --> 02:43:35,947
So, they look around go,
"Well, what we gonna do now?"

3349
02:43:35,947 --> 02:43:39,857
Elvis is going on stage,
you know. Thank God.

3350
02:43:47,357 --> 02:43:51,157
And "You Don't Have
to Say You Love Me,
and, uh... (indistinct)

3351
02:43:51,157 --> 02:43:55,107
Schilling:
I was able to witness him
put a band together.

3352
02:43:56,157 --> 02:43:57,947
When he goes out to Vegas,

3353
02:43:57,947 --> 02:43:59,947
he's really
making decisions

3354
02:43:59,947 --> 02:44:02,697
that are a little
more for Elvis

3355
02:44:02,697 --> 02:44:05,237
than what came before.

3356
02:44:05,237 --> 02:44:07,447
Zanes:
He's wanting to play
with the band.

3357
02:44:07,447 --> 02:44:10,237
He's wanting to go
through a deep catalog,

3358
02:44:10,237 --> 02:44:13,737
you know, big parts of which
remind him or his own youth.

3359
02:44:13,737 --> 02:44:16,907
♪ Well, you may go to college ♪

3360
02:44:16,907 --> 02:44:19,157
♪ May go to school ♪

3361
02:44:19,157 --> 02:44:21,357
♪ You may get religion, baby ♪

3362
02:44:21,357 --> 02:44:23,447
♪ Don't you be nobody's fool ♪

3363
02:44:23,447 --> 02:44:25,567
♪ Now baby, come back, baby ♪

3364
02:44:25,567 --> 02:44:27,697
Tutt:
I personally went to him
and said, "Elvis,

3365
02:44:27,697 --> 02:44:29,857
"I wanted to know
if you wanted me

3366
02:44:29,857 --> 02:44:32,447
"to try to duplicate
classic songs.

3367
02:44:32,447 --> 02:44:34,107
What was done previously."

3368
02:44:34,107 --> 02:44:35,447
He said, "Absolutely not.

3369
02:44:35,447 --> 02:44:37,447
Just do what you do,
that's why you're here."

3370
02:44:37,447 --> 02:44:39,857
I thought it was good that
he would try different songs

3371
02:44:39,857 --> 02:44:41,697
that he liked the sound of.

3372
02:44:41,697 --> 02:44:43,197
Glen D. was the arranger,

3373
02:44:43,197 --> 02:44:45,527
and he would write these
great arrangements for him,

3374
02:44:45,527 --> 02:44:47,527
and they would--
they would be exciting.

3375
02:44:47,527 --> 02:44:50,317
Elvis:
♪ Come back, baby, come ♪

3376
02:44:50,317 --> 02:44:54,157
♪ Come back, baby,
I wanna play house with you ♪

3377
02:44:54,157 --> 02:44:56,107
Elvis:
Then it goes into this one.

3378
02:44:56,107 --> 02:44:57,357
I wanna try something.

3379
02:44:57,357 --> 02:44:58,947
And since, this is last verse...

3380
02:44:58,947 --> 02:45:04,067
Schilling:
I think the vocals were
just as important to Elvis.

3381
02:45:04,067 --> 02:45:06,527
Okay. The horns are
answering it then.

3382
02:45:06,527 --> 02:45:09,987
Schilling:
He had to have
The Sweet Inspirations.

3383
02:45:09,987 --> 02:45:13,777
They had been working
with Wilson Pickett
and Aretha Franklin.

3384
02:45:13,777 --> 02:45:17,817
♪ Talk in
everlasting words ♪
♪ Talk, words ♪

3385
02:45:17,817 --> 02:45:20,987
♪ And dedicate them
all to me ♪

3386
02:45:20,987 --> 02:45:23,907
♪ Dedicate them
all to me ♪

3387
02:45:23,907 --> 02:45:26,197
Cissy Houston:
Elvis did whatever
he wanted to do.

3388
02:45:26,197 --> 02:45:29,157
If he was feeling it,
we had to feel it too.

3389
02:45:29,157 --> 02:45:30,857
And we could connect,

3390
02:45:30,857 --> 02:45:32,487
because we were from gospel.

3391
02:45:32,487 --> 02:45:33,817
We were raised gospel.

3392
02:45:33,817 --> 02:45:37,947
♪ You think that
I don't even mean ♪

3393
02:45:37,947 --> 02:45:41,817
♪ A single word I say ♪

3394
02:45:42,737 --> 02:45:45,777
♪ It's only words ♪

3395
02:45:45,777 --> 02:45:48,657
♪ And words are all I have ♪

3396
02:45:48,657 --> 02:45:50,487
♪ To steal your heart away ♪

3397
02:45:51,987 --> 02:45:55,027
Schilling:
Colonel Parker, he had
billboards all over.

3398
02:45:55,027 --> 02:45:56,697
There was a vibe.

3399
02:45:56,697 --> 02:46:00,697
Everybody knew
that Elvis was there.

3400
02:46:00,697 --> 02:46:03,197
He was a nervous wreck.

3401
02:46:03,197 --> 02:46:07,027
It's one thing to have
a small invited audience.

3402
02:46:07,027 --> 02:46:10,697
Now he's going
on the biggest stage
in the world.

3403
02:46:10,697 --> 02:46:12,487
It's Las Vegas.

3404
02:46:13,817 --> 02:46:15,317
This is the nitty-gritty time

3405
02:46:15,317 --> 02:46:18,107
as far as being
nervous, you know.

3406
02:46:18,107 --> 02:46:19,317
Opening night, man.

3407
02:46:20,607 --> 02:46:23,317
West:
He was excited,
and also nervous.

3408
02:46:23,317 --> 02:46:25,947
He didn't know exactly
how he was gonna be received,

3409
02:46:25,947 --> 02:46:28,317
and he wanted
the best of everything.

3410
02:46:28,317 --> 02:46:31,527
Tutt:
There were all these big
goals as far as attendance,

3411
02:46:31,527 --> 02:46:34,067
and he had a very
competitive nature.

3412
02:46:34,067 --> 02:46:36,777
So he wanted to be able
to be as powerful

3413
02:46:36,777 --> 02:46:39,407
and popular as Sinatra,
Tom Jones.

3414
02:46:39,407 --> 02:46:41,907
He wanted to take his music
to a whole different level.

3415
02:46:44,277 --> 02:46:46,907
(drums roll, play rock beat)

3416
02:46:53,407 --> 02:46:55,607
(band joins in)

3417
02:46:55,607 --> 02:46:57,607
Priscilla:
The first time
I ever saw him on stage,

3418
02:46:57,607 --> 02:47:01,317
was the first time
he played in Vegas in '69.

3419
02:47:01,317 --> 02:47:04,697
The '68 special, it was more
of a controlled environment.

3420
02:47:04,697 --> 02:47:06,407
It was for television.

3421
02:47:06,407 --> 02:47:09,907
But in Vegas, to actually
see him walk out there

3422
02:47:09,907 --> 02:47:12,407
and own that stage,

3423
02:47:12,407 --> 02:47:15,657
it was like,
"Oh my gosh, I get it.

3424
02:47:15,657 --> 02:47:17,567
I get it!"

3425
02:47:17,567 --> 02:47:19,777
♪ Well, that's all right, mama ♪

3426
02:47:19,777 --> 02:47:21,607
♪ That's all right with you ♪

3427
02:47:21,607 --> 02:47:23,107
♪ That's all right, mama ♪

3428
02:47:23,107 --> 02:47:24,657
♪ Do it any way you do ♪

3429
02:47:24,657 --> 02:47:26,157
♪ That's all right ♪
♪ That's all right ♪

3430
02:47:26,157 --> 02:47:27,817
♪ Yeah, that's all right ♪
♪ That's all right ♪

3431
02:47:27,817 --> 02:47:30,657
♪ That's all right, mama ♪
♪ That's all right ♪

3432
02:47:30,657 --> 02:47:32,987
♪ Any way you do ♪

3433
02:47:35,027 --> 02:47:37,107
♪ Well, Mama,
she done told me ♪

3434
02:47:37,107 --> 02:47:38,777
♪ Papa done told me too ♪

3435
02:47:38,777 --> 02:47:40,447
♪ Son, that gal
you foolin' with ♪

3436
02:47:40,447 --> 02:47:41,907
♪ She ain't no good for you ♪

3437
02:47:41,907 --> 02:47:43,487
♪ Well, that's all right ♪
♪ That's all right ♪

3438
02:47:43,487 --> 02:47:45,357
♪ Yeah, that's all right now ♪
♪ That's all right ♪

3439
02:47:45,357 --> 02:47:47,777
♪ That's all right
now, mama ♪

3440
02:47:47,777 --> 02:47:49,487
♪ Any way you do ♪

3441
02:47:49,487 --> 02:47:51,407
Play it.

