Podcasts about Bye Bye Love

Finn Brothers, 29 February 1988, Los angeles KCRW's SNAP. Performances include: Six Months in a Leaky Boat, Throw Your Arms Around Me, Fraction Too Much Friction, Charlie, Coca Cola Kid Jingle, She Got Body She Got Soul, Message to My Girl, Show a Little Mercy, Better Be Home Soon, Bye Bye Love, The Jazz Butcher, Dirty Creature, Poor Boy, I Hope I Never, Song for Noel, Whaling, You Send Me, Now We're Getting Somewhere, Goodnight Irene, Pokarekare AnaYou can significantly support the continuation of the 240 podcast for a donation of just a couple dollars per month. This goes directly towards covering the podcast hosting fees. Big thank yous if you are in a position to help. Head over here to: http://patreon.com/240neilfinn

"MixTape 114 Classic Oldies Favorites" TRACK 1 AUDIO TITLE "Stand By Me" PERFORMER "Ben E. King" INDEX 01 00:00:00 TRACK 2 AUDIO TITLE "The Sound of Silence - Acoustic Version" PERFORMER "Simon & Garfunkel" INDEX 01 02:46:70 TRACK 3 AUDIO TITLE "All I Have to Do Is Dream" PERFORMER "The Everly Brothers" INDEX 01 05:31:35 TRACK 4 AUDIO TITLE "All You Need Is Love - Remastered 2009" PERFORMER "The Beatles" INDEX 01 07:41:11 TRACK 5 AUDIO TITLE "Ring of Fire" PERFORMER "Johnny Cash" INDEX 01 10:36:31 TRACK 6 AUDIO TITLE "Suspicious Minds" PERFORMER "Elvis Presley" INDEX 01 13:00:26 TRACK 7 AUDIO TITLE "Sugar, Sugar" PERFORMER "The Archies" INDEX 01 17:01:33 TRACK 8 AUDIO TITLE "Travelin' Man - Remastered" PERFORMER "Ricky Nelson" INDEX 01 19:36:73 TRACK 9 AUDIO TITLE "Splish Splash" PERFORMER "Bobby Darin" INDEX 01 21:52:10 TRACK 10 AUDIO TITLE "Do You Love Me - Mono Single" PERFORMER "The Contours" INDEX 01 23:49:50 TRACK 11 AUDIO TITLE "Runaway" PERFORMER "Del Shannon" INDEX 01 26:21:04 TRACK 12 AUDIO TITLE "Johnny B. Goode" PERFORMER "Chuck Berry" INDEX 01 28:23:33 TRACK 13 AUDIO TITLE "Tutti Frutti" PERFORMER "Little Richard" INDEX 01 30:49:36 TRACK 14 AUDIO TITLE "I Walk The Line - Single Version" PERFORMER "Johnny Cash, The Tennessee Two" INDEX 01 33:06:73 TRACK 15 AUDIO TITLE "Only the Lonely" PERFORMER "Roy Orbison" INDEX 01 35:20:16 TRACK 16 AUDIO TITLE "Dream Lover" PERFORMER "Bobby Darin" INDEX 01 37:35:34 TRACK 17 AUDIO TITLE "Will You Love Me Tomorrow" PERFORMER "The Shirelles" INDEX 01 39:53:17 TRACK 18 AUDIO TITLE "Brown Eyed Girl" PERFORMER "Van Morrison" INDEX 01 42:17:71 TRACK 19 AUDIO TITLE "You Never Can Tell" PERFORMER "Chuck Berry" INDEX 01 44:58:04 TRACK 20 AUDIO TITLE "I'm a Believer - 2006 Remaster" PERFORMER "The Monkees" INDEX 01 47:27:06 TRACK 21 AUDIO TITLE "Runaround Sue" PERFORMER "Dion" INDEX 01 49:57:73 TRACK 22 AUDIO TITLE "These Boots Are Made for Walkin'" PERFORMER "Nancy Sinatra" INDEX 01 52:11:36 TRACK 23 AUDIO TITLE "Don't Be Cruel" PERFORMER "Elvis Presley" INDEX 01 54:34:24 TRACK 24 AUDIO TITLE "Bye Bye Love" PERFORMER "The Everly Brothers" INDEX 01 56:26:43 TRACK 25 AUDIO TITLE "Misirlou" PERFORMER "Dick Dale" INDEX 01 58:20:52 TRACK 26 AUDIO TITLE "Then He Kissed Me" PERFORMER "The Crystals" INDEX 01 60:24:66 TRACK 27 AUDIO TITLE "(What A) Wonderful World" PERFORMER "Sam Cooke" INDEX 01 62:45:16 TRACK 28 AUDIO TITLE "Do Wah Diddy Diddy - 2007 Remaster" PERFORMER "Manfred Mann" INDEX 01 64:44:71 TRACK 29 AUDIO TITLE "Be My Baby" PERFORMER "The Ronettes" INDEX 01 67:02:23 TRACK 30 AUDIO TITLE "Mambo Italiano (with The Mellomen) - 78rpm Version" PERFORMER "Rosemary Clooney, The Mellomen" INDEX 01 69:23:33 TRACK 31 AUDIO TITLE "Let's Twist Again" PERFORMER "Chubby Checker" INDEX 01 71:23:31 TRACK 32 AUDIO TITLE "Wipe Out - Hit Version / Extended Ending" PERFORMER "The Surfaris" INDEX 01 73:36:28 TRACK 33 AUDIO TITLE "Great Balls Of Fire" PERFORMER "Jerry Lee Lewis" INDEX 01 75:32:13 TRACK 34 AUDIO TITLE "Think" PERFORMER "Aretha Franklin" INDEX 01 77:16:50 TRACK 35 AUDIO TITLE "California Dreamin' - Single Version" PERFORMER "The Mamas & The Papas" INDEX 01 79:20:31 TRACK 36 AUDIO TITLE "Mrs. Robinson - From "The Graduate" Soundtrack" PERFORMER "Simon & Garfunkel" INDEX 01 81:42:59 TRACK 37 AUDIO TITLE "Don't Let Me Be Misunderstood" PERFORMER "The Animals" INDEX 01 85:02:61 TRACK 38 AUDIO TITLE "Oh, Pretty Woman" PERFORMER "Roy Orbison" INDEX 01 87:09:29 TRACK 39 AUDIO TITLE "Always On My Mind" PERFORMER "Elvis Presley" INDEX 01 89:59:40 TRACK 40 AUDIO TITLE "I Got You Babe" PERFORMER "Sonny & Cher" INDEX 01 93:19:73

El amigo secreto y Rafael Panadero se atreven con los primeros acordes de una de las canciones de The Everly Brtothers más recordadas. Al ritmo de 'Bye Bye Love' empezamos la mañana.

Las versiones musicales del amigo secreto de Javier del Pino y (un poco menos) de Rafa Panadero.

