Podcasts about bryants

National Park Nightmares – Volume 11: “The Vanished” In this episode, we examine two disappearances—separated by 78 years—that continue to confound families, search teams, and anyone who tries to make sense of what happened.It was a typical summer day in the Colorado wilderness when 4-year-old Alfred Beilhartz disappeared during a family outing. He was walking just behind his parents along a trail near a stream—then suddenly, he wasn't. What followed was one of the first large-scale search efforts in the park's history, involving over 150 people, bloodhounds, and aerial surveillance. But no trace of Alfred was ever found. Witnesses later reported seeing a boy matching his description on a remote cliffside ledge. Searchers scrambled to reach the spot—only to find nothing. No boy. No tracks. No clues. Just silence.Floyd Roberts wasn't a first-timer in the canyon. His connection to the place stretched back to 1992, when his friend Ned Bryant first invited him out. Roberts became a devoted hiker, returning year after year with Bryant. By 2016, the two were seasoned and well-prepared, setting out once again—this time with Bryant's daughter along for the trip. On June 17th, deep in the remote Kelly Tanks area, the trio chose to split momentarily: the Bryants taking a route over a hill before the trailhead, Roberts choosing to walk around it and meet them on the other side. He never arrived. The Bryants waited, circled back the way Roberts went, then returned to camp and marked the area with visible gear to guide him. Still, nothing. This wasn't a man likely to panic or get lost. Roberts was highly intelligent—he'd worked at NASA and taught programming and game design. He had food, water, and a map marked with their routes. But after six days of searching with helicopters, drones, and canine units—no sign. No gear. No footprints. No remains. Despite the unforgiving terrain and triple-digit heat, Roberts' experience and preparation should have given him a fighting chance. And yet, five years have passed, countless hikers have passed through the region, and not a single clue has surfaced. Why did Floyd veer off alone? Why couldn't the others hear a call for help if something went wrong just on the other side of a hill? And how does someone—someone this equipped, this smart, this familiar with the terrain—vanish without leaving behind a trace?

There may be a few things about our team that we've failed to inform Nikki, including Mitch's royal lineage. Luttsy's having trouble with his Bryants and Ash's Croc Watch continues See omnystudio.com/listener for privacy information.

Super Fire

The Squishy Logic boys and funny comedian men Kd Hinken & Nathan Parish are back to dive into all things interesting, from true crime and unsolved mysteries, to hollywood & all the way back to the grass roots of the uk comedy scene (that still hates Kd.) Todays main topic is the first of the comedian case files series: Ari Shaffir. We look at all of his controversies, including kobe Bryants death, spiking other comedians, beating up bobby lee (multiple times) too exposing himself to a 5 a 5 year old...does his dad disowning him for denouncing his religion excuse any of this behaviour? Well no, it doesn't, but theres even more and its all interesting, shocking and or creepy.Disclaimer We at Squishy Logic think Ari Shaffir is an uber talented comedian, exceptionally funny, but this video will make you look at him in a different light...sorry. 0:00:00 Squishy boys chat about all things interesting in the world today 0:56:00 Main topic: Ari Shaffir Comedian Case file Kd You can check out Kd on Kd Comedy podcasts on spotify, apple & wherever you get your podcast from & on twitch @KdComedianLive Plus, check him out every tuesday, 10am - 12pm, on Switch Radio Dab & 107.5fm Nathan You can check out more of Nathans content via the DeadManDancin channel on YouTube, Spotify, Apple & wherever you get your podcasts from. Shows include Ad Breaker, Mark Barney & the Post Apocalyptic Metal Treehouse sketch show (highly recommend.)

Bryant and Ryan give their preview for the Super Bowl, well mainly Bryants thoughts as our resident Chiefs homer. Then we go off course with some crazy subjects we have found this week. Grab a cold one and join in on the fun! Socials: https://linktr.ee/pulseoftheheartland

Greg talks about where & how to find college basketball injury information, recaps Wednesday's college basketball results, talks to Ky McKeon of the Three Man Weave about his week one takeaways, teams that have impressed him thus far, how he handicaps non-conference neutral court tournaments, & looks at Thursday's games & Greg picks & analyzes EVERY Thursday college basketball game! Spreadsheet Link: https://www.vsin.com/betting-resources/greg-petersons-daily-handicapped-college-basketball-lines/  Podcast Highlights Where/how to find CBB injury information  3:17-Recap of Wednesday results 23:19-Interview with Ky McKeon 48:12-Start of picks Lindenwood vs Air Force 50:18-Picks & analysis for Princeton vs Duquesne  52:31-Picks & analysis for CS Fullerton vs UCF 55:00-Picks & analysis for Wright St vs Indiana 58:24-Picks & analysis for LA Tech vs UL Monroe 1:01:20-Picks & analysis for Denver vs SIU Edwardsville 1:04:06-DK Network Pick Missouri vs Minnesota 1:06:58-Picks & analysis for William & Mary vs Omaha 1:09:34-Picks & analysis for UT Arlington vs New Mexico 1:12:15-Picks & analysis for North Dakota St vs Montana 1:14:52-Picks & analysis for Montana St vs California 1:17:48-Picks & analysis for Charleston vs Vermont 1:20:12-Picks & analysis for St. Louis vs Wyoming 1:22:30-Picks & analysis for Wichita St vs Coastal Carolina 1:24:57-Picks & analysis for Furman vs Liberty Picks & analysis for St. John's vs North Texas Picks & analysis for Dayton vs LSU 1:28:05-Picks & analysis for Houston vs Towson 1:30:20-Picks & analysis for Utah vs Wake Forest 1:32:44-Picks & analysis for Oklahoma St vs St. Bonaventure 1:35:06-Picks & analysis for Auburn vs Notre Dame 1:37:02-Picks & analysis for Niagara vs Hawaii 1:39:16-Start of extra games Maine vs Northwestern St 1:42:01-Picks & analysis for Bryants vs Boston U 1:44:10-Picks & analysis for Presbyterian vs North Florida 1:46:23-Picks & analysis for Texas Southern vs Virginia 1:48:38-Picks & analysis for NJIT vs American 1:51:03-Picks & analysis for Alcorn St vs UAB 1:53:29-Picks & analysis for Texas A&M CC vs Texas Tech 1:55:40-Picks & analysis for Nicholls vs South Alabama 1:58:17-Picks & analysis for Chicago St vs Southern IL 2:00:49-Picks & analysis for Jackson St vs Tulsa 2:04:22-Picks & analysis for UMass Lowell vs Arizona StSee omnystudio.com/listener for privacy information.

Basketball fan or not, you can't deny Kobe Bryant was one of the greats. His intensity and commitment to his craft was unmatched. This doc captures who Kobe was as a player and person. --- Send in a voice message: https://podcasters.spotify.com/pod/show/threedudespod/message

Welcome back to the show, everyone! I am truly excited to bring this interview to you, conversation with my good friend and inspirational mentor, Todd Herman! Todd has truly been helping me achieve my potential and become the best possible version of myself for years now. I hope that you'll tune in because, while this is an interview in which Todd talks about himself and answers some of your burning questions, it's also very much a journey of growth and transformation, a journey on which I hope you'll join me. Based on the concept of his book The Alter Ego Effect, Todd and I dive deep into creating an alter ego identity that can help me expand as an entrepreneur and think bigger. Todd reveals much about the visionary side of my personal style of entrepreneurship. He then helps me probe even further to uncover the attributes holding me back in that visionary role. While it is certainly a bit uncomfortable, Todd encourages all of us to be bold and to seek out bigger opportunities by expressing my visions and wants more clearly, even if and maybe even especially if discomfort is part of the process. Working together, we identify the key traits that my alter ego persona would embody to help me break through: being a bold, authentic and strong decision maker. If I can connect to the right inspiration and build the right rituals, Todd explains how this alternate identity can become a tool for me to expand as an entrepreneur. I'm really excited to put this into practice and see where it takes me and, again, hope that you will listen in! If you enjoy this fun and different conversation with Todd, then I strongly encourage you to go check him out via the methods listed below. Be sure to also subscribe on your favorite podcast app if you aren't subscribed already so that you never miss a new episode, and if you would share the podcast with at least one other person you know who might also enjoy it and leave me a five-star review, that really helps me and the show out!   Time Stamps 0:43 - Welcome to the show, Todd Herman! 3:05 - Todd reveals how playing football led to him wanting to be in this type of work. 7:02 - Todd's alter ego Geronimo comes from his fascination with Native American culture. 11:04 - What are some common lies people say about developing a championship mindset? 14:03 - Hear why Todd recommends using nature as a filter for ideas. 17:43 - Todd goes into how he helped Kobe develop his "Black Mamba" alter ego. 26:34 - Alter egos work tap into a person's creativity in order to embody skills already there. 30:54 - Todd prefers to define himself by the verbs rather than nouns, arguing that identities can become traps. 34:26 - Alter egos are most effective when focused on a specific domain or role within a person's life. 35:54 – I point out that I'm very comfortable building and creating for my audience. 36:33 - Todd explains several of the steps of building an alter ego. 38:41 - I reveal what about my visionary side still frustrates me – making bigger decisions. 40:17 - I disclose what might be the underlying cause of that challenge. 40:44 - Humility and modesty can sometimes hold you back. 42:32 - Todd attributes my tendency towards forced humility in part to cultural factors like being Canadian. 44:02 - Todd explains how people rob themselves of the confidence needed to pursue bigger visions. 48:23 – I admire entrepreneurs like Elon Musk, Tim Ferriss, and Andrew Huberman. 50:15 - I admire all of their authenticity. 51:06 – Todd explains why he sees the word “authentic” as a trap. 53:03 - I identify bravery, authenticity, and decision-making as key attributes for my alter ego. 53:43 - Todd encourages me instead to focus on being bold. 56:24 - Todd advises me to find sources of inspiration that represent boldness. 57:29 - Todd identifies some of his own personal values. 1:02:14 - Todd recommends that I find role models who easily embody my visionary alter ego. 1:04:44 - Todd describes his rituals to embody his 'dad' alter ego. 1:10:32 - Hear how Todd uses the sound of snapping his beaded bracelet as part of his ritual. 1:16:39 -  Todd discusses the most important lessons that his dad taught him. 1:21:59 - What would be the difference between Todd and a coach like Tim Grover? 1:24:23 - What does an ideal day/week look like for a high performer? 1:27:59 - Todd offers his thoughts on the merger between Live and the PGA. 1:29:35 - Todd describes his favorite thing: giving his wife a head rub. 1:31:45 - Learn where to find Todd online.   Resources Subscribe to the Podcast Follow Me on Instagram Follow Me on Twitter Visit Todd's Website Follow Todd on Twitter Follow Todd on Instagram Pick Up Todd's Book The Alter Ego Effect

On this special episode of Future City, for black history month, black art is explored. We ask guests what does art mean to them, we also ask about their styles of art, and their inspirations for starting their careers in art. Guests include: Clement Bryant To view more of Mr. Bryants work, please visit the link below http://www.clementbryantfineart.com https://www.instagram.com/clementbryant1/ Jenenne Whitfield - Director of The American Visionary Art Museum https://www.avam.org/ https://www.avam.org/jenenne-whitfield Larry Poncho Brown To view more of Mr. Poncho's work, please visit the links below: www.larryponchobrown.net www.theartofponcho.comwww.raisingthearts.comwww.facebook.com/theartofponchowww.twitter.com/theartofponchowww.instagram.com/theartofponchowww.youtube.com/c/larryponchobrown Joyce Scott To view more of Ms. Joyce's work please visit the links below: https://www.craftinamerica.org/artist/joyce-j-scott https://mdarts.org/joyce-scott/ Song Credit: "This little light of mine (feat. The Steeles)" Artist: Pmac The world we living in source: www.YouTube.com  See omnystudio.com/listener for privacy information.

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Hear the amazing story of how Dewayne Bryant turned his life around after years of incarceration, and got his 40+ acres. How he went from bricks to builder, from dope to developer with God's grace and the help of his amazing wife! What will you do with your life when God gives you another chance?

Why are Rusty and Heather so passionate about marriages? In this week's episode the Bryants explore the "why" behind what they do, and also define who this podcast is for and how it can help your marriage. Don't miss all of the different ways that you can connect with Rusty and Heather outside of this podcast: Website: https://www.theredeemedmarriage.com/ Facebook: https://www.facebook.com/3StrandsMM Instagram: https://www.instagram.com/3strandsmarriage/ Twitter: https://twitter.com/3strandsmm Survey: The Redeemed Marriage Survey

I sat down with Bryant Ellis, CEO & Founder of The Adventure Challenge, a scratch off date idea book that has made waves.  In this episode we discuss: Bryants starting journey as a CEO and creating the first big idea. Small steps along the way win. Sometimes building something great takes team effort.  His journey in rehab. Stepping down as CEO. If you're not passionate about the journey, you will have an expiration date.  Enjoying life with balance and when to find the balance while creating a successful business.

After a weekend of 4 square or 8 square or even 12 square, we have our 2022 NCAA qualifiers. It was a weekend of big performances, 10's for what every Trinity touched, a very well known foot (thanks to twitter and ESPN screen shots- crazy exciting ending in Raleigh, Tale of two Bryants, Schulte soars in Seattle and lots of alum stand out moments.

We're back talking baseball I guess. All the baseball. Fantasy baseball too. Yay. What's happening with the Mets? What's happening with your Buxtons and Bryants? What's happening with the Yankees, Phillies, Athletics, Red Sox, Cardinals and Dodgers? What's happening on Coinbase? I guess we'll find out. Let's go.

In this episode, I interview Dr. Bryant but as I call him “DR KYLE”.We discuss what chiropractic care is and what is is NOT. Doctor Kyle explains how his practice is a little different than most traditional chiropractic clinics. Doctor Kyle focuses more on ‘TOTAL body health and looking at the root causes of peoples aches and pains when they come to him. As a Extremities certified chiropractor, he looks also at injuries and trauma that may result in patients chronic pain.Additionally, Dr. Kyle has a good understanding of chronic illnesses and how they too can have a better results with a full body adjustment.There is a misconception that chiropractors are ‘cracking spines and necks'. We discuss the myth around that and what is really going on when you hear a cracking soundThe other modalities that Dr Kyle incorporates in his practice are extra special. He also offers physical therapy techniques, laser, and vibrational therapy.Dr. Kyle believes that total health starts with the spine but the connection extends thru out the body starting from the brain.BIO: Dr. Kyle Bryant is a chiropractor who is the descendant of multiple Tri-citian generations. He attended Kamiakin high school and graduated in 2003. After playing collegiate soccer and earning his bachelor's degree from Gonzaga in 2007, he went on to begin his chiropractic education at the University of Western States in Portland, OR. After graduating in 2012 he moved abroad with his wife, Desiree, to Ireland to begin the first experience of his professional career. After a year over-seas, the Bryants decided it was time to become a little more settled to begin a family and further develop Dr. Kyle's career – which landed them in Spokane, WA. After 3 unforgettable years with treating patients and receiving a certification in extremity injuries, the Bryants again felt it was time to move due to their growing family – but this time back to home.Integrative Chiropractic and Extremities and Dr Kyle represent the ONLY active CCEP (certified chiropractic extremities practitioner) within a 100 mile radius, which allows him to incorporate arm and leg injuries into spinal dysfunction injuries. The certification required an additional year of study and requires an exceptional knowledge in biomechanics of the extremity joints and injuries that can result as a consequence of their dysfunction.“I enjoy working with patients and families of all ages who participate in a wide range of activities from weekend warriors, to musicians, to elite athletes. My approach is holistically focused within a chiropractic-wellness paradigm – I believe the body is self-healing and we must learn how to tap into these abilities if we are to understand solutions to our health. This perspective allows me to focus on finding medical answers through preventative health and function. Another unique component of my treatment philosophy is rooted in the CCEP knowledge of extremities and overall mechanics of body movement. I welcome any patient striving to better themselves and improve their health!”In his personal life, Dr. Kyle is married to his wonderful wife, Desiree and has three kiddos . He enjoys being a dad, spending time with his family and friends, staying active, and of course – playing soccer!Find Doctor Kyle at ICE Clinic in Kennewick, WA Call: 509-820-3828 or online at: www.iceclinics.comYou can find Tavia @ IG #healthcoachtaviaOr www.sweetcoachtavia.com

In this episode, I interview Dr. Bryant but as I call him “DR KYLE”.We discuss what chiropractic care is and what is is NOT. Doctor Kyle explains how his practice is a little different than most traditional chiropractic clinics. Doctor Kyle focuses more on ‘TOTAL body health and looking at the root causes of peoples aches and pains when they come to him. As a Extremities certified chiropractor, he looks also at injuries and trauma that may result in patients chronic pain.Additionally, Dr. Kyle has a good understanding of chronic illnesses and how they too can have a better results with a full body adjustment.There is a misconception that chiropractors are ‘cracking spines and necks'. We discuss the myth around that and what is really going on when you hear a cracking soundThe other modalities that Dr Kyle incorporates in his practice are extra special. He also offers physical therapy techniques, laser, and vibrational therapy.Dr. Kyle believes that total health starts with the spine but the connection extends thru out the body starting from the brain.BIO: Dr. Kyle Bryant is a chiropractor who is the descendant of multiple Tri-citian generations. He attended Kamiakin high school and graduated in 2003. After playing collegiate soccer and earning his bachelor's degree from Gonzaga in 2007, he went on to begin his chiropractic education at the University of Western States in Portland, OR. After graduating in 2012 he moved abroad with his wife, Desiree, to Ireland to begin the first experience of his professional career. After a year over-seas, the Bryants decided it was time to become a little more settled to begin a family and further develop Dr. Kyle's career – which landed them in Spokane, WA. After 3 unforgettable years with treating patients and receiving a certification in extremity injuries, the Bryants again felt it was time to move due to their growing family – but this time back to home.Integrative Chiropractic and Extremities and Dr Kyle represent the ONLY active CCEP (certified chiropractic extremities practitioner) within a 100 mile radius, which allows him to incorporate arm and leg injuries into spinal dysfunction injuries. The certification required an additional year of study and requires an exceptional knowledge in biomechanics of the extremity joints and injuries that can result as a consequence of their dysfunction.“I enjoy working with patients and families of all ages who participate in a wide range of activities from weekend warriors, to musicians, to elite athletes. My approach is holistically focused within a chiropractic-wellness paradigm – I believe the body is self-healing and we must learn how to tap into these abilities if we are to understand solutions to our health. This perspective allows me to focus on finding medical answers through preventative health and function. Another unique component of my treatment philosophy is rooted in the CCEP knowledge of extremities and overall mechanics of body movement. I welcome any patient striving to better themselves and improve their health!”In his personal life, Dr. Kyle is married to his wonderful wife, Desiree and has three kiddos . He enjoys being a dad, spending time with his family and friends, staying active, and of course – playing soccer!Find Doctor Kyle at ICE Clinic in Kennewick, WA Call: 509-820-3828 or online at: www.iceclinics.comYou can find Tavia @ IG #healthcoachtaviaOr www.sweetcoachtavia.comThe Sweet Life Coaching Podcast https://businessinnovatorsradio.com/the-sweet-life-coaching-podcast/Source: https://businessinnovatorsradio.com/ep-26-chiropractic-care-and-chronic-illness-its-more-than-you-think-with-dr-kyle-bryant-dc-coach-tavia-morse-salvadalena

Chad, Eric and Willie talk about the trade that brought in the big fish, Kris Bryant, and the potential effect he'll have on the Giants and their race in the NL West. We also talk about the huge series against the Dodgers and Astros at Oracle this week. All of our episodes are also available on Apple, Spotify, Google, Stitcher, and most major podcast platforms.www.torturecast.comtwitter.com/torturecastfacebook.com/torturecast

It's Tuesday, and this is a combined Man Crush Monday and Woman Crush Wednesday! Today we're going to look at a couple, Felice and Boudleaux Bryant. They were a driving creative force behind perhaps the biggest popular music revolution in American history in the 1950s. Often called the first professional songwriters in Nashville, the Bryants wrote songs for The Everly Brothers, Buddy Holly, and nearly every aspiring singing act of the 1950s.