3442
02:47:51,407 --> 02:47:53,447
♪ ♪

3443
02:47:57,697 --> 02:47:59,737
Priscilla:
I remember looking around.

3444
02:47:59,737 --> 02:48:01,527
They're all applauding.

3445
02:48:01,527 --> 02:48:03,317
So drawn into him.

3446
02:48:03,317 --> 02:48:06,317
I'd never seen anyone control
an audience that way.

3447
02:48:06,317 --> 02:48:09,157
It was like he rehearsed
that show all his life.

3448
02:48:09,157 --> 02:48:11,817
(Elvis scatting)

3449
02:48:16,237 --> 02:48:17,987
♪ That's all right ♪
♪ That's all right ♪

3450
02:48:17,987 --> 02:48:19,657
♪ Yeah, that's all right ♪
♪ That's all right ♪

3451
02:48:19,657 --> 02:48:22,317
♪ That's all right
now, mama ♪

3452
02:48:22,317 --> 02:48:25,157
♪ Any way you do ♪

3453
02:48:26,487 --> 02:48:29,157
♪ Well, that's
all right now, mama ♪

3454
02:48:29,157 --> 02:48:31,197
♪ Any way you do ♪

3455
02:48:33,407 --> 02:48:35,527
(song ending)
(cheers and applause)

3456
02:48:38,817 --> 02:48:42,527
♪ ♪

3457
02:48:42,527 --> 02:48:47,237
Woman:
♪ There's a place
on Lonely Street ♪

3458
02:48:47,237 --> 02:48:50,697
♪ They call it
Heartbreak Hotel ♪

3459
02:48:50,697 --> 02:48:54,357
♪ Where brokenhearted
lovers go ♪

3460
02:48:54,357 --> 02:48:57,277
Schilling:
It was great, staying up
all night, being in Vegas.

3461
02:48:57,277 --> 02:48:58,817
We never left the hotel.

3462
02:48:58,817 --> 02:49:00,487
But psychologically,

3463
02:49:00,487 --> 02:49:02,527
at a point,
it weighs on you,

3464
02:49:02,527 --> 02:49:04,237
and you may not
even know it.

3465
02:49:06,027 --> 02:49:08,357
Woman:
♪ Heartbreak Hotel,
where I'll be ♪

3466
02:49:08,357 --> 02:49:11,857
♪ I'll be so lonely ♪

3467
02:49:12,857 --> 02:49:16,657
♪ I'll be so lonely,
I could die ♪

3468
02:49:16,657 --> 02:49:18,567
♪ Although it's
always crowded ♪

3469
02:49:18,567 --> 02:49:20,737
♪ You still can find a room ♪

3470
02:49:20,737 --> 02:49:22,907
♪ For brokenhearted lovers ♪

3471
02:49:22,907 --> 02:49:26,907
Schilling:
Thirty days, 61 shows,
first engagement.

3472
02:49:26,907 --> 02:49:30,317
Six months later,
the second engagement.

3473
02:49:30,317 --> 02:49:32,317
The third engagement.

3474
02:49:32,317 --> 02:49:34,277
Woman:
♪ Die ♪

3475
02:49:34,277 --> 02:49:37,317
Schilling:
Playing that much
for weeks on time,

3476
02:49:37,317 --> 02:49:39,067
not seeing daylight.

3477
02:49:40,527 --> 02:49:43,067
Dave Marsh:
Locked up in a hotel room,
what is there to do?

3478
02:49:43,067 --> 02:49:45,237
Talking to the same
15 guys every day?

3479
02:49:45,237 --> 02:49:46,567
Bored out of your mind,

3480
02:49:46,567 --> 02:49:50,237
and it all kind of conspires
to make Elvis vulnerable

3481
02:49:50,237 --> 02:49:53,447
in ways that if he had
a more rational life,

3482
02:49:53,447 --> 02:49:55,027
he would not be vulnerable.

3483
02:49:55,027 --> 02:49:57,737
Woman:
♪ You got a tale to tell ♪

3484
02:49:57,737 --> 02:49:59,357
Bearde:
And that's when
the Colonel took over

3485
02:49:59,357 --> 02:50:01,407
and went back
into modus operandi.

3486
02:50:01,407 --> 02:50:04,907
Let's see as much money
as we can make out of Elvis
for as long as we can.

3487
02:50:06,067 --> 02:50:07,947
Tutt:
It worked great
in the beginning.

3488
02:50:07,947 --> 02:50:10,697
It just got to be
same old stuff.

3489
02:50:10,697 --> 02:50:13,197
Woman:
♪ Die ♪

3490
02:50:13,197 --> 02:50:16,027
Tutt:
He realized that fans
want to hear the hits--

3491
02:50:16,027 --> 02:50:19,357
kind of painted himself
into a corner, so to speak.

3492
02:50:19,357 --> 02:50:20,857
(cheers and applause)

3493
02:50:20,857 --> 02:50:22,107
Brown:
Back in those days,

3494
02:50:22,107 --> 02:50:23,947
there was a dinner show
and then a late show.

3495
02:50:23,947 --> 02:50:25,447
So all the tables up front,

3496
02:50:25,447 --> 02:50:27,277
they were serving dinner
and drinks and stuff.

3497
02:50:27,277 --> 02:50:29,487
And the only people that could
afford the up-front seats

3498
02:50:29,487 --> 02:50:32,107
were the high-rollers,
the older cats.

3499
02:50:32,107 --> 02:50:35,277
Elvis needed connection
with the audience.

3500
02:50:35,277 --> 02:50:39,107
And Vegas, it was a very
reserved, rich crowd

3501
02:50:39,107 --> 02:50:40,817
dressed up for the Elvis show.

3502
02:50:40,817 --> 02:50:43,317
It frustrated Elvis that
he couldn't quite seem

3503
02:50:43,317 --> 02:50:45,487
to get the mayhem going.

3504
02:50:45,487 --> 02:50:47,277
Priscilla:
He felt like really
what he needed

3505
02:50:47,277 --> 02:50:49,737
was to get outside
of Vegas and go out

3506
02:50:49,737 --> 02:50:51,857
and get connected
with people

3507
02:50:51,857 --> 02:50:56,157
though he hadn't been
on tour for over 13 years.

3508
02:50:56,157 --> 02:50:58,527
Man:
What, uh, what made you
decide to come to Texas?

3509
02:50:58,527 --> 02:51:01,157
Well, I think the most
important thing is the, uh,

3510
02:51:01,157 --> 02:51:05,157
the inspiration that I get
from a live audience.
I was missing that.

3511
02:51:05,157 --> 02:51:09,157
♪ Well, I never
been to Heaven ♪

3512
02:51:10,907 --> 02:51:14,487
♪ But I've been to Oklahoma ♪

3513
02:51:16,447 --> 02:51:19,657
♪ Well, they tell me
I was born there ♪

3514
02:51:22,067 --> 02:51:25,657
♪ But I really don't remember ♪

3515
02:51:28,657 --> 02:51:31,737
♪ In Oklahoma ♪

3516
02:51:31,737 --> 02:51:33,857
♪ Or Arizona ♪

3517
02:51:33,857 --> 02:51:37,107
♪ Yeah, what does it matter? ♪

3518
02:51:37,107 --> 02:51:39,357
♪ What does it matter? ♪

3519
02:51:39,357 --> 02:51:41,277
Landau:
Back in the 1970s,

3520
02:51:41,277 --> 02:51:43,567
I was working
for  Rolling Stone.

3521
02:51:43,567 --> 02:51:47,817
They sent me to Boston
to review an Elvis concert.

3522
02:51:47,817 --> 02:51:50,027
"He stands there
in a black jumpsuit,

3523
02:51:50,027 --> 02:51:52,277
"gold spangles
and an orange cape.

3524
02:51:52,277 --> 02:51:53,697
"When he stretches
out his hands,

3525
02:51:53,697 --> 02:51:55,567
"the cape forms
a half-sun

3526
02:51:55,567 --> 02:51:57,027
"under his outstretched arms,

3527
02:51:57,027 --> 02:52:00,067
and he looks like the
true king of rock and roll.