On this episode of Vinyl Verdict, Bell, Jamie and Adam listen to Jamie's next pick, The Cars self titled debut album. Released in 1978, it was an immediate radio hit, later going 6x Platinum. Described variously as New Wave, Power Pop and Synth-Rock, the album incorporates elements of all three genres. Rolling Stone has most recently named this the #353/500 Greatest Albums of all Time. But will the boys say "Bye Bye Love" to it after repeat listenings, or will the "Good Times Roll"? Come along and find out!

Comedian, actor, television writer, author and musician Paul Reiser is one of Hollywood's most prolific creatives.2024 is a busy year for Reiser. On the heels of his new comedy The Problem with People which Reiser wrote, produced, and starred in alongside Colm Meaney and Jane Levy, Reiser has projects across a multitude of media formats. In March, Carter Burke, Reiser's iconic character from Aliens re-emerged in a What-if… concept comic book from Marvel comics and he appeared in the independent comedy The Gutter, directed by Isaiah and Yassir Lester. Reiser also co-wrote the New York Times bestseller What A Fool Believes: A Memoir the candid, freewheeling memoir of his friend and Rock & Roll Hall of Famer Michael McDonald. In July, Reiser will appear in Netflix's Beverly Hills Cop: Axel F, reprising his role from BH Cop 1 and 2. Recently, Reiser could be seen in Hulu's critically-acclaimed comedy series “Reboot” by Modern Family creator Steve Levitan. He also took his first step into bloody, superhero glory in Season 3 of Amazon Prime's Emmy-nominated The Boys playing “The Legend.” Reiser is widely celebrated for his roles in two hit shows for Netflix: Stranger Thing  and Chuck Lorre's The Kominsky Method, for which he received an Emmy nomination for Outstanding Supporting Actor. Mad About You, the long-running Emmy, Peabody, and Golden Globe-winning comedy that Reiser created and starred in with Helen Hunt, returned as a limited series on Spectrum Originals. Reiser earned acclaim for his supporting role in the Academy Award-winning film Whiplash. The veteran actor has garnered praise for notable performances in films such as Diner, Bye Bye Love, One Night At McCool's, and The Thing About My Folks, which Reiser wrote for his co-star Peter Falk. Reiser is a fixture behind the camera as well. He co-created and produced the seven-episode series There's Johnny!, a seven-episode series which streamed on Hulu and Peacock. The show, a fictional story set behind-the-scenes of Johnny Carson's Tonight Show circa 1972, co-produced with director David Gordon Green. His new standup special – his first in 30 years – will be released later this year via Comedy Dynamics.

Paul Reiser talks about his new film, “The Problem with People”, deciding to be a comic, comedy and heartbreak being from the same well, His love of Peter Faulk, Jack Lemon, and Alan Arkin, fathers, getting out of the house, building a music room just in case Billy Joel dropped by, Writing “What A Fool Believes” with and about Michael McDonnald, “Diner” “Mad About You.” “The Thing About My Folks”, acting and writing seriously, his sons, and realizing you can't write a standup act but just holding a pad and thinking to yourself…”What's funny?”Bio:  n Hulu's recent critically-acclaimed comedy series “Reboot” from Modern Family creator Steve Levitan, Reiser plays Gordon, the original creator of the old sitcom being rebooted. Awards Daily says “Reiser truly excels, giving one of his very best performances…here, he reminds us just how very funny and experienced he is in the world of television comedy.” He also took his first step into bloody, superhero glory, joining Season 3 of Amazon Prime's Emmy-nominated The Boys, playing “The Legend.” Also this year Reiser filmed “The Problem with People,” an original comedy feature film which he wrote, produced, and stars in alongside Jane Levy and Colm Meaney. Reiser currently stars in two hit shows for Netflix: Stranger Things—the company's biggest series of all time—where he plays Dr. Sam Owens, a role created by the Duffer Brothers specifically for him; and Chuck Lorre's The Kominsky Method, for which he received an Emmy nomination for Outstanding Supporting Actor in and Golden Globe-winning comedy ended in May 1999 and premiered 20 years later as a limited series on Spectrum Originals. All seven seasons of the original Mad About You and the re-visit are available for streaming on Amazon Prime. The multi-faceted actor also revived one of his most iconic roles in the highly anticipated return of Mad About You, the long-running hit 90s comedy Reiser co-created and starred in with Helen Hunt. The Emmy, Peabody and Golden Globe-winning comedy ended in May 1999 and premiered 20 years later as a limited series on Spectrum Originals. All seven seasons of the original Mad About You and the re-visit are available for streaming on Amazon Prime. Throughout his prolific career, Reiser has worked with both independent and mainstream filmmakers. Having earned acclaim for his supporting role in the Academy Award-winning film Whiplash, Reiser was also recently seen alongside Kevin Hart in the Netflix feature Fatherhood, John McDonagh's War on Everyone and in frequent collaborator Jeff Baena's “The Little Hours” and “Horse Girl,” which premiered at Sundance 2020, the fourth film the pair has worked on together. The veteran actor has garnered praise for notable performances in films such as Diner, Bye Bye Love, Aliens, One Night At McCool's, Beverly Hills Cop I/II and The Thing About My Folks, which Reiser wrote for his co-star Peter Falk. Reiser is a fixture behind the camera as well. He co-created and co-produced There's Johnny!, a seven-episode series which originally streamed on Hulu and now streams on Peacock. The show, a fictional story set behind-the-scenes of Johnny Carson's Tonight Show circa 1972, co-created with filmmaker David Steven Simon and co-produced with director David Gordon Green in conjunction with The Carson Company, premiered to critical praise, with Decider saying There's Johnny! is “a television experience unlike any I've seen on TV in recent years” and “unfolds like a dream, a memory fondly recalled.” As an author, Reiser's first book, Couplehood, sold over two million copies and reached the number one spot on The New York Times bestsellers list. His subsequent books, Babyhood and Familyhood, were best sellers as well. Voted by Comedy Central as one of the Top 100 Comedians of All Time, Reiser regularly performs sold-out standup at venues nationwide with dates currently booked throughout 2022 and beyond. A SUNY Binghamton graduate of its prestigious music program, Reiser co-wrote the theme song for Mad About You, “The Final Frontier,” with Grammy-winning producer Don Was, and released an album of original songs with British singer-songwriter Julia Fordham called Unusual Suspects. Over the course of his career, Reiser has received multiple Emmys, Golden Globes, American Comedy Awards and Screen Actors Guild nominations. Reiser and his family reside in Los Angeles.

It's a Scandal Water double feature! In this episode you get two breakup stories for the price of one!

