OldiesButGoodies

Elvis Presley Rock & Roll

Elvis Presley – Baby, What You Want Me To Do

Baby, What Do You Want Me To Do | Elvis Presley | 4K Live Remastered ('68 Comeback Special)

Introduction:

While not released as a single, Baby, What You Want Me To Do holds a significant place in the meteoric rise of Elvis Presley and the cultural phenomenon of rock and roll. Recorded in 1957, the song’s raw energy and Presley’s signature charisma perfectly captured the burgeoning rock and roll sound. While information on the song’s specific producer is unavailable, it reflects the production style of RCA Records at the time, which aimed to capitalize on Presley’s burgeoning talent.

Baby, What You Want Me To Do was featured on Presley’s second studio album, “Elvis Presley”, released in 1956. The album became a commercial juggernaut, spending ten weeks at number one on the Billboard 200 chart and propelling Presley to national and international fame. Baby, What You Want Me To Do, along with other hits from the album like “Heartbreak Hotel” and “Hound Dog”, cemented Presley’s status as a rock and roll icon.

The song itself is a prime example of Presley’s early rock and roll style. Driven by a shuffling blues beat and Presley’s rhythmic guitar playing, Baby, What You Want Me To Do showcases his powerful and versatile vocals. The lyrics are simple and direct, following the call-and-response pattern common in blues music. Presley pleads with his “baby” to tell him what he can do to win her back, his voice brimming with both desperation and swagger.

Baby, What You Want Me To Do was a critical and commercial success. The song reached number one on the Billboard Hot 100 chart, further solidifying Presley’s dominance in the music industry. It has endured as a rock and roll anthem, covered by numerous artists across genres. The song’s influence can be heard in the works of iconic musicians like The Beatles, The Rolling Stones, and Van Halen.

Baby, What You Want Me To Do is more than just a catchy song; it’s a cultural touchstone. The song epitomizes the excitement, rebellion, and raw energy that defined early rock and roll. It showcased Elvis Presley’s unparalleled talent and charisma, propelling him to superstardom and forever changing the landscape of popular music.

Video:

https://youtu.be/U_t20f4PiRM?si=VZc5UswOwnReZXyc

Lyrics:

We’re goin’ up, we’re goin’ downWe’re goin’ up, down down upAny way you want to let it rollYeah, yeah, yeahYou got me doin’ what you want meOh baby what you want me to do
You got me peepin’ you got me hidin’You got me peep hide hide peepAny way you want to let it rollYeah yeah yeahYou got me doin what you want meBaby what you want me to do

Related Post

Mortician Explains Elvis Presley’s Embalming, Funeral & Burial

What Happened To Bob Joyce At 74? Try Not To Gasp When You See It

“He Never Truly Got Over Losing Maurice.” Robin Gibb’s Final Words About His Brother Will Break Your Heart.

You Missed

Oldies Music

“AFTER NEARLY TWO DECADES IN MUSIC, CLIFF RICHARD WAS NO LONGER THE TEENAGE IDOL BRITAIN ONCE KNEW — THEN A SONG CALLED ‘DEVIL WOMAN’ GAVE HIM SOMETHING HE HAD NEVER TRULY ACHIEVED BEFORE…” By 1976, Cliff Richard had already experienced a lifetime of fame. He had been Britain’s answer to Elvis Presley, starred in successful films, and recorded songs that defined an entire generation. But the music world had changed. The Beatles had transformed British pop, new artists were dominating the charts, and the young rock-and-roll rebel of 1958 was now a 35-year-old performer searching for his place in a different musical era. Then came “Devil Woman.” Written by Terry Britten and Christine Holmes, the mysterious, guitar-driven song sounded unlike many of Cliff’s earlier hits. It became one of the defining recordings of his career. In Britain, it reached No. 9. But the real surprise came across the Atlantic. “Devil Woman” climbed to No. 6 on the Billboard Hot 100, giving Cliff his first major breakthrough in the American pop market. After nearly twenty years of success at home, he was finally reaching a new generation of listeners in the United States. It was more than another hit record. It proved that a singer who had emerged in the 1950s could still sound fresh in the 1970s. Cliff Richard hadn’t simply survived changing musical fashions. With “Devil Woman,” he reminded the world that his story was far from over.

Oldies Music

“Shadow Dancing” Put Andy Gibb’s Name on the Record—and All Four Brothers Behind the Song. In 1978, “Shadow Dancing” reached number one in America under Andy Gibb’s name. Its songwriting credit told a wider family story: Andy, Barry, Robin, and Maurice had written it together. The collaboration took shape in Los Angeles while the older brothers were working on the Sgt. Pepper’s Lonely Hearts Club Band film. Andy was building a solo career, and this record gave that career another defining success. Barry also shared production duties with Albhy Galuten and Karl Richardson, connecting Andy’s recording to the studio team behind the Bee Gees’ recent hits. Yet Andy remained the featured singer, carrying the song in his own voice. “Shadow Dancing” became his third consecutive American number one and Billboard’s leading single of 1978. Behind that individual achievement sits a rare, concrete document of all four Gibb brothers working on the same composition.

Oldies Music

Weeks After “Massachusetts” Reached Number One, Robin Gibb Survived the Hither Green Train Disaster. On November 5, 1967, Robin Gibb and Molly Hullis were aboard a train that derailed near Hither Green in southeast London. Forty-nine people died. Robin was seventeen, and the Bee Gees had recently reached number one in Britain with “Massachusetts,” a record carried by his unmistakable lead vocal. Within weeks, the young singer had experienced international recognition and a disaster in which fame offered no protection. Robin and Molly survived; they married the following year. The chronology gives this episode its force without requiring invented thoughts or dramatic embellishment. His public story was accelerating through records, television appearances, and growing attention, while his private life had encountered sudden catastrophe. Keeping those histories together reveals the vulnerability behind the photographs: a teenager whose voice was becoming familiar to millions had just survived a journey that killed dozens of fellow passengers.

Oldies Music

“IN 1968, CLIFF RICHARD WALKED ONTO THE EUROVISION STAGE WITH A SONG BRITAIN BELIEVED COULD WIN — BUT WHEN THE FINAL VOTES WERE COUNTED, JUST ONE POINT STOOD BETWEEN HIM AND VICTORY…” On April 6, 1968, Cliff Richard stepped onto the Eurovision stage at London’s Royal Albert Hall. He was already one of Britain’s biggest stars, and expectations were enormous. His song was called “Congratulations.” Bright, cheerful, and instantly memorable, it seemed perfectly suited to a contest watched by millions across Europe. But as the voting unfolded, the competition became painfully close. Britain and Spain were fighting for the top position. When the final scores were announced, Spain’s Massiel had won with 29 points. Cliff Richard finished second with 28. Just one point. For a singer accustomed to topping the British charts, it was a disappointing result on one of Europe’s biggest stages. Yet the story didn’t end with the scoreboard. “Congratulations” went on to reach No. 1 in the United Kingdom and became one of Cliff’s most recognizable recordings. Decades later, its melody remains associated with birthdays, anniversaries, and countless celebrations. There is something wonderfully ironic about that Eurovision night. The song called “Congratulations” didn’t win the contest. But it earned a place in popular culture that outlasted the disappointment of finishing second. Cliff Richard lost Eurovision by one point — yet more than half a century later, millions still remember the song.