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seitan

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tatters
The Everlys were only a couple years older than the rock legends who idolized them. Very different from the way things are now. Think about it. Is there anyone roughly the same age as you that you're in awe of?

Yeah, plenty - Valerie June, Jack White, John Spencer, etc etc - there's lot of great music made these days by rather young guys and girls !!

Maybe, but did any of these people change your life? More importantly, has anyone who's been influenced by them changed the world? That's the difference I think. The history of rock and roll, the history of it that matters, at any rate, had already been written by the time Jack White was born.



Edited 3 time(s). Last edit at 2014-01-05 03:54 by tatters.

Matters to who? There's plenty more history where that came from! (Plus it's too early to know whether anybody who's been influenced by younger musicians is going to change the world--so better to just sit back, enjoy the music, and see what happens. )

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Aquamarine
Matters to who? There's plenty more history where that came from! (Plus it's too early to know whether anybody who's been influenced by younger musicians is going to change the world--so better to just sit back, enjoy the music, and see what happens. )

The only thing that's going to happen is that some little girl who saw Miley on TV is going to grow up and do something even more "outrageous." If there's any more pop history to be made, it's not going to be made by young men playing guitars. That's been done. It's been done to death.

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tatters

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Aquamarine
Matters to who? There's plenty more history where that came from! (Plus it's too early to know whether anybody who's been influenced by younger musicians is going to change the world--so better to just sit back, enjoy the music, and see what happens. )

The only thing that's going to happen is that some little girl who saw Miley on TV is going to grow up and do something even more "outrageous." If there's any more pop history to be made, it's not going to be made by young men playing guitars. That's been done. It's been done to death.

The only thing that has happened is that a jaded mind has been closed.

There is never a last word or end-point to history--particularly for younger generations with their whole lives in front of them who incidentally know or care nothing about the history made by Bob Dylan or anyone else from a world that only their grandparents had a part in.

One never knows what could happen. Suppose the U.S. goes through another Great Depression, spawning a new boom in folk music with a social conscience and another Arlo Guthrie in the process.

Like the new saying goes--new because I just made it up this moment--one whose world ended with Mozart missed out on the pleasures of Beethoven.

So sad to hear of his passing. Their song writing was only surpassed by the pure sound of their voices harmonizing. It was a sound that it seems only two genetically connected voices can make. They never seemed to lose that sound performing well past their heyday. I really loved this version of "Don't Worry" with guitar greats Chet Atkins and Mark Knopfler:

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mighty stork
So sad to hear of his passing. Their song writing was only surpassed by the pure sound of their voices harmonizing. It was a sound that it seems only two genetically connected voices can make. They never seemed to lose that sound performing well past their heyday. I really loved this version of "Don't Worry" with guitar greats Chet Atkins and Mark Knopfler:

Beautiful. (And we may not have ever heard of the Everlys at all if not for Chet, perhaps...)

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tatters
If there's any more pop history to be made, it's not going to be made by young men playing guitars. That's been done. It's been done to death.

This reminds me of the guy at Decca who turned down the Beatles because the era of guitar bands was over.


But anyway, all day I've been thinking how strange and sad it is to think that there's no more Everly Brothers. Ever.

Always thought in places I'll See The Light had a Dandelion like chorus ....



ROCKMAN

Very sad news,the Everly Brothers were so good to listen to when I was a kid and I still enjoy listening to them now.
Their songs were such a good tune to sing along to and often if I am singing to myself while working people will ask who did that originally and I point them in the right direction.
Can't say much more really,just that the music lives on.

R I P Phil



Edited 1 time(s). Last edit at 2014-01-31 11:29 by adotulipson.

This is my favorite. Enjoy

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Aquamarine

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tatters
If there's any more pop history to be made, it's not going to be made by young men playing guitars. That's been done. It's been done to death.

This reminds me of the guy at Decca who turned down the Beatles because the era of guitar bands was over.


But anyway, all day I've been thinking how strange and sad it is to think that there's no more Everly Brothers. Ever.

As long as there's a recording around in some format there's always gonna be The Everly Brothers.
I'm listening now and they are as great as they have ever been.

Just came across this profile from 1972, interesting to see where they were at then. A few Stones connections in there...

The Everly Brothers: Growing Apart

Philip Norman, Sunday Times

PHIL IS THE fastidious one. Don was happy to stay at another motel with a northern draught sweeping its gallery and cows grazing round the back. Phil preferred the formality of a private hotel 10 miles off, hung with barometers and gongs; and so separate cars were necessary each night to secure the union of their voices. Phil said, not altogether playfully, "You're witnessing the end of one of the greatest sibling rivalries of the 20th century."