Au revoir la France. Bye Bye Love. Pays finito. The End. Nous sommes au XVe siècle, après 1420 et le Traité de Troyes. Affamée, épuisée, livrée au pillage, rançonnée par les bandes armées, ravagée depuis plus d'un demi-siècle par les guerres et les épidémies, la France est sur le point de crever. Bye-Bye France. Pays finito. Ou pas loin. Tout le monde ou presque s'attend à une annexion pleine et entière sous peu. Surtout à partir du moment où la ville d'Orléans est, à son tour, assiégée en octobre 1428. Avant de mourir, le roi Charles VI, lui-même ravagé, et sa femme Isabelle de Bavière ont abjuré le « soi-disant dauphin », leur propre fils, Charles VII, qui se considère quand même comme roi mais qui ne règne plus sur grand-chose. Par dérision, Anglais et Bourguignons l'appellent désormais « le roi de Bourges ». Il n'a plus un kopeck et dépend du bon-vouloir de prêteurs pour financer la défense de ses derniers territoires. C'est à partir de ce siège, au milieu de cette misère, qu'apparaît Jeanne. Une femme très jeune au milieu d'un monde d'hommes très vieux. Une justicière contre l'oppression. Une personne courageuse au milieu d'un monde de lâches. Une enfant de génie au milieu d'un monde d'adultes stupides et prétentieux. Une visionnaire généreuse au milieu d'un monde de calculateurs méprisables. Une inspirée, autant dire une illuminée. Traitée de putain et de sorcière par les Anglais, d'hérétique par l'Église alliée à l'Université et abandonnée par le roi même du royaume qu'elle a sauvé. Jugée schismatique, apostate, menteuse, devineresse, suspecte d'hérésie, errante en la foi, blasphématrice, brûlée puis récupérée ensuite pour la gloriole, béatifiée en 1909, canonisée en 1920 et désormais utilisée depuis un demi-siècle pour servir à un combat complètement étranger au sien. Ce n'est pas la première et ce ne sera pas la dernière. Mais c'est la plus célèbre. Une vraie star. Et c'est la plus bouleversante. Aimable sans conditions, sans limites, comme on peut aimer L'Iliade, Jésus, les « Cathares » ou la poésie de François Villon. Jeanne, c'est la France qu'on peut aimer. La France du mépris des conventions et de la révolte contre l'oppression. La France des visionnaires et des poètes. La France de la justice. Une France qui, comme l'autre et contre l'autre, la France de la force, continuatrice de l'Empire, n'a jamais pris fin." Auteur : Pacôme Thiellement Réalisation : Mathias Enthoven, Ameyes Aït-Oufella Montage : Ameyes Aït-Oufella Son : Baptiste Veilhan Graphisme : Morgane Sabouret, Diane Lataste Production : Hicham Tragha Directeur des programmes : Mathias Enthoven Rédaction en chef : Soumaya Benaïssa Directeur de la publication : Denis Robert Avec l'aide inestimable de l'historien Raphaël Carbonne.

We're back! For our 95th episode, we bring you a collection of soundtrack cuts from 1995. It was the height of the 90s, when 80s pop stars showed up in the most random movies, fledgling rock bands popped up on teen cult classics, and also Eagles guitarist Joe Walsh Eagles teamed up with Lita Ford to do the theme song for a RoboCop TV series. 1995 was definitely a mood... Also appearing in this episode: Tom Jones covering Lenny Kravitz for the Jerky Boys movie, The Proclaimers covering The Everly Brothers' "Bye Bye Love" for the movie Bye Bye Love, we get a few cuts from Green Day, Wax, and Salt N' Pepa. Also Bryan Adams performs the drippiest, horniest song ever written... Ladies and gentlemen, this is 1995.   SHOW NOTES FOR THIS EPISODE: Jack Black in Bye Bye Love Tom Jones performing "Are You Gonna Go My Way" on The Tonight Show INTRO/OUTRO: "Dance Rocket" by Jesse Spillane MUSIC VIDEOS: "There's A Future To This Life" by Joe Walsh & Lita Ford "Moonlight" by Sting Have a soundtrack you'd like us to cover?  Follow us on Twitter @OSTParty and let us know! Or email us at OSTPartyPod@gmail.com 

Laura Hall, a British journalist, who has embraced the Danish way of life, shows Esben where to take the best harbour dips, enjoy great beer, and meet new people – the perfect guide for solo travellers exploring the city.Follow this link to see all the places we mention in the episode:https://www.visitcopenhagen.com/copenhagen/planning/podcast-insiders-guide-copenhagen-episode-31:10 Carlsberg Byen1:23 The Elephant Gate2:15 Home of Carlsberg2:34 The stable at Home of Carlsberg3:30 The celler at Home of Carlsberg5:40 Restaurant Cadence9:00 Bye Bye Love vintage shop11:30 Absalon Church14:13 Sønder Boulevard14:43 KIHOSKH15:40 Cykelslangen16:16 Kalvebod Brygge bathing in the harbour18:30 Restaurant Jah Izakaya 

Ray Charles: Why His Music Still Moves Us Join us in this special episode of our music podcast as we dive deep into the legacy of Ray Charles, an artist whose profound impact on music still resonates today. In Episode 163, we explore top Ray Charles songs and discuss why tracks like Georgia on My Mind, Bye Bye Love, and Mess Around are timeless classics. Drawing comparisons to his portrayal in the Ray movie by Jamie Foxx, we'll also touch on key moments in Ray Charles history that shaped his career. Whether you're a longtime fan or new to his music, this episode offers a comprehensive music analysis that celebrates the very best of Ray Charles. Don't miss our music reaction videos as we share personal insights and highlight best Ray Charles songs that define his legacy. Subscribe for more music reactions and deep dives into legendary musicians every week. Join us as we uncover why Ray Charles' best song and his catalog continue to inspire and move listeners around the world.