Kansas City BBQ Battle Q39 Vs Arthur Bryants - Party 4 Tuesday by Pop Tab Podcast

Join host https://instagram.com/@iamissen (@iamissen) as he gives you some TEA on what happened this week in the world of Hollywood. Well the good stuff anyway! Sip on this TEA .... There's nothing worse than family drama but family drama and money will make your headspin. Vanessa Bryant, the widow of late NBA basketball legend Kobe Bryant who passed away in a fatal plane crash along with his daughter Gianna and 6 others is now in a legal battle with her mother. Yes, Vanessa's mother is suing her for 5 million dollars and you won't believe what she's saying. Listen in. Follow the https://www.instagram.com/gimmethetea (@gimmethetea )on Instagram https://www.thetea.net/ (www.thetea.net) --- Small business, brand or entrepreneur looking to step up your Instagram. Ready to go viral? Join thehttps://bit.ly/AnchorIGACademy ( IG Academy) and get the support your need. Find Instagram courses, done for your content templates & attend live masterclasses & even win prizes!! https://bit.ly/AnchorIGACademy (www.theigacademy.com )

The bois might be in different cities now but they're back baby back! Danny Dog Daddy California and Matty Mountain Time are back talking fantasy baseball. All the baseball. What's happening with the Mets? What's happening with your Buxtons and Bryants? What's happening with the Yankees, Phillies, Athletics, Red Sox, Cardinals and Dodgers? What's happening on Coinbase? I guess we'll find out. Let's go.

On this week's episode of Yoga revealed, Join Alec as you learn more about his journey along with some fun ins and outs of his consciousness through the lens of yoga.The one and only Bryant Wood interviews Alec after being interviewed himself on YRP. Stay tuned for an insightful conversation where you learn how yoga was first revealed to ALEC, the co-host of YRP!You can follow Bryants journey on instagram at @bryant.give & Alec at @aleclovelifeyoga. Be sure to post this episode on your stories and tag us at @yogarevealed to get highlighted yourself!We are so grateful for you and love being in this infinite family of expansion and growth.Thank you for all that you do and for listening to the Yoga Revealed podcast! See acast.com/privacy for privacy and opt-out information.

This week on the Frame & Reference Podcast, Kenny talks with cinematographer Bryant Fisher about his work on the Netflix documentary “Lenox Hill.” This documentary series give viewers an intimate look at the lives of four doctors as they navigate the highs and lows of working at the renowned Lenox Hill Hospital in New York City. To learn more about Bryants filmography, check out his IMDb page. Enjoy the episode! Liking the podcast? Leave a rating and review on your favorite podcast app! Frame & Reference is supported by Filmtools and ProVideo Coalition. Filmtools is the West Coasts leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs. Check out Filmtools.com for more. ProVideo Coalition is a top news and reviews site focusing on all things production and post. Check out ProVideoCoalition.com for the latest news coming out of the industry.

Federal safety officials Tuesday announced the probable cause of the tragic helicopter crash that killed NBA legend Kobe Bryant and eight others, concluding the pilot flew through clouds in an apparent violation of federal standards and likely became disoriented before the crash. Robert Sumwalt, the chairman of the National Transportation Safety Board, said the pilot was “flying under visual flight orders or VFR which legally prohibited him from penetrating the clouds” but he continued into clouds. Pilot Ara Zobayan told air traffic controllers that his helicopter was climbing out of heavy clouds when in fact it was descending immediately before slamming into a hillside near the town of Calabasas, the agency said in June. Basiclly if he was alive today he would be charged with 9 counts of murder --- Send in a voice message: https://anchor.fm/canwekeepitreal/message Support this podcast: https://anchor.fm/canwekeepitreal/support

Let's talk about it on Ep 19.. EVERYTHING! Danileigh: was is it colorism or flat out trash.? Trey getting arrested over a mask? RIP Kobe and GiGi and strength to the Bryants, RIP Larry King, Arnie Hammer strange fetish?! GameStop Stocks and Wall Street Bets: #EatTheRich, Women breaking the ceilings in the sports industry in 2021, Lock up Chad Wheeler and #protectblackwomen, Lifetime is in biopic season w/ Salt and Pepa..Wendy Williams is next, DC Restaurant week, and tons of laughs and gems in between. Enjoy and follow us on twitter/IG @ gemnationradio!

On the anniversary of the unfortunate death of Kobe Bryant, Josh and Trevor relive and unfold a few of their favorite moments in his NBA career. First, they break down Bryants draft night trade (3:30). Then, they discuss Bryants historic 81 point game vs the Raptors (11:02). Then, Trevor talks about his favorite buzzer beater of Kobes vs the Suns in '06 (23:06). Lastly, the guys cap off the episode by talking about Kobes poetic end to his career with a 60 point game (27:01). If you enjoy the show or love basketball, subscribe and give us a 5-Star review! It is greatly appreciated. You can also follow the show on Twitter @TwoPointers for updates on when new episodes are released weekly! Music courtesy of: Lakey Inspired https://www.youtube.com/c/LAKEYINSPIREDTPP Logo courtesy of: John Thorne https://www.johnharmonthorne.com/ 

Petersfield's Shine Radio is supporting our local independent businesses, and you can too. Bambino Baby is a baby gift shop and babywearing specialist, in the lovely Pages Court. With a focus on natural materials, many of its products are sourced from local, independent businesses. Ready-made gift boxes are available, or select from the wide range of products to create your own, bespoke, gift box. There are also baby teethers, weaning bowls & bibs, cloth nappies and much more! The owner, Roamy, is one of the UK’s most experienced Babywearing Consultants and is in the shop to give help and advice on finding the right carrier for you and your little one, or help you with using an existing carrier. The Old Drum is Petersfield's hotel, bistro and bar on Chapel Street. With six beautiful and luxuriously appointed en-suite rooms, a warm and welcoming bistro and a vibrant bar stocked with real ales from local microbreweries, The Old Drum will show you what 300 years of hospitality means today. Throughout lockdown, the Old Drum is serving freshly ground coffee and a range of locally-sourced foods and drinks for takeaway every day. All within a Covid-safe environment with strict hygiene rules throughout. The Old Drum. Chapel Street, Petersfield. Bryant Brothers have been part of the Petersfield community since 1928, and still - even through lockdown - run the fruit and veg stall at Petersfield Market every Wednesday and Saturday. They supply many local businesses, schools, nursing homes and shops with all their fruit and veg. And Bryants also runs a non-subscription veg box scheme? Just order what you need, when you need it, and Bryants will deliver to your door! Just visit thelocalvegboxpeople.co.uk We'll feature more local independent businesses across the next few days. You can find out more at https://petersfieldradio.uk/shoplocal/ See omnystudio.com/listener for privacy information.

This weeks show is a different one - this week we celebrate Angie's Big Birthday and bring some celebration. Enjoy and catch us back next week

Alec Mills pitches another gem, holding the Royals scoreless through 7 innings of work and a KB homer gives the Cubs a 2-0 win Monday night. We'll recap the game in the 1st segment and then preview Tuesday night's match-up between Kyle Hendricks and Brady Singer, plus more COVID news and an NL Central standings update. PostmatesFor a limited time, Postmates is giving our listeners ONE HUNDRED DOLLARS of free deliverycredit for your first SEVEN days. To start your free deliveries, download the app and use codeLOCKEDON Learn more about your ad choices. Visit podcastchoices.com/adchoices