They do not pretend to be boys any more. It is, after all, 16 years since 'Bye Bye Love' sold a million copies. Their big-eyed good looks are haunted slightly by a lifetime of travelling and night; their chins thrust into mufflers against the wind of the road. They will no longer do 'Ebony Eyes', the song about an air crash, though it is always requested. In all else, for the hinterland of Leeds as for anywhere, they are miraculously the same – the skip of a drum, a ruff of steel chords, a high and a higher voice. There is no mark on their harmony's perfect face.

"I was thinking the other day," Don said. "We've been the Everly Brothers for 20 years. I was thinking, we're the best duet there is."

"We may never see the gold of another hit record," said Phil, "but I know what we're doing is valid. After all this time I know that it isn't just something I'm feeding to myself."

As individuals, too, they are the same – that is to say, still as dissimilar in temperament as in the colour of their hair. Don the elder brother is homely and tractable, the softer of the two for all that his share of trouble has been greatest. Phil, two years younger, is more intense and volatile; he hates flies and grasps at the air if he suspects one to be in the vicinity. Yet they have been vexed, all their lives, by being treated as identical twins. As they advance into their thirties, to continue as one voice, one guitar, suitors for the hand of one girl, is the most fatiguing part of keeping faith with their music.

They agree that they have not noticed the passage of years. Perhaps no-one has; it is possible that Time is accelerating. Their songs remain indestructibly young – never more than when considered with the senile pretensions of newer music. One can only judge the distance they have come when they speak of their contemporaries; of other youths raised up by Rock and Roll into bigger gods than the world had seen, but afterwards thrown back, dead. One of their great friends, especially Phil's, was Buddy Holly, the brilliant 22 year-old, killed in an air crash in 1959 before he could elaborate on the charm of his first four chords. "He wrote 'Not Fade Away' for us," Don says. "It burns me up when I read 'reportedly written by Buddy Holly for the Everly Brothers'."

Of the years when they were worshipped, their recollections are mixed. Walled in by screams that were being released for the very first time, they were understandably bemused. "We liked it," Don says. "Anybody would. You didn't have to do anything." But Phil's abiding memory is of disparagement, even as they were idolised, even as the disparagers themselves were making a fortune. "They were always saying, 'What are you going to do when the bubble breaks?' Our line was 'Yes Sir, No Sir'." Phil's face clouds at the slights of a decade ago. "Fear and guilt, that's what we were disciplined by."

And also by a harmonious upbringing. They were born in Kentucky, where children pick guitars instead of their noses. In a family of coalminers their maternal grandfather was named Blueatrice Embry and they had uncles Zerkel, Shirley and Prock, christened after the first word he ever spoke. Their father, Isaac Everey – Don's first name is Isaac – wanted to form a singing family, a proposition dear to the heart of Country and Western music. To this end his child bride, Evie Embry, took up the double-bass and their little boys were put to singing early. "It was good practice," Phil says. "We had to be always watching Mother in case she drifted over into our part of the harmony."

That was the start of treating them as twins. No eternity is greater than a difference of two years between boys, but they were dressed alike and made to share a birthday party. To compensate, Don was held back and Phil brought on; Don had to wait for his first sports jacket until Phil was old enough for one. The family lived in Iowa before settling in Nashville, and there, at the age of eight, Don was given a little radio programme of his own, singing and reading the commercials for Deacon's Rat Poison. Then the six-year-old Phil was brought in, telling jokes. "That was downfall for me," Don says. "I was a has-been at eight."

The Everly Family sang for 90 dollars a week in the early morning for the farm workers of Knoxville, Tennessee. Afterwards they would go across the street for hot chocolate and Krystalburgers, a small but pungent rissole. This was scarcely preparation for what befell them when Country music laid the surprising egg called Rock and Roll. Don says, "When Phil and I first hit New York, we were still wearing baggy pants. It was the first time we ever saw shoes without laces or socks that came up your leg. We met Buddy and the Crickets up in Montreal, they saw what we were wearing and said, 'Gee whizz!' The only publicity picture they had then was of them all down in Lubbock, Texas, in T-shirts, settling tiles on the roof."

In the pains and rages of adolescence, how one longed to change places, to inhabit the pleasant teenage world they sang of – motorcycles and Claudette and dreams unharried by skin blemishes. No-one could conceive of stardom as anything but dwelling in the songs. "Buddy Holly," Phil says, "put me to bed with a girl. And he laughed. But I can remember him another night playing me all of his songs and asking me why he couldn't get a hit record, he was so low. Then he said, 'Will you put me to bed?'"

