In the annals of rock and roll history, few moments rival the impact and significance of Elvis Presley’s ’68 Comeback Special. After a period where his musical star seemed to be dimming amidst a string of B-movies, this television event marked a powerful resurgence for The King, re-establishing him as a dominant cultural force. This special was more than just a performance; it was a statement of artistic intent and a testament to Elvis’s enduring charisma and talent, cementing his legacy for generations to come.
The Genesis of a Comeback
Following his return from military service in 1960, Elvis Presley’s career trajectory shifted dramatically under the guidance of his manager, Colonel Tom Parker. Parker steered Elvis away from live performances and recording studios towards Hollywood, prioritizing low-budget musical comedies. These films, while generating soundtracks that fueled further movie promotion, began to see diminishing returns both critically and commercially. By 1967, with the movie business showing signs of fatigue, the door to Hollywood was closing, creating an opportune moment for a career re-evaluation. Colonel Tom Parker played a pivotal role in shaping Elvis’s career during this era.
The concept for the ’68 Comeback Special emerged in October 1967 when Parker approached NBC with a proposal for a Christmas special. Initially, Elvis was lukewarm to the idea of a holiday-themed show. However, producer Bob Finkel proposed a more artist-centric special, focusing on Elvis himself and allowing him to perform new material. This pivot proved crucial, gaining both Elvis’s enthusiasm and Parker’s reluctant approval, with the added incentive of generating enough content for a soundtrack album and a Christmas single.
Crafting the Iconic Special
The creative team behind the ’68 Comeback Special was instrumental in its success. Director Steve Binder, known for his work on the T.A.M.I. Show, was brought on board, encouraged by associate Bones Howe, who had prior experience working with Elvis. The production team was rounded out by musical director Billy Goldenberg, arranger Billy Strange, writers Chris Bearde and Allan Blye, and costume designer Bill Belew.
The production process was not without its challenges. Internal disputes, including Howe’s temporary departure over royalty disagreements and Strange’s exit due to scheduling conflicts, tested the team. Several creative decisions were debated and revised, such as replacing a planned locker room segment with an intimate sit-down concert and ultimately canceling scripted dialogue in favor of Elvis engaging in conversational topics between songs. Choreographer Lance LeGault worked closely with Elvis to refine his stage movements, bringing the vision to life. Elvis Presley collaborated closely with the team to ensure the special reflected his artistic desires.
Recording and Broadcast
The ’68 Comeback Special was a composite of various recording sessions. The initial material was recorded between June 20-23 at United Western Recorders. Live vocals for production numbers were taped at NBC Studios in Burbank, California. The iconic “sit-down” performances, featuring an intimate setting with a small audience, were filmed on June 27, followed by two energetic “stand-up” shows with a full orchestra on June 29. Drummer DJ Fontana recalled Elvis’s initial nervousness, noting, “He just had been out of the public eye for a long time.”
The Singer Presents… Elvis special officially aired on NBC on December 3, 1968, at 9 pm ET. In the UK, it was broadcast in December 1969 on BBC Two as The Fabulous Elvis. A significant cinematic re-release, presented by Steve Binder and Priscilla Presley, occurred in 2018, marking the 50th anniversary of the groundbreaking event.
Audience Access and Musicians
Unlike a typical concert, the ’68 Comeback Special featured a non-paying television audience. Despite Colonel Parker’s initial promise to bus in fans from across the U.S., logistical issues led Binder and Finkel to recruit audience members from a nearby restaurant and through local radio advertisements.
The musical ensemble featured on the special evolved throughout the recording sessions. The intimate sit-down sets on June 27 saw Elvis perform with a core group including guitarist Scotty Moore and percussionist DJ Fontana, both members of his original 1950s backing band, The Blue Moon Boys. Charlie Hodge on guitar and backing vocals, Alan Fortas on percussion, and Lance LeGault on tambourine completed this lineup. The larger stand-up shows on June 29 featured a more expansive band, including The Blossoms on backing vocals, Tommy Morgan on harmonica, and a formidable guitar section with Mike Deasy, Al Casey, and Tommy Tedesco. Keyboards were handled by Larry Knechtel, piano by Don Randi, and drums by Hal Blaine, with additional percussionists and an orchestra conducted by Billy Goldenberg. Elvis Presley’s musical journey was enriched by the collaborations on this special.
The Unforgettable Setlist
The ’68 Comeback Special’s broadcast program was a carefully curated selection from the various live performances and studio recordings. The original special, edited down to approximately 50 minutes, along with the companion Elvis soundtrack album, featured long medleys presented as single tracks.
Original Broadcast Setlist Highlights:
- ‘Trouble’/’Guitar Man’
- Medley including ‘Lawdy Miss Clawdy’, ‘Baby What You Want Me to Do’, ‘Heartbreak Hotel’, ‘Hound Dog’, ‘All Shook Up’, ‘Can’t Help Falling in Love’, ‘Jailhouse Rock’, and ‘Love Me Tender’
- Gospel Medley: ‘Where Could I Go But to the Lord?’, ‘Up Above My Head’, ‘Saved’
- ‘Blue Christmas’/’One Night’
- ‘Memories’
- ‘Nothingville’/’Big Boss Man’/’Guitar Man’/’Little Egypt’/’Trouble’/’Guitar Man’
- ‘If I Can Dream’
Subsequent reissues expanded the musical content significantly. A 1991 CD reissue included more music, and the 1998 Memories compilation offered 35 songs across two discs. The definitive release came in 2018 with the 50th-anniversary four-CD box set, The Complete ’68 Comeback Special, featuring 104 songs spanning over five hours, accompanied by a three-DVD set.
Critical and Fan Reception
The legacy of the Elvis’s ’68 Comeback Special is undeniable. It is widely recognized as the catalyst that reignited Elvis’s career, propelling him back into touring, recording vital new music, and solidifying his status as a preeminent performer of the 20th century.
At the time of its broadcast, the special was a ratings behemoth, capturing 42% of the television audience and topping the Nielsen ratings. The accompanying soundtrack album achieved commercial success, reaching number 8 on the album charts and earning a gold certification. Critical reviews, however, were more varied. While The Chicago Tribune lauded the performance as “dynamic, compelling, incredibly sensual,” the Los Angeles Times expressed skepticism about Elvis’s ability to keep pace with contemporary rock artists. Many critics acknowledged Elvis’s revitalized charisma and the raw power of his performance, recognizing his profound cultural impact without necessarily placing the special above all other contemporary musical offerings.
The Evocative Finale: ‘If I Can Dream’
The powerful closing of the special, ‘If I Can Dream’, was a deliberate artistic choice by director Steve Binder, deviating from Colonel Parker’s preference for ‘I’ll Be Home for Christmas’. Tasked with writing a song, Walter Earl Brown was inspired by the recent assassination of Martin Luther King Jr. and penned ‘If I Can Dream’, echoing themes from King’s iconic “I Have a Dream” speech. Elvis was deeply moved by the song, famously declaring his intention to only perform music and appear in films he believed in. Despite initial reservations from Parker, Elvis passionately advocated for the song. His rendition, powerfully underscored by the prominent “ELVIS” lights, became one of his most celebrated recordings. The single achieved significant chart success, reaching number 12 in the U.S. and number 11 in the UK, marking his most successful hit in several years. This performance not only resonated with audiences but also underscored Elvis’s evolution as an artist willing to engage with meaningful social and political themes.