3528
02:52:01,607 --> 02:52:04,357
"He parades in front
of 15,000 people,

3529
02:52:04,357 --> 02:52:06,857
"and waits for the applause
to wash over,

3530
02:52:08,067 --> 02:52:10,067
"and it comes as it always does

3531
02:52:10,067 --> 02:52:12,107
"and as he knows it will.

3532
02:52:13,407 --> 02:52:15,107
"Elvis Presley
has lived through

3533
02:52:15,107 --> 02:52:17,567
"the greatest superstar
trip of any performer,

3534
02:52:17,567 --> 02:52:20,737
"and he survived it
in his own kind of way.

3535
02:52:20,737 --> 02:52:25,737
"Elvis participates in a pure
one-to-one relationship
with his audience.

3536
02:52:27,157 --> 02:52:28,947
"When he steps on the stage,

3537
02:52:28,947 --> 02:52:31,527
"it is he and he alone
who is the subject

3538
02:52:31,527 --> 02:52:35,197
of the manic, ecstatic,
irrational adoration."

3539
02:52:35,197 --> 02:52:38,237
Elvis:
♪ I've never been to Heaven ♪

3540
02:52:38,237 --> 02:52:40,857
Landau:
"His brilliance is reflected
in his control."

3541
02:52:40,857 --> 02:52:42,737
♪ But I've been
to Oklahoma ♪

3542
02:52:42,737 --> 02:52:45,487
Landau:
"He never moves too far
in any one direction,

3543
02:52:45,487 --> 02:52:46,907
and never loses his grip."

3544
02:52:46,907 --> 02:52:49,527
♪ They tell me
I was born there ♪

3545
02:52:49,527 --> 02:52:51,197
♪ ♪

3546
02:52:51,197 --> 02:52:54,947
♪ But I really don't remember ♪

3547
02:52:58,277 --> 02:53:00,857
♪ In Oklahoma ♪

3548
02:53:00,857 --> 02:53:02,907
♪ Or Arizona ♪

3549
02:53:02,907 --> 02:53:04,777
Landau:
"To me, no matter
how frustrating

3550
02:53:04,777 --> 02:53:07,607
"the lapses in his career
have been,

3551
02:53:07,607 --> 02:53:09,817
he remains an artist..."

3552
02:53:09,817 --> 02:53:12,157
Elvis:
♪ In Oklahoma ♪

3553
02:53:12,157 --> 02:53:14,947
♪ Or Arizona ♪

3554
02:53:14,947 --> 02:53:18,857
Landau:
"...an American artist,
whom we should be proud
to claim as our own."

3555
02:53:18,857 --> 02:53:21,157
Elvis:
♪ Yeah, yeah ♪

3556
02:53:25,947 --> 02:53:27,357
(song ending)

3557
02:53:27,357 --> 02:53:30,777
Thank you.
(applause)

3558
02:53:30,777 --> 02:53:34,107
Brown:
Elvis, in concert, covered
all kinda genres, you know.

3559
02:53:34,107 --> 02:53:36,817
And he came out
and he would do
all those songs

3560
02:53:36,817 --> 02:53:39,197
from the '50s and '60s
that he broke with.

3561
02:53:39,197 --> 02:53:42,067
But during the show, there was
a lot of country standards.

3562
02:53:42,067 --> 02:53:44,067
He just did things
that he liked.

3563
02:53:44,067 --> 02:53:45,317
Man:
You have any
thoughts about

3564
02:53:45,317 --> 02:53:46,987
the rising interest
in country music?

3565
02:53:46,987 --> 02:53:48,987
I think it's fantastic.

3566
02:53:48,987 --> 02:53:52,107
You see, country music was
always a part of the influence

3567
02:53:52,107 --> 02:53:54,737
on my-- on my type
of music anyway.

3568
02:53:54,737 --> 02:53:57,487
It's a combination of, uh...

3569
02:53:57,487 --> 02:53:59,447
country music, and gospel,

3570
02:53:59,447 --> 02:54:00,987
and rhythm and blues
all combined.

3571
02:54:00,987 --> 02:54:02,527
That's what it really was.

3572
02:54:02,527 --> 02:54:04,777
As a child, I was
influenced by all of that.

3573
02:54:04,777 --> 02:54:08,197
But I like the blues,
and I like, uh,
the gospel music,

3574
02:54:08,197 --> 02:54:10,107
gospel quartets and all that.

3575
02:54:10,107 --> 02:54:12,657
Thank you.
Good rehearsal, see you soon.

3576
02:54:12,657 --> 02:54:14,527
Springsteen:
If you look at the band
he put together

3577
02:54:14,527 --> 02:54:18,197
for the '70s shows,
there was a huge
gospel contingent.

3578
02:54:18,197 --> 02:54:20,317
Those sections of the show
were so powerful.

3579
02:54:20,317 --> 02:54:23,277
Straight out of white
and black gospel tradition.

3580
02:54:23,277 --> 02:54:26,607
Elvis:
♪ Hallelujah ♪

3581
02:54:26,607 --> 02:54:30,447
Springsteen:
In the '70s, Elvis had moved
on to "American Trilogy."

3582
02:54:30,447 --> 02:54:35,067
His show was consisting of
a huge cross-cultural picture

3583
02:54:35,067 --> 02:54:38,487
of America and Americana.

3584
02:54:38,487 --> 02:54:41,197
(Elvis vocalizing)

3585
02:54:42,357 --> 02:54:44,277
Springsteen:
He was trying to encompass

3586
02:54:44,277 --> 02:54:46,607
an image of the country
as a whole

3587
02:54:46,607 --> 02:54:48,567
that he could be a vessel
that could contain

3588
02:54:48,567 --> 02:54:50,777
the entirety of
American experience.

3589
02:54:50,777 --> 02:54:54,567
♪ Oh hush, little baby ♪

3590
02:54:54,567 --> 02:54:58,607
♪ Don't you cry ♪

3591
02:54:58,607 --> 02:55:00,697
Petty:
You know, that
version of "Dixie"

3592
02:55:00,697 --> 02:55:03,197
and uh, the
"Battle Hymn of the Republic,"

3593
02:55:03,197 --> 02:55:04,857
it's so beautiful!

3594
02:55:04,857 --> 02:55:08,607
You know, the band
he's put together
is so over-the-top,

3595
02:55:08,607 --> 02:55:13,157
and only Elvis would have
that kinda spending power,

3596
02:55:13,157 --> 02:55:16,447
and just audacious craziness.

3597
02:55:19,317 --> 02:55:23,607
Choirs, and orchestras,
and a great rhythm section,

3598
02:55:23,607 --> 02:55:27,237
maybe another
gospel group on the side.

3599
02:55:27,237 --> 02:55:29,527
None of it makes sense
until you suddenly

3600
02:55:29,527 --> 02:55:31,407
hear something like that,

3601
02:55:31,407 --> 02:55:34,567
and they're all playing
a role in that,

3602
02:55:34,567 --> 02:55:37,567
and it's very moving music.

3603
02:55:37,567 --> 02:55:40,907
(flute playing)

3604
02:55:43,567 --> 02:55:45,277
When you see him
do that music

3605
02:55:45,277 --> 02:55:48,277
in those little pieces of film
that I've seen of him,

3606
02:55:48,277 --> 02:55:51,817
that's the pure joy
of music in the man.

3607
02:55:51,817 --> 02:55:55,107
You know, that's when
I see everything stop.

3608
02:55:55,107 --> 02:56:00,407
(music crescendoes)

3609
02:56:05,237 --> 02:56:07,107
♪ ♪

3610
02:56:13,317 --> 02:56:17,487
♪ Glory, glory ♪

3611
02:56:17,487 --> 02:56:23,067
♪ Hallelujah ♪

3612
02:56:23,067 --> 02:56:26,487
♪ His truth is ♪

3613
02:56:26,487 --> 02:56:29,157
♪ Marching ♪

3614
02:56:29,157 --> 02:56:33,987
♪ On ♪

3615
02:56:33,987 --> 02:56:37,317
♪ His truth is ♪

3616
02:56:37,317 --> 02:56:40,067
♪ Marching ♪

3617
02:56:40,067 --> 02:56:47,027
♪ On ♪

3618
02:56:49,487 --> 02:56:51,657
(wild cheering)
Elvis: Whoo!