Avec The Everly Brothers, Nick Cave, Johnny Cash et Sam Cooke. Les Everly Brothers, ce duo de légende aux classiques tels que "Bye Bye Love" en 1957 ou encore "All I Have To Do Is Dream" en 1958, rois des harmonies vocales, ces deux frères Phil et Don, sortent "I'm here to get my baby out of jail" en 1958. La peine de mort par chaise électrique avec "Mercy Seat", le siège de la pitié proposé par Nick Cave en 1987, l'artiste australien se met dans la peau d'un condamné à mort prêt à être exécuté. En 2000, sur son album "American III : Solitary Man" produit avec Rick Rubin, Johnny Cash interprète brillamment "Mercy Seat", comme une lettre d'adieu à ses fans, Cash étant très malade. 1960, Sam Cooke publie "Chain Gang" inspiré d'un événement vécu en tournée. --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock. Merci pour votre écoute Pour écouter Classic 21 à tout moment : www.rtbf.be/classic21 Retrouvez tous les contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Wenn ein Album es schafft, gleich mit sechs Grammys ausgezeichnet zu werden, dann ist das Meilensteine Potenzial bei der Platte sehr, sehr hoch. Und genau so war es auch beim Album "Bridge Over Troubled Water" von Simon & Garfunkel, das im Januar 1970 veröffentlicht wurde. Das Besondere an "Bridge Over Troubled Water" ist für unseren Musikredakteur und Meilensteine Moderator Frank König eindeutig der Sound. Die Platte ist vom Songwriting her perfekter Pop – vom Sound her aber gar nicht. Da klingt sie eher "seltsam" für ihn, erklärt er: "Heute würde man sagen: Das klingt aber eigenartig. Für mich klingt das magisch! [...] Es ist musikalisch perfekt, aber soundtechnisch irgendwie anders." Sechs Grammys gab es insgesamt für das Album, für den Titelsong "Bridge Over Troubled Water" alleine waren es schon vier. Ein Meisterwerk der Popgeschichte, den auch heute noch die meisten Musikfans mitsingen können. Geschrieben hat den Song Paul Simon und gesungen hat ihn Art Garfunkel – so war die Arbeitsaufteilung meistens bei dem legendären Popduo. Entstanden sein soll der Song übrigens auf fast schon magische Art und Weise. Paul Simon soll in einem Interview erzählt haben, dass der Song sich auch gar nicht anfühlt, als hätte er ihn selbst geschrieben. Er soll vor einem leeren Blatt Papier gesessen haben und seine Hand hat sozusagen selbstständig das Papier mit Worten gefüllt und am Ende stand dann eben dieser Song auf dem Papier. Für Paul Simon kam der Song irgendwo aus seinem unbewussten Inneren. Auch für die Coverversion von Aretha Franklin gab es 1972 einen Grammy. In ihrer Version kommt bei dem Song echtes Gospel-Feeling auf. Das liegt unter anderem auch an der sehr christlichen Botschaft, die im Song mitschwingt. Es geht um Zusammenhalt und Unterstützung in schweren Zeiten. "Ich bin für dich da, wenn die Zeit hart ist und Freunde schwer zu finden sind, werde ich für dich da sein, wie eine Brücke über unruhige Gewässer." (frei ins Deutsche übersetzt) Eine Botschaft, die natürlich auch ohne christlichen Glauben und religiösen Kontext verstanden werden darf. Auch wenn Paul Simon und Art Garfunkel Millionen Menschen mit ihrer Musik begeistert und berührt haben, nach "Bridge Over Troubled Water", sind die beiden Künstler getrennte Wege gegangen und nur vereinzelt nochmal zusammengekommen, wie zum Beispiel für ihr legendäres "Concert In Central Park". Die Experimentierfreude von Paul Simon und seine Faszination für die Weltmusik die hat sich auf diesem Album schon zu erkennen gegeben. Das hören wir an vielen Stellen auf dem Album. Zum Beispiel auch bei Songs wie "The Boxer", "El Condor Pasa" und natürlich auch beim Titelsong des Albums "Bridge Over Troubled Water". __________ Über diese Songs vom Album "Bridge Over Troubled Water" wird im Podcast gesprochen (06:36) – "Keep The Customer Satisfied" (08:36) – "Bridge Over Troubled Water" (15:29) – "Cecilia" (19:21) – "El Condor Pasa" (23:24) – "Bye Bye Love" (28:23) – "The Boxer" __________ Über diese Songs wird außerdem im Podcast gesprochen (09:56) – "Bridge Over Troubled Water" von Aretha Franklin (23:24) – "Bye Bye Love" von den Everly Brothers __________ Shownotes Review bei Pitchfork: https://pitchfork.com/reviews/albums/15197-bridge-over-troubled-water/ Artikel über die Geschichte des Songs "Bridge Over Troubled Water" im Independent: https://www.independent.co.uk/arts-entertainment/lives-of-the-great-songs-bridge-over-troubled-water-1448080.html  Artikel bei BBC One: https://www.theartsdesk.com/new-music/imagine-simon-and-garfunkel-harmony-game-bbc-one          Review zu "Bridge Over Troubled Water" bei laut.de: https://laut.de/Simon-Garfunkel/Alben/Bridge-Over-Troubled-Water-15011 Meilensteine Folge zu "The Concert in Central Park": https://www.swr.de/swr1/rp/meilensteine/simon-and-garfunkel-the-concert-in-central-park-100.html "Blow Up" auf Arte zum 80. Geburtstag von Paul Simon: https://www.arte.tv/de/videos/100210-070-A/blow-up-simon-garfunkel-im-film/ Youtubel-Kanal von Simon and Garfunkel: https://www.youtube.com/channel/UCvj9Q8jeaaXlj2OprcRraaw __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

This week we had the SEC reveal, Bobbie's passing, and a whole lot of temps…

"The Tragic Consequences of Strict Drug Policies: Remembering Lee Sun-kyun"Larry Michigan, starts off by wishing everyone a happy new year and reminiscing about the Grateful Dead's legendary New Year's Eve shows. He decides to feature songs from the Grateful Dead's New Year's Eve show in 1981 at the Oakland Coliseum. Larry describes the chaotic countdown and the band's energetic performance at midnight. He also pays tribute to John Cutler, a Grateful Dead sound technician and producer who recently passed away. Larry discusses the strict anti-drug policies in South Korea and the tragic death of Korean actor Lee Sun-kyun, who was subjected to relentless media scrutiny for his alleged marijuana use. He criticizes the punitive approach to drug abuse and emphasizes the need for rehabilitation rather than punishment. Larry also predicts that the University of Michigan's football team will win their game against the University of Alabama in the Rose Bowl based on his "Deadhead Cannabis System." The episode concludes with a discussion of the Grateful Dead's performance of "Dark Star" at the New Year's Eve show and the significance of the song's rarity.Timestamp Chapters:00:00:36 - Introduction and New Year's Eve celebration00:04:22 - Featuring songs from the Grateful Dead's New Year's Eve show of 198100:05:52 - Discussion on the song "Iko Iko" and the energy of a Dead New Year's Eve show00:33:48 - Tragic story of Korean actor Lee Sun-kyun and the strict anti-drug policies in South Korea00:38:00 - Predicting the winner of the Michigan vs. Alabama football game using the Deadhead Cannabis System00:42:00 - The encore set featuring Dark Star and other songsNote: The timestamps are approximate and may vary slightly when listening to the actual podcast episode.  Grateful DeadDecember 31, 1981Oakland ColiseumGrateful Dead Live at Oakland Auditorium on 1981-12-31 : Free Borrow & Streaming : Internet Archive *With Joan Baez **With Matt Kelly ***With John Cipollina. Bill Graham flies in on a joint - also: NRPS - only "Banks Of The Ohio" - final "Bobby McGee" - final "Bye Bye Love" - final "Children Of The 80s" - last "Dark Star": 01-20-79 [232] - final "Lucifer's Eyes" INTRO:                    NYE Countdown                                Track No. 20                                6:35 – 7:35  SHOW No. 1:          Iko Iko                                Track No. 21                                :26 – 2:00 SHOW No. 2:          The Boxer   (with Joan Baez)                                Track No. 3                                0:00 – 1:35 SHOW No. 3:          Bye Bye Love   (with Joan Baez)                                Track No. 6                                0:00 – 1:14 SHOW No. 4:          Dark Star                                Track No. 31                                4:20 – 6:00  OUTRO:                  It's All Over Now Baby Blue                                Track No. 34                                1:41 – 3:45 Talk about the dead show/NYE shows in generalKorean Actor who committed suicide because he was being investigated for MJ useDead U. at Stanford with David GansRIP John CutlerAnd more .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