Alec Mills pitches another gem, holding the Royals scoreless through 7 innings of work and a KB homer gives the Cubs a 2-0 win Monday night. We’ll recap the game in the 1st segment and then preview Tuesday night’s match-up between Kyle Hendricks and Brady Singer, plus more COVID news and an NL Central standings update.  Postmates For a limited time, Postmates is giving our listeners ONE HUNDRED DOLLARS of free delivery credit for your first SEVEN days. To start your free deliveries, download the app and use code LOCKEDON Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode eighty-eight of A History of Rock Music in Five Hundred Songs looks at “Cathy’s Clown” by The Everly Brothers, and at how after signing the biggest contract in music business history their career was sabotaged by their manager. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Poetry in Motion” by Johnny Tillotson.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. This collection has all the Everlys’ recordings up to the end of 1962.  I would also recommend this recently-released box set containing expanded versions of their three last studio albums for Warners, including Roots, which I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   This week we’re going to look at the Everly Brothers’ first and biggest hit of the sixties, a song that established them as hit songwriters in their own right, which was more personal than anything they’d released earlier, and which was a big enough hit that it saved what was to become a major record label. We’re going to look at “Cathy’s Clown”: [Excerpt: The Everly Brothers, “Cathy’s Clown”] When we left the Everly Brothers, six months ago, we had seen them have their first chart hits and record the classic album Songs Our Daddy Taught Us, an album that prefigured by several years the later sixties folk music revival, and which is better than much of the music that came out of that later scene. Both artistically and commercially, they were as successful as any artists of the early rock era. But Don Everly, in particular, wanted them to have more artistic control themselves — and if they could move to a bigger label as well, that was all the better. But as it happens, they didn’t move to a bigger label, just a richer one. Warner Brothers Records had started in 1958, and had largely started because of changes in the film industry. In the late 1940s and early fifties, the film industry was being hit on all sides. Anti-trust legislation meant that the film studios had to get rid of the cinema chains they owned, losing a massive revenue stream (and also losing the opportunity to ensure that their films got shown no matter how poor their reputation). A series of lawsuits from actors had largely destroyed the star system on which the major studios relied, and then television became a huge factor in the entertainment industry, cutting further into the film studios’ profits. An aside about that — one of the big reasons for the growth of television as America’s dominant entertainment medium is racism. In the thirties and forties, there had been huge waves of black people moving from rural areas to the cities in search of work, and we’ve looked at that and the way that led to the creation of rhythm and blues in many of the previous episodes. After World War II there was a corresponding period of white flight, where white people moved en masse away from the big cities and into small towns and suburbs, to get away from black people. This is largely what led to America’s car culture and general lack of public transport, because low-population-density areas aren’t as easy to serve with reliable public transport. And in the same way it’s also uneconomical to run mass entertainment venues like theatres and cinemas in low-population-density areas, and going to the cinema becomes much less enticing if you have to drive twenty miles to get to one, rather than walking down the street. So white flight had essentially meant the start of a process by which entertainment in America moved from the public sphere to the private one. This is also a big reason for the boom in record sales in the middle decades of last century — records are private entertainment, as opposed to going out to a dance or a show. And this left the big film studios in dire straits. But while they were down on their luck when it came to films, Warners were doing very well in the music publishing business, where unlike their ownership of cinemas they didn’t have to get rid of their properties. Warners had always owned the songs used in their films, and indeed one of the reasons that Looney Tunes and Merrie Melodies existed in the first place was so that they could plug songs that Warners owned. When Tex Avery has Owl Jolson singing “I Love to Singa”: [Excerpt: “Owl Jolson”, “I Love to Singa”] That’s a song that had originally appeared in a Warners feature film a few months earlier, sung by Al Jolson and Cab Calloway: [Excerpt: Al Jolson and Cab Calloway, “I Love to Singa”] So Warners were making money from the music industry. But then they realised something. Tab Hunter, one of their film stars under contract to them, had started to have hit records. His record “Young Love” spent six weeks at number one: [Excerpt: Tab Hunter, “Young Love”] And whenever he was interviewed to promote a film, all the interviewers would ask about was his music career. That was bad enough — after all, he wasn’t signed to Warners as a singer, he was meant to be a film star — but what was worse was that the label Hunter was on, Dot Records, was owned by a rival film studio, Paramount. Warners would go to all the trouble of getting an interview set up for their star, and then all it would do was put money into Paramount’s pocket! They needed to get into the record business themselves, as a way to exploit their song catalogue if nothing else. At first they thought about just buying Imperial Records, but when that deal fell through they started their own label, and signed Hunter to it right at the point that his career nosedived. In the first two years that Warner Brothers Records existed, they only had two hit singles — “Kookie Kookie Lend Me Your Comb”, a record based on the Warner-owned TV series 77 Sunset Strip and co-performed by one of that series’ stars, Edd Byrnes: [Excerpt: Edd Byrnes and Connie Stevens, “Kookie Kookie Lend Me Your Comb”] And another record by Connie Stevens, who also sang on “Kookie Kookie Lend Me Your Comb”, and was the star of a different Warners TV series, Hawaiian Eye: [Excerpt: Connie Stevens, “Sixteen Reasons”] Everything else they released flopped badly. After two years they had lost three million dollars, and would have closed down the label altogether, except the label was owed another two million, and they didn’t want to write that off. The main reason for these losses was that the label was mostly releasing stuff aimed at the easy listening adult album market, records by people like Henry Mancini, and at the time the singles market was where the money was, and the singles market was dominated by young people. They needed some records that would appeal to young people. They decided that they needed the Everly Brothers. At the beginning of 1960, the duo had released ten singles since May 1957, of which nine had charted, as had four of the B-sides. They’d topped the pop charts twice, the R&B charts twice, and the country charts four times. At a time when even the biggest stars would occasionally release the odd flop, they were as close to a guaranteed hit-making machine as existed in the music industry. And they were looking to get away from Cadence Records, for reasons that have never been made completely clear. It’s usually said that they had artistic differences with Cadence, but at the same time they always credited Archie Bleyer from Cadence with being the perfect arranger for them — he arranged their final Cadence single, “Let it Be Me”: [Excerpt: The Everly Brothers, “Let it Be Me”] But for whatever reason, the Everlys *were* looking to find a new label, and Warner Brothers were desperate enough that they signed them up to the biggest contract ever signed in music business history up to that point. Remember that four years earlier, when Elvis had signed with RCA records, they’d paid a one-off fee of forty thousand dollars and *that* was reportedly the largest advance ever paid in the industry up until that point. Now, the Everlys were signing to Warners on a ten-year contract, with a guaranteed advance of one hundred thousand dollars a year for those ten years — the first million-dollar contract in music history. They were set up until 1970, and were sure to provide Warners with a string of hits that would last out the decade — or so it seemed at first. Their first recording for the label had an unusual melodic inspiration. Ferde Grofé was an arranger and orchestrator for Paul Whiteman’s jazz band in the 1920s and thirties. He’s particularly known these days for having been the original arranger of Gershwin’s “Rhapsody in Blue” — Gershwin had written it for two pianos, and it was Grofé who had come up with the instrumental colouring that these days we think of as being so important to that piece: [Excerpt: Paul Whiteman “Rhapsody in Blue (original 1924 recording)”] Grofé had written a piece in 1931 called the “Grand Canyon Suite”, and its third movement, “On the Trail” had become the most popular piece of music he ever wrote. Disney made an Oscar-winning short with the suite as its soundtrack in 1958, and you can still hear “On the Trail” to this day in the Grand Canyon section of the Disneyland Railroad. But “On the Trail” was best known as the music that Phillip Morris used in their radio and TV commercials from the thirties through to the sixties. Here’s a bit from the original Whiteman recording of the piece: [Excerpt: Paul Whiteman, “Grand Canyon Suite: On the Trail”] Don took that melodic inspiration, and combined it with two sources of lyrical inspiration — when his dad had been a child, he’d had a crush on a girl named Mary, who hadn’t been interested, and his schoolfriends had taunted him by singing “Mary had a little Ike” at him. The other key to the song came when Don started thinking about an old crush of his own, a girl from his school called Catherine Coe — though in later years he was at pains to point out that the song wasn’t actually about her. They took the resulting song into the studio with the normal members of the Nashville A-Team, and it became only their second hit single with an A-side written by one of the brothers, reaching number one on both the pop and R&B charts: [Excerpt: The Everly Brothers, “Cathy’s Clown”] I say it’s written by Don — the original issue of the record credited the songwriting to both Don and Phil, but Phil signed an agreement in 1980 relinquishing his claim to the song, and his name was taken off all future copies. It sounds to me like Don’s writing style, and all the anecdotes about its writing talk about him without mentioning any input from Phil, so I’m assuming for these purposes that it’s a Don solo composition. Listening to the record, which was the first that the duo produced for themselves, as well as being their first for Warners, you can hear why Don was at times dissatisfied with the songs that Felice and Boudleaux Bryant had written for the brothers. It’s a sophisticated piece of work in a number of different ways. For a start, there’s the way the music mirrors the lyric on the first line. That line is about separation — “Don’t want your love any more” — and the brothers start the line in unison, but Don’s voice slowly drops relative to Phil’s, so by the end of the line they’re a third apart. It’s like he’s stepping away: [Excerpt: The Everly Brothers, “Cathy’s Clown”] The song’s structure also seems unusual. Wikipedia says it has a chorus and a bridge but no verse, while the Library of Congress disagrees and says it has a verse and a bridge but no chorus. Personally, I’d say that it definitely does have a chorus — the repeated section with the same words and melody each time it’s repeated, with both brothers singing, and with the title of the song at the end, seems as definitively a chorus as one could possibly ask for: [Excerpt: The Everly Brothers, “Cathy’s Clown”] If that’s not a chorus, I’m honestly not sure what is. The reason this comes into question is the other section. I would call that section a verse, and I think most people would, and the song’s structure is a straightforward A-B-A-B repetition which one would normally call verse/chorus. But it’s such a change of pace that it feels like the contrasting section that normally comes with a bridge or middle eight. Indeed the first time I properly learned what a middle eight was — in a column in Mojo magazine in the mid-nineties called Doctor Rock which explained some basic musicology — it was specifically cited as an example of one: [Excerpt: The Everly Brothers, “Cathy’s Clown”] Part of the reason that seems so different is that Don’s singing it solo, while the brothers are duetting on the choruses, and normally Don’s solo lines would be on a bridge or middle eight. Not always, but often enough that that’s what you expect if you’ve listened to a few of their records. But there’s also a change in rhythm. One of the things you’ll notice as we go further into the sixties is that, for a while in the early sixties, the groove in rock and roll — and also in soul — moved away from the swinging, shuffling rhythm you get in most of the fifties music we’ve looked at into a far more straightforward four-four rhythm. In roughly 1961 through 64 or so, you have things like the bam-bam-bam-bam four-on-the-floor beat of early Motown or Four Seasons records, or the chugga-chugga-chugga rhythm of surf guitar, rather than the looser, triplet-based grooves that you’d get in the fifties. And you can hear in “Cathy’s Clown” the shift in those rhythms happening in the song itself. The verses have an almost Latin feel, with lots of loose cymbal work from Buddy Harman: [Excerpt: The Everly Brothers, “Cathy’s Clown”] While the choruses have an almost martial feel to them, a boom-BAP rhythm, and sound like they have two drummers on them: [Excerpt: The Everly Brothers, “Cathy’s Clown”] While I say that sounds like there are two drummers, it’s still just Harman playing. The difference is that here the engineer, Bill Porter, who was the engineer on a lot of the Nashville recordings we’ve looked at, notably the Roy Orbison ones, had just obtained a new device — a tape loop. Now, I’ve seen some people misunderstand what it was that Porter did with this — thinking he looped the drums in the way one would loop things today, just playing the same recording over and over. It wasn’t that. Rather it was a way of doing what Sam Phillips had been doing with tape echo in Sun a few years earlier — there would be an endlessly circulating loop of tape, which had both record and playback heads. The drums would be recorded normally, but would also be recorded onto that tape loop, and then when it played back a few milliseconds later it would sound like a second drummer playing along with the first. It’s an almost inaudible delay, but it’s enough to give a totally different sound to the drums. Porter would physically switch this loop on and off while recording the track live — all the vocals and instruments were recorded live together, onto a three-track tape, and he would turn it on for the choruses and off for the verses. This is an early example of the kind of studio experimentation that would define the way records were made in the sixties. The rhythm that Harman played was also very influential — you can hear that it strongly influenced Paul McCartney if you listen to Beatles records like “What You’re Doing”, “Ticket to Ride”, and “Tomorrow Never Knows”, all of which have drum patterns which were suggested by McCartney, and all of which are strongly reminiscent of the “Cathy’s Clown” chorus. “Cathy’s Clown” topped the charts for five weeks, and sold two million copies. It was an immense success, and the Everlys seemed to be on top of the world. But it was precisely then that problems started for the duo. First, they moved from Nashville to LA. The main reason for that was that as well as being a record contract, their new contract with Warners would give them the opportunity to appear in films, too. So they spent six months taking acting lessons and doing screen tests, before concluding that neither of them could actually act or remember their lines, and wisely decided that they were going to stick to music. The one good thing they took from that six month period was that they rekindled their friendship with the Crickets, and Sonny Curtis wrote them a song called “Walk Right Back”, which made the top ten (and number one in the UK and New Zealand): [Excerpt: The Everly Brothers, “Walk Right Back”] Curtis wrote that song while he was in basic training for the military, and when he got a pass for a few days he’d only written the first verse. He played the song to the brothers while he was out on his pass, and they said they liked it. He told them he’d write a second verse and send it to them, but by the time they received his letter with the lyrics for the second verse, they’d already recorded the song, just repeating the first verse. Curtis wasn’t the only one who had to go into basic military training. The brothers, too, knew they would be drafted sooner rather than later, and so they decided to do as several other acts we’ve discussed did, and sign up voluntarily for six months rather than be drafted for two years. Before they did so, they recorded another song, “Temptation”, an old standard from the thirties: [Excerpt: The Everly Brothers, “Temptation”] And that track marked the beginning of the end of the Everlys as a chart act. Because it was an old standard, the publishing was not owned by Acuff-Rose, and Wesley Rose was furious. He was both their manager and the owner of Acuff-Rose, the biggest publishing company in country music, and things between them had already become strained when the Everlys had moved to California while Rose had stayed in Nashville. Rose insisted that they only release Acuff-Rose songs as singles, and they refused, saying they wanted to put the single out. Rose retaliated in the most staggeringly petty manner imaginable. He stopped managing them, and he blocked them from being sent any new songs by Felice and Boudleaux Bryant. Because he knew they’d already recorded “Love Hurts”, a song written by the Bryants, as an album track, he got Roy Orbison, who he also managed, to record a version and put it out as a B-side, as a spoiler in case the Everlys tried to release their version as a single: [Excerpt: Roy Orbison, “Love Hurts”] Worse than that, even, the Everlys were also signed to Acuff-Rose as songwriters, which meant that they were no longer allowed to record their own songs. For a while they tried writing under pseudonyms, but then Acuff-Rose found out about that and stopped them. For a while, even after basically taking a year away from music and being banned from recording their own songs, the brothers continued having hits. They also started another project — their own record label, Calliope, which would put out their outside projects. For Don, this was a mostly-instrumental adaptation of Elgar’s “Pomp and Circumstance”, which he recorded with an arrangement by Neal Hefti, under the name “Adrian Kimberly”: [Excerpt: Adrian Kimberly, “Pomp and Circumstance”] That made the lower reaches of the US charts, but was banned by the BBC in Britain, because it would offend British patriotic sentiment (for those who don’t know, “Pomp and Circumstance”, under the name “Land of Hope and Glory”, is something of a second national anthem over here). Phil’s side project was a comedy folk group, the Keestone Family Singers, who recorded a parody of the Kingston Trio’s “Raspberries, Strawberries”, written by Glen Hardin of the Crickets: [Excerpt: The Keestone Family Singers, “Cornbread and Chitlings”] The other two singers on that track were people we’re going to hear a lot from in later episodes — a songwriter called Carole King, who a few months later would co-write the Everlys hit “Crying in the Rain”, and a session guitarist named Glen Campbell. But neither of these ventures were particularly successful, and they concentrated on their own records. For a while, they continued having hits. But having no access to the Bryants’ songs, and being unable to record the songs they were writing themselves, they relied more and more on cover versions, right at the point the market was starting to change to being based entirely around artists who wrote their own material. And on top of that, there were personal problems — Don was going through a divorce, and before they were inducted into the Marines, both Don and Phil had started seeing a doctor who gave them what they were told were “vitamin shots” to help them keep their energy up, but were actually amphetamines. Both became addicted, and while Phil managed to kick his addiction quickly, Don became incapacitated by his, collapsing on a UK tour and being hospitalised with what was reported as “food poisoning”, as most overdoses by rock musicians were in the early sixties, leaving Phil to perform on his own while Don recuperated. Their fall in popularity after “Temptation” was precipitous. Between 1957 and early 1961 they had consistently had massive hits. After “Temptation” they had three more top thirty hits, “Don’t Blame Me”, “Crying in the Rain”, and “That’s Old Fashioned”. They continued having regular hits in the UK through 1965, but after “That’s Old Fashioned” in early 1962 their US chart positions went seventy-six, forty-eight, a hundred and seven, a hundred and one, didn’t chart at all, a hundred and thirty-three… you get the idea. They only had two more top forty hits in the US in the rest of their career — “Gone Gone Gone” in 1964, which made number thirty-one, and “Bowling Green” in 1967 which made number forty. Eventually they got the ability to record their own material again, and also to record songs by the Bryants, but the enforced period of several years of relying on cover versions and old standards had left them dead as a commercial act. But surprisingly, they weren’t artistically dead. They did have a slump around the time of Don’s troubles, with a series of weak albums, but by 1965 they’d started making some very strong tracks, covering a stylistic range from soul to country to baroque pop to an entire album, Two Yanks in England, of covers of British songs, backed by the Hollies (who wrote eight of the twelve songs) and a young keyboard player named Reg Dwight, who would later change his name to Elton John: [Excerpt: The Everly Brothers, “Somebody Help Me”] In the middle of this commercial slump came their second album-length masterpiece, “Roots”, an album that, like their earlier “Songs Our Daddy Taught Us”, looked back to the music they’d grown up on., while also looking forward to the future, mixing new songs by contemporary writers like Merle Haggard and Randy Newman with older folk and country songs: [Excerpt: The Everly Brothers, “Illinois”] It stands with the great marriages of Americana, orchestral pop, and psychedelia from around that time, like Randy Newman’s first album and Van Dyke Parks’ Song Cycle, and has many of the same people involved, including producer Lenny Waronker and keyboard player Van Dyke Parks. It’s conceived as a complete piece, with songs fading in and out to excerpts of the Everlys’ performances on the radio with their parents as children, and it’s quite, quite, lovely. And, like those other albums, it was a complete commercial flop. The brothers continued working together for several more years, recording a live album to finish off their ten-year Warners contract, and then switching to RCA, where they recorded a couple of albums of rootsy country-rock in the style of artists they had influenced like Crosby, Stills, Nash and Young. But nothing happened for them commercially, and they were getting less and less happy with working together. The two men argued about literally everything, from who was their father’s real favourite to politics — Phil was an intensely conservative Republican while Don is a liberal Democrat. They ended up travelling separately on tour and staying in separate hotels. It all came to a head in early 1973, when Don announced that their shows at Knotts Berry Farm would be their last, as he was tired of being an Everly brother. For the first of the two shows they were booked for, Don turned up drunk. After a few songs, Phil walked off stage, smashing his guitar. For the second show, Don turned up alone, and when someone in the crowd shouted “Where’s Phil?” He replied “The Everly Brothers died ten years ago”. Both of them had attempts at solo careers for a decade, during which time the only time they saw each other was reportedly at their father’s funeral. They both had minor points of success — an appearance on a film soundtrack here, a backing vocal on a hit record there — but no chart success, until in 1983 Phil had a UK top ten hit with a duet with Cliff Richard, “She Means Nothing to Me”: [Excerpt: Phil Everly and Cliff Richard, “She Means Nothing to Me”] But by this point, the brothers had reconciled, at least to an extent. They would never be close, but they’d regained enough of a relationship to work together, and they came together for a reunion show at the Royal Albert Hall, with a great band led by the country guitarist Albert Lee. That show was followed by a new album, produced by Dave Edmunds and featuring a lead-off single written for the brothers by Paul McCartney, “On the Wings of a Nightingale”: [Excerpt: The Everly Brothers, “On the Wings of a Nightingale”] Over the next twenty-two years, the brothers would record a couple more studio albums, and would frequently guest on records by other people, including performing backing vocals on Paul Simon’s “Graceland”, from his massively successful album of the same name: [Excerpt: Paul Simon, “Graceland”] It was also Simon who enticed them into what turned out to be their final reunion, in 2004, after a period of a few years where once again the brothers hadn’t worked together. Simon had a similarly rocky relationship with his own duet partner Art Garfunkel, and when Simon and Garfunkel did their first tour together in over twenty years, they invited the Everly Brothers to tour with them as guests, doing a short slot by themselves and joining Simon and Garfunkel to perform “Bye Bye Love” together: [Excerpt: The Everly Brothers and Simon & Garfunkel, “Bye Bye Love”] The year after that, they did what was to be their final tour, and I was lucky enough to see one of those shows myself. More than fifty years after they started performing together, they still sounded astonishing, and while they were apparently once again not on speaking terms offstage, you would never have known it from their effortless blend on stage, the kind of close harmony that you can only get when you know someone else’s voice as well as your own. After that tour, Phil Everly’s health put an end to the Everly Brothers — he died in 2014 from COPD, a lung disease brought on by his smoking, and for many years before that he had to use an oxygen tank at all times. That wasn’t an end to Everly infighting though — the most recent court date in the ongoing lawsuit between Phil’s estate and Don over the credit for “Cathy’s Clown” was only last month. But even though their relationship was fraught, they were still brothers, and Don has talked movingly of how he speaks every day to the portion of Phil’s ashes that he has in his house. The bonds that held them together were the same things that drove them apart, but Don knows that no matter how much longer he lives, he will always be one of the Everly Brothers.

