Elvis Presley and Bob Dylan were the rare artists that got a chance at a second act.
movie, despite its many flaws. As history, it’s unreliable. But as fable, it’s true, even stirring. Actor Austin Butler is thoroughly convincing as the hero of the fairy tale: the young knight who leaves home to slay the dragons of American culture, who triumphs, then fails, then triumphs again, then fails again.
But those were secondary factors. Presley’s triumph was primarily fueled by his entirely non-visual impact over the radio. Hearing that voice over the airwaves—perhaps the most thrilling, most carefree, most gravity-defying voice of the 20th century—was enough to change one’s life. The TV appearances were merely icing on the cake.
From Elvis in Memphis, That’s the Way It Is, Elvis Country, From Memphis to Vegas/From Vegas to Memphis. The latter two are from the 1969 and 1970 live shows he began performing after the comeback special. Both the studio and concert recordings feature a fired-up singer, a crackerjack band and a healthy dose of Southern roots music.
In 1996, Bob Dylan faced a career crisis not unlike Presley’s in 1968. He was never guilty of making bad Hollywood movies, though he did make an insufferable indie film and a series of underwhelming albums such as 1988’s. In 1996, the latter was his last collection of new, original songs, though he did release two fine albums of traditional folk and blues numbers in 1992 and 1993.
It could be 1931; it could be 1941; it could be 1961; it could be 1991. The stores are boarded up; barns are falling down; the skies are gray and rumbling; winds blow across the winter fields. He’s almost reached his destination, but still it’s just beyond his reach. He’s trying to get to heaven before they close the door; he’s getting nearer but he’s still a million miles from you. He’s standing in the doorway; it’s not dark yet but it’s getting there.
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