3619
02:56:51,657 --> 02:56:53,277
Thank you, thank you.

3620
02:56:58,197 --> 02:57:00,317
Whew! Boy.

3621
02:57:00,317 --> 02:57:01,737
How was the sound
in that building?

3622
02:57:01,737 --> 02:57:04,657
Very good,
very good.
Here. Hold on.

3623
02:57:06,567 --> 02:57:10,157
Strickland:
That was his life.
He lived to sing and perform.

3624
02:57:10,157 --> 02:57:11,777
It's a hot time in Florida.

3625
02:57:11,777 --> 02:57:13,197
Man:
Boy, it is.

3626
02:57:13,197 --> 02:57:14,777
Springsteen:
An artist like Elvis is,

3627
02:57:14,777 --> 02:57:17,697
rather than pretending
when he goes on the stage,

3628
02:57:17,697 --> 02:57:20,197
he's actually pretending,
when he's home, to be normal.

3629
02:57:20,197 --> 02:57:22,067
And when he goes out
on stage at night,

3630
02:57:22,067 --> 02:57:24,697
it's who he actually is.

3631
02:57:24,697 --> 02:57:27,407
It's a very
difficult dichotomy.

3632
02:57:33,067 --> 02:57:36,357
Priscilla:
To see him become
even bigger than life,

3633
02:57:36,357 --> 02:57:38,357
he had so much so soon.

3634
02:57:42,237 --> 02:57:45,317
Harris:
He was snatched
from the ordinary life

3635
02:57:45,317 --> 02:57:47,737
of a-- of a young man

3636
02:57:47,737 --> 02:57:51,657
into a place that
no one else had ever been

3637
02:57:51,657 --> 02:57:53,697
in society or in our culture.

3638
02:58:06,907 --> 02:58:10,527
Zanes:
To have that success,
and to experience it,

3639
02:58:10,527 --> 02:58:14,567
he had to hand over
significant portions
of youth.

3640
02:58:14,567 --> 02:58:16,357
That was the trade.

3641
02:58:17,907 --> 02:58:23,567
He is unmoored from
the Earth experience.

3642
02:58:23,567 --> 02:58:25,407
Priscilla:
We were living
two different lives.

3643
02:58:25,407 --> 02:58:27,697
He was performing, and, uh,

3644
02:58:27,697 --> 02:58:29,527
and he was home
very, very little.

3645
02:58:29,527 --> 02:58:32,107
It was very difficult to
communicate at that time.

3646
02:58:32,107 --> 02:58:37,447
Uh, Elvis had a horrible
fear of not sleeping.

3647
02:58:37,447 --> 02:58:39,907
He would spend
many, many nights alone,

3648
02:58:39,907 --> 02:58:42,737
and he would think
and that would keep him up.

3649
02:58:42,737 --> 02:58:44,947
So he started
on sleeping pills,

3650
02:58:44,947 --> 02:58:47,237
and he thought that
he had it under control.

3651
02:58:49,567 --> 02:58:52,107
Everything that he ever had
was prescribed.

3652
02:58:54,947 --> 02:58:56,487
(indistinct chatter)

3653
02:58:56,487 --> 02:58:58,607
Man:
Are you satisfied
with the image
you've established?

3654
02:58:58,607 --> 02:59:02,197
Uh... well, the image is
one thing,

3655
02:59:02,197 --> 02:59:05,657
and a human being
is another, you know, so.

3656
02:59:05,657 --> 02:59:07,487
Man:
How close does the image
come to the man?

3657
02:59:07,487 --> 02:59:11,157
It's very hard
to live up to an image,
I'll put it that way.

3658
02:59:13,027 --> 02:59:14,987
Parker:
Come on, bring your
cameras over here.

3659
02:59:14,987 --> 02:59:17,357
Come on through here.

3660
02:59:17,357 --> 02:59:19,777
Elvis:
Soon as the Colonel gets
through talking, I'll tell you--

3661
02:59:19,777 --> 02:59:21,027
I'm-- I'm sorry.

3662
02:59:21,027 --> 02:59:22,697
Oh, yeah, I'd like
to do something.

3663
02:59:22,697 --> 02:59:25,107
Uh, there's so many places
that I haven't been yet.

3664
02:59:25,107 --> 02:59:26,237
I'd like to go to Europe.

3665
02:59:26,237 --> 02:59:28,317
I'd like to go to Japan
and all those places.

3666
02:59:28,317 --> 02:59:29,657
I-I've never been
out of this country

3667
02:59:29,657 --> 02:59:31,987
except in the service,
you know.

3668
02:59:31,987 --> 02:59:33,567
Light:
Elvis, from early on,

3669
02:59:33,567 --> 02:59:35,817
had expressed interest
in touring overseas

3670
02:59:35,817 --> 02:59:37,027
having no idea

3671
02:59:37,027 --> 02:59:39,277
that Colonel Parker
was never going to let him.

3672
02:59:39,277 --> 02:59:41,657
Because if the Colonel
went with him,

3673
02:59:41,657 --> 02:59:44,487
he was afraid
he was not gonna be
let back into America.

3674
02:59:46,277 --> 02:59:49,987
Schilling:
Colonel knowing that Elvis
wanted to tour overseas,

3675
02:59:49,987 --> 02:59:52,487
colonel not wanting
anybody to know

3676
02:59:52,487 --> 02:59:55,107
that he wasn't a US citizen,

3677
02:59:55,107 --> 02:59:57,277
how could he answer Elvis

3678
02:59:57,277 --> 03:00:02,357
but come up with something
that nobody had ever done.

3679
03:00:04,027 --> 03:00:05,857
Jackson:
Instead of shutting
down the idea

3680
03:00:05,857 --> 03:00:07,657
of Elvis playing
in different countries

3681
03:00:07,657 --> 03:00:09,697
and just sort of
curtailing it for now,

3682
03:00:09,697 --> 03:00:11,777
he actually uses it
to his advantage,

3683
03:00:11,777 --> 03:00:15,737
and creates the first-ever
live concert simulcast

3684
03:00:15,737 --> 03:00:17,357
on satellite television,

3685
03:00:17,357 --> 03:00:20,317
so that people
in every country
all over the world

3686
03:00:20,317 --> 03:00:23,107
can see Elvis
play a concert.

3687
03:00:23,107 --> 03:00:25,067
Light:
By the time
of the Aloha special,

3688
03:00:25,067 --> 03:00:27,317
Elvis had been
touring non-stop.

3689
03:00:27,317 --> 03:00:29,607
His health wasn't great,
his weight wasn't great,

3690
03:00:29,607 --> 03:00:32,857
and now he was confronted
with this performance

3691
03:00:32,857 --> 03:00:36,737
that was gonna be seen
by a billion people
around the world.

3692
03:00:36,737 --> 03:00:38,907
Whew!

3693
03:00:38,907 --> 03:00:42,197
It's so very hard
to comprehend it,

3694
03:00:42,197 --> 03:00:44,237
because I...

3695
03:00:44,237 --> 03:00:47,027
In 15 years, it's hard
to comprehend that happening.

3696
03:00:47,027 --> 03:00:49,947
To all the countries all over
the world via satellite,

3697
03:00:49,947 --> 03:00:51,947
it's very difficult
to comprehend.

3698
03:00:51,947 --> 03:00:54,697
Jackson:
It becomes the
biggest media moment

3699
03:00:54,697 --> 03:00:57,237
of his career
up to that point.

3700
03:00:57,237 --> 03:00:59,817
And he knows this.
He's trimmed down for it.

3701
03:00:59,817 --> 03:01:00,947
He looks amazing.

3702
03:01:00,947 --> 03:01:03,197
The band is super tight.

3703
03:01:03,197 --> 03:01:05,907
Light:
Aloha does represent
Elvis music,

3704
03:01:05,907 --> 03:01:10,407
the moment that
Elvis brought together
all of his influences

3705
03:01:10,407 --> 03:01:13,567
to solidify an image of Elvis,

3706
03:01:13,567 --> 03:01:16,277
a look and a style
and a presentation

3707
03:01:16,277 --> 03:01:19,487
that seals in amber,
this is what Elvis is.

3708
03:01:21,697 --> 03:01:25,357
Zanes:
Elvis was the first major

3709
03:01:25,357 --> 03:01:28,567
televisual musical star.

3710
03:01:28,567 --> 03:01:31,607
We can see him,
but we can't touch him.