Episode eighty-eight of A History of Rock Music in Five Hundred Songs looks at "Cathy's Clown" by The Everly Brothers, and at how after signing the biggest contract in music business history their career was sabotaged by their manager. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Poetry in Motion" by Johnny Tillotson.  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there's a decent one in French, but I don't speak French well enough for that). Ike's Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it's been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. This collection has all the Everlys' recordings up to the end of 1962.  I would also recommend this recently-released box set containing expanded versions of their three last studio albums for Warners, including Roots, which I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript   This week we're going to look at the Everly Brothers' first and biggest hit of the sixties, a song that established them as hit songwriters in their own right, which was more personal than anything they'd released earlier, and which was a big enough hit that it saved what was to become a major record label. We're going to look at "Cathy's Clown": [Excerpt: The Everly Brothers, "Cathy's Clown"] When we left the Everly Brothers, six months ago, we had seen them have their first chart hits and record the classic album Songs Our Daddy Taught Us, an album that prefigured by several years the later sixties folk music revival, and which is better than much of the music that came out of that later scene. Both artistically and commercially, they were as successful as any artists of the early rock era. But Don Everly, in particular, wanted them to have more artistic control themselves -- and if they could move to a bigger label as well, that was all the better. But as it happens, they didn't move to a bigger label, just a richer one. Warner Brothers Records had started in 1958, and had largely started because of changes in the film industry. In the late 1940s and early fifties, the film industry was being hit on all sides. Anti-trust legislation meant that the film studios had to get rid of the cinema chains they owned, losing a massive revenue stream (and also losing the opportunity to ensure that their films got shown no matter how poor their reputation). A series of lawsuits from actors had largely destroyed the star system on which the major studios relied, and then television became a huge factor in the entertainment industry, cutting further into the film studios' profits. An aside about that -- one of the big reasons for the growth of television as America's dominant entertainment medium is racism. In the thirties and forties, there had been huge waves of black people moving from rural areas to the cities in search of work, and we've looked at that and the way that led to the creation of rhythm and blues in many of the previous episodes. After World War II there was a corresponding period of white flight, where white people moved en masse away from the big cities and into small towns and suburbs, to get away from black people. This is largely what led to America's car culture and general lack of public transport, because low-population-density areas aren't as easy to serve with reliable public transport. And in the same way it's also uneconomical to run mass entertainment venues like theatres and cinemas in low-population-density areas, and going to the cinema becomes much less enticing if you have to drive twenty miles to get to one, rather than walking down the street. So white flight had essentially meant the start of a process by which entertainment in America moved from the public sphere to the private one. This is also a big reason for the boom in record sales in the middle decades of last century -- records are private entertainment, as opposed to going out to a dance or a show. And this left the big film studios in dire straits. But while they were down on their luck when it came to films, Warners were doing very well in the music publishing business, where unlike their ownership of cinemas they didn't have to get rid of their properties. Warners had always owned the songs used in their films, and indeed one of the reasons that Looney Tunes and Merrie Melodies existed in the first place was so that they could plug songs that Warners owned. When Tex Avery has Owl Jolson singing "I Love to Singa": [Excerpt: “Owl Jolson”, "I Love to Singa"] That's a song that had originally appeared in a Warners feature film a few months earlier, sung by Al Jolson and Cab Calloway: [Excerpt: Al Jolson and Cab Calloway, "I Love to Singa"] So Warners were making money from the music industry. But then they realised something. Tab Hunter, one of their film stars under contract to them, had started to have hit records. His record "Young Love" spent six weeks at number one: [Excerpt: Tab Hunter, "Young Love"] And whenever he was interviewed to promote a film, all the interviewers would ask about was his music career. That was bad enough -- after all, he wasn't signed to Warners as a singer, he was meant to be a film star -- but what was worse was that the label Hunter was on, Dot Records, was owned by a rival film studio, Paramount. Warners would go to all the trouble of getting an interview set up for their star, and then all it would do was put money into Paramount's pocket! They needed to get into the record business themselves, as a way to exploit their song catalogue if nothing else. At first they thought about just buying Imperial Records, but when that deal fell through they started their own label, and signed Hunter to it right at the point that his career nosedived. In the first two years that Warner Brothers Records existed, they only had two hit singles -- "Kookie Kookie Lend Me Your Comb", a record based on the Warner-owned TV series 77 Sunset Strip and co-performed by one of that series' stars, Edd Byrnes: [Excerpt: Edd Byrnes and Connie Stevens, "Kookie Kookie Lend Me Your Comb"] And another record by Connie Stevens, who also sang on "Kookie Kookie Lend Me Your Comb", and was the star of a different Warners TV series, Hawaiian Eye: [Excerpt: Connie Stevens, "Sixteen Reasons"] Everything else they released flopped badly. After two years they had lost three million dollars, and would have closed down the label altogether, except the label was owed another two million, and they didn't want to write that off. The main reason for these losses was that the label was mostly releasing stuff aimed at the easy listening adult album market, records by people like Henry Mancini, and at the time the singles market was where the money was, and the singles market was dominated by young people. They needed some records that would appeal to young people. They decided that they needed the Everly Brothers. At the beginning of 1960, the duo had released ten singles since May 1957, of which nine had charted, as had four of the B-sides. They'd topped the pop charts twice, the R&B charts twice, and the country charts four times. At a time when even the biggest stars would occasionally release the odd flop, they were as close to a guaranteed hit-making machine as existed in the music industry. And they were looking to get away from Cadence Records, for reasons that have never been made completely clear. It's usually said that they had artistic differences with Cadence, but at the same time they always credited Archie Bleyer from Cadence with being the perfect arranger for them -- he arranged their final Cadence single, "Let it Be Me": [Excerpt: The Everly Brothers, "Let it Be Me"] But for whatever reason, the Everlys *were* looking to find a new label, and Warner Brothers were desperate enough that they signed them up to the biggest contract ever signed in music business history up to that point. Remember that four years earlier, when Elvis had signed with RCA records, they'd paid a one-off fee of forty thousand dollars and *that* was reportedly the largest advance ever paid in the industry up until that point. Now, the Everlys were signing to Warners on a ten-year contract, with a guaranteed advance of one hundred thousand dollars a year for those ten years -- the first million-dollar contract in music history. They were set up until 1970, and were sure to provide Warners with a string of hits that would last out the decade -- or so it seemed at first. Their first recording for the label had an unusual melodic inspiration. Ferde Grofé was an arranger and orchestrator for Paul Whiteman's jazz band in the 1920s and thirties. He's particularly known these days for having been the original arranger of Gershwin's "Rhapsody in Blue" -- Gershwin had written it for two pianos, and it was Grofé who had come up with the instrumental colouring that these days we think of as being so important to that piece: [Excerpt: Paul Whiteman "Rhapsody in Blue (original 1924 recording)"] Grofé had written a piece in 1931 called the "Grand Canyon Suite", and its third movement, "On the Trail" had become the most popular piece of music he ever wrote. Disney made an Oscar-winning short with the suite as its soundtrack in 1958, and you can still hear "On the Trail" to this day in the Grand Canyon section of the Disneyland Railroad. But "On the Trail" was best known as the music that Phillip Morris used in their radio and TV commercials from the thirties through to the sixties. Here's a bit from the original Whiteman recording of the piece: [Excerpt: Paul Whiteman, "Grand Canyon Suite: On the Trail"] Don took that melodic inspiration, and combined it with two sources of lyrical inspiration -- when his dad had been a child, he'd had a crush on a girl named Mary, who hadn't been interested, and his schoolfriends had taunted him by singing "Mary had a little Ike" at him. The other key to the song came when Don started thinking about an old crush of his own, a girl from his school called Catherine Coe -- though in later years he was at pains to point out that the song wasn't actually about her. They took the resulting song into the studio with the normal members of the Nashville A-Team, and it became only their second hit single with an A-side written by one of the brothers, reaching number one on both the pop and R&B charts: [Excerpt: The Everly Brothers, "Cathy's Clown"] I say it's written by Don -- the original issue of the record credited the songwriting to both Don and Phil, but Phil signed an agreement in 1980 relinquishing his claim to the song, and his name was taken off all future copies. It sounds to me like Don's writing style, and all the anecdotes about its writing talk about him without mentioning any input from Phil, so I'm assuming for these purposes that it's a Don solo composition. Listening to the record, which was the first that the duo produced for themselves, as well as being their first for Warners, you can hear why Don was at times dissatisfied with the songs that Felice and Boudleaux Bryant had written for the brothers. It's a sophisticated piece of work in a number of different ways. For a start, there's the way the music mirrors the lyric on the first line. That line is about separation -- "Don't want your love any more" -- and the brothers start the line in unison, but Don's voice slowly drops relative to Phil's, so by the end of the line they're a third apart. It's like he's stepping away: [Excerpt: The Everly Brothers, "Cathy's Clown"] The song's structure also seems unusual. Wikipedia says it has a chorus and a bridge but no verse, while the Library of Congress disagrees and says it has a verse and a bridge but no chorus. Personally, I'd say that it definitely does have a chorus -- the repeated section with the same words and melody each time it's repeated, with both brothers singing, and with the title of the song at the end, seems as definitively a chorus as one could possibly ask for: [Excerpt: The Everly Brothers, "Cathy's Clown"] If that's not a chorus, I'm honestly not sure what is. The reason this comes into question is the other section. I would call that section a verse, and I think most people would, and the song's structure is a straightforward A-B-A-B repetition which one would normally call verse/chorus. But it's such a change of pace that it feels like the contrasting section that normally comes with a bridge or middle eight. Indeed the first time I properly learned what a middle eight was -- in a column in Mojo magazine in the mid-nineties called Doctor Rock which explained some basic musicology -- it was specifically cited as an example of one: [Excerpt: The Everly Brothers, "Cathy's Clown"] Part of the reason that seems so different is that Don's singing it solo, while the brothers are duetting on the choruses, and normally Don's solo lines would be on a bridge or middle eight. Not always, but often enough that that's what you expect if you've listened to a few of their records. But there's also a change in rhythm. One of the things you'll notice as we go further into the sixties is that, for a while in the early sixties, the groove in rock and roll -- and also in soul -- moved away from the swinging, shuffling rhythm you get in most of the fifties music we've looked at into a far more straightforward four-four rhythm. In roughly 1961 through 64 or so, you have things like the bam-bam-bam-bam four-on-the-floor beat of early Motown or Four Seasons records, or the chugga-chugga-chugga rhythm of surf guitar, rather than the looser, triplet-based grooves that you'd get in the fifties. And you can hear in "Cathy's Clown" the shift in those rhythms happening in the song itself. The verses have an almost Latin feel, with lots of loose cymbal work from Buddy Harman: [Excerpt: The Everly Brothers, "Cathy's Clown"] While the choruses have an almost martial feel to them, a boom-BAP rhythm, and sound like they have two drummers on them: [Excerpt: The Everly Brothers, "Cathy's Clown"] While I say that sounds like there are two drummers, it's still just Harman playing. The difference is that here the engineer, Bill Porter, who was the engineer on a lot of the Nashville recordings we've looked at, notably the Roy Orbison ones, had just obtained a new device -- a tape loop. Now, I've seen some people misunderstand what it was that Porter did with this -- thinking he looped the drums in the way one would loop things today, just playing the same recording over and over. It wasn't that. Rather it was a way of doing what Sam Phillips had been doing with tape echo in Sun a few years earlier -- there would be an endlessly circulating loop of tape, which had both record and playback heads. The drums would be recorded normally, but would also be recorded onto that tape loop, and then when it played back a few milliseconds later it would sound like a second drummer playing along with the first. It's an almost inaudible delay, but it's enough to give a totally different sound to the drums. Porter would physically switch this loop on and off while recording the track live -- all the vocals and instruments were recorded live together, onto a three-track tape, and he would turn it on for the choruses and off for the verses. This is an early example of the kind of studio experimentation that would define the way records were made in the sixties. The rhythm that Harman played was also very influential -- you can hear that it strongly influenced Paul McCartney if you listen to Beatles records like "What You're Doing", "Ticket to Ride", and "Tomorrow Never Knows", all of which have drum patterns which were suggested by McCartney, and all of which are strongly reminiscent of the "Cathy's Clown" chorus. "Cathy's Clown" topped the charts for five weeks, and sold two million copies. It was an immense success, and the Everlys seemed to be on top of the world. But it was precisely then that problems started for the duo. First, they moved from Nashville to LA. The main reason for that was that as well as being a record contract, their new contract with Warners would give them the opportunity to appear in films, too. So they spent six months taking acting lessons and doing screen tests, before concluding that neither of them could actually act or remember their lines, and wisely decided that they were going to stick to music. The one good thing they took from that six month period was that they rekindled their friendship with the Crickets, and Sonny Curtis wrote them a song called "Walk Right Back", which made the top ten (and number one in the UK and New Zealand): [Excerpt: The Everly Brothers, "Walk Right Back"] Curtis wrote that song while he was in basic training for the military, and when he got a pass for a few days he'd only written the first verse. He played the song to the brothers while he was out on his pass, and they said they liked it. He told them he'd write a second verse and send it to them, but by the time they received his letter with the lyrics for the second verse, they'd already recorded the song, just repeating the first verse. Curtis wasn't the only one who had to go into basic military training. The brothers, too, knew they would be drafted sooner rather than later, and so they decided to do as several other acts we've discussed did, and sign up voluntarily for six months rather than be drafted for two years. Before they did so, they recorded another song, "Temptation", an old standard from the thirties: [Excerpt: The Everly Brothers, "Temptation"] And that track marked the beginning of the end of the Everlys as a chart act. Because it was an old standard, the publishing was not owned by Acuff-Rose, and Wesley Rose was furious. He was both their manager and the owner of Acuff-Rose, the biggest publishing company in country music, and things between them had already become strained when the Everlys had moved to California while Rose had stayed in Nashville. Rose insisted that they only release Acuff-Rose songs as singles, and they refused, saying they wanted to put the single out. Rose retaliated in the most staggeringly petty manner imaginable. He stopped managing them, and he blocked them from being sent any new songs by Felice and Boudleaux Bryant. Because he knew they'd already recorded "Love Hurts", a song written by the Bryants, as an album track, he got Roy Orbison, who he also managed, to record a version and put it out as a B-side, as a spoiler in case the Everlys tried to release their version as a single: [Excerpt: Roy Orbison, "Love Hurts"] Worse than that, even, the Everlys were also signed to Acuff-Rose as songwriters, which meant that they were no longer allowed to record their own songs. For a while they tried writing under pseudonyms, but then Acuff-Rose found out about that and stopped them. For a while, even after basically taking a year away from music and being banned from recording their own songs, the brothers continued having hits. They also started another project -- their own record label, Calliope, which would put out their outside projects. For Don, this was a mostly-instrumental adaptation of Elgar's "Pomp and Circumstance", which he recorded with an arrangement by Neal Hefti, under the name "Adrian Kimberly": [Excerpt: Adrian Kimberly, "Pomp and Circumstance"] That made the lower reaches of the US charts, but was banned by the BBC in Britain, because it would offend British patriotic sentiment (for those who don't know, "Pomp and Circumstance", under the name "Land of Hope and Glory", is something of a second national anthem over here). Phil's side project was a comedy folk group, the Keestone Family Singers, who recorded a parody of the Kingston Trio's "Raspberries, Strawberries", written by Glen Hardin of the Crickets: [Excerpt: The Keestone Family Singers, "Cornbread and Chitlings"] The other two singers on that track were people we're going to hear a lot from in later episodes -- a songwriter called Carole King, who a few months later would co-write the Everlys hit "Crying in the Rain", and a session guitarist named Glen Campbell. But neither of these ventures were particularly successful, and they concentrated on their own records. For a while, they continued having hits. But having no access to the Bryants' songs, and being unable to record the songs they were writing themselves, they relied more and more on cover versions, right at the point the market was starting to change to being based entirely around artists who wrote their own material. And on top of that, there were personal problems -- Don was going through a divorce, and before they were inducted into the Marines, both Don and Phil had started seeing a doctor who gave them what they were told were "vitamin shots" to help them keep their energy up, but were actually amphetamines. Both became addicted, and while Phil managed to kick his addiction quickly, Don became incapacitated by his, collapsing on a UK tour and being hospitalised with what was reported as "food poisoning", as most overdoses by rock musicians were in the early sixties, leaving Phil to perform on his own while Don recuperated. Their fall in popularity after "Temptation" was precipitous. Between 1957 and early 1961 they had consistently had massive hits. After "Temptation" they had three more top thirty hits, "Don't Blame Me", "Crying in the Rain", and "That's Old Fashioned". They continued having regular hits in the UK through 1965, but after "That's Old Fashioned" in early 1962 their US chart positions went seventy-six, forty-eight, a hundred and seven, a hundred and one, didn't chart at all, a hundred and thirty-three... you get the idea. They only had two more top forty hits in the US in the rest of their career -- "Gone Gone Gone" in 1964, which made number thirty-one, and "Bowling Green" in 1967 which made number forty. Eventually they got the ability to record their own material again, and also to record songs by the Bryants, but the enforced period of several years of relying on cover versions and old standards had left them dead as a commercial act. But surprisingly, they weren't artistically dead. They did have a slump around the time of Don's troubles, with a series of weak albums, but by 1965 they'd started making some very strong tracks, covering a stylistic range from soul to country to baroque pop to an entire album, Two Yanks in England, of covers of British songs, backed by the Hollies (who wrote eight of the twelve songs) and a young keyboard player named Reg Dwight, who would later change his name to Elton John: [Excerpt: The Everly Brothers, "Somebody Help Me"] In the middle of this commercial slump came their second album-length masterpiece, "Roots", an album that, like their earlier "Songs Our Daddy Taught Us", looked back to the music they'd grown up on., while also looking forward to the future, mixing new songs by contemporary writers like Merle Haggard and Randy Newman with older folk and country songs: [Excerpt: The Everly Brothers, "Illinois"] It stands with the great marriages of Americana, orchestral pop, and psychedelia from around that time, like Randy Newman's first album and Van Dyke Parks' Song Cycle, and has many of the same people involved, including producer Lenny Waronker and keyboard player Van Dyke Parks. It's conceived as a complete piece, with songs fading in and out to excerpts of the Everlys' performances on the radio with their parents as children, and it's quite, quite, lovely. And, like those other albums, it was a complete commercial flop. The brothers continued working together for several more years, recording a live album to finish off their ten-year Warners contract, and then switching to RCA, where they recorded a couple of albums of rootsy country-rock in the style of artists they had influenced like Crosby, Stills, Nash and Young. But nothing happened for them commercially, and they were getting less and less happy with working together. The two men argued about literally everything, from who was their father's real favourite to politics -- Phil was an intensely conservative Republican while Don is a liberal Democrat. They ended up travelling separately on tour and staying in separate hotels. It all came to a head in early 1973, when Don announced that their shows at Knotts Berry Farm would be their last, as he was tired of being an Everly brother. For the first of the two shows they were booked for, Don turned up drunk. After a few songs, Phil walked off stage, smashing his guitar. For the second show, Don turned up alone, and when someone in the crowd shouted "Where's Phil?" He replied "The Everly Brothers died ten years ago". Both of them had attempts at solo careers for a decade, during which time the only time they saw each other was reportedly at their father's funeral. They both had minor points of success -- an appearance on a film soundtrack here, a backing vocal on a hit record there -- but no chart success, until in 1983 Phil had a UK top ten hit with a duet with Cliff Richard, "She Means Nothing to Me": [Excerpt: Phil Everly and Cliff Richard, "She Means Nothing to Me"] But by this point, the brothers had reconciled, at least to an extent. They would never be close, but they'd regained enough of a relationship to work together, and they came together for a reunion show at the Royal Albert Hall, with a great band led by the country guitarist Albert Lee. That show was followed by a new album, produced by Dave Edmunds and featuring a lead-off single written for the brothers by Paul McCartney, "On the Wings of a Nightingale": [Excerpt: The Everly Brothers, "On the Wings of a Nightingale"] Over the next twenty-two years, the brothers would record a couple more studio albums, and would frequently guest on records by other people, including performing backing vocals on Paul Simon's "Graceland", from his massively successful album of the same name: [Excerpt: Paul Simon, "Graceland"] It was also Simon who enticed them into what turned out to be their final reunion, in 2004, after a period of a few years where once again the brothers hadn't worked together. Simon had a similarly rocky relationship with his own duet partner Art Garfunkel, and when Simon and Garfunkel did their first tour together in over twenty years, they invited the Everly Brothers to tour with them as guests, doing a short slot by themselves and joining Simon and Garfunkel to perform "Bye Bye Love" together: [Excerpt: The Everly Brothers and Simon & Garfunkel, "Bye Bye Love"] The year after that, they did what was to be their final tour, and I was lucky enough to see one of those shows myself. More than fifty years after they started performing together, they still sounded astonishing, and while they were apparently once again not on speaking terms offstage, you would never have known it from their effortless blend on stage, the kind of close harmony that you can only get when you know someone else's voice as well as your own. After that tour, Phil Everly's health put an end to the Everly Brothers -- he died in 2014 from COPD, a lung disease brought on by his smoking, and for many years before that he had to use an oxygen tank at all times. That wasn't an end to Everly infighting though -- the most recent court date in the ongoing lawsuit between Phil's estate and Don over the credit for "Cathy's Clown" was only last month. But even though their relationship was fraught, they were still brothers, and Don has talked movingly of how he speaks every day to the portion of Phil's ashes that he has in his house. The bonds that held them together were the same things that drove them apart, but Don knows that no matter how much longer he lives, he will always be one of the Everly Brothers.

In this episode, Pastor Jared Bryant of Bethel Church shares his testimony and his passion for global missions. We discuss the definition of “missions,” and also how pastors and missionaries can work together to spread the Word of God to the many unreached people groups that still exist today. We also talk about how Bethel Church has launched a new campus for Chinese speakers and is in the process of launching one for Spanish speakers. He shares what starting projects like these look like, and how God brought it all together. Jared's passion for missions, cultures, and the Gospel is infectious, and I'm sure you'll feel encouraged to do your part in spreading the Good News after listening to what he has to say. Also, I also give a quick update to how Paola and I are doing, and what we have been up to during the last few weeks. So, this podcast might be moving to Wednesdays in the future. I'm not sure yet when or if that'll happen quite yet. Hopefully soon, I'll be doing some sort of “bonus” episodes. I'm not exactly sure what that'll be like, but I hope you like it!... whatever it ends up being… and whenever it comes out… Anywho, see you next week! Please keep us, Bryants, and Peru in general in your prayers this week. P.S. Let me know if the audio quality on this episode is different or worse than in previous ones. I forgot to put up the blankets against the walls like I normally do. I hope it wasn't a huge mistake not to! It sounded good on my end, but let me know what you think. Bethel Church and Ministries: https://bethelweb.org/ “Redeemed” and “You Reign” by We The Readers Our Social Media Contact Info: IG: https://www.instagram.com/cnpfreytheviewfromperu/ FB: https://www.facebook.com/cmfrey427/ Email: cmfrey427@gmail.com Anchor: https://anchor.fm/theviewfromperu YouTube: https://www.youtube.com/channel/UCWKTmvlvau0RMEuoTmaadlg If the Lord has placed it on your heart to support Paola and me with either a single or monthly monetary gift, in the show notes are the instructions, as well as links to our Facebook, Instagram, and YouTube channels. - Donate online, as follows: • Go to https://www.nics.org/donate/ Choose Donate Now. • For Designation, choose “Staff Support.” • A box will pop up that says “Staff Name or Project Number.” Type in Missionary's Name, project #004017. • Type in the amount to give, along with any comments. --- Send in a voice message: https://anchor.fm/theviewfromperu/message

On this episode, The host of the show Justin McCarthy talks about how Kobe Bryants death has affected the youth of America. This is Episode #003 of the AthletesinAdversity Podcast! Instagram: @AthletesInAdversity Twitter: @AthletesPod Facebook: AthletesinAdversity Youtube: AthletesinAdversity The Merch Shop is Open! https://teespring.com/stores/athletesinadversity-store --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/athletesinadversity/message Support this podcast: https://anchor.fm/athletesinadversity/support

On this weeks episode we celebrate the last week of Black History Month by acknowledging and paying homage to a young Black Doctor.  His name is Dr. Umoren and he comes on Cherie's World to inform us on the Coronavirus, health insurance, whats it like being a young African American doctor, and more. After we talk with Dr. Umoren the ladies from Legacy Kits calls in to talk about their curriculum and teaching children about Black History.  You all know that I am a home school mom so teaching and informing our children that Black History did not start with SLAVERY has been my focus. Follow Cherie's World Podcast page on Instagram, https://instagram.com/cheriesworldpod... Follow Cherie on Instagram https://instagram.com/cheriejohnson75... Like Cherie on Facebook https://www.facebook.com/Cherie-Johns... Follow Cherie on Twitter https://twitter.com/cheriejohnson75 Subscribe to Cherie's World on Apple Podcasts AND PLEASE LEAVE A 5 STAR RATING AND A REVIEW https://podcasts.apple.com/us/podcast... If you would like to advertise or have your business or product featured on Cherie's World and Cherie's social media email us at cheriesworldpodcast@gmail.com http://cheriesworldpodcast.com/ Also this week Courtney picks my brain and gets messy with his questions about this weeks trending news and Gossip topics. You all know I don't do gossip but I play along anyway.  

Today, mourners gather at Staples Center in Los Angeles to honor Kobe and Gigi Bryant. The Lakers legend, 41, died in a helicopter crash last month, along with his 13-year-old daughter and seven others. ESPN's Ramona Shelburne covered Kobe for almost all of his 20 years with the team. She shares what it's been like inside the Lakers organization since his death, with stories from longtime friends like general manager Rob Pelinka, and those more newly close to the Bryants, like LeBron James.

Today, mourners gather at Staples Center in Los Angeles to honor Kobe and Gigi Bryant. The Lakers legend, 41, died in a helicopter crash last month, along with his 13-year-old daughter and seven others. ESPN's Ramona Shelburne covered Kobe for almost all of his 20 years with the team. She shares what it's been like inside the Lakers organization since his death, with stories from longtime friends like general manager Rob Pelinka, and those more newly close to the Bryants, like LeBron James.

Vanessa Bryant pens down her heartbreaking feelings towards the passing of her husband Kobe and their 13 year old daughter Gianna.

