Elvis Presley’s Final Creative Burst: A Star-Crossed Legacy and the Shadow of ‘A Star Is Born’

Elvis Presley, the King of Rock and Roll, remains an enduring icon, even nearly half a century after his death.

Two and a half years before he passed away, Presley found himself in a pivotal moment that could have altered the course of his career.

In March 1975, while performing at the Las Vegas Hilton, he had a chance encounter with Barbra Streisand, who was captivated by his performance and sought to discuss a potential collaboration.

As recounted by Jerry Schilling, a longtime friend of Presley, the two stars met in a walk-in closet backstage, seeking refuge from the chaos of the venue.

It was there that Streisand pitched her idea for a remake of A Star Is Born, suggesting that Presley could star opposite her.

Schilling, along with Presley’s friend Joe Esposito and Streisand’s boyfriend Jon Peters, squeezed into the cramped space, where they engaged in a two-hour conversation about the film.

Presley was intrigued by the project, but things did not pan out as hoped.

Ultimately, he lost the role famously played by Kris Kristofferson, a setback attributed to various factors, including Streisand’s insistence on top billing and the financial demands of Presley’s manager, Colonel Tom Parker.

In her 2023 memoir, Streisand reflects on whether the character’s self-destructive nature struck too close to home for Presley, hinting at deeper emotional complexities at play.

Schilling believes that the disappointment stemming from the A Star Is Born opportunity had lasting repercussions on Presley’s career trajectory, contributing to a series of poor decisions that ultimately led to his decline before his tragic death at age 42 on August 16, 1977.

“That was the last time I saw the twinkle in my friend’s eye,” Schilling recalls, emphasizing the weight of that missed opportunity.

In light of this history, an intriguing new box set titled Sunset Boulevard has been released, commemorating Elvis’s final burst of creativity.

Available in both five-CD and two-LP editions, the collection showcases music recorded in Los Angeles between 1972 and 1975, including tracks recorded just days before the fateful meeting with Streisand.

The set features notable songs like “Separate Ways,” recorded during the tumultuous period of his marriage to Priscilla Presley, and “Burning Love,” his last Top 10 pop hit.

The question arises: Is yet another repackaging of Presley’s music something to be excited about? The Elvis industry has remained vibrant since his death, with recent projects including Baz Luhrmann’s biopic, new literature from biographer Peter Guralnick, and documentaries celebrating the iconic ’68 comeback special.

However, Sunset Boulevard arrives amid a backdrop of personal turmoil for Priscilla Presley, who is currently embroiled in a legal battle with former business partners following the tragic loss of her daughter, Lisa Marie Presley.

The title Sunset Boulevard evokes the grandeur and decline often associated with aging showbiz legends.

It also references the physical location of RCA Records’ West Coast headquarters, where Presley recorded much of his later work.

By the early 1970s, rock music had evolved significantly, and Presley found himself somewhat distanced from the cultural landscape he had once helped shape.

Reflecting on this period, Schilling notes that the demands of filmmaking limited their exposure to contemporary music trends.

“When you’re doing movies, you’re up at 7 in the morning and you’re in makeup by 8.

You work all day and come home — you’re not necessarily putting on the latest records,” he explains.

While Sunset Boulevard emphasizes Presley’s growth as a ballad singer in his middle age, it also showcases the emotional depth brought on by his personal struggles.

Songs like “Separate Ways,” “Always on My Mind,” and Kristofferson’s “For the Good Times” reveal a vulnerability in Presley’s voice, capturing a sense of longing and regret.

Interestingly, Schilling mentions that Presley needed encouragement to record the upbeat “Burning Love,” which he eventually embraced after its success.

The box set also features rehearsal recordings that provide a glimpse into the camaraderie between Presley and his band, the TCB Band, which was formed ahead of his Las Vegas engagements.

These rehearsal tapes, though rough in quality, showcase the band’s evolving sound and highlight the creative process behind some of Presley’s later performances.

In one particularly charming rehearsal recorded on August 16, 1974, Presley humorously misnames the Ewan MacColl ballad made famous by Roberta Flack, calling it “The First Time Ever I Saw Your Friggin’ Face.”

The playful interaction among the musicians adds a layer of warmth to the collection, illustrating the joy of collaboration even in the midst of personal challenges.

As Schilling reminisces about his time with Presley, he reflects on the lack of artistic challenges that might have reignited his friend’s creative spark.

The pressures of performing in Las Vegas and the production of mediocre records in a home studio at Graceland may not have been enough to sustain the genius he once embodied.

When asked if Presley ever saw A Star Is Born after its release, Schilling pauses before admitting, “I don’t know.”

His diminished contact with Presley during that time leaves a gap in the narrative, highlighting the mystery surrounding the King’s final years.

As we delve into Sunset Boulevard, we are reminded of the complexities that defined Elvis Presley’s later life—a rock and roll pioneer grappling with the shadows of his past and the weight of unrealized potential.

The box set offers a poignant reflection on the artist’s enduring legacy and the bittersweet nature of his final creative endeavors.

Even in death, Elvis Presley continues to inspire and captivate, reminding us that the music lives on, even as the man himself fades into history.