Don almost joined the others whom stardom rapidly killed. Scarcely out of his teens, he had one broken marriage behind him. His wits were clouded by amphetamines, so long before they grew to be fashionable. A British tour had to be cancelled through what was then described as a nervous breakdown. He tried to kill himself twice, while staying at the Savoy. "I was so high; it didn't matter whether I went on living or not."

Out of the tunnel of the years, however, they appear as very normal men. Their slightly feminine Southern charm has a strong effect on the Yorkshire manner, which as a rule is dour and defiantly familiar. At the motel, the chef himself emerged from the kitchen with a pot of tea for Don; one of the chauffeurs involved in the nightly rendezvous with Phil vouchsafed them to be "a decent set altogether". They were engaged on a long provincial tour, into Europe and out again, accompanied only by a manager and three musicians. No special trumpets were played for their presence. But everywhere there was someone whose adolescence they assuaged once, who still wears his hair in a brush like they did or wishes that he could strike the E Major chord at the beginning of 'Dream'.

Musically their problem was knowing how to progress from early material which was, of its kind, perfect. In the 1960s they suffered a decline, as did most Rock originals who were overtaken by their English imitators. Yet their partnership, that most vulnerable thing of all, remained always intact in the binding of their voices. Their strength over all the refugees created by Pop music is in knowing their destiny to be joined however their personalities may dispute it. And in not being proud. So they advance by reaching back – far back to the Country music of their Knoxville days in the beautiful album Roots; voices flying together above orchestras and banjos and flowerings of steel guitars.

Lately, their career has described a circle. They have signed with RCA Records, whose famous Sam Sholes secured Presley but once turned the Everlys down. This places them under the supervision of Chet Atkins, doyen of Country guitarists, who heads RCA's Nashville repertoire from an office full of jars of peanuts, of butterscotch and all his shining-faced guitars. When the Everly Family sang on Radio KROL in Knoxville, Atkins was appearing on KNOX. He has helped them unselfishly ever since. It was he who played the E on 'Dream', and other chords throughout their hits whose quavering entered the disorder of so many a young boy's glands.

They have already completed an album with him; the Everly Brothers produced by Chet Atkins being a formula likely to impress many as close to perfection. It is, however, part of their survival to experience the bureaucracy which music has become. While they were in Yorkshire they heard that a minor RCA executive, who according to Don had lent a marginal hand with the album, was rewarding himself by amending the credits to: "The Everly Brothers co-produced by Chet Atkins and David Kirstenbaum".

"Can you imagine," Phil said, "some young guy telling Chet Atkins what to do?"

He continued, his voice rising, "It wouldn't mean a thing if it said, 'co-produced by Freddy Fudpucker and David Kirstenbaum'. That's more presumptuous than I would be, Donald, and when people are presumptuous, I don't even give them the courtesy."

His fingers played notes of annoyance up and down the keyboard of his guitar.

"Maybe they thought they'd like to do something for the boy..."

"Do nothing for the boy!" Phil answered passionately. "Nobody ever did anything for us."

Tonight they were appearing in Batley, Yorkshire – was their audience in Batley ever young? The formality of working men dressed up denies it; under the floor of blue smoke, all are as stiffly ageless as the women's pointed wigs. Applause here is given strictly in proportion to labour; yet at first beat of their guitars applause begins of the gentle sort which flutters out of memory.

"'Ebony Eyes'," several voices shouted.

"Er...we have to travel by plane occasionally," Don said in apologetic refusal.

Backstage they were imperially treated. A waiter arrived with champagne glasses like honeycomb through his fingers. Phil cuddled Patricia as if he had only just met her, and Karen cuddled Don. The ghost of the irritating David Kirstenbaum came sometimes into the air. Pat Eadey arrived; they asked her how they had played tonight and she replied better than last night. Finally they were driven out by the smell of ammonia with which the club was being fumigated. In the freezing car park, a lady in a flame-coloured chiffon evening dress was waiting for an autograph.

Phil came back to Don's motel; a journey which took longer than it need have owing to the inordinate pride of the driver in carrying them. Even a minicab driver felt the pulses of teenage once, before his hair melted downward into his moustachios. The night-porter, no less admiring, opened up the bar.

Phil is the raconteur, although Don sings lead. That night Phil became almost incoherent with laughter as he summoned up their beginnings, when they wore Chartreuse-green shirts and had a girl named Scooter Bill for a manager. They only got the chance to record by surprising a record-company executive with a lady friend in the Sam Davis Hotel, Nashville.

"She was his mistress," Phil said. "A few years ago I couldn't have said that but now I can. She was his mistress."