Spend an hour listening to us two navigate recapping January directly after attending the XFL season opener for the NY Guardians. Do I have a detailed timeline of topics covered for you? No. Should I? Yea probably so here is the rough cut. Randy catches himself from getting us cancelled before the podcast starts, then we deep dive into Randy's birthday and dry January for the first 15. Pull out your tissues for the next 10 minutes as we take a turn for the introspective talking about the Bryants passing, and then try to right the ship with some XFL talk. Exactly 30 minutes in the recording cuts out due to system limitations with our free podcast creation platform but we push on, closing out XFL topic with some old stories. Last 20 minutes we go over some segments which include, "Tik Tok update", "Bearish and Bullish", and "Excel tips with John." Thank you for reading this incredibly long podcast description and thanks 100 times over for listening. Best, JB&RK --- Send in a voice message: https://anchor.fm/john-brzozowski/message

Vanessa Bryant is mourning the death of her loving 13-year-old daughter, Gianna and husband Kobe at Gigi’s Jersey retirement.

MLS Preseason is in full effect with new signings, new kits, and preseason games. LAFC get another preseason victory and El Rayito opens up his account. South of the border, a new league is being created in Mexico, can it compete against Liga Mx? In the EPL, Liverpool continue their insane pace with another win this time over Southampton. The league is pretty much over. Man U finally get their man but end up drawing to Wolves, how much better can one player make them? In Spain, Madrid and Altetico face off. CR7 looks to be making an early case for a 6 Ballon D'Or, can he keep up his pace through the year? In Lakers news, the memorial for the Bryants and all the victims of the crash continue. Lebron makes an impassioned  speech before the first game at Staples since the accident. The result didn't go their way but the undertones of what occurred loomed large. Its Superbowl weekend and the class of 2020 Hall of Famers were announced. Lamar Jackson gets voted, unanimously, MVP.  As always thank you for listening and as always please listen, subscribe, rate, and comment. ✌️  

AMJAD und KEFF auch bekannt als KEFF VIDALA - Bestseller Autor und AMJAD bekannt als Stand-Up Comedian Sie debattieren Wöchentlich über Themen, die Deutschland und die Welt bewegt.

DBU har foretaget en undersøgelse, der belyser diversiteten i dansk breddefodbold, og så kigger vi på, hvad man stiller op med en tennislegende, der ikke har de holdninger, som man gewrne skulle have. Der bliver også tid til at kigge på Kobe Bryants eftermæle og sko, der er lidt for gode til at være fair. Medvirkende: Peter Kobbersmed, DR Sporten. Asker Hedegaard Boye, Weekendavisen.

Los Angeles Yud Shevat 5780 Farbrengen: On Sunday evening, 1 Shevat, 5780, January 26, 2020, Rabbi YY Jacobson addressed the Chabad communities of Southern California, in preparation to Yud Shevat 5780, 70th yartzeit of the sixth Lubavitcher rebbe, the Rebbe Rayatz, and 70th year of the Lubavitcher rebbes leadership.

Rest In Peace to Kobe and Gigi. I would have liked to talk more about it in this episode but I can't even begin to put my thoughts into words. I am beyond heart broken I have cried many tears and I wish nothing but happiness to the Bryants and the other families affected by the accident. Coronavirus is going to end the world https://www.cdc.gov/coronavirus/index.html Grammys happened and billie eilish sweeped top awards https://www.nytimes.com/2020/01/26/arts/music/grammy-awards.html Nintendo Theme Park to Open at Universal Orlando in 2023 https://www.highsnobiety.com/p/nintendo-theme-park-universal-orlando/ What would be your dream music festival lineu http://www.rollingloud.com/home Snoop Dogg made a sandwich for Dunkin'. It comes with a donut bun https://www.cnn.com/2020/01/13/business/dunkin-donuts-beyond-meat-snoop-dogg/index.html

Kobe's Bryants wife breaks her silence, Nicki Minajs brother charged with child rape and more

The hottest topics in the A.M. today we talking how did kobe Bryants death effect you

The hottest topics in the A.M. today we talking how did kobe Bryants death effect you

This week, Josh and Evan talk about the tragic passing of Kobe Bryant. On Jan. 26, Kobe Bryant, his 13-year-old daughter Gianna, and 7 others passed away in a helicopter accident. This accident deeply impacted Evan as Kobe was/is his favorite athlete and the reason for Evan being the NBA and sport fan he is today. The guys discuss the magnitude of an event like this, how to deal with such an unprecedented situation, and their feelings on the whole thing. There are some Fact of the Week tidbits mixed in. We recognize that this episode may not resonate with everyone, but we felt it was necessary to talk about it and remind ourselves that life is fragile and meaningful. Kobe Bryant was 41 years old and is survived by his wife and three daughters. Our thoughts and prayers are with the Bryants, the families of the other passengers, and anyone affected by this tragedy.

KD In this episode discusses the tragic loss of Kobe Bryant and his daughter and the people on board the helicopter that crashed into the California mountain two days ago. He rips a comedian and internet for poor judge mental remarks in light of Kobe’s death! Touching episode! Thank you Mamba! And RIP TO ALL INVOLVED

KD In this episode discusses the tragic loss of Kobe Bryant and his daughter and the people on board the helicopter that crashed into the California mountain two days ago. He rips a comedian and internet for poor judge mental remarks in light of Kobe’s death! Touching episode! Thank you Mamba! And RIP TO ALL INVOLVED

Morgonen får en lite trevande start när David och Katherine sänder själva första halvtimmen. Snacket leder in på stela relationer med pappor och "jag skrev till pappa att jag älskar honom-jao" föds. Senare kommer Kodjo in och tar sig an utmaningen att lära sig gå ner i split på en vecka! Vi gästas även av journalisten Amat Levin och pratar om basketspelaren Kobe Bryant och arvet han lämnar bakom sig.

Nyhetssändning från kulturredaktionen P1, med reportage, nyheter och recensioner.

KD In this episode discusses the tragic loss of Kobe Bryant and his daughter and the people on board the helicopter that crashed into the California mountain two days ago. He rips a comedian and internet for poor judge mental remarks in light of Kobe’s death! Touching episode! Thank you Mamba! And RIP TO ALL INVOLVED

KD In this episode discusses the tragic loss of Kobe Bryant and his daughter and the people on board the helicopter that crashed into the California mountain two days ago. He rips a comedian and internet for poor judge mental remarks in light of Kobe’s death! Touching episode! Thank you Mamba! And RIP TO ALL INVOLVED

Emma Frans om hur coronaviruset står sig i epidemi-konkurrensen. Jimmy från GBG om sin gynstolsupplevelse. Kakan om: sina dyra lerkrukor. Sitt filmprojekt. Kalle Moraeus okunskap i Alla mot alla. Kluvenheten till Kobe Bryant pga våldtäktsanklagelser. Sveriges bästa manliga mediabranschkollega. Lesbiskas aversion till kemsexpartyn. Plats 91 på Jespers bebishjärna-lista. Patron-exklusivt: Kakan och Jesper tävlar i HBTQ-quiz. Varför straffsänkning för barnporrgubbe ev är rimligt. Hela intervjun med Kakan Hermansson. See acast.com/privacy for privacy and opt-out information.

As the country continues to deal with the news that NBA star Kobe Bryant was killed on Sunday in a helicopter crash in California - Roger and JP discuss the tragedy - and play some audio from the NBA games on Sunday night as well as tributes done on stage at the Grammy's

Alex and David are joined by Personal Foul Podcast host and Lakers fan, Colton Gesser, to reflect on the life and career of Kobe Bryant. Also, some former guests of the show leave their memories and thought on Kobe and the tragedy as well. Keeping the Bryants and the families of the 7 others killed in out hearts. Mamba out.

De-Occulting the Kobe Byrant crash and looking into the numerology and gematria behind the event.

INSTAGRAM: @BILLBOARD_B

Ein genialer Mensch ist gestern verstorben. Aber seine Arbeitsmoral wird Menschen noch für sehr lange Zeit motivieren.

This week we discuss Christian celebrities. Is this a good thing? Are Christians being fair to celebrities? Should we believe everything we hear? Listen to hear our take! On the episode this week are Anthony, Rashann, Jamie, and the Bryants, Andy and Rebecca. Enjoy! Connect with us! Instagram: @Not99Podcast Twitter: @Not99Podcast Facebook: www.Facebook.com/Not99Podcast Email: Not99Podcast@gmail.com

Episode fifty-six of A History of Rock Music in Five Hundred Songs looks at "Bye Bye Love" by The Everly Brotherss, and at the history of country close harmony. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on "Short Fat Fannie" by Larry Williams.  ----more----   Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there's a decent one in French, but I don't speak French well enough for that). Ike's Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it's been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. How Nashville Became Music City by Michael Kosser has a good amount of information on the Bryants. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. There are many, many cheap compilations of the Everly Brothers' early material available. I'd recommend this one, because as well as all the hits up to 1962 it has the complete Songs our Daddy Taught Us.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript [Intro: Ike Everly introducing the Everly Brothers] We've talked before about how vocal harmonies are no longer a big part of rock music, but were essential to it in the fifties and sixties. But what we've not discussed is that there are multiple different types of harmony that we see in the music of that period. One, which we've already seen, is the vocal group sound -- the sound of doo-wop. There, there might be a lead singer, but everyone involved has their own important role to play, singing separate backing vocal lines that intertwine. One singer will be taking a bass melody, another will be singing a falsetto line, and so on. It's the sound of a collection of individual personalities, working together but to their own agendas. Another style which we're going to look at soon is the girl group sound. There you have a lead singer singing a line on her own, and two or three backing vocalists echoing lines on the chorus -- it's the sound of a couple of friends providing support for someone who's in trouble. The lead singer will sing her problems, and the friends will respond with something supportive. Then there's the style which Elvis used -- a single lead vocalist over a group of backing vocalists, mostly providing "oohs" and "aahs". The backing vocals here just work as another instrumental texture. But there's one style which would be as influential as any of these, and which was brought into rock and roll by a single act -- a duo who, more than anyone else in rock music, epitomised vocal harmony: [Excerpt: The Everly Brothers, "Bye Bye Love"] Don and Phil Everly were brought up in music. Their father, Ike Everly, had been a coalminer in Muhlenberg County, Kentucky, but decided to quit coal mining and become a professional musician when he was trapped in his second cave-in, deciding he wasn't ever going to go through that a third time. He had learned a particular guitar style, which would later become known as "Travis picking" after its most famous exponent, Merle Travis -- though Travis himself usually referred to it as "Muhlenberg picking". Travis and Ike Everly knew each other, and it was Ike Everly, and Ike's friend Mose Rager, who taught Travis how to play in that style, which they had learned from another friend, Kennedy Jones, who in turn learned it from a black country-blues player named Arnold Schultz, who had invented the style: [Excerpt, Ike Everly, "Blue Smoke"] Ike Everly was widely regarded as one of the greatest country guitarists of all time, and his "Ike Everly's Rag" was later recorded by Merle Travis and Joe Maphis: [Excerpt: Merle Travis and Joe Maphis, "Ike Everly's Rag"] But while Ike Everly was known as a country player, Don Everly would always later claim that deep down Ike was a blues man. He played country because that was what the audiences wanted to hear, but his first love was the blues. But even when playing country, he wasn't just playing the kind of music that was becoming popular at the time, but he was also playing the old Appalachian folk songs, and teaching them to his sons. He would play songs like "Who's Going to Shoe Your Pretty Little Feet?", which was most famously recorded by Woody Guthrie: [Excerpt: Woody Guthrie, "Who's Gonna Shoe Your Pretty Little Feet?"] The Everly family travelled all over the South and Midwest, moving between radio stations on which Ike Everly would get himself shows. As they grew old enough, his two sons, Don and Phil, would join him, as would his wife, though Margaret Everly was more of a manager than a performer. Don soon became good enough that he got his own fifteen-minute show, performing as "Little Donnie", as well as performing with his family. The Everly family would perform their show live, first thing in the morning -- they were playing country music and so they were supposed to be playing for the farmers, and their show began at 5AM, with the young boys heading off to school, still in the dark, after the show had finished. The radio show continued for many years, and the boys developed all sorts of tricks for keeping an audience entertained, which would stand them in good stead in future years. One thing they used to do was to have both brothers and their father play the same guitar simultaneously, with Phil fretting the bass notes, Ike Everly playing those notes, and Don playing lead on the top strings. I've not found a recording of them doing that together, but some footage does exist of them doing this with Tennessee Ernie Ford on his TV show -- Ford, of course, being someone whose biggest hit had been written by Ike Everly's old friend Merle Travis: [Excerpt: Tennessee Ernie Ford and the Everly Brothers, "Rattlesnake Daddy"] That kind of trick was fairly common among country acts at the time -- Buck Owens and Don Rich would do pretty much the same act together in the 1960s, and like the Everlys would play fairly straightforward blues licks while doing it. But while Ike Everly was primarily an instrumentalist, his sons would become known mostly as singers. People often, incorrectly, describe the Everly Brothers as singing "bluegrass harmonies". This is understandable, as bluegrass music comes from Kentucky, and does often have close harmonies in it. But the Everlys were actually singing in a style that was around for years before Bill Monroe started performing the music that would become known as bluegrass. There was a whole tradition of close harmony in country music that is usually dated back to the 1920s. The first people to really popularise it were a duo who were known as "Mac and Bob" -- Lester McFarland and Robert Gardner. The two men met in Kentucky, at the Kentucky School for the Blind, where they were both studying music, in 1916. They started singing close harmony together in the early 1920s, and while they sang in the overly-enunciated way that was popular at the time, you can hear the roots of the Everlys' style in their harmonies: [Excerpt: McFarland and Gardner, "That Silver Haired Daddy of Mine"] The style is known as "close harmony" because the singers are singing notes that are close to each other in the scale, and it was the foundation of country vocal harmonies. Usually in this style, there are two singers, singing about a third apart. The lower singer will sing the melody, while the higher singer will harmonise, following the melody line closely. This style of harmony was particularly suited to the vocal blend you can get from siblings, who tend to have extremely similar voices -- and if done well it can sound like one voice harmonising with itself. And so from the 1930s on there were a lot of brother acts who performed this kind of music. One duo who the Everlys would often point to as a particular influence was the Bailes Brothers: [Excerpt: the Bailes Brothers, "Oh So Many Years"] But at the time the Everly Brothers were coming up, there was one duo, more than any other, who were immensely popular in the close harmony style -- the Louvin Brothers: [Excerpt: The Louvin Brothers, "Midnight Special"] The Louvin Brothers, Charlie and Ira, were cousins of John D. Loudermilk, whose "Sittin' in the Balcony" we heard in the Eddie Cochran episode a few weeks ago. They were country and gospel singers, who are nowadays probably sadly best known for the cover of their album "Satan is Real", which often makes those Internet listicles about the most ridiculous album covers. But in the mid fifties, they were one of the most popular groups in country music, and influenced everyone -- they were particular favourites of Elvis, and regular performers on the Grand Ole Opry. Their style was a model for the Everlys, but sadly so was their personal relationship. Ira and Charlie never got on, and would often get into fights on stage, and the same was true of the Everly Brothers. In 1970, Phil Everly said "We've only ever had one argument. It's lasted twenty-five years", and that argument would continue for the rest of their lives. There were various explanations offered for their enmity over the years, ranging from them vying to be their father's favourite, to Don resenting Phil's sweeter voice upstaging him -- he was once quoted as saying "I've been a has-been since I was ten". But fundamentally the two brothers were just too different in everything from temperament to politics -- Don is a liberal Democrat, while Phil was a conservative Republican -- and their views on how life should be lived. It seems most likely that two such different people resented being forced into constant proximity with each other, and reacted against it. And so the Everlys became another of those sibling rivalries that have recurred throughout rock and roll history. But despite their personal differences, they had a vocal blend that was possibly even better than that of the Louvins, if that's possible. But talent on its own doesn't necessarily bring success, and for a while it looked like the Everlys were going to be washed up before the brothers got out of their teens. While they had some success with their radio show, by 1955 there was much less of a market for live music on the radio -- it was much cheaper for the radio stations to employ DJs to play records, now that the legal ban on broadcasting recordings had been lifted. The Everly family's radio show ended, and both Ike and Margaret got jobs cutting hair, while encouraging their sons in their music career. After a few months of this, Margaret decided she was going to move the boys to Nashville, to try to get them a record deal, while Ike remained in nearby Knoxville working as a barber. While the family had not had much success in the music industry, they had made contacts with several people, and Chet Atkins, in particular, was an admirer, not only of Ike Everly's guitar playing, but of his barbering skills as well -- according to at least one account I've read, Atkins was a regular customer of Ike's. Atkins seems to have been, at first, mostly interested in Don Everly as a songwriter and maybe a solo performer -- he carried out some correspondence with Don while Don was still in school, and got Kitty Wells, one of the biggest country stars of the fifties, to record one of Don's songs, "Thou Shalt Not Steal", when Don was only sixteen: [Excerpt: Kitty Wells, "Thou Shalt Not Steal"] That became a top twenty country hit, and Don looked like he might be on his way to a successful career, especially after another of his songs, "Here We Are Again", was recorded by Anita Carter of the famous Carter family: [Excerpt: Anita Carter, "Here We Are Again"] But Margaret Everly, the Everlys' mother and the person who seemed to have the ambition that drove them, didn't want Don to be a solo star -- she wanted the two brothers to be equal in every way, and would make sure they wore the same clothes, had the same toys growing up, and so on. She took Don's royalties from songwriting, and used them to get both brothers Musicians' union cards -- in the same way, when Don had had his own radio show, Margaret had made Don give Phil half of his five-dollar fee. So solo stardom was never going to be in Don Everly's future. Margaret wanted the Everly Brothers to be a successful duo, and that was that. Chet Atkins was going to help *both* her sons. Atkins got them a deal with Columbia Records in 1956 for a single, "Keep A-Lovin' Me", written by Don: [Excerpt: The Everly Brothers, "Keep A-Lovin' Me"] That record flopped, and the Everlys were later very dismissive of it -- Phil said of the two songs on that single "they were stinko, boy! Really stinko!" Columbia weren't interested in putting out anything else by the Everlys, and quickly dropped them. Part of the reason was that they were signed as a country act, but they already wanted to do more, and in particular to incorporate more influence from the rhythm and blues music they were listening to. Don worshipped Hank Williams, and Phil loved Lefty Frizzell, but they both also adored Bo Diddley, and were obsessed with his style. Don, in particular -- who was the more accomplished instrumentalist of the two, and who unlike Phil would play rhythm guitar on their records -- wanted to learn how Diddley played guitar, and would spend a lot of time with Chet Atkins, who taught him how to play in the open tunings Diddley used, and some of the rhythms he was playing with. Despite the brothers' lack of success on Columbia, Atkins still had faith in them, and he got in touch with his friend Wesley Rose, who was the president of Acuff-Rose publishing, the biggest music publishing company in Nashville at the time. Rose made a deal with the brothers. If they would sign to Acuff-Rose as songwriters, and if they'd agree to record only Acuff-Rose songs, he would look after their career and get them a record deal. They agreed, and Rose got them signed to Cadence Records, a mid-sized indie label whose biggest star at the time was Andy Williams. The first single they recorded for Cadence was a song that had been rejected by thirty other artists before it was passed on to the Everlys as a last resort. "Bye Bye Love" was written by the husband and wife team Felice and Boudleaux Bryant, who had been writing for a decade, for people such as Carl Smith and Moon Mullican. Their first hit had come in 1948, with "Country Boy", a song which Little Jimmy Dickens took to number seven on the country charts: [Excerpt: Little Jimmy Dickens, "Country Boy"] But they had not had much chart success after that, though they'd placed songs with various Nashville-based country singers. They were virtual unknowns, and their most recent song, "Bye Bye Love", had been written for a duo called Johnny and Jack. They hadn't been interested, so the Bryants had passed the song along to their friend Chet Atkins, who had tried to record it with Porter Wagoner, who had recorded other songs by the Bryants, like "Tryin' to Forget the Blues": [Excerpt: Porter Wagoner, "Tryin' to Forget the Blues"] But when Atkins took the song into the studio, he decided it wasn't strong enough for Wagoner. Atkins wanted to change a few chords, and Boudleaux Bryant told him that if the song wasn't strong enough as it was, he just shouldn't record it at all. But while the song might not have been strong enough for a big country star like Porter Wagoner, it was strong enough for Chet Atkins' new proteges, who were, after all, hardly going to have a big hit. So Atkins took the multiply-rejected song in for the duo to record as their first single for Cadence. In one of those coincidences that seems too good to be true, Ike Everly was Boudleaux Bryant's barber, and had been bragging to him for years about how talented his sons were, but Bryant had just dismissed this -- around Nashville, everyone is a major talent, or their son or daughter or husband or wife is. Two things happened to change the rather mediocre song into a classic that would change the face of popular music. The first was, simply, the brothers' harmonies. They had by this point developed an intuitive understanding of each other's voices, and a superb musicality. It's interesting to listen to the very first take of the song: [Excerpt: The Everly Brothers, "Bye Bye Love (take 1)"] That's Don singing the low lead and Phil taking the high harmony. Now, if you're familiar with the finished record, you can tell that what Phil's singing there isn't the closer harmony part he ended up singing on the final version. There are some note choices there that he decided against for the final record. But what you can tell is that they are instinctively great harmony singers. It's not the harmony part that would become famous, but it's a *good* one in its own right. The second thing is that they changed the song from the rather sedate country song the Bryants had come up with, radically rearranging it. Don had written a song called "Give Me a Future", which he'd intended to be in the Bo Diddley style, and one can hear something of Diddley's rhythm in the stop-start guitar part: [Excerpt: The Everly Brothers, "Give Me a Future"] Don took that guitar part, and attached it to the Bryants' song, and with the help of Chet Atkins' lead guitar fills turned it into something quite new -- a record with a rockabilly feel, but with country close harmony vocals: [Excerpt: The Everly Brothers, "Bye Bye Love"] The brothers were, at first, worried because almost as soon as it came out, a cover version by Webb Pierce, one of the biggest names in country music, came out: [Excerpt: Webb Pierce, "Bye Bye Love"] But they were surprised to discover that while Pierce's version did chart -- reaching the top ten in the country charts -- it was nowhere near as successful as their own version, which went to number one on the country charts and number two in pop, and charted on the R&B charts as well. After that success, the Bryants wrote a string of hits for the brothers, a run of classics starting with "Wake Up Little Suzie", a song which was banned on many stations because it suggested impropriety -- even though, listening to the lyrics, it very clearly states that no impropriety has gone on, and indeed that the protagonist is horrified at the suggestion that it might have: [Excerpt: The Everly Brothers, "Wake Up Little Suzie"] These records would usually incorporate some of Don's Bo Diddley influence, while remaining firmly in the country end of rock and roll. The Bryants also started to give the brothers ballads like "Devoted to You" and "All I Have to Do is Dream", which while they still deal with adolescent concerns, have a sweetness and melody to them quite unlike anything else that was being recorded by rock and roll artists of the time. After the first single, everything else that the Bryants wrote for the Everlys was tailored specifically to them -- Boudleaux Bryant, who would attend more of the sessions, would have long conversations with the brothers and try to write songs that fit with their lives and musical tastes, as well as fitting them to their voices. One of the things that's very noticeable about interviews with the brothers is that they both tend to credit Boudleaux alone with having written the songs that he co-wrote with his wife, even though everything suggests that the Bryants were a true partnership, and both have solo credits for songs that are stylistically indistinguishable from those written as a team. Whether this is pure sexism, or it's just because Boudleaux is the one who used to demo the songs for them and so they think of him as the primary author, is hard to tell -- probably a combination. This was also a perception that Boudleaux Bryant encouraged. While Felice was the person who had originally decided to go into songwriting, and was the one who came up with most of the ideas, Boudleaux was only interested in making money -- and he'd often sneak off to write songs by himself so he would get all the money rather than have to share it with his wife. Boudleaux would also on occasion be given incomplete songs by friends like Atkins, and finish them up with Felice -- but only Boudleaux and the original writer would get their names on it. The result was that Boudleaux got the credit from people around him, even when they knew better. One of my sources for this episode is an interview with the Bryants' son, Dane, and at one point in that interview he says "Now, lots of times I will say, 'My father.' I mean Dad and Mom". As the Everly brothers disagreed about almost everything, they of course disagreed about the quality of the material that the Bryants were bringing them. Phil Everly was always utterly unstinting in his praise of them, saying that the Bryants' songs were some of the best songs ever written. Don, on the other hand, while he definitely appreciated material like "All I Have to Do is Dream", wasn't so keen on their writing in general, mostly because it dealt primarily with adolescent concerns. He thought that the material the brothers were writing for themselves -- though still immature, as one would expect from people who were still in their teens at the start of their career -- was aiming at a greater emotional maturity than the material the Bryants wrote. And on the evidence of their first album, that's certainly true. The first album is, like many albums of the time, a patchy affair. It pulls together the hit singles the brothers had already released, together with a bunch of rather mediocre cover versions of then-current hits. Those cover versions tend to support Don's repeated claims that the brothers were as interested in R&B and blues as in country -- apart from a version of "Be-Bop-A-Lula", all the covers are of R&B hits of the time -- two by Little Richard, two by Ray Charles, and one by the relatively obscure blues singer Titus Turner. But among those songs, there are also a handful of Don Everly originals, and one in particular, "I Wonder if I Care as Much", is quite an astonishing piece of songwriting: [Excerpt: The Everly Brothers, "I Wonder If I Care As Much"] Don's songs were often B-sides – that one was the B-side to “Bye Bye Love” – and to my mind they're often rather more interesting than the A-sides. While that first album is rather patchy, the second album, Songs Our Daddy Taught Us, is a minor revelation, and one of the pillars on which the Everly Brothers' artistic reputation rests. It's been suggested that the album was done as a way of getting back at the record company for some slight or other, by making a record that was completely uncommercial. That might be the case, but I don't think so -- and if it was, it was a gesture that backfired magnificently, as it's still, sixty years on, a consistent seller. Songs Our Daddy Taught Us is precisely what it sounds like -- an album consisting of songs the brothers had been taught by their father. It's a mixture of Appalachian folk songs and country standards, performed by the brothers accompanied just by Don's acoustic guitar and Floyd Chance on upright bass: [Excerpt: The Everly Brothers, “Who's Gonna Shoe Your Pretty Little Feet?”] It's quite possibly the most artistically satisfying album made in the fifties by a rock and roll act, and it's had such an influence that as recently as 2013 Billie Joe Armstrong of Green Day and the jazz-pop singer Norah Jones recorded an album, Foreverly, that's just a cover version of the whole album: [Excerpt: Billie Joe Armstrong and Norah Jones, “Who's Gonna Shoe Your Pretty Little Feet?”] So as the 1950s drew to a close, the Everly Brothers were on top of the world. They'd had a run of classic singles, and they'd just released one of the greatest albums of all time. But there was trouble ahead, and when we pick up on their career again, we'll see exactly how wrong things could go for them.  