En cette Saint-Saturnin, dans notre classe pour le moins particulière, Gilles Dal nous explique comment faire le deuil d'un premier amour, Jean-Jacques Jespers se demande pourquoi le monde tourne en boucle, et Raoul Reyers commente le tout avec sa répartie légendaire... Tous ensemble ils tentent de répondre (non sans humour) aux questions et déjouer les pièges posés par Walid, qui évoqueront mayonnaise, tranquillité et bonne poire, une mise en examen, une veuve joyeuse et même un dictionnaire et des sacs en plastique si on a le temps : gai savoir, quiz, anti-sèche et bonne humeur, le cocktail quotidien Salut les copions !ers Merci pour votre écoute Salut les copions, c'est également en direct tous les jours de la semaine de 16h à 17h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Salut les copions sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/19688 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Déjà notre dixième épisode! Et pour ce faire, nous parlons du duo Everly Brothers. Pourquoi eux? Ils ont influencé un grand nombre d'artistes musicaux par leur arrangement vocaux si caractéristique et par leur mélange de country, de rock et de musique pop.  C'est un parcours pas toujours tranquille que les deux frères ont menés tout au long de leur vie jusqu'à ne plus se parler durant des décennies.  Écoutez cet épisode pour en savoir plus sur ces deux légendes. La carte blanche parle d'un groupe rock canadien Les Beau-Marks et le groupe La Baie Road joue Bye Bye Love. Bonne écoute!

Square Roots - Episode 382 Hey, jazz cats. It's time to meet some ring-a-ding broads and bears for a swinging time on the strip! We explore the White Glove Society's very secret secret that you'll never guess, the Rat Pack era Chaimen at the Tops, and Vegas's naughtiest casino, the Gamorrean Guards. You'll note we didn't end up making friends with the Boomers, so there are no Boomer jokes this episode. Also: - Johnny'z Orbeez Tangent - More Sexy Options - The Homestuck Gem - Becoming the Queen of Vegas - Canada's Dave Foley This Week: We enter the New Vegas Strip and meet Mr. House, and confront Benny at the Tops. Recommended quests: Bye Bye Love and How Little We Know at Gomorrah, Beyond the Beef at the Ultra Lux. Next Week:  We deal with the BrotherHood of Steel and The Great Kahns. WARNING: The end of these quests can trigger the point of no return for your endgame faction. If you're not sure which way you want to go yet do not report to House, Yes Man, Caesar, or NCR. Our Patreon: http://patreon.com/squarerootspodcast Thanks to Steven Morris for his awesome theme! You can find him at: https://twitter.com/BeigeOnBeige and https://www.youtube.com/user/morrissteven Contact Square Roots! Twitter: @squarerootspod Facebook: https://www.facebook.com/groups/486022898258197/ Email: squarerootspodcast (at) gmail (dort) com

Square Roots - Episode 381 Okay, let's get this out of the way first: in this chunker Johnny mixes up Doc Mitchell and Doc Bailey. One is voiced by Michael Hogan and is the doctor in Good Springs, who came from a vault, and the other is the doctor from Vault 22. Michael Hogan played Commander Bailey in Mass Effect, so it's a simple mistake anyone could make. Right? RIGHT?!? Also in this chunker we figure out the best way to get inside New Vegas.  Also: - Matthew Hates The King - Everyone Lies to Keely - Eating at the Y - Game Scom This Week: We go to Boulder City then onto Freeside and complete G.I. Blues for The King, plus other quests on the Vegas Outskirts. Recommended: You Can Depend on Me (Crimson Caravan), Wang Dang Atomic Tango (Atomic Wrangler), There Stands the Grass (Camp McCarran). Next Week:  We enter the New Vegas Strip and meet Mr. House, confront Benny in the Tops, and secure the cooperation of the Boomers. Recommended quests: Bye Bye Love and How Little We Know at Gomorrah, Beyond the Beef at the Ultra Lux. Our Patreon: http://patreon.com/squarerootspodcast Thanks to Steven Morris for his awesome theme! You can find him at: https://twitter.com/BeigeOnBeige and https://www.youtube.com/user/morrissteven Contact Square Roots! Twitter: @squarerootspod Facebook: https://www.facebook.com/groups/486022898258197/ Email: squarerootspodcast (at) gmail (dort) com

In this episode, my guest is comedian and actor Paul Reiser. We discuss his upcoming shows at Cobb's Comedy Club, his tour called the "Big Font Comedy Tour," and how he's glad to be doing stand-up again. We also talked about Paul's various roles in TV and books, including his recent appearance on Stranger Things as Dr. Sam Owens.In this episode:Stand-up comedy and live performancesThe journey of becoming a comedianFinding your comedic voiceMaking your spouse laughOpening for Buddy RichAs a seasoned actor, writer, producer, and stand-up comedian, Paul Reiser continues to add to his list of accomplishments. In addition to co-creating and starring in the critically-acclaimed NBC series Mad About You (1992), which garnered him Emmy, Golden Globe, American Comedy Award, and Screen Actors Guild nominations for Best Actor in a Comedy Series, his successes also include his book, "Couplehood," which sold over two million copies and reached the number one spot on "The New York Times" best-seller list, and "Babyhood," his follow-up book, which features his trademark humorous take on the adventures of being a first-time father, which also made "The New York Times" best-seller list. He also wrote a follow-up bestseller, Familyhood.Born and raised in New York City, Reiser was drawn to Greenwich Village clubs, which featured, among others, George Carlin, Robert Klein, and David Steinberg. He subsequently attended college at the State University of New York at Binghamton, where he majored in music (piano and composition) and participated in drama classes. During his university years, he was active in student theater productions at the Hinman Little Theater, an on-campus community theater organization located in Hinman College, his dorm community. Reiser later began performing as a comedian at the Improv and Comic Strip during university summer breaks.Remembered for notable performances in films such as Diner (1982), Aliens (1986), Beverly Hills Cop (1984) and Beverly Hills Cop II (1987), The Marrying Man (1991), Bye Bye Love (1995) and One Night at McCool's (2001). More recently, he starred in two original movies for Showtime - Strange Relations (2001) opposite Julie Walters, Chazz Palminteri's Women vs. Men (2002), opposite Joe Mantegna and Christine Lahti. His first original screenplay also became his next film, The Thing About My Folks (2005), also starring Peter Falk, Olympia Dukakis, and Elizabeth Perkins.Reiser's development company, "Nuance Productions," has produced several projects for NBC television, including, My 11:30 (2004), starring Jeff Goldblum and Donna Murphy - which Reiser co-wrote with Steven Sater. Also in the works - for the Showtime cable network - is a mock documentary about "The Smothers Brothers" and their battles with television network censorship in the late 1960s. Since then, he has maintained a lower profile, working more as an executive producer and writer than as an actor.He also paired with Steven Soderbergh to star in the Amazon Original Series Red Oaks.Reiser tours the country performing in sold-out venues and was recently voted one of Comedy Central's "Top 100 Comedians of All Time."www.GaryScottThomas.com

It's Episode 52 of the Friday Night Karaoke Podcast, and the theme of the week was #FNKDiveBar. Slide into the jukebox groove with 'Dive Bar Bangers!' Our FNK stars are nailing classics from 'Sweet Caroline' to 'Whiskey in the Jar,' turning your speakers into a local watering hole! With 'Two Pina Coladas' in hand, join us as we 'Landslide' into this honky-tonk journey. These ain't your average 'Redneck Women' and men, they're 'strange' in the best way, pouring heart into 'She Talks to Angels' and bidding 'Bye Bye Love' to bland. Your ears will be thanking you after this bar-hopping joyride! FEATURED IN THIS EPISODE ALONGSIDE HOSTS MIKE WISTON AND JOE RUBIN: Tony Mo with She Talks To Angels by Black Crowes Dana LaValle with Redneck Woman by Gretchen Wilson Louise O'Neill with People Are Strange by The Doors Brett Arellano and Stace Williams with Honky Tonk Woman by The Rolling Stones Sarah Keen and Jennifer Adams with Whiskey in the Jar by The Dubliners / Thin Lizzy Simone Tellier with Landslide by Fleetwood Mac James R. Isaac III with Sweet Caroline by Neil Diamond Tracy Nelson with Two Pina Coladas by Garth Brooks Eric Dubrofsky and AsthmaBully Jones with Bye Bye Love by The Everly Brothers Love what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!