3711
03:01:36,567 --> 03:01:40,027
Elvis, without intending to,

3712
03:01:40,027 --> 03:01:43,237
created an image of himself

3713
03:01:43,237 --> 03:01:46,277
he would never live past.

3714
03:01:52,067 --> 03:01:54,907
♪ Yeah, now this time ♪

3715
03:01:54,907 --> 03:01:57,817
♪ Lord, you gave me ♪

3716
03:01:57,817 --> 03:02:00,947
♪ A mountain ♪

3717
03:02:02,857 --> 03:02:04,947
♪ A mountain ♪

3718
03:02:04,947 --> 03:02:09,027
♪ I may never climb ♪

3719
03:02:12,567 --> 03:02:13,987
♪ It isn't ♪

3720
03:02:13,987 --> 03:02:15,487
Landau:
That show was another way

3721
03:02:15,487 --> 03:02:19,317
in which he was truly
disserved by the Colonel.

3722
03:02:22,197 --> 03:02:26,197
It's a bit of a metaphor
for keeping the blinders on,

3723
03:02:26,197 --> 03:02:30,607
which is what I think
the Colonel is all about.

3724
03:02:30,607 --> 03:02:32,567
Petty:
My picture of the
Colonel really is

3725
03:02:32,567 --> 03:02:34,817
someone that loves
selling merchandise,

3726
03:02:34,817 --> 03:02:36,817
you know, that
wants it to the end,

3727
03:02:36,817 --> 03:02:41,157
walk the aisle selling
posters and ballpoint pens.

3728
03:02:41,157 --> 03:02:43,067
It doesn't make
any sense really

3729
03:02:43,067 --> 03:02:45,567
to keep him from
touring other countries,

3730
03:02:45,567 --> 03:02:49,027
to keep him from
really going to, you know,

3731
03:02:49,027 --> 03:02:50,857
the whole way with the music,

3732
03:02:50,857 --> 03:02:53,527
like, letting him
be an artist.

3733
03:02:53,527 --> 03:02:55,527
(crowd cheering)

3734
03:02:55,527 --> 03:02:58,487
Elvis:
Thank you!

3735
03:02:58,487 --> 03:03:02,737
Schilling:
I think the troubles between
Elvis and the Colonel

3736
03:03:02,737 --> 03:03:05,487
started getting
worse at that point.

3737
03:03:05,487 --> 03:03:07,357
There was the bond,

3738
03:03:07,357 --> 03:03:11,607
but they were
two very different people.

3739
03:03:11,607 --> 03:03:14,407
Priscilla:
Elvis outgrew Colonel Parker
as an artist,

3740
03:03:14,407 --> 03:03:18,157
but he, um, didn't know
how to cut the strings.

3741
03:03:20,857 --> 03:03:24,157
Light:
By this time, he had started
to turn to prescription drugs

3742
03:03:24,157 --> 03:03:25,737
to keep himself going.

3743
03:03:25,737 --> 03:03:28,817
He was on a
relentless wheel

3744
03:03:28,817 --> 03:03:32,237
of performance to travel
to performance to travel,

3745
03:03:32,237 --> 03:03:34,567
and you start to see
the stress of that.

3746
03:03:38,817 --> 03:03:41,407
Binder:
All the things he told me
that he wanted to do--

3747
03:03:41,407 --> 03:03:44,237
travel the world,
meet new audiences--

3748
03:03:44,237 --> 03:03:46,067
none of that happened.

3749
03:03:48,487 --> 03:03:51,407
All the light went
out of his eyes.

3750
03:03:53,407 --> 03:03:56,907
Zanes:
With an addiction
to prescription pills,

3751
03:03:56,907 --> 03:03:59,067
if you are a performer,

3752
03:03:59,067 --> 03:04:02,947
what you're after is the
anesthetizing part of it.

3753
03:04:02,947 --> 03:04:05,067
But that's gonna
take you away

3754
03:04:05,067 --> 03:04:07,487
from your powers
as a performer,

3755
03:04:07,487 --> 03:04:11,657
and he's gonna go
on stage nonetheless.

3756
03:04:18,947 --> 03:04:21,607
Landau:
He had many afflictions,

3757
03:04:21,607 --> 03:04:24,317
and he hurt himself
in many ways.

3758
03:04:24,317 --> 03:04:27,107
But there was a core in there,

3759
03:04:27,107 --> 03:04:30,027
that, if you let it,
would shine through,

3760
03:04:30,027 --> 03:04:33,737
and sometimes in the
most unlikely places.

3761
03:04:33,737 --> 03:04:36,067
♪ ♪

3762
03:04:38,777 --> 03:04:40,357
♪ Lord Almighty ♪

3763
03:04:40,357 --> 03:04:43,657
♪ I feel my
temperature rising ♪

3764
03:04:43,657 --> 03:04:44,817
♪ Hmm ♪

3765
03:04:44,817 --> 03:04:47,277
Tutt:
We has basically tried
to influence him

3766
03:04:47,277 --> 03:04:48,817
to do more rock and roll.

3767
03:04:48,817 --> 03:04:51,277
"Burning Love," that one
had some potential.

3768
03:04:51,277 --> 03:04:52,907
He never felt
comfortable with it,

3769
03:04:52,907 --> 03:04:55,777
because he had a hard time
with the lyrics.

3770
03:04:55,777 --> 03:04:57,777
Priscilla:
He was going through
a lot at that time,

3771
03:04:57,777 --> 03:04:59,317
so he didn't want
to do the song,

3772
03:04:59,317 --> 03:05:02,357
and the guys kept expressing
that he should do it,

3773
03:05:02,357 --> 03:05:04,697
and he was really
fighting it.

3774
03:05:04,697 --> 03:05:06,157
Landau:
"Burning Love,"

3775
03:05:06,157 --> 03:05:08,317
well, it's one of the
greatest records
he ever made.

3776
03:05:08,317 --> 03:05:11,907
♪ Like the sweet song
of the choir ♪

3777
03:05:11,907 --> 03:05:14,737
♪ And you light my morning sky ♪

3778
03:05:14,737 --> 03:05:16,657
♪ With burning love ♪

3779
03:05:18,067 --> 03:05:19,777
♪ With burning love ♪

3780
03:05:19,777 --> 03:05:21,857
Chorus:
♪ Hunk of burning love ♪

3781
03:05:21,857 --> 03:05:24,317
Elvis:
♪ Just a hunk of
hunk of burning love ♪

3782
03:05:24,317 --> 03:05:27,737
Chorus: Ahhh!
♪ A hunk of
hunk of burning love ♪

3783
03:05:27,737 --> 03:05:29,697
Chorus: Ahhh!
♪ A hunk of hunk of-- ♪

3784
03:05:29,697 --> 03:05:32,197
(music stops)

3785
03:05:32,197 --> 03:05:34,447
Priscilla:
It was a hard song
for him to sing

3786
03:05:34,447 --> 03:05:36,197
and to get into.

3787
03:05:36,197 --> 03:05:38,777
About them lyrics...
(laughter)

3788
03:05:38,777 --> 03:05:41,197
It was only one,
and I hit my mouth.

3789
03:05:41,197 --> 03:05:43,067
Priscilla:
He wanted to
let out his feelings

3790
03:05:43,067 --> 03:05:46,527
in a-- in a song that
related to how he felt.

3791
03:05:46,527 --> 03:05:48,487
It was difficult
to be given music

3792
03:05:48,487 --> 03:05:51,527
for something that's
really uplifting, upbeat,

3793
03:05:51,527 --> 03:05:53,197
and that's not
matching his tone,

3794
03:05:53,197 --> 03:05:54,857
that's not matching
his feelings.

3795
03:05:55,907 --> 03:05:58,657
♪ ♪

3796
03:06:01,907 --> 03:06:04,527
♪ I see a change ♪

3797
03:06:04,527 --> 03:06:07,607
♪ Is coming to our lives ♪

3798
03:06:07,607 --> 03:06:13,067
♪ It's not the same
as it used to be ♪

3799
03:06:13,067 --> 03:06:15,567
♪ And it's not too late ♪

3800
03:06:15,567 --> 03:06:18,107
♪ To realize our mistake ♪

3801
03:06:18,107 --> 03:06:19,947
♪ We're just not right ♪

3802
03:06:19,947 --> 03:06:24,607
♪ For each other ♪

3803
03:06:25,987 --> 03:06:28,857
♪ Love has slipped away ♪

3804
03:06:28,857 --> 03:06:31,357
♪ Left us only friends ♪

3805
03:06:31,357 --> 03:06:36,447
♪ We almost seem
like strangers ♪

3806
03:06:36,447 --> 03:06:38,777
♪ All that's left between us ♪

3807
03:06:38,777 --> 03:06:41,697
♪ Are the memories we share ♪

3808
03:06:41,697 --> 03:06:44,237
♪ Of times
we thought we cared ♪

3809
03:06:44,237 --> 03:06:49,567
♪ For each other ♪

3810
03:06:49,567 --> 03:06:52,567
Priscilla:
Elvis was very
family oriented.