Episode fifty-six of A History of Rock Music in Five Hundred Songs looks at “Bye Bye Love” by The Everly Brotherss, and at the history of country close harmony. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Short Fat Fannie” by Larry Williams.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. How Nashville Became Music City by Michael Kosser has a good amount of information on the Bryants. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. There are many, many cheap compilations of the Everly Brothers’ early material available. I’d recommend this one, because as well as all the hits up to 1962 it has the complete Songs our Daddy Taught Us.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript [Intro: Ike Everly introducing the Everly Brothers] We’ve talked before about how vocal harmonies are no longer a big part of rock music, but were essential to it in the fifties and sixties. But what we’ve not discussed is that there are multiple different types of harmony that we see in the music of that period. One, which we’ve already seen, is the vocal group sound — the sound of doo-wop. There, there might be a lead singer, but everyone involved has their own important role to play, singing separate backing vocal lines that intertwine. One singer will be taking a bass melody, another will be singing a falsetto line, and so on. It’s the sound of a collection of individual personalities, working together but to their own agendas. Another style which we’re going to look at soon is the girl group sound. There you have a lead singer singing a line on her own, and two or three backing vocalists echoing lines on the chorus — it’s the sound of a couple of friends providing support for someone who’s in trouble. The lead singer will sing her problems, and the friends will respond with something supportive. Then there’s the style which Elvis used — a single lead vocalist over a group of backing vocalists, mostly providing “oohs” and “aahs”. The backing vocals here just work as another instrumental texture. But there’s one style which would be as influential as any of these, and which was brought into rock and roll by a single act — a duo who, more than anyone else in rock music, epitomised vocal harmony: [Excerpt: The Everly Brothers, “Bye Bye Love”] Don and Phil Everly were brought up in music. Their father, Ike Everly, had been a coalminer in Muhlenberg County, Kentucky, but decided to quit coal mining and become a professional musician when he was trapped in his second cave-in, deciding he wasn’t ever going to go through that a third time. He had learned a particular guitar style, which would later become known as “Travis picking” after its most famous exponent, Merle Travis — though Travis himself usually referred to it as “Muhlenberg picking”. Travis and Ike Everly knew each other, and it was Ike Everly, and Ike’s friend Mose Rager, who taught Travis how to play in that style, which they had learned from another friend, Kennedy Jones, who in turn learned it from a black country-blues player named Arnold Schultz, who had invented the style: [Excerpt, Ike Everly, “Blue Smoke”] Ike Everly was widely regarded as one of the greatest country guitarists of all time, and his “Ike Everly’s Rag” was later recorded by Merle Travis and Joe Maphis: [Excerpt: Merle Travis and Joe Maphis, “Ike Everly’s Rag”] But while Ike Everly was known as a country player, Don Everly would always later claim that deep down Ike was a blues man. He played country because that was what the audiences wanted to hear, but his first love was the blues. But even when playing country, he wasn’t just playing the kind of music that was becoming popular at the time, but he was also playing the old Appalachian folk songs, and teaching them to his sons. He would play songs like “Who’s Going to Shoe Your Pretty Little Feet?”, which was most famously recorded by Woody Guthrie: [Excerpt: Woody Guthrie, “Who’s Gonna Shoe Your Pretty Little Feet?”] The Everly family travelled all over the South and Midwest, moving between radio stations on which Ike Everly would get himself shows. As they grew old enough, his two sons, Don and Phil, would join him, as would his wife, though Margaret Everly was more of a manager than a performer. Don soon became good enough that he got his own fifteen-minute show, performing as “Little Donnie”, as well as performing with his family. The Everly family would perform their show live, first thing in the morning — they were playing country music and so they were supposed to be playing for the farmers, and their show began at 5AM, with the young boys heading off to school, still in the dark, after the show had finished. The radio show continued for many years, and the boys developed all sorts of tricks for keeping an audience entertained, which would stand them in good stead in future years. One thing they used to do was to have both brothers and their father play the same guitar simultaneously, with Phil fretting the bass notes, Ike Everly playing those notes, and Don playing lead on the top strings. I’ve not found a recording of them doing that together, but some footage does exist of them doing this with Tennessee Ernie Ford on his TV show — Ford, of course, being someone whose biggest hit had been written by Ike Everly’s old friend Merle Travis: [Excerpt: Tennessee Ernie Ford and the Everly Brothers, “Rattlesnake Daddy”] That kind of trick was fairly common among country acts at the time — Buck Owens and Don Rich would do pretty much the same act together in the 1960s, and like the Everlys would play fairly straightforward blues licks while doing it. But while Ike Everly was primarily an instrumentalist, his sons would become known mostly as singers. People often, incorrectly, describe the Everly Brothers as singing “bluegrass harmonies”. This is understandable, as bluegrass music comes from Kentucky, and does often have close harmonies in it. But the Everlys were actually singing in a style that was around for years before Bill Monroe started performing the music that would become known as bluegrass. There was a whole tradition of close harmony in country music that is usually dated back to the 1920s. The first people to really popularise it were a duo who were known as “Mac and Bob” — Lester McFarland and Robert Gardner. The two men met in Kentucky, at the Kentucky School for the Blind, where they were both studying music, in 1916. They started singing close harmony together in the early 1920s, and while they sang in the overly-enunciated way that was popular at the time, you can hear the roots of the Everlys’ style in their harmonies: [Excerpt: McFarland and Gardner, “That Silver Haired Daddy of Mine”] The style is known as “close harmony” because the singers are singing notes that are close to each other in the scale, and it was the foundation of country vocal harmonies. Usually in this style, there are two singers, singing about a third apart. The lower singer will sing the melody, while the higher singer will harmonise, following the melody line closely. This style of harmony was particularly suited to the vocal blend you can get from siblings, who tend to have extremely similar voices — and if done well it can sound like one voice harmonising with itself. And so from the 1930s on there were a lot of brother acts who performed this kind of music. One duo who the Everlys would often point to as a particular influence was the Bailes Brothers: [Excerpt: the Bailes Brothers, “Oh So Many Years”] But at the time the Everly Brothers were coming up, there was one duo, more than any other, who were immensely popular in the close harmony style — the Louvin Brothers: [Excerpt: The Louvin Brothers, “Midnight Special”] The Louvin Brothers, Charlie and Ira, were cousins of John D. Loudermilk, whose “Sittin’ in the Balcony” we heard in the Eddie Cochran episode a few weeks ago. They were country and gospel singers, who are nowadays probably sadly best known for the cover of their album “Satan is Real”, which often makes those Internet listicles about the most ridiculous album covers. But in the mid fifties, they were one of the most popular groups in country music, and influenced everyone — they were particular favourites of Elvis, and regular performers on the Grand Ole Opry. Their style was a model for the Everlys, but sadly so was their personal relationship. Ira and Charlie never got on, and would often get into fights on stage, and the same was true of the Everly Brothers. In 1970, Phil Everly said “We’ve only ever had one argument. It’s lasted twenty-five years”, and that argument would continue for the rest of their lives. There were various explanations offered for their enmity over the years, ranging from them vying to be their father’s favourite, to Don resenting Phil’s sweeter voice upstaging him — he was once quoted as saying “I’ve been a has-been since I was ten”. But fundamentally the two brothers were just too different in everything from temperament to politics — Don is a liberal Democrat, while Phil was a conservative Republican — and their views on how life should be lived. It seems most likely that two such different people resented being forced into constant proximity with each other, and reacted against it. And so the Everlys became another of those sibling rivalries that have recurred throughout rock and roll history. But despite their personal differences, they had a vocal blend that was possibly even better than that of the Louvins, if that’s possible. But talent on its own doesn’t necessarily bring success, and for a while it looked like the Everlys were going to be washed up before the brothers got out of their teens. While they had some success with their radio show, by 1955 there was much less of a market for live music on the radio — it was much cheaper for the radio stations to employ DJs to play records, now that the legal ban on broadcasting recordings had been lifted. The Everly family’s radio show ended, and both Ike and Margaret got jobs cutting hair, while encouraging their sons in their music career. After a few months of this, Margaret decided she was going to move the boys to Nashville, to try to get them a record deal, while Ike remained in nearby Knoxville working as a barber. While the family had not had much success in the music industry, they had made contacts with several people, and Chet Atkins, in particular, was an admirer, not only of Ike Everly’s guitar playing, but of his barbering skills as well — according to at least one account I’ve read, Atkins was a regular customer of Ike’s. Atkins seems to have been, at first, mostly interested in Don Everly as a songwriter and maybe a solo performer — he carried out some correspondence with Don while Don was still in school, and got Kitty Wells, one of the biggest country stars of the fifties, to record one of Don’s songs, “Thou Shalt Not Steal”, when Don was only sixteen: [Excerpt: Kitty Wells, “Thou Shalt Not Steal”] That became a top twenty country hit, and Don looked like he might be on his way to a successful career, especially after another of his songs, “Here We Are Again”, was recorded by Anita Carter of the famous Carter family: [Excerpt: Anita Carter, “Here We Are Again”] But Margaret Everly, the Everlys’ mother and the person who seemed to have the ambition that drove them, didn’t want Don to be a solo star — she wanted the two brothers to be equal in every way, and would make sure they wore the same clothes, had the same toys growing up, and so on. She took Don’s royalties from songwriting, and used them to get both brothers Musicians’ union cards — in the same way, when Don had had his own radio show, Margaret had made Don give Phil half of his five-dollar fee. So solo stardom was never going to be in Don Everly’s future. Margaret wanted the Everly Brothers to be a successful duo, and that was that. Chet Atkins was going to help *both* her sons. Atkins got them a deal with Columbia Records in 1956 for a single, “Keep A-Lovin’ Me”, written by Don: [Excerpt: The Everly Brothers, “Keep A-Lovin’ Me”] That record flopped, and the Everlys were later very dismissive of it — Phil said of the two songs on that single “they were stinko, boy! Really stinko!” Columbia weren’t interested in putting out anything else by the Everlys, and quickly dropped them. Part of the reason was that they were signed as a country act, but they already wanted to do more, and in particular to incorporate more influence from the rhythm and blues music they were listening to. Don worshipped Hank Williams, and Phil loved Lefty Frizzell, but they both also adored Bo Diddley, and were obsessed with his style. Don, in particular — who was the more accomplished instrumentalist of the two, and who unlike Phil would play rhythm guitar on their records — wanted to learn how Diddley played guitar, and would spend a lot of time with Chet Atkins, who taught him how to play in the open tunings Diddley used, and some of the rhythms he was playing with. Despite the brothers’ lack of success on Columbia, Atkins still had faith in them, and he got in touch with his friend Wesley Rose, who was the president of Acuff-Rose publishing, the biggest music publishing company in Nashville at the time. Rose made a deal with the brothers. If they would sign to Acuff-Rose as songwriters, and if they’d agree to record only Acuff-Rose songs, he would look after their career and get them a record deal. They agreed, and Rose got them signed to Cadence Records, a mid-sized indie label whose biggest star at the time was Andy Williams. The first single they recorded for Cadence was a song that had been rejected by thirty other artists before it was passed on to the Everlys as a last resort. “Bye Bye Love” was written by the husband and wife team Felice and Boudleaux Bryant, who had been writing for a decade, for people such as Carl Smith and Moon Mullican. Their first hit had come in 1948, with “Country Boy”, a song which Little Jimmy Dickens took to number seven on the country charts: [Excerpt: Little Jimmy Dickens, “Country Boy”] But they had not had much chart success after that, though they’d placed songs with various Nashville-based country singers. They were virtual unknowns, and their most recent song, “Bye Bye Love”, had been written for a duo called Johnny and Jack. They hadn’t been interested, so the Bryants had passed the song along to their friend Chet Atkins, who had tried to record it with Porter Wagoner, who had recorded other songs by the Bryants, like “Tryin’ to Forget the Blues”: [Excerpt: Porter Wagoner, “Tryin’ to Forget the Blues”] But when Atkins took the song into the studio, he decided it wasn’t strong enough for Wagoner. Atkins wanted to change a few chords, and Boudleaux Bryant told him that if the song wasn’t strong enough as it was, he just shouldn’t record it at all. But while the song might not have been strong enough for a big country star like Porter Wagoner, it was strong enough for Chet Atkins’ new proteges, who were, after all, hardly going to have a big hit. So Atkins took the multiply-rejected song in for the duo to record as their first single for Cadence. In one of those coincidences that seems too good to be true, Ike Everly was Boudleaux Bryant’s barber, and had been bragging to him for years about how talented his sons were, but Bryant had just dismissed this — around Nashville, everyone is a major talent, or their son or daughter or husband or wife is. Two things happened to change the rather mediocre song into a classic that would change the face of popular music. The first was, simply, the brothers’ harmonies. They had by this point developed an intuitive understanding of each other’s voices, and a superb musicality. It’s interesting to listen to the very first take of the song: [Excerpt: The Everly Brothers, “Bye Bye Love (take 1)”] That’s Don singing the low lead and Phil taking the high harmony. Now, if you’re familiar with the finished record, you can tell that what Phil’s singing there isn’t the closer harmony part he ended up singing on the final version. There are some note choices there that he decided against for the final record. But what you can tell is that they are instinctively great harmony singers. It’s not the harmony part that would become famous, but it’s a *good* one in its own right. The second thing is that they changed the song from the rather sedate country song the Bryants had come up with, radically rearranging it. Don had written a song called “Give Me a Future”, which he’d intended to be in the Bo Diddley style, and one can hear something of Diddley’s rhythm in the stop-start guitar part: [Excerpt: The Everly Brothers, “Give Me a Future”] Don took that guitar part, and attached it to the Bryants’ song, and with the help of Chet Atkins’ lead guitar fills turned it into something quite new — a record with a rockabilly feel, but with country close harmony vocals: [Excerpt: The Everly Brothers, “Bye Bye Love”] The brothers were, at first, worried because almost as soon as it came out, a cover version by Webb Pierce, one of the biggest names in country music, came out: [Excerpt: Webb Pierce, “Bye Bye Love”] But they were surprised to discover that while Pierce’s version did chart — reaching the top ten in the country charts — it was nowhere near as successful as their own version, which went to number one on the country charts and number two in pop, and charted on the R&B charts as well. After that success, the Bryants wrote a string of hits for the brothers, a run of classics starting with “Wake Up Little Suzie”, a song which was banned on many stations because it suggested impropriety — even though, listening to the lyrics, it very clearly states that no impropriety has gone on, and indeed that the protagonist is horrified at the suggestion that it might have: [Excerpt: The Everly Brothers, “Wake Up Little Suzie”] These records would usually incorporate some of Don’s Bo Diddley influence, while remaining firmly in the country end of rock and roll. The Bryants also started to give the brothers ballads like “Devoted to You” and “All I Have to Do is Dream”, which while they still deal with adolescent concerns, have a sweetness and melody to them quite unlike anything else that was being recorded by rock and roll artists of the time. After the first single, everything else that the Bryants wrote for the Everlys was tailored specifically to them — Boudleaux Bryant, who would attend more of the sessions, would have long conversations with the brothers and try to write songs that fit with their lives and musical tastes, as well as fitting them to their voices. One of the things that’s very noticeable about interviews with the brothers is that they both tend to credit Boudleaux alone with having written the songs that he co-wrote with his wife, even though everything suggests that the Bryants were a true partnership, and both have solo credits for songs that are stylistically indistinguishable from those written as a team. Whether this is pure sexism, or it’s just because Boudleaux is the one who used to demo the songs for them and so they think of him as the primary author, is hard to tell — probably a combination. This was also a perception that Boudleaux Bryant encouraged. While Felice was the person who had originally decided to go into songwriting, and was the one who came up with most of the ideas, Boudleaux was only interested in making money — and he’d often sneak off to write songs by himself so he would get all the money rather than have to share it with his wife. Boudleaux would also on occasion be given incomplete songs by friends like Atkins, and finish them up with Felice — but only Boudleaux and the original writer would get their names on it. The result was that Boudleaux got the credit from people around him, even when they knew better. One of my sources for this episode is an interview with the Bryants’ son, Dane, and at one point in that interview he says “Now, lots of times I will say, ‘My father.’ I mean Dad and Mom”. As the Everly brothers disagreed about almost everything, they of course disagreed about the quality of the material that the Bryants were bringing them. Phil Everly was always utterly unstinting in his praise of them, saying that the Bryants’ songs were some of the best songs ever written. Don, on the other hand, while he definitely appreciated material like “All I Have to Do is Dream”, wasn’t so keen on their writing in general, mostly because it dealt primarily with adolescent concerns. He thought that the material the brothers were writing for themselves — though still immature, as one would expect from people who were still in their teens at the start of their career — was aiming at a greater emotional maturity than the material the Bryants wrote. And on the evidence of their first album, that’s certainly true. The first album is, like many albums of the time, a patchy affair. It pulls together the hit singles the brothers had already released, together with a bunch of rather mediocre cover versions of then-current hits. Those cover versions tend to support Don’s repeated claims that the brothers were as interested in R&B and blues as in country — apart from a version of “Be-Bop-A-Lula”, all the covers are of R&B hits of the time — two by Little Richard, two by Ray Charles, and one by the relatively obscure blues singer Titus Turner. But among those songs, there are also a handful of Don Everly originals, and one in particular, “I Wonder if I Care as Much”, is quite an astonishing piece of songwriting: [Excerpt: The Everly Brothers, “I Wonder If I Care As Much”] Don’s songs were often B-sides – that one was the B-side to “Bye Bye Love” – and to my mind they’re often rather more interesting than the A-sides. While that first album is rather patchy, the second album, Songs Our Daddy Taught Us, is a minor revelation, and one of the pillars on which the Everly Brothers’ artistic reputation rests. It’s been suggested that the album was done as a way of getting back at the record company for some slight or other, by making a record that was completely uncommercial. That might be the case, but I don’t think so — and if it was, it was a gesture that backfired magnificently, as it’s still, sixty years on, a consistent seller. Songs Our Daddy Taught Us is precisely what it sounds like — an album consisting of songs the brothers had been taught by their father. It’s a mixture of Appalachian folk songs and country standards, performed by the brothers accompanied just by Don’s acoustic guitar and Floyd Chance on upright bass: [Excerpt: The Everly Brothers, “Who’s Gonna Shoe Your Pretty Little Feet?”] It’s quite possibly the most artistically satisfying album made in the fifties by a rock and roll act, and it’s had such an influence that as recently as 2013 Billie Joe Armstrong of Green Day and the jazz-pop singer Norah Jones recorded an album, Foreverly, that’s just a cover version of the whole album: [Excerpt: Billie Joe Armstrong and Norah Jones, “Who’s Gonna Shoe Your Pretty Little Feet?”] So as the 1950s drew to a close, the Everly Brothers were on top of the world. They’d had a run of classic singles, and they’d just released one of the greatest albums of all time. But there was trouble ahead, and when we pick up on their career again, we’ll see exactly how wrong things could go for them.  

