Introduction
Elvis Presley – “Baby, What You Want Me To Do” (Alternate Cut) from the ’68 Comeback Special
Elvis Presley’s performance of “Baby, What You Want Me To Do” during the 1968 Comeback Special stands as one of the most electrifying moments of his late-career renaissance. Originally a blues standard written and recorded by Jimmy Reed, the song became a perfect vehicle for Elvis to reconnect with his roots, shedding the polished Hollywood image that had defined much of his early 1960s output. The alternate cut of this performance offers listeners a raw, intimate glimpse into Elvis’s musical instincts, emphasizing spontaneity, groove, and emotional authenticity.
The ’68 Comeback Special itself was a turning point. After years of formulaic films and soundtrack albums, Elvis returned to the stage determined to prove that he was still a vital force in contemporary music. The sit-down sessions, where “Baby, What You Want Me To Do” was performed, were especially important. Seated casually with his band, dressed in black leather, Elvis created an atmosphere closer to a late-night jam session than a television spectacle. In the alternate cut, this looseness is even more apparent, as small variations in phrasing and rhythm highlight the live, unfiltered nature of the moment.
Vocally, Elvis sounds confident and energized. His voice moves effortlessly between playful teasing and gritty blues grit, demonstrating his deep understanding of African American musical traditions that shaped his early career. Rather than overpowering the song, he rides the rhythm, responding to the band with instinctive timing. The call-and-response feel between Elvis and the musicians gives the performance a communal energy, as if the music is being discovered in real time rather than carefully rehearsed.
Musically, the arrangement is deceptively simple. Built on a steady blues groove, the song allows space for subtle guitar fills, rhythmic accents, and Elvis’s expressive vocal nuances. In the alternate cut, these details stand out more clearly, making the performance feel less like a polished broadcast and more like an honest snapshot of creative exchange. This stripped-down approach reinforces the authenticity that audiences in 1968 were craving, and which Elvis delivered so convincingly.
Beyond its musical qualities, “Baby, What You Want Me To Do” symbolizes Elvis’s artistic rebirth. It shows an artist reconnecting with the joy of performance and reaffirming his identity as a singer deeply rooted in rhythm and blues. The alternate cut, in particular, captures the essence of that transformation—unplanned, imperfect, and alive. More than just a cover song, it is a statement: Elvis Presley was back, not as a nostalgic icon, but as a living, breathing musician ready to reclaim his place on the stage.