3811
03:06:52,567 --> 03:06:54,737
He did cherish family,

3812
03:06:54,737 --> 03:06:56,777
but Elvis wanted it all.
(laughs)

3813
03:06:56,777 --> 03:06:59,947
♪ Pieces left behind us ♪

3814
03:06:59,947 --> 03:07:02,277
Priscilla:
It takes two
in a relationship.

3815
03:07:02,277 --> 03:07:06,317
Having a child, not being
able to do the traveling.

3816
03:07:06,317 --> 03:07:09,277
I was a mother.

3817
03:07:09,277 --> 03:07:11,777
He always used to say,
"You can't serve two masters."

3818
03:07:14,067 --> 03:07:16,817
♪ ♪

3819
03:07:16,817 --> 03:07:18,817
(chorus vocalizing)

3820
03:07:18,817 --> 03:07:21,027
♪ Someday when she's older ♪

3821
03:07:21,027 --> 03:07:24,277
♪ Maybe she will understand ♪

3822
03:07:24,277 --> 03:07:29,487
♪ Why her mom and dad
are not together ♪

3823
03:07:29,487 --> 03:07:32,317
♪ The tears that
she will cry ♪

3824
03:07:32,317 --> 03:07:34,657
♪ When I have to say goodbye ♪

3825
03:07:34,657 --> 03:07:36,817
♪ They tear at my heart ♪

3826
03:07:36,817 --> 03:07:41,317
♪ Forever ♪

3827
03:07:42,607 --> 03:07:44,697
♪ There's nothing left to do ♪

3828
03:07:44,697 --> 03:07:47,987
♪ But go our separate ways ♪

3829
03:07:47,987 --> 03:07:50,657
Schilling:
After he recorded
"Separate Ways,"

3830
03:07:50,657 --> 03:07:52,607
he wanted to go
into the control room

3831
03:07:52,607 --> 03:07:56,607
and listen to that song
for hours.

3832
03:07:56,607 --> 03:07:59,357
And he would just look up
and shake his head,

3833
03:07:59,357 --> 03:08:02,817
'cause I know he still
always loved Priscilla.

3834
03:08:04,277 --> 03:08:05,987
Priscilla:
Elvis and I,

3835
03:08:05,987 --> 03:08:07,817
you know,
we held hands in court.

3836
03:08:07,817 --> 03:08:10,157
There was still
a lot of love there.

3837
03:08:10,157 --> 03:08:12,067
He was a doting father.

3838
03:08:12,067 --> 03:08:14,487
We kept that relationship
very close.

3839
03:08:14,487 --> 03:08:16,487
I know he was
always there for me,

3840
03:08:16,487 --> 03:08:17,947
and for Lisa as well,

3841
03:08:17,947 --> 03:08:20,027
but the breakup
of the marriage

3842
03:08:20,027 --> 03:08:21,857
was painful for both of us.

3843
03:08:21,857 --> 03:08:24,567
(vocalizing)

3844
03:08:27,987 --> 03:08:30,857
Gordon Stoker:
He was never
the same after that.

3845
03:08:30,857 --> 03:08:32,857
He just changed.
He was very moody.

3846
03:08:32,857 --> 03:08:34,987
He just wasn't well
doing two shows a night.

3847
03:08:34,987 --> 03:08:37,407
And he had to take uppers
to get him going

3848
03:08:37,407 --> 03:08:39,067
and downers
to put him to sleep.

3849
03:08:40,817 --> 03:08:43,197
Parker:
Well, I don't know,
but I know one thing.

3850
03:08:43,197 --> 03:08:44,987
When I told Elvis
to slow down,

3851
03:08:44,987 --> 03:08:46,947
he said, "I wanna
play more dates."

3852
03:08:46,947 --> 03:08:48,197
So I booked more dates.

3853
03:08:48,197 --> 03:08:50,197
I said, "Well, I don't
think you should,"

3854
03:08:50,197 --> 03:08:52,237
and he said, "Well,
it's what I wanna do."

3855
03:08:52,237 --> 03:08:54,487
He was very unhappy,
so we started all over again.

3856
03:08:54,487 --> 03:08:57,907
Announcer:
With some 25 colored
portraits available...

3857
03:08:57,907 --> 03:09:00,737
Man: Souvenirs!

3858
03:09:00,737 --> 03:09:02,857
Hey! Take home
a little bit of Elvis!

3859
03:09:02,857 --> 03:09:04,447
Elvis super souvenirs!

3860
03:09:04,447 --> 03:09:07,907
Cohn:
I think night by night,
it became harder for him to--

3861
03:09:07,907 --> 03:09:10,357
to carry on being Elvis.

3862
03:09:10,357 --> 03:09:12,907
Drugs and the
self-destructiveness

3863
03:09:12,907 --> 03:09:15,407
were all punishments.

3864
03:09:15,407 --> 03:09:18,447
He was in great pain, and yet,
he gave so much pleasure.

3865
03:09:18,447 --> 03:09:21,447
He would go offstage
and collapse,

3866
03:09:21,447 --> 03:09:25,067
and the audience would
go out buoyed up and joyous,

3867
03:09:25,067 --> 03:09:26,737
spiritually blessed.

3868
03:09:30,567 --> 03:09:34,027
Priscilla:
Elvis was always
searching for answers.

3869
03:09:34,027 --> 03:09:35,607
Why him?

3870
03:09:35,607 --> 03:09:38,657
"Well, maybe God
had something else
planned for me.

3871
03:09:38,657 --> 03:09:41,107
Am I supposed to be
giving a message?"

3872
03:09:42,697 --> 03:09:44,407
Not realizing he was doing

3873
03:09:44,407 --> 03:09:46,487
what he was
supposed to be doing.

3874
03:09:49,947 --> 03:09:53,027
Petty:
The last days of his life
was not his best work.

3875
03:09:53,027 --> 03:09:55,067
He had a lot of problems.

3876
03:09:57,067 --> 03:09:58,197
He had gained weight

3877
03:09:58,197 --> 03:10:01,697
which is a cardinal sin
in show business.

3878
03:10:01,697 --> 03:10:03,197
Isolation, you know,

3879
03:10:03,197 --> 03:10:05,697
that-- that brings on
the drug abuse.

3880
03:10:05,697 --> 03:10:08,197
He's lost touch
with his father.

3881
03:10:08,197 --> 03:10:10,527
His mom's gone.

3882
03:10:10,527 --> 03:10:13,067
His wife is gone.

3883
03:10:13,067 --> 03:10:16,447
It had to be very lonely,
we know that.

3884
03:10:22,317 --> 03:10:25,027
There's a point when--
when you have success,

3885
03:10:25,027 --> 03:10:26,657
and you get really wealthy

3886
03:10:26,657 --> 03:10:29,487
and there is that day
where the letter comes

3887
03:10:29,487 --> 03:10:32,317
that none of this is
gonna make me happy.

3888
03:10:37,857 --> 03:10:42,067
And he knew he had
to try to find some--
something, you know,

3889
03:10:42,067 --> 03:10:44,487
but I think he gave up.

3890
03:10:44,487 --> 03:10:48,487
I think he felt out-gunned
and gave up.

3891
03:10:58,197 --> 03:10:59,447
Priscilla:
Those last shows,

3892
03:10:59,447 --> 03:11:01,067
those shows those
last couple of years

3893
03:11:01,067 --> 03:11:04,237
were not the most memorable
as far as performance.

3894
03:11:04,237 --> 03:11:07,027
Sometimes he didn't
get through a-- a song.

3895
03:11:07,027 --> 03:11:11,277
I think the last year,
he was pretty much over it.

3896
03:11:11,277 --> 03:11:14,277
I don't even know why,
you know, he went on stage.

3897
03:11:14,277 --> 03:11:16,197
They're just hard to watch.