Episode fifty-six of A History of Rock Music in Five Hundred Songs looks at “Bye Bye Love” by The Everly Brotherss, and at the history of country close harmony. Click the full post to read liner notes, links to more information, and a transcript of the episode.   Patreon backers also have a ten-minute bonus episode available, on “Short Fat Fannie” by Larry Williams.  —-more—-   Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are no first-rate biographies of the Everly Brothers in print, at least in English (apparently there’s a decent one in French, but I don’t speak French well enough for that). Ike’s Boys by Phyllis Karp is the only full-length bio,  and I relied on that in the absence of anything else, but it’s been out of print for nearly thirty years, and is not worth the exorbitant price it goes for second-hand. How Nashville Became Music City by Michael Kosser has a good amount of information on the Bryants. The Everlypedia is a series of PDFs containing articles on anything related to the Everly Brothers, in alphabetical order. There are many, many cheap compilations of the Everly Brothers’ early material available. I’d recommend this one, because as well as all the hits up to 1962 it has the complete Songs our Daddy Taught Us.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript [Intro: Ike Everly introducing the Everly Brothers] We’ve talked before about how vocal harmonies are no longer a big part of rock music, but were essential to it in the fifties and sixties. But what we’ve not discussed is that there are multiple different types of harmony that we see in the music of that period. One, which we’ve already seen, is the vocal group sound — the sound of doo-wop. There, there might be a lead singer, but everyone involved has their own important role to play, singing separate backing vocal lines that intertwine. One singer will be taking a bass melody, another will be singing a falsetto line, and so on. It’s the sound of a collection of individual personalities, working together but to their own agendas. Another style which we’re going to look at soon is the girl group sound. There you have a lead singer singing a line on her own, and two or three backing vocalists echoing lines on the chorus — it’s the sound of a couple of friends providing support for someone who’s in trouble. The lead singer will sing her problems, and the friends will respond with something supportive. Then there’s the style which Elvis used — a single lead vocalist over a group of backing vocalists, mostly providing “oohs” and “aahs”. The backing vocals here just work as another instrumental texture. But there’s one style which would be as influential as any of these, and which was brought into rock and roll by a single act — a duo who, more than anyone else in rock music, epitomised vocal harmony: [Excerpt: The Everly Brothers, “Bye Bye Love”] Don and Phil Everly were brought up in music. Their father, Ike Everly, had been a coalminer in Muhlenberg County, Kentucky, but decided to quit coal mining and become a professional musician when he was trapped in his second cave-in, deciding he wasn’t ever going to go through that a third time. He had learned a particular guitar style, which would later become known as “Travis picking” after its most famous exponent, Merle Travis — though Travis himself usually referred to it as “Muhlenberg picking”. Travis and Ike Everly knew each other, and it was Ike Everly, and Ike’s friend Mose Rager, who taught Travis how to play in that style, which they had learned from another friend, Kennedy Jones, who in turn learned it from a black country-blues player named Arnold Schultz, who had invented the style: [Excerpt, Ike Everly, “Blue Smoke”] Ike Everly was widely regarded as one of the greatest country guitarists of all time, and his “Ike Everly’s Rag” was later recorded by Merle Travis and Joe Maphis: [Excerpt: Merle Travis and Joe Maphis, “Ike Everly’s Rag”] But while Ike Everly was known as a country player, Don Everly would always later claim that deep down Ike was a blues man. He played country because that was what the audiences wanted to hear, but his first love was the blues. But even when playing country, he wasn’t just playing the kind of music that was becoming popular at the time, but he was also playing the old Appalachian folk songs, and teaching them to his sons. He would play songs like “Who’s Going to Shoe Your Pretty Little Feet?”, which was most famously recorded by Woody Guthrie: [Excerpt: Woody Guthrie, “Who’s Gonna Shoe Your Pretty Little Feet?”] The Everly family travelled all over the South and Midwest, moving between radio stations on which Ike Everly would get himself shows. As they grew old enough, his two sons, Don and Phil, would join him, as would his wife, though Margaret Everly was more of a manager than a performer. Don soon became good enough that he got his own fifteen-minute show, performing as “Little Donnie”, as well as performing with his family. The Everly family would perform their show live, first thing in the morning — they were playing country music and so they were supposed to be playing for the farmers, and their show began at 5AM, with the young boys heading off to school, still in the dark, after the show had finished. The radio show continued for many years, and the boys developed all sorts of tricks for keeping an audience entertained, which would stand them in good stead in future years. One thing they used to do was to have both brothers and their father play the same guitar simultaneously, with Phil fretting the bass notes, Ike Everly playing those notes, and Don playing lead on the top strings. I’ve not found a recording of them doing that together, but some footage does exist of them doing this with Tennessee Ernie Ford on his TV show — Ford, of course, being someone whose biggest hit had been written by Ike Everly’s old friend Merle Travis: [Excerpt: Tennessee Ernie Ford and the Everly Brothers, “Rattlesnake Daddy”] That kind of trick was fairly common among country acts at the time — Buck Owens and Don Rich would do pretty much the same act together in the 1960s, and like the Everlys would play fairly straightforward blues licks while doing it. But while Ike Everly was primarily an instrumentalist, his sons would become known mostly as singers. People often, incorrectly, describe the Everly Brothers as singing “bluegrass harmonies”. This is understandable, as bluegrass music comes from Kentucky, and does often have close harmonies in it. But the Everlys were actually singing in a style that was around for years before Bill Monroe started performing the music that would become known as bluegrass. There was a whole tradition of close harmony in country music that is usually dated back to the 1920s. The first people to really popularise it were a duo who were known as “Mac and Bob” — Lester McFarland and Robert Gardner. The two men met in Kentucky, at the Kentucky School for the Blind, where they were both studying music, in 1916. They started singing close harmony together in the early 1920s, and while they sang in the overly-enunciated way that was popular at the time, you can hear the roots of the Everlys’ style in their harmonies: [Excerpt: McFarland and Gardner, “That Silver Haired Daddy of Mine”] The style is known as “close harmony” because the singers are singing notes that are close to each other in the scale, and it was the foundation of country vocal harmonies. Usually in this style, there are two singers, singing about a third apart. The lower singer will sing the melody, while the higher singer will harmonise, following the melody line closely. This style of harmony was particularly suited to the vocal blend you can get from siblings, who tend to have extremely similar voices — and if done well it can sound like one voice harmonising with itself. And so from the 1930s on there were a lot of brother acts who performed this kind of music. One duo who the Everlys would often point to as a particular influence was the Bailes Brothers: [Excerpt: the Bailes Brothers, “Oh So Many Years”] But at the time the Everly Brothers were coming up, there was one duo, more than any other, who were immensely popular in the close harmony style — the Louvin Brothers: [Excerpt: The Louvin Brothers, “Midnight Special”] The Louvin Brothers, Charlie and Ira, were cousins of John D. Loudermilk, whose “Sittin’ in the Balcony” we heard in the Eddie Cochran episode a few weeks ago. They were country and gospel singers, who are nowadays probably sadly best known for the cover of their album “Satan is Real”, which often makes those Internet listicles about the most ridiculous album covers. But in the mid fifties, they were one of the most popular groups in country music, and influenced everyone — they were particular favourites of Elvis, and regular performers on the Grand Ole Opry. Their style was a model for the Everlys, but sadly so was their personal relationship. Ira and Charlie never got on, and would often get into fights on stage, and the same was true of the Everly Brothers. In 1970, Phil Everly said “We’ve only ever had one argument. It’s lasted twenty-five years”, and that argument would continue for the rest of their lives. There were various explanations offered for their enmity over the years, ranging from them vying to be their father’s favourite, to Don resenting Phil’s sweeter voice upstaging him — he was once quoted as saying “I’ve been a has-been since I was ten”. But fundamentally the two brothers were just too different in everything from temperament to politics — Don is a liberal Democrat, while Phil was a conservative Republican — and their views on how life should be lived. It seems most likely that two such different people resented being forced into constant proximity with each other, and reacted against it. And so the Everlys became another of those sibling rivalries that have recurred throughout rock and roll history. But despite their personal differences, they had a vocal blend that was possibly even better than that of the Louvins, if that’s possible. But talent on its own doesn’t necessarily bring success, and for a while it looked like the Everlys were going to be washed up before the brothers got out of their teens. While they had some success with their radio show, by 1955 there was much less of a market for live music on the radio — it was much cheaper for the radio stations to employ DJs to play records, now that the legal ban on broadcasting recordings had been lifted. The Everly family’s radio show ended, and both Ike and Margaret got jobs cutting hair, while encouraging their sons in their music career. After a few months of this, Margaret decided she was going to move the boys to Nashville, to try to get them a record deal, while Ike remained in nearby Knoxville working as a barber. While the family had not had much success in the music industry, they had made contacts with several people, and Chet Atkins, in particular, was an admirer, not only of Ike Everly’s guitar playing, but of his barbering skills as well — according to at least one account I’ve read, Atkins was a regular customer of Ike’s. Atkins seems to have been, at first, mostly interested in Don Everly as a songwriter and maybe a solo performer — he carried out some correspondence with Don while Don was still in school, and got Kitty Wells, one of the biggest country stars of the fifties, to record one of Don’s songs, “Thou Shalt Not Steal”, when Don was only sixteen: [Excerpt: Kitty Wells, “Thou Shalt Not Steal”] That became a top twenty country hit, and Don looked like he might be on his way to a successful career, especially after another of his songs, “Here We Are Again”, was recorded by Anita Carter of the famous Carter family: [Excerpt: Anita Carter, “Here We Are Again”] But Margaret Everly, the Everlys’ mother and the person who seemed to have the ambition that drove them, didn’t want Don to be a solo star — she wanted the two brothers to be equal in every way, and would make sure they wore the same clothes, had the same toys growing up, and so on. She took Don’s royalties from songwriting, and used them to get both brothers Musicians’ union cards — in the same way, when Don had had his own radio show, Margaret had made Don give Phil half of his five-dollar fee. So solo stardom was never going to be in Don Everly’s future. Margaret wanted the Everly Brothers to be a successful duo, and that was that. Chet Atkins was going to help *both* her sons. Atkins got them a deal with Columbia Records in 1956 for a single, “Keep A-Lovin’ Me”, written by Don: [Excerpt: The Everly Brothers, “Keep A-Lovin’ Me”] That record flopped, and the Everlys were later very dismissive of it — Phil said of the two songs on that single “they were stinko, boy! Really stinko!” Columbia weren’t interested in putting out anything else by the Everlys, and quickly dropped them. Part of the reason was that they were signed as a country act, but they already wanted to do more, and in particular to incorporate more influence from the rhythm and blues music they were listening to. Don worshipped Hank Williams, and Phil loved Lefty Frizzell, but they both also adored Bo Diddley, and were obsessed with his style. Don, in particular — who was the more accomplished instrumentalist of the two, and who unlike Phil would play rhythm guitar on their records — wanted to learn how Diddley played guitar, and would spend a lot of time with Chet Atkins, who taught him how to play in the open tunings Diddley used, and some of the rhythms he was playing with. Despite the brothers’ lack of success on Columbia, Atkins still had faith in them, and he got in touch with his friend Wesley Rose, who was the president of Acuff-Rose publishing, the biggest music publishing company in Nashville at the time. Rose made a deal with the brothers. If they would sign to Acuff-Rose as songwriters, and if they’d agree to record only Acuff-Rose songs, he would look after their career and get them a record deal. They agreed, and Rose got them signed to Cadence Records, a mid-sized indie label whose biggest star at the time was Andy Williams. The first single they recorded for Cadence was a song that had been rejected by thirty other artists before it was passed on to the Everlys as a last resort. “Bye Bye Love” was written by the husband and wife team Felice and Boudleaux Bryant, who had been writing for a decade, for people such as Carl Smith and Moon Mullican. Their first hit had come in 1948, with “Country Boy”, a song which Little Jimmy Dickens took to number seven on the country charts: [Excerpt: Little Jimmy Dickens, “Country Boy”] But they had not had much chart success after that, though they’d placed songs with various Nashville-based country singers. They were virtual unknowns, and their most recent song, “Bye Bye Love”, had been written for a duo called Johnny and Jack. They hadn’t been interested, so the Bryants had passed the song along to their friend Chet Atkins, who had tried to record it with Porter Wagoner, who had recorded other songs by the Bryants, like “Tryin’ to Forget the Blues”: [Excerpt: Porter Wagoner, “Tryin’ to Forget the Blues”] But when Atkins took the song into the studio, he decided it wasn’t strong enough for Wagoner. Atkins wanted to change a few chords, and Boudleaux Bryant told him that if the song wasn’t strong enough as it was, he just shouldn’t record it at all. But while the song might not have been strong enough for a big country star like Porter Wagoner, it was strong enough for Chet Atkins’ new proteges, who were, after all, hardly going to have a big hit. So Atkins took the multiply-rejected song in for the duo to record as their first single for Cadence. In one of those coincidences that seems too good to be true, Ike Everly was Boudleaux Bryant’s barber, and had been bragging to him for years about how talented his sons were, but Bryant had just dismissed this — around Nashville, everyone is a major talent, or their son or daughter or husband or wife is. Two things happened to change the rather mediocre song into a classic that would change the face of popular music. The first was, simply, the brothers’ harmonies. They had by this point developed an intuitive understanding of each other’s voices, and a superb musicality. It’s interesting to listen to the very first take of the song: [Excerpt: The Everly Brothers, “Bye Bye Love (take 1)”] That’s Don singing the low lead and Phil taking the high harmony. Now, if you’re familiar with the finished record, you can tell that what Phil’s singing there isn’t the closer harmony part he ended up singing on the final version. There are some note choices there that he decided against for the final record. But what you can tell is that they are instinctively great harmony singers. It’s not the harmony part that would become famous, but it’s a *good* one in its own right. The second thing is that they changed the song from the rather sedate country song the Bryants had come up with, radically rearranging it. Don had written a song called “Give Me a Future”, which he’d intended to be in the Bo Diddley style, and one can hear something of Diddley’s rhythm in the stop-start guitar part: [Excerpt: The Everly Brothers, “Give Me a Future”] Don took that guitar part, and attached it to the Bryants’ song, and with the help of Chet Atkins’ lead guitar fills turned it into something quite new — a record with a rockabilly feel, but with country close harmony vocals: [Excerpt: The Everly Brothers, “Bye Bye Love”] The brothers were, at first, worried because almost as soon as it came out, a cover version by Webb Pierce, one of the biggest names in country music, came out: [Excerpt: Webb Pierce, “Bye Bye Love”] But they were surprised to discover that while Pierce’s version did chart — reaching the top ten in the country charts — it was nowhere near as successful as their own version, which went to number one on the country charts and number two in pop, and charted on the R&B charts as well. After that success, the Bryants wrote a string of hits for the brothers, a run of classics starting with “Wake Up Little Suzie”, a song which was banned on many stations because it suggested impropriety — even though, listening to the lyrics, it very clearly states that no impropriety has gone on, and indeed that the protagonist is horrified at the suggestion that it might have: [Excerpt: The Everly Brothers, “Wake Up Little Suzie”] These records would usually incorporate some of Don’s Bo Diddley influence, while remaining firmly in the country end of rock and roll. The Bryants also started to give the brothers ballads like “Devoted to You” and “All I Have to Do is Dream”, which while they still deal with adolescent concerns, have a sweetness and melody to them quite unlike anything else that was being recorded by rock and roll artists of the time. After the first single, everything else that the Bryants wrote for the Everlys was tailored specifically to them — Boudleaux Bryant, who would attend more of the sessions, would have long conversations with the brothers and try to write songs that fit with their lives and musical tastes, as well as fitting them to their voices. One of the things that’s very noticeable about interviews with the brothers is that they both tend to credit Boudleaux alone with having written the songs that he co-wrote with his wife, even though everything suggests that the Bryants were a true partnership, and both have solo credits for songs that are stylistically indistinguishable from those written as a team. Whether this is pure sexism, or it’s just because Boudleaux is the one who used to demo the songs for them and so they think of him as the primary author, is hard to tell — probably a combination. This was also a perception that Boudleaux Bryant encouraged. While Felice was the person who had originally decided to go into songwriting, and was the one who came up with most of the ideas, Boudleaux was only interested in making money — and he’d often sneak off to write songs by himself so he would get all the money rather than have to share it with his wife. Boudleaux would also on occasion be given incomplete songs by friends like Atkins, and finish them up with Felice — but only Boudleaux and the original writer would get their names on it. The result was that Boudleaux got the credit from people around him, even when they knew better. One of my sources for this episode is an interview with the Bryants’ son, Dane, and at one point in that interview he says “Now, lots of times I will say, ‘My father.’ I mean Dad and Mom”. As the Everly brothers disagreed about almost everything, they of course disagreed about the quality of the material that the Bryants were bringing them. Phil Everly was always utterly unstinting in his praise of them, saying that the Bryants’ songs were some of the best songs ever written. Don, on the other hand, while he definitely appreciated material like “All I Have to Do is Dream”, wasn’t so keen on their writing in general, mostly because it dealt primarily with adolescent concerns. He thought that the material the brothers were writing for themselves — though still immature, as one would expect from people who were still in their teens at the start of their career — was aiming at a greater emotional maturity than the material the Bryants wrote. And on the evidence of their first album, that’s certainly true. The first album is, like many albums of the time, a patchy affair. It pulls together the hit singles the brothers had already released, together with a bunch of rather mediocre cover versions of then-current hits. Those cover versions tend to support Don’s repeated claims that the brothers were as interested in R&B and blues as in country — apart from a version of “Be-Bop-A-Lula”, all the covers are of R&B hits of the time — two by Little Richard, two by Ray Charles, and one by the relatively obscure blues singer Titus Turner. But among those songs, there are also a handful of Don Everly originals, and one in particular, “I Wonder if I Care as Much”, is quite an astonishing piece of songwriting: [Excerpt: The Everly Brothers, “I Wonder If I Care As Much”] Don’s songs were often B-sides – that one was the B-side to “Bye Bye Love” – and to my mind they’re often rather more interesting than the A-sides. While that first album is rather patchy, the second album, Songs Our Daddy Taught Us, is a minor revelation, and one of the pillars on which the Everly Brothers’ artistic reputation rests. It’s been suggested that the album was done as a way of getting back at the record company for some slight or other, by making a record that was completely uncommercial. That might be the case, but I don’t think so — and if it was, it was a gesture that backfired magnificently, as it’s still, sixty years on, a consistent seller. Songs Our Daddy Taught Us is precisely what it sounds like — an album consisting of songs the brothers had been taught by their father. It’s a mixture of Appalachian folk songs and country standards, performed by the brothers accompanied just by Don’s acoustic guitar and Floyd Chance on upright bass: [Excerpt: The Everly Brothers, “Who’s Gonna Shoe Your Pretty Little Feet?”] It’s quite possibly the most artistically satisfying album made in the fifties by a rock and roll act, and it’s had such an influence that as recently as 2013 Billie Joe Armstrong of Green Day and the jazz-pop singer Norah Jones recorded an album, Foreverly, that’s just a cover version of the whole album: [Excerpt: Billie Joe Armstrong and Norah Jones, “Who’s Gonna Shoe Your Pretty Little Feet?”] So as the 1950s drew to a close, the Everly Brothers were on top of the world. They’d had a run of classic singles, and they’d just released one of the greatest albums of all time. But there was trouble ahead, and when we pick up on their career again, we’ll see exactly how wrong things could go for them.  

