About the song
“Baby, What You Want Me To Do.” This track, a scorching live staple from his legendary 1968 NBC “’68 Comeback Special,” wasn’t originally a single but became one of the most dynamic and iconic performances of that pivotal moment in his career. It’s far more than just a performance; it’s a visceral demonstration of Presley’s enduring power, his deep roots in blues and gospel, and his ability to command an audience with sheer, unbridled energy. It captures a moment of pure, raw, rock and roll exhilaration that reminded the world why he was truly the King.
The lyrics of “Baby, What You Want Me To Do” (often credited to Jimmy Reed, though Presley’s version is distinctively arranged) are a simple yet potent expression of a lover’s desperate appeal. The narrator is clearly at the mercy of his beloved, willing to do whatever it takes to please her, to hold onto the relationship, or to understand what she truly desires from him. There’s a palpable sense of longing, a mix of vulnerability and a persistent, almost insistent need for clarity and connection. Phrases like “Baby, what you want me to do? / I been doing everything I can for you” and “Baby, what you want me to do? / I done stayed here and loved you, baby, until I’m black and blue” perfectly capture this blend of weary devotion, hopeful submission, and the underlying bluesy resignation to his fate. The song speaks to the universal human experience of seeking understanding and affirmation in a relationship, the desperate effort to bridge a gap, and the yearning for explicit direction from a loved one. It’s about the raw, sometimes frustrating, dynamic of trying to meet the unspoken needs of another, highlighting that profound emotional dependence. It resonates deeply with anyone who has ever felt at a loss to please someone they deeply care for.
Elvis Presley’s vocal performance on “Baby, What You Want Me To Do” from the ’68 Comeback Special is nothing short of electrifying and stands as a pivotal moment in his career. His voice, with its raw power, its blues-drenched inflections, and its remarkable ability to convey both desperate plea and commanding presence, delivers the lyrics with a palpable sense of genuine urgency and unbridled charisma. He doesn’t just sing the words; he lives them, embodying the tortured lover with every growl, every drawn-out note, and every rhythmic phrase. There’s a perfect blend of his signature snarl, his powerful belting, and a rhythmic precision that perfectly matches the driving, almost improvisational nature of the live performance. The interplay with his guitar and the sparse yet effective rhythm section creates a thrilling, spontaneous energy. Elvis’s brilliance lies in his unparalleled ability to infuse such a raw blues narrative with his unique brand of rock and roll showmanship, connecting with audiences on a visceral, energetic level through the sheer honesty and breathtaking power of his instrument. It’s a masterclass in conveying raw passion and desperate yearning through pure vocal force and irresistible charm.
The musical arrangement of “Baby, What You Want Me To Do” in Elvis Presley’s ’68 Comeback Special is a pristine example of stripped-down, electrifying blues-rock, intentionally raw and direct to highlight his return to his roots. It typically features a prominent, driving electric guitar (often played by Elvis himself or a key band member) that provides the main rhythmic and melodic hook, with a distinct, sharp blues riff. This is underpinned by a propulsive, no-nonsense drum beat and a solid, grooving bassline that provides a lean, powerful foundation. The instrumentation is kept minimal and tight, creating an immediate, urgent atmosphere that places Elvis’s commanding vocals front and center. There are no elaborate orchestrations; the power comes from the directness and interplay of the core instruments. The production of the live recording is crisp, dynamic, and remarkably clear, capturing the raw energy and spontaneity of the performance, ensuring that every instrumental nuance and, crucially, Elvis Presley’s incredible vocal are heard with pristine clarity. It’s an arrangement that feels both classic and incredibly immediate, perfectly suited for a song that became a cornerstone of his legendary return.
“Baby, What You Want Me To Do” resonated profoundly with audiences because its universal themes of desperate love, yearning for understanding, and the raw vulnerability of asking for direction are deeply understood and intensely felt. It remains one of Elvis Presley’s most iconic and beloved live performances, a true signature moment that brilliantly showcased his enduring power as the King of Rock and Roll. It stands as a timeless classic, a powerful and exhilarating reminder of that electrifying moment when Elvis truly put his heart and soul into asking, Baby, What You Want Me To Do?
Video
Lyrics
The warden threw a party in the county jail
The prison band was there and they began to wail
The band was jumpin’ and the joint began to swing
You should’ve heard them knocked-out jailbirds sing
Let’s rock; everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock
Spider Murphy played the tenor saxophone
Little Joe was blowin’ on the slide trombone
The drummer boy from Illinois went crash, boom, bang
The whole rhythm section was the Purple Gang
Let’s rock; everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock
Number forty-seven said to number three
“You’re the cutest jailbird I ever did see
I sure would be delighted with your company
Come on and do the Jailhouse Rock with me”
Let’s rock; everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock
Sad sack was sittin’ on a block of stone
Way over in the corner weepin’ all alone
The warden said, “Hey, buddy, don’t you be no square
If you can’t find a partner, use a wooden chair”
Let’s rock; everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock
Shifty Henry said to Bugs, “For Heaven’s sake
No one’s lookin’; now’s our chance to make a break”
Bugsy turned to Shifty and he said, “Nix, nix
I want to stick around a while and get my kicks”
Let’s rock; everybody, let’s rock
Everybody in the whole cell block
Was dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
Dancin’ to the Jailhouse Rock