3898
03:11:16,197 --> 03:11:17,817
Sometimes, I think
it was better, maybe,

3899
03:11:17,817 --> 03:11:19,657
if they just
canceled the show.

3900
03:11:26,947 --> 03:11:30,697
Brown:
We got the call that Elvis
wanted to record in Memphis.

3901
03:11:30,697 --> 03:11:32,357
Strickland:
Whenever we got the call,

3902
03:11:32,357 --> 03:11:34,567
we would be there
at his beck and call

3903
03:11:34,567 --> 03:11:36,447
whenever they were ready.

3904
03:11:36,447 --> 03:11:37,857
Brown:
In my mind,
we're going to, like,

3905
03:11:37,857 --> 03:11:41,277
Sun Records or someplace over
there, Chips Moman's studio.

3906
03:11:41,277 --> 03:11:42,697
But we pull into Graceland,

3907
03:11:42,697 --> 03:11:44,277
and I say, "Well,
what are we doing here?"

3908
03:11:44,277 --> 03:11:45,987
They said,
"We're cutting here."

3909
03:11:45,987 --> 03:11:47,407
Strickland:
He wouldn't go to the studio.

3910
03:11:47,407 --> 03:11:50,237
The studio had to come to him,
right in the Jungle Room there.

3911
03:11:58,907 --> 03:12:01,527
Man:
It's hard to get him to go
into a studio environment,

3912
03:12:01,527 --> 03:12:03,157
because he was
uncomfortable there.

3913
03:12:03,157 --> 03:12:04,657
Man 2:
Didn't wanna
go to Nashville,

3914
03:12:04,657 --> 03:12:05,777
didn't want to go to Stax,

3915
03:12:05,777 --> 03:12:07,067
didn't want to go
to Chips Moman's.

3916
03:12:07,067 --> 03:12:09,237
He wanted to stay at home.

3917
03:12:09,237 --> 03:12:10,777
Strickland:
We would come over
from Nashville,

3918
03:12:10,777 --> 03:12:13,567
check into a hotel that was
just right down the street.

3919
03:12:15,947 --> 03:12:18,157
Man:
And then, we'd all be
ready there to go,

3920
03:12:18,157 --> 03:12:20,067
and they'd say,
"Elvis is still not up."

3921
03:12:20,067 --> 03:12:21,567
Strickland:
He could come down
at midnight

3922
03:12:21,567 --> 03:12:23,987
or it could be two o'clock
in the morning.

3923
03:12:23,987 --> 03:12:26,737
You never knew what
the night was gonna hold.

3924
03:12:28,447 --> 03:12:30,737
Springsteen:
Elvis ended up
back in the Jungle Room,

3925
03:12:30,737 --> 03:12:33,487
recording his last record.

3926
03:12:33,487 --> 03:12:36,027
Graceland can be
something that's--

3927
03:12:36,027 --> 03:12:38,607
that gives you
a sense of-- of place,

3928
03:12:38,607 --> 03:12:40,527
and of-- of center.

3929
03:12:40,527 --> 03:12:43,407
Uh, but it can also
be a place where--

3930
03:12:43,407 --> 03:12:45,107
that you just disappear into.

3931
03:12:45,107 --> 03:12:48,237
It seemed to me that
Elvis was caught in-between

3932
03:12:48,237 --> 03:12:50,067
doing a little bit
of both there.

3933
03:12:54,607 --> 03:12:57,237
Petty:
Seems to be,
he's picking songs

3934
03:12:57,237 --> 03:13:00,857
that somewhat reflect
his state of mind.

3935
03:13:00,857 --> 03:13:05,317
Like "Hurt" which is one
of the-- the very last ones.

3936
03:13:05,317 --> 03:13:07,817
I think he's--
he's feeling very hurt.

3937
03:13:07,817 --> 03:13:10,317
He's very down.
He's very alone.

3938
03:13:10,317 --> 03:13:13,107
He doesn't understand
what's happened to music,

3939
03:13:13,107 --> 03:13:15,567
and he got left out of that.

3940
03:13:15,567 --> 03:13:17,987
He had become a thing.

3941
03:13:17,987 --> 03:13:20,697
He was no longer
Elvis Presley.

3942
03:13:20,697 --> 03:13:22,357
He was "Elvis."

3943
03:13:31,487 --> 03:13:34,157
Norbert Putnam:
Well, when I first came
over to the Jungle Room,

3944
03:13:34,157 --> 03:13:35,737
they had removed
all the furniture.

3945
03:13:35,737 --> 03:13:37,697
They covered the walls
in blankets.

3946
03:13:37,697 --> 03:13:39,157
Strickland:
There was a semi,

3947
03:13:39,157 --> 03:13:42,197
like a very large
tractor trailer,
out behind the house.

3948
03:13:42,197 --> 03:13:45,107
It was RCA's complete
mobile recording studio.

3949
03:13:45,107 --> 03:13:47,277
They would run
all their recording lines

3950
03:13:47,277 --> 03:13:48,607
into the Jungle Room.

3951
03:13:48,607 --> 03:13:50,407
Brown:
It looks like you're in
Tahiti or something.

3952
03:13:50,407 --> 03:13:51,907
It looked like you
were in the islands.

3953
03:13:51,907 --> 03:13:54,987
But we're all just crammed
into this tiny little space.

3954
03:13:54,987 --> 03:13:57,197
Tutt:
It was a nightmare for
the recording engineers

3955
03:13:57,197 --> 03:13:59,857
to keep that sound clean
without too much bleed

3956
03:13:59,857 --> 03:14:01,197
with open microphones,

3957
03:14:01,197 --> 03:14:04,697
and we did our best to do the
recordings as best we could.

3958
03:14:04,697 --> 03:14:07,527
Strickland:
It wasn't like we did
a lot of rehearsal

3959
03:14:07,527 --> 03:14:08,697
for the recordings.

3960
03:14:08,697 --> 03:14:10,907
It was "Turn the machine on,
and he's gonna sing."

3961
03:14:10,907 --> 03:14:13,697
We would all watch each other
doing it on the fly.

3962
03:14:13,697 --> 03:14:15,657
And you know, I-I remember
one of the first songs

3963
03:14:15,657 --> 03:14:17,907
that I recorded with him,
uh, was "Hurt."

3964
03:14:17,907 --> 03:14:20,157
We didn't have a clue
of how it was gonna go down

3965
03:14:20,157 --> 03:14:22,237
or how he would perform it.

3966
03:14:22,237 --> 03:14:24,907
All of a sudden,
he takes his stance.

3967
03:14:24,907 --> 03:14:27,567
♪ ♪

3968
03:14:27,567 --> 03:14:30,567
Elvis:
♪ I'm ♪

3969
03:14:30,567 --> 03:14:36,857
♪ So hurt ♪

3970
03:14:37,907 --> 03:14:42,607
♪ To think that you lied to me ♪

3971
03:14:45,657 --> 03:14:50,447
♪ I'm hurt ♪

3972
03:14:50,447 --> 03:14:56,277
♪ Way down deep inside of me ♪

3973
03:14:59,357 --> 03:15:01,697
♪ You said ♪

3974
03:15:01,697 --> 03:15:05,357
♪ Our love was true ♪

3975
03:15:05,357 --> 03:15:08,527
♪ And we'd never ♪

3976
03:15:08,527 --> 03:15:11,447
♪ Never part ♪

3977
03:15:13,947 --> 03:15:18,107
♪ Now you want someone new ♪

3978
03:15:18,107 --> 03:15:21,607
♪ And it breaks my heart ♪

3979
03:15:21,607 --> 03:15:28,567
♪ Oh, I'm hurt ♪

3980
03:15:31,987 --> 03:15:34,317
♪ Much more ♪

3981
03:15:34,317 --> 03:15:36,407
♪ Than you'll ever know ♪

3982
03:15:39,237 --> 03:15:41,277
♪ Yes, darling ♪

3983
03:15:41,277 --> 03:15:43,157
♪ I'm so hurt ♪

3984
03:15:45,027 --> 03:15:47,317
♪ Because ♪

3985
03:15:47,317 --> 03:15:49,277
♪ I still love you so ♪

3986
03:15:50,737 --> 03:15:52,357
♪ But you know ♪

3987
03:15:52,357 --> 03:15:57,157
♪ Even though you hurt me ♪

3988
03:15:57,157 --> 03:16:00,607
♪ Like nobody else ♪

3989
03:16:00,607 --> 03:16:03,527
♪ Could ever do ♪

3990
03:16:03,527 --> 03:16:07,777
♪ I would never ever ♪

3991
03:16:07,777 --> 03:16:14,737
♪ Hurt ♪

3992
03:16:14,737 --> 03:16:16,947
♪ You ♪

3993
03:16:16,947 --> 03:16:25,817
♪ Yeah, you ♪

3994
03:16:28,777 --> 03:16:30,657
(song ends)

3995
03:16:33,697 --> 03:16:36,197
♪ ♪

3996
03:17:04,817 --> 03:17:07,027
♪ ♪

3997
03:17:24,947 --> 03:17:30,067
Bearde:
Elvis wanted to finish the
'68 Special on a big note.