Welcome to a marathon of an episode, but it's filled to the brim with STUFF. Good stuff, specifically. Thank you for celebrating 10 episodes with us! We welcome another Bryant to the podcast, the official Back Up Bryant (BUB) to talk about Chelsea, fun buses, Darlington Nagbe to CrewSC and Christian Pulisic. (56:52) We start off the show with some hockey game shenanigans (again) and our inaugural (??) Christmas Ales of the 2019 holiday, while simultaneously complaining about the WAR ON THANKSGIVING. Thomas does a killer Keith Morrison impersonation. (11:43) We go into the week that was for Tottenham & Liverpool, since we are technically a soccer podcast. We share about Son destroying a human being's ankle and a mixed bag of Spurs results and all things Liverpool armpit related. We also complain about sports replay and weigh how important it really is to get the call right. Hooray!! (12:08) It takes a while, but we get into some non-soccer talk. A rash of politically/racially fueled signs started popping up around local college campuses. On top of all that, council people in Florida and Donald J Trump Jr are all in the news for the worst reasons. We discuss censorship and its different forms. (36:13) We also go into some pod love for podcasts that don't take half of your day to listen to. (1:35:42). Happy Veterans Day to all who have taken up the call to serve. RIP Capper.

Ringside Ramblings is back with a Top 10 list. This time its The Final Score's cohost Lin Bryant's list. Lin hasn't been a fan since the late 80's so this was interesting to say the least. If you're planning your vacation next year there is only one place to go! True North Vacations! We specialize in FULL SERVICE DISNEY or UNIVERSAL experiences. We will help you pick the right hotel, dining, and fast pass attractions to ensure you and your family have the most magical vacation yet! Check them out at www.truenorthvacations.com or give them a call at 252-292-1934 Also check out the newest restaurant in the area Haggerty's Steakhouse 414 Becker Dr. Roanoke Rapids, North Carolina 27870 for the best steaks in the area and my favorite make your own salad bar!

You'll be hard-pressed to come across cooler heads than those of the husband-wife team pair of relative trucking newbies I had the pleasure of sitting down with in Hartsville, Tenn., several weeks back. Tommy and Linda Bryant have about a year over the road as a company team with Old Time Express, pulling a dry van and, generally, loving life together after their mid-life switch to the work. For this week's edition of Overdrive Radio, we drop into Hartsville Old Time office, where I met the Bryants. Before trucking, with the kids grown and out of the house, Tommy and Linda were already basically spending the vast majority of their days together running a small Hartsville café, the Early Bird, today owned and operated by a son. A road trip taken in a four-wheeler out west, though, gave them an idea of how they could get even closer, and for longer, maximizing as a unit that precious commodity of time, together, as Tommy puts it. What are you doing with work but selling your time to an employer, after all, whether that's yourself, or, as is the case for the Bryants now, the Old Time Express fleet? And though Tommy and Linda may be new to trucking, it hasn't taken them long to see, as both pointed out, the potential value of more flexible sleeper splits, beyond the 8/w split currently available. Particularly for their team operation.

We're talking basketball, we're talking basketball. This week a new theme Slam Drunk were Bryant and Corey jump into a movie genre that they both love and that is Basketball sports movies. This week they watched a movie based on a Pepsi commercial (no joke), Uncle Drew. The two of them suffer through this movie and answer questions like Is everyone doing a Fat Albert impression? why are Bryants neighbour's feet so dirty? Will they ever be able to hear the word "Youngblood" ever again?

Bryant made it to L.A. and we recorded our first 5 person podcast. Each of us give our thoughts on the scooter situation in Los Angeles, and break down Max and Bryants new found business idea. Sleeping habits are a large topic of discussion. Plus we read our first fan message!! Happy Memorial Day!

Meet Kaitie and Jared Bryant, a family of four that lives in Athens, Georgia. Kaitie is highly creative and always has a new idea while Jared loves stability and alludes to the idea of having the same job forever. The Bryants are the Founders of The Known Project which creates resources to know and love others better. Kaitie says, "You love people by knowing them." The Known Project created a book of questions with different levels of depth to challenge all of us in our relationships, friends, family, and colleagues. In this episode, Kaitie and Jared also talk about the different ways they apologize to one another, how they step when the other is in the "Red Zone," and they share their favorite question to ask people (it's not what you think...). Welcome to the Love or Work Podcast, hosted by Andre Shinabarger (Physician Assistant, Grady Hospital) and Jeff Shinabarger (Social Entrepreneur and Founder of Plywood People). They are asking the question: Is it possible to change the world, stay in love and raise a healthy family? 100 interviews where Jeff and Andre learn from other working families in the journey of marriage, purpose and parenting. Learn more about The Known Project: https://www.knownproject.com/home Website: www.loveorwork.com Instagram: www.instagram.com/loveorwork Love or Work is a project of Plywood People. Plywood is a non-profit in Atlanta leading a community of start-ups doing good. www.plywoodpeople.com

THE SEASON IS NEAR! Also near: Ken Schultz, bff of the show and Baseball Prospectus / Cubs Den writer. Kevin, Adam & Ken look forward into 2019 and make a sh*tton of predictions: Cubs MVP, breakout players, Game 1 playoff starter, regression worries, mid-season trade targets, playoff predictions, and most importantly: would you rather a team made of 2 Bryants, 4 Contrerases, or 8 Coghlans? Yes that was a listener question, and no, it wasn't asked by Will Ferrell's Harry Caray. Listen, subscribe, rate, review, tell a friend, and put it all on the dang Cubs! LET'S GOOOOOOO Follow us! Instagram & Twitter: @awaygamespod Hosts @adammamawala & @kevinmccaff Message us at awaygamespodcast@gmail.com

It's Thanksgiving week and this week the crew is back! We have Jamie, Rashann, Anthony, Jonathan, and the newly minted Bryants, Rebecca and Andy, fresh off their wedding! We talk about what we are thankful for, and thankfulness in general. Hope you enjoy! We would love for you to connect with us at one of the ways below and share with a friend, or 10. www.Not99.com Instagram: @Not99Podcast Twitter: @Not99Podcast Facebook: www.Facebook.com/Not99Podcast Email: Not99Podcast@gmail.com

Being Fired, Monday's Headlines -- Riggle me this, The Price is Right, Trust the Process, Bryants a Giant, Quick Hits

Julia came to live with the Bryants. She claimed to be their cousin ... Arguing, more arguing. and wow, look, even more arguing! Not from Henry and Keenan mind you. Spook Factory is back and better than ever, now devoid of any enthusiasm(yay!). Our IMDB: www.imdb.com/user/ur85102284/?ref_=nb_usr_prof_0 Email us: spookfactorypodcast@gmail.com ©2018 Henry Parker and Keenan Basar

Last year they were the Pawcasties. This year the Watsons. Next year will probably be the Bryants. Whatever uninspired title we come up with they are our annual regular season football awards! Relive the season with us as we await the upcoming three-match with the Alabama Crimson Tide. From all-star veterans to flashy freshman we gush over a 2017 team that many expected, including us, would see a significant drop-off with the departure of Deshaun Watson and they myriad of talent that went with him. But Kelly Bryant and the boys set out to prove us all wrong and the Tigers now find themselves back in the College Football playoff for the third year in a row and twice as the #1 ranked team. Enjoy the show and Go Tigers!

Before the Week 3 tough calls (last half of the show), we've got some sneaky RB adds you could consider (3:20) like Darkwa and Smallwood, best TE streamers for the week (6:51) and the upcoming tough schedules for Todd Gurley (12:40) and Kirk Cousins (16:00) ... Buy or Sell on Chris Carson (22:10), Derrick Henry (23:05), ARI WRs (23:18), Isaiah Crowell (25:00) and many more ... Tough calls for this week at QB (32:00) including Rivers and Palmer; RB (40:00) including the TEN, SEA and DET running games; WR (54:50) including a couple of Bryants, Alshon and Pryor ... Your emails at fantasyfootball@cbsi.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Jalen Rose and David Jacoby talk Tom Thibodeau's new job, Warriors get tested where it counts, Celtics need much help and Hip-Hop sets off alarms in the White House. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Ausgabe 89 unseres Podcasts haben die Hosts Dennis Spillmann und Jonathan Walker die Redakteure Philipp Rück und Sebastian Seidel eingeladen um mit ihnen auf Kobe Bryants Karriere zurückzublicken sowie über die Lakers von heute zu diskutieren. Wie ist Kobe Bryants Karriere zu bewerten? Was machen die Lakers 2015 und wohin führt das alles?

Jesper och Nicklas diskuterar Kobe Bryants karriär, Jahlil Okafors problem utanför planen och Indiana Pacers.

Jesper och Nicklas diskuterar Kobe Bryants karriär, Jahlil Okafors problem utanför planen och Indiana Pacers.

(323) 784-9638 begin_of_the_skype_highlighting            (323) 784-9638      end_of_the_skype_highlighting talk about what you want too

Rod and Karen are joined by Michelle and Lanae to discuss Call of Duty, Mickey Mouse Hands, shoplifting, Rick Perry's Christmas, porn camera men comedians, nerd loving 101, Barry Bonds, loud talking in public, the Bryants, rampage, black mascot, Lean On Me, incest prank, to whoop or not to whoop, sword idiot, stealing a date's car, he's loving it, win or else, spider-thief, robbing kids for chains and shoplifting car-ma. Intro: Gold digger - Kanye West Outro: Not Gon Cry - Mary J Blige Twitter: @rodimusprime @SayDatAgain @purplepeace79 @thecomplexmedia Email: theblackguywhotips@gmail.com Blog: www.theblackguywhotips.com Voice Mail: 704-557-0186 Purple Peace's Website: http://www.knobslobbingfeminism.com/ Lanae's Website: http://www.thecomplexmedia.com/ Sponsor: www.shadowdogproductions.com And they're on Twitter: @ShadowDogProd

Track-list: 1. BITTERSUITE - Just Glide 2. Loco Dice - Dynamite Love (Original Mix) 3. Kalim Shabazz - Peak Bomb (Phonique Remix) 4. Lovebirds - Ethek (Bird's Retouch Mix) 5. Kimouts - Down To Earth (Mymy Monterrey Wash Remix 2) 6. Loco Dice - Black Truffles In The Snow (Mike Huckaby's Jazzed Out S Y N T H Remix) 7. James Talk - Pass The Suntan Lotion (Nic Fanciulli Remix) 8. Ekkohaus - Soulshine 9. Kathy Brown - Don't Give Up (Steve Mestre And Wilson Santos Dub) 10. Daniel Mehlhart - Wach Werden (Original Mix) 11. Chateau Flight - La Roquette 12. Jochen Pash - Tonite (Original Mix) To Download Podcast visit this Site. itpc://bryantortega.podOmatic.com/rss2.xml (Pls. Install itunes first if not installed)

Deep House Session Mixed by Bryant Ortega.