Their wanderings, and the California law of community property after divorce, have deprived them of copies of much of their best early work.

"I don't have all of it," Phil said. "I thought maybe I'd advertise for it through the fan-club. In a few years we're going to be really collectable, Donald."

"We can take it steady," said Don, "for the next five years. Maybe they could do a film special on us, you know? Like they do on species that are disappearing."

"– You mean all in long camera shots? Like the screaming eagle." Phil laughed, then was abruptly serious. "But we aren't disappearing, Donald. You'd have to say where we're disappearing to."

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tatters

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Ladykiller
I saw The Everly Brothers as special guest of the Simon & Garfunkel reunion tour in 2004. They were pretty good.


RIP Phil Everly

I saw them on that tour, too. It was their last hurrah, really. Only four songs, but they sounded great, and seeing all four members of rock's two greatest duos onstage at the same time was a pretty amazing thing.

I was fortunate to see them as we'll with S/G. So glad I did. True icons.

RIP, Phil. Thanks for everything.

"Take all the pain...It's yours anyway"

Very sad news, I grew up with their music. So many favorites there, he'll be missed. RIP

Lose your dreams and you will lose your mind...

MESSAGE FROM IGGY POP ON PHIL EVERLY'S PASSING:

"God bless Phil Everly. The Everlys were the real deal when it comes to American music. I saw them in the 60s at the 20 Grand in Detroit, and they seriously rocked the huge house, with just two Gibson Jumbos, and their voices. And man, did these guys have cool haircuts. I bought 'Songs our Daddy Taught Us' on download recently and there's a whole life lesson in there. It's brothers like the Everlys, that make the music scene of today worth bothering with. I am in their debt like so many others, for they have enriched my life. - Iggy Pop"



Edited 1 time(s). Last edit at 2014-01-07 17:35 by seitan.

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tatters

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seitan

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tatters
The Everlys were only a couple years older than the rock legends who idolized them. Very different from the way things are now. Think about it. Is there anyone roughly the same age as you that you're in awe of?

Yeah, plenty - Valerie June, Jack White, John Spencer, etc etc - there's lot of great music made these days by rather young guys and girls !!

Maybe, but did any of these people change your life? More importantly, has anyone who's been influenced by them changed the world? That's the difference I think. The history of rock and roll, the history of it that matters, at any rate, had already been written by the time Jack White was born.

- You're wrong. Dead wrong and silly. Music is not something that only happens in the past, how boring would that be and unrealistic - just look around - and in fact, the only thing that is really important is the future. Life goes on - least for most people - and the music that matters is always about the world we live in.

People like Jack White and Nick Cave are rock legends already and younger generations are influenced and will be influenced by them in the future, Nick Cave is a already a huge legend and so is Jack White - They are changing the world and it's not a matter of opinion or musical taste, cause its a simple fact and truth. You don't have to like their music, cause really old and ancient people like yourself - never like what the young kids are doing. And old farts like you - never understand what the younger generations think. We are living really exciting and important times with lot of interesting musical things happening all around the globe. You're just not paying any attention, cause you're living in the past.

There is plenty of influence to young kids these days - Jack White is doing what the Stones and Elvis did in the past - Jack White brings older music to the younger generations again, just like Elvis and Beatles did back in the day..It's the same. And there's lot fantastic things happening in techno, rap, hip hop, etc...ethnic rock music for example is happening with Internet - it's real revolution for rock music.

Think about Kurt Cobain - at the time Nirvana became huge and one of the biggest bands in the world - it was still hard to for the older people to see him as a rock legend, for older folks he was just another pop star but after Cobain died - there was millions of kids around the world who started playing guitar...He made a huge impact and knocked Michael Jackson of the charts, Jack White is the same - he is a grammy winning rock legend.

Its a strange world and strange news to old farts, I guess..you're just not Hip or Cool or Happening or even Fun anymore, you have grown too old, you've become old square, old fart, I guess...You just dont get it anymore. It's all over for you. Young guys and girls belong to clubs and night-life and you belong to old folks retirement home or a museum with other ancient artifacts of the past.>< Writing is on the wall for you. You are too OLD and too square for rock n roll of today.



Edited 11 time(s). Last edit at 2014-01-07 22:33 by seitan.

I hear jack White is almost done with Mel Bay Vol 1.

Not sure if this was a tribute of sorts but it's a pretty unexpected duet...well at least Barry doesn't wear a wig and his open tuning is interesting ;-)





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IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio

I watched this too..really nice to see and hear Barry Gibbs, he looks and sounds great. Jimmy Fallon does his usual wanna be a rock star routine.

Barry's doing a short US tour in May.