3998
03:17:33,277 --> 03:17:36,657
Quite frankly, we didn't
know how to finish the show.

3999
03:17:36,657 --> 03:17:38,697
Binder:
Every day at four o'clock,

4000
03:17:38,697 --> 03:17:42,987
we would all sit in the
piano room, of our offices,

4001
03:17:42,987 --> 03:17:46,067
rehearsing with Elvis.

4002
03:17:46,067 --> 03:17:50,567
Bearde:
While we were sitting
in Steve's office with Elvis,

4003
03:17:50,567 --> 03:17:54,157
we had a little
black and white
television in the corner.

4004
03:17:54,157 --> 03:17:57,197
(indistinct chatter)
On that TV...

4005
03:17:57,197 --> 03:18:00,067
Robert Kennedy
was assassinated.

4006
03:18:00,067 --> 03:18:03,107
(indistinct shouting)

4007
03:18:06,697 --> 03:18:08,527
Elvis picked up a guitar,

4008
03:18:08,527 --> 03:18:10,697
and he started playing.

4009
03:18:10,697 --> 03:18:13,107
Talking at a mile a minute.

4010
03:18:13,107 --> 03:18:17,157
He said, "I want you
to understand me,

4011
03:18:17,157 --> 03:18:18,607
"because this is a
moment in time

4012
03:18:18,607 --> 03:18:20,817
where we all have
to understand each other."

4013
03:18:20,817 --> 03:18:23,237
♪ ♪

4014
03:18:23,237 --> 03:18:27,987
♪ There must be lights
burning brighter ♪

4015
03:18:27,987 --> 03:18:30,857
♪ Somewhere ♪

4016
03:18:30,857 --> 03:18:34,907
♪ Got to be birds
flying higher ♪

4017
03:18:34,907 --> 03:18:38,157
♪ In a sky more blue ♪

4018
03:18:38,157 --> 03:18:42,607
♪ If I can dream
of a better land ♪

4019
03:18:42,607 --> 03:18:46,237
♪ Where all my brothers
walk hand in hand ♪

4020
03:18:46,237 --> 03:18:47,947
♪ Tell me why ♪

4021
03:18:47,947 --> 03:18:49,817
♪ Oh, why ♪

4022
03:18:49,817 --> 03:18:56,447
♪ Oh, why can't my dream
come true ♪

4023
03:18:57,487 --> 03:19:00,527
♪ Oh, why ♪

4024
03:19:00,527 --> 03:19:05,277
♪ There must be peace
and understanding ♪

4025
03:19:05,277 --> 03:19:07,817
♪ Sometime ♪

4026
03:19:07,817 --> 03:19:10,527
♪ Strong winds of promise ♪

4027
03:19:10,527 --> 03:19:14,317
♪ That will blow away
all the doubt ♪

4028
03:19:14,317 --> 03:19:15,857
♪ And fear ♪

4029
03:19:15,857 --> 03:19:20,277
♪ If I can dream
of a warmer sun ♪

4030
03:19:20,277 --> 03:19:23,857
♪ Where hope keeps
shining on everyone ♪

4031
03:19:23,857 --> 03:19:25,907
♪ Tell me why ♪

4032
03:19:25,907 --> 03:19:27,857
♪ Oh, why ♪

4033
03:19:27,857 --> 03:19:31,277
♪ Oh, why won't that sun ♪

4034
03:19:31,277 --> 03:19:35,567
♪ Appear ♪

4035
03:19:40,357 --> 03:19:42,857
♪ We're lost in a cloud ♪

4036
03:19:44,107 --> 03:19:48,027
♪ With too much rain ♪

4037
03:19:48,027 --> 03:19:51,697
♪ We're trapped in a world ♪

4038
03:19:51,697 --> 03:19:55,357
♪ That's troubled with pain ♪

4039
03:19:55,357 --> 03:20:01,907
♪ But as long as a man
has the strength to dream ♪

4040
03:20:01,907 --> 03:20:05,947
♪ He can redeem his soul ♪

4041
03:20:05,947 --> 03:20:10,067
♪ And fly ♪

4042
03:20:10,067 --> 03:20:13,277
Choir:
♪ He can fly ♪

4043
03:20:13,277 --> 03:20:15,607
♪ Deep in my heart ♪

4044
03:20:15,607 --> 03:20:19,907
♪ There's a trembling question ♪

4045
03:20:20,907 --> 03:20:25,237
♪ Still I am sure
that the answer ♪

4046
03:20:25,237 --> 03:20:28,407
♪ Answer's gonna come somehow ♪

4047
03:20:28,407 --> 03:20:32,277
♪ Out there in the dark ♪

4048
03:20:32,277 --> 03:20:35,067
♪ There's a beckoning candle ♪

4049
03:20:35,067 --> 03:20:38,607
♪ Oh yeah, and
while I can think ♪

4050
03:20:38,607 --> 03:20:40,527
♪ While I can talk ♪

4051
03:20:40,527 --> 03:20:42,447
♪ While I can stand ♪

4052
03:20:42,447 --> 03:20:44,317
♪ While I can walk ♪

4053
03:20:44,317 --> 03:20:47,987
♪ While I can dream ♪

4054
03:20:47,987 --> 03:20:52,067
♪ Please let my dream ♪

4055
03:20:52,067 --> 03:20:54,407
♪ Come true ♪

4056
03:20:54,407 --> 03:20:56,277
♪ Oh ♪

4057
03:20:59,157 --> 03:21:02,947
♪ Right now ♪

4058
03:21:02,947 --> 03:21:07,197
♪ Oh, let it come true
right now ♪

4059
03:21:07,197 --> 03:21:10,487
♪ Oh, yeah ♪

4060
03:21:14,567 --> 03:21:16,447
(song ends)

4061
03:21:50,317 --> 03:21:53,317
(film reel whirring)

4062
03:22:05,407 --> 03:22:07,697
♪ ♪

4063
03:22:10,197 --> 03:22:12,197
Petty:
♪ Can't you see ♪

4064
03:22:12,197 --> 03:22:13,657
♪ I love you ♪

4065
03:22:13,657 --> 03:22:17,527
♪ Please don't break
my heart in two ♪

4066
03:22:17,527 --> 03:22:19,697
♪ That's not hard to do ♪

4067
03:22:19,697 --> 03:22:24,857
♪ 'Cause I don't have
a wooden heart ♪

4068
03:22:25,987 --> 03:22:29,027
♪ And if you say goodbye ♪

4069
03:22:29,027 --> 03:22:32,607
♪ Then I know
that I would cry ♪

4070
03:22:32,607 --> 03:22:35,027
♪ Maybe I would die ♪

4071
03:22:35,027 --> 03:22:39,857
♪ 'Cause I don't have
a wooden heart ♪

4072
03:22:41,197 --> 03:22:43,317
♪ There's no strings ♪

4073
03:22:43,317 --> 03:22:47,407
♪ Upon this love of mine ♪

4074
03:22:47,407 --> 03:22:52,067
♪ It was always you
from the start ♪

4075
03:22:53,527 --> 03:22:55,107
♪ Treat me nice ♪

4076
03:22:55,107 --> 03:22:56,567
♪ Treat me good ♪

4077
03:22:56,567 --> 03:23:00,157
♪ Treat me like
you really should ♪

4078
03:23:00,157 --> 03:23:02,697
♪ 'Cause I'm not made of wood ♪

4079
03:23:02,697 --> 03:23:08,607
♪ And I don't have
a wooden heart ♪

4080
03:23:08,607 --> 03:23:14,237
♪ No, I don't have
a wooden heart ♪

4081
03:23:20,527 --> 03:23:22,607
(music ends)