"Bye Bye Rodgers" is a Kap & J. Hood parody of The Everly Brothers song "Bye Bye Love" a celebration of Aaron Rodgers leaving the NFC North.

Do you remember the best show you've ever seen?  How about the worst?  Mick and Jeff talk about what makes a great show and relive some of the best (and worst) they've seen.  Our Album You Must Hear Before You Die is “The B-52s” self-titled first album from 1979.  This high-energy album smashed the B-52s onto the world stage while looking like escapees from the Rocky Horror Show! To top it all off, Jeff brings you rock news featuring Alice Cooper, Pete Townshend, Brian Eno, Brian May, a Foo Fighters pinball machine, and a whole bunch of others. References:   Nita Strauss, Alice Cooper, Pete Townshend, Ann-Margret, Everly Brothers, “Bye Bye Love”, Brian Eno, EarthPercent campaign, Brian May, Bohemian Rhapsody, Ozzy Osbourne, Frankfurt, Roger Waters, Foo Fighters pinball machine, “The Dark Side of the Moon”, Jimmy Barnes, The Barnestormers, The B-52's, Chris Blackwell, Island Records, REM, Cindy Wilson, Kate Pierson, Fred Schneider, Ricky Wilson, “Rock Lobster”, Dick Dale, narwhal, “matching towels”, The Bridge Hotel, Rozelle, Riverwood Millers, Bexley North Hotel, Family Inn, Rydalmere, Caringbah Inn, Coogee Oceanic, Mi-Sex, Hurstville Civic Centre, Coffs Harbour Civic Centre, Sydney Entertainment Centre, The Hordern Pavilion, Ignatius Jones, Joylene Hairmouth, “Baby's on Fire”, Sydney Olympics ceremonies, Nirvana, Queen, Lou Reed, Bowie, Bob Dylan, The Angels, Rose Tattoo, MiSex, John Cale, The Tigerlilies, The Kinks, John Cougar Mellencamp, Rolling Stones, Roxy Music, The Police PlaylistB52's Concert

Todd Erickson and John Songdahl, self described "side guys" join us on the show to talk about their Maine based project "Holy Smoke" and their new recordings(including a cover of The Cars classic "Bye Bye Love"). We have an interesting conversation about how the pair have been connected for years through recording studios and bands. We cover a number of topics including The Cars, New Models, Shake The Faith, The Red Rockers, and even the Steppenwolf concert that John and the host attended in Oxford Ma in the late seventies.... Music Milquetoast & Co "Cigarette Burns"(theme music) Holy Smoke "Bye Bye Love" Holy Smoke "Keep On Keepin' On" Zoom Interview: March 5, 2023 This episode was supported by Baby Loves Loves Tacos(Pittsburgh PA), Joe's Albums(Worcester/Northampton MA), and Studio Float Audio. Please support us on Patreon: https://www.patreon.com/twistedrico Keep The Rock N Roll Alive. #HolySmoke #ShakeTheFaith #NewModels Contact: twistedrico@gmail.com Blowing Smoke with Twisted Rico is brought to you by Light Street Media(Denver Colorado).

Günaydın. Cumhurbaşkanı Erdoğan, Kemal Kılıçdaroğlu'na ‘Bay Bay Kemal' diye seslendi; Kılıçdaroğlu ‘Bye Bye Love' şarkısıyla cevap verdi. Fed faiz kararını açıkladı. Samsung yeni amiral gemisi telefonlarını tanıttı. Bugünün bülteni National Geographic WILD ile birlikte ulaşıyor. Fotoğraf: BKM

"A girl I became friends with on a school trip in high school fell asleep on my shoulders on the ride back." "I'm still coasting on that memory."   Crimson and Clover and Crystal Blue Persuasion were on the same album. I was 11. It was one of my first and biggest music memories of "my" music...and perhaps it was the first record I wore out. Literally. Listening to Top 40 radio was a constant in the car. At home, the biggest memory and influence was my dad's 1962 Ray Charles' record, Modern Sounds of Country and Western Music. Side one 1. "Bye Bye Love" 2. "You Don't Know Me" 3. "Half as Much" 4. "I Love You So Much It Hurts" 5. "Just a Little Lovin' (Will Go a Long Way)" 6. "Born to Lose" Side two 1. "Worried Mind" 2. "It Makes No Difference Now" 3. "You Win Again" 4. "Careless Love" 5. "I Can't Stop Loving You" 6. "Hey, Good Lookin'"     My early music experiences consisted of great rhythm and harmonies. My sister loved The Lettermen and later on, The Carpenters. For me, Ray Charles was hard to beat. For a little kid, not yet a teenager, I was falling in love with music. The albums were played on a piece of furniture. Homes with music had stereo consoles. Junior high brought on a new music-related interest, hi-fi stereo gear. That fueled even deeper and broader interest in records. Tons of music memories have provided a good coasting surface for my life. Watching the documentary about Ben Fong-Torres, famous music editor for Rolling Stone magazine brought back lots of memories of the 1970s and the music that once dominated my life. But music is just part of the memories I coast on. Words increasingly mattered, and not just the song lyrics. I devoured Ben Fong-Torres' writing. And Hunter S. Thompson. And Cameron Crowe. Their writing wasn't like anything familiar to me. Ben wrote about music and musicians. Hunter, well, he wrote about lots of stuff. Popular culture. Politics. I didn't care that much about the topics, but I enjoyed how Hunter wrote. Crowe, like Ben, he was writing about musicians. I read their stuff regularly adding a new coasting surface for memories - words. Music. Technology. Words. The convergence of these 3 things happened in the 1970s. The song remains the same. Memories reflected my future. And my present. Memories don't determine the present or the future, but they influence it. Our memories are part of us. What has happened to us helps define us. The guy coasting on the memory of the girl who fell asleep on his shoulder indicates how something so small can linger for so long...and even fuel us along the way. It's not about coasting in the sense that we don't do anything. Not putting any effort into anything. I don't know what memories you may leverage for coasting, but it did make me think of what memories might be fueling me. I began the conversation with memories of music because music has accompanied every era of my life so far. I don't suspect it's going to stop until my life stops. But I'm not coasting on it. Any of it. It's not a driving force so much as a soundtrack, a key but minor player in the grand scheme of things. I started thinking of the memory this guy shared and wondering if I had any such memories. I'm not at a loss for pivotal memories, but I'm not sure I've got any single memory that fuels me like that. One of my first thoughts was about family and faith. And not separately, but how connected they are for me. I've long thought that I hit the lottery when it came to being born into a Christian home where I was taught the Bible and where I learned about God. And myself. From grandparents to parents to old men and old women, I was fortunate enough to have great teachers. I didn't have to go searching for God or the truth. It was handed to me on a platter. I only had to read, listen, learn and figure out on my own whether I'd embrace it or not. It wasn't about indoctrination as much as it was about exp...

Jeff Boyet has quite the diverse resume.  He is currently the Associate Pastor of Grace Chapel Fairview, but prior to that he's spent years as a singer/songwriter, a prolific actor performing in well over 100 shows, and a well-loved middle school theatre teacher.  He got his start in Nashville when he landed the gig of a lifetime on the Ryman auditorium - stage 3 nights a week portraying 50's rock legend Don Everly in Bye Bye Love the Everly Brother's Musical.  Jeff is married with two daughters.

#15-11Intro/Outro: Singing the Blues by Guy Mitchell15. Bye Bye Love by The Everly Brothers14. La Bamba by Ritchie Valens13. What'd I Say by Ray Charles12. You Send Me by Sam Cooke11. I Walk the Line by Johnny CashVote on your favorite song from today's episodeVote on your favorite song from Week 3

Il y a 65 ans, Don et Phil Everly poussaient la porte des studios RCA de Nashville pour enregistrer cette chanson écrite par le couple Bryant. Mais la suite fut plus difficile. Elvis Presley n'en a pas voulu et après une vingtaine d'autres refus, un producteur demanda aux frère Everly qui n'avaient rien fait jusqu'ici de l'enregistrer pour 64 dollars chacun. Ce fut leur premier succès, plus d'un million de 45 Tours vendus. Ray Charles en a fait une formidable version, version enjouée alors que le texte est d'une tristesse absolue, il n'est question que de rupture et de solitude. George Harrison l'a chantée, Sylvie Vartan l'a adaptée en français et plus récemment, Jean-Louis Aubert. Ecoutez La pépite musicale avec Anthony Martin du 01 mars 2022

Willie Nelson once said Ray Charles did more for country music than any single artist has ever done. On this week's episode, comedian David Gborie (@coolguyjokes87, Comedy Central, All Fantasy Everything) joins Danny and Tyler to explore Ray Charles' tremendous impact on country music, and the largely overlooked and unsung early black influence on the genre. Ray Charles and Willie Nelson are both titans of the music world, and were friends in real life, and so it is very fitting that together they sang the best song on Ray's country album, “Friendship.” The boys talk about story and lyrics of “Seven Spanish Angels,” what makes someone a “Chris Gaines-type,” George Jones and Ray gettin' into antics, and fighting drunk horses. There's some serious stuff, some silly stuff, and it's a hootin' hollerin' good time.If you're new to Ray or Willie, here's a few other recs from the boys and David:The album Modern Sounds in Country and Western Music (Vol 1 and 2) by Ray Charles (some specific favorites are "Bye Bye Love," "Hey Good Lookin'," and "You Are My Sunshine.")And other big Ray hits like "Night Time Is The Right Time" and "I Got A Woman"And also, "Buddy," and "If You've Got The Money I've Got The Time" by Willie Nelson(And don't worry, there's more of both Ray and Willie to come in the future.)Follow the Spotify link to keep up with which songs are being added to our Ultimate Country Playlist, including "Seven Spanish Angels": https://tinyurl.com/takethispodplaylistYou can now support us on PATREON!For other playlists, ways to listen, and more, click here!

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. 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 "Blues Run the Game" by Jackson C. Frank. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

#DIOR #NUEVOSPERFUMES #ORGAZTALKVamos a celebrar la llegada a Dior de Francis Kurkdjian de aquí no puede salir nada malo... o ¿QUIZÁS SÍ?

It was 50s week in Friday Night Karaoke, and Mike & Joe were LIVE in Vermont for a special videocast of the FNK Podcast! 1950 - 1959, that was the starting point, the end point, and every point in-between for the rockstars in the FNK FB group! So put on those Blue Suede Shoes and get ready to Walk the Line as we Rock Around the Clock to some Tutti Frutti. No need for Lonely Teardrops or Tears On My Pillow, FNK has your back, so Put Your Head On My Shoulder and watch us pick up what you're putting down! Featured in this special LIVE episode alongside hosts Mike Wiston and Joe Rubin:- Levy Alturas with Johnny B Goode by Chuck Berry- Shelley Corpuz Kuhn with Sha Boom by The Chords- AsthmaBully Jones with Bebop A Lula by Gene Vincent- Tracy Lynn with Que Sera Sera by Doris Day- Chris Smith with In the Still of the Night by The Five Satins- Sherman Cox with You Send Me by Sam Cooke- Renee Gomez with Why Do Fools Fall in Love by The Teenagers - Reggie Valenzuela with La Bamba by Los Lobos- Kelly Wilson with Only You by The Platters- Eric Dubrofsky and AsthmaBully Jones with Bye Bye Love by The Everly BrothersLove what you hear? Join the official Friday Night Karaoke FB group, a completely negativity free karaoke destination, and be part of the action! www.facebook.com/groups/fridaynightkaraoke. Hope to see you there!

La imagen del faquir y sus “capacidades" para soportar el dolor sobre un lecho de clavos, tragando sables (o sapos en su defecto), caminando sobre brasas, asociada a la India no puede ser más apropiada para un verano incierto y aprensivo. Canciones de veranos más amables como “La Plage” de Marie Laforet, o “Azurro" de Paolo Conte junto a otras en modo Tangana en la BSO para sueños perdidos, noticias poco tranquilizadoras, despedidas como la de Don Everly. Junto a su hermano Phil, los Everly Brothers, el dúo fundacional de todos los que en el mundo han sido. Las perfectas armonías de “All You have to do is Dream” y “Bye Bye Love “, el epitafio perfecto. Escuchar audio

Am letzten Sonntag ist der letzte noch lebende Everly Brother Don im Alter von 84 Jahren gestorben. Deswegen jetzt hier die Story zu ihrem ersten großen Hit, der nicht nur ihre Karriere beeinflusst hat, sondern auch die von vielen anderen Rockstars. Jetzt in der Episode hören! Die Folge zu Elvis: https://100malmusiklegenden.de/2021/02/07/heartbreak-hotel-elvis-presley/ Die Folgen zu Simon & Garfunkel: https://100malmusiklegenden.de/?s=simon+%26+garfunkel Die Folgen zu den Beatles: https://100malmusiklegenden.de/?s=beatles Die Folge zu CSNY: https://100malmusiklegenden.de/2021/02/07/teach-your-children-crosby-stills-nach-young/ Die Folge zu Tom Petty: https://100malmusiklegenden.de/2021/02/07/free-fallin-tom-petty/ Die Folge zu den Beach Boys: https://100malmusiklegenden.de/2021/02/07/good-vibrations-the-beach-boys/ Mein Facebook Profil: https://www.facebook.com/markus.dreesen Mein Instagram Profil: https://www.instagram.com/markusdreesen/?hl=de Könnt mir gerne folgen, gibt da immer wieder Updates zum Podcast und sonst so ... Offizielle Playlists: https://music.apple.com/de/playlist/100malmusiklegenden/pl.u-JjM2F9Nv5z (Apple) https://open.spotify.com/playlist/6RGcoNO671nOMpYRkTTQLV (Spotify) Songvorschläge, Episodensuche und T-Shirts unter 100malmusiklegenden.de! Infos zu möglichen Werbekooperationen unter https:100malmusiklegenden.de/werbung

Tony opens the show by talking about the passing of Don Everly and the impact of the Everly Brothers, plus he chats about the Nats and his connection to golfer Grayson Sigg. Michael Wilbon calls in to talk about the Bears and also about Sha'Carrie Richardson and the importance of the 100 meter race, Mark Feinsand of MLB.com calls in to talk about the pennant races and also about who might win the MVP and Cy Young awards, and Tony closes out the show by opening up the Mailbag. Songs : Brandon Costello “History” ; “The Night” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Il y a 5 ans, l'ex-Téléphone a enregistré une chanson qu'on ne trouve pas sur ses albums studio, il s'agit de la reprise d'un classique américain, un morceau qui a aussi bien influencé les Beatles, Bob Dylan, que Simon & Garfunkel : le morceau Bye Bye Love des Everly Brothers... Cette chanson est géniale : elle file le sourire alors que le texte est d'une tristesse absolue, il n'est question que de rupture et de solitude ! Jean-Louis Aubert l'a enregistrée pour faire plaisir à un de ses amis, un des plus grands réalisateurs de disques français, Dominique Blanc-Francard qui a fêté ses 50 ans de musique en 2016. Tous ses potes avaient repris les chansons qu'il adorait adolescent. Le disque s'appelle It's A Teenager Dream, il est disponible en streaming.

Rock ‘n' Roll Hall of Fame members Don and Phil, the Everly Brothers, had a string of county rock hits in the 50s and 60s. Those many chart toppers included “Bye Bye Love,” “'Til I Kissed You,” and “All I Have to do is Dream.” We talked about how they got started, their music, their relationship with each other, and even how they met their wives. Phil was married to record producer Archie Bleyer's daughter. Their song “Bye Bye Love” had been rejected by 30 other acts and ended up being No. 2 on the pop charts behind Elvis Presley's “Teddy Bear.” The Beatles admitted they were influenced by the Everly Brothers and based their vocal arrangement of “Please Please Me” on “Cathy's Clown.”

Esta semana en Discorola nos acercamos a Bridge Over The Troubled Water de 1970. Un disco que supuso la separación del dúo Simon and Garfunkel y que contienes temas míticos como Cecilia o Bye Bye Love. Uno de los referentes del folk rock con la maravillosa producción de Richard Halee.

Esta semana en Discorola nos acercamos a Bridge Over The Troubled Water de 1970. Un disco que supuso la separación del dúo Simon and Garfunkel y que contienes temas míticos como Cecilia o Bye Bye Love. Uno de los referentes del folk rock con la maravillosa producción de Richard Halee.

In this episode, we're joined by Drummer Jay of Colburn & Co. to discuss one of the pioneers of new wave, The Cars! Vote now for YOUR favorite playlists, hear the results of past episodes & listen to ALL of the playlists at: http://www.playlistwarspodcast.com SONGS DISCUSSED INCLUDE All Mixed Up, Bye Bye Love, Dangerous Type, Don't Tell Me No, Drive, Good Times Roll, Hello Again, I'm Not The One, It's Not The Night, Just What I Needed, Let's Go, Magic, Misfit Kid, Moving In Stereo, My Best Friend's Girl, Shake It Up, Since I Held You, Since You're Gone, Tonight She Comes, You Might Think & You're All I've Got Tonight, CONNECT WITH PLAYLIST WARS Facebook: https://www.facebook.com/playlistwars Twitter: http://twitter.com/playlistwars Instagram: https://www.instagram.com/playlistwarspodcast YouTube: https://www.youtube.com/channel/UCcW7NibxehYRf8_UZ88Qtbg --- Support this podcast: https://anchor.fm/playlistwars/support

This week Val and Rachel and Special Guest Eric Hutchinson discuss The Single Guy, which aired from 1995 to 1997 on NBC's Must-See TV Thursday night lineup and starred Jonathan Silverman (from Weekend at Bernie's), Joey Slotkin Slotnick, Ming-Na Wen, and Ernest Borgnine. It has been considered a copycat of both Seinfeld and Friends, although it didn't muster enough enthusiasm to last longer. However, it was one of the highest rated shows to ever get canceled! The Single Guy is not available through any streaming service, but you can find a few episodes on YouTube.   Hot topics include: 1.) New Segment "What Ya Watchin'?" 2.) Accent Corner returns! 3.) Val's long-term relationship with ER 4.) Why The Single Guy failed even though it existed in the "Friends Universe" 5.) Creator Brad Hall's other project, the movie Bye Bye Love 6.) The first meeting of the Official Ming-Na Wen Fan Club comes to order 7.) Tenuous connections to The Monkees, The Everly Brothers, and The Brady Bunch 8.) 90s stuff like blind dates, beepers, Pay-Per-View, and answering machines 9.) Rachel becomes melancholy thinking about how many hours she wasted watching middling TV shows   Wikipedia entry: https://en.wikipedia.org/wiki/The_Single_Guy   For next week, we will be discussing The Pretender, whose pilot you can see now on Dailymotion: https://www.dailymotion.com/video/x78ofnf  

2021年5回目のジェイコブレイディオショーエヴァリー・ブラザース の Bye Bye Love は、1957年4月発売されました。全米2位となっています。失恋ソングのようです。1950年代のロックンロールは、恋愛ソングが多いと思います。混沌としている昨今には、恋愛ソングが気軽に聞けて良いかもしれません。ご機嫌なロックンロールを聞いてこの困難を乗り越えていきましょう！今回の僕の曲は、大好きな綾瀬はるかさんをイメージして作ったものとなります。八重の桜を見て歌詞が浮かびました。曲のタイトルは「インクレディブル・ウーマン」です。

The Fosse/Verdon finale, “Providence,” premiered on May 28th, 2019. Just like the pilot, its writing credit was separated into two: the story of the episode by Joel Fields & Steven Levenson, while the teleplay itself was written just by Steven Levenson. The episode was directed by Tommy Kail. We saw three pieces of choreography in this finale: two were performances of “Big Spender” and “If They Could See Me Now” in this episode, both originally choreographed by Bob Fosse and reconstructed by Mimi Quillin. The third was the father-daughter sequence to Mr. Bojangles between Bob and Nicole, as well as its subsequent plagiarism later in the episode, both choreographed by Nicole Fosse herself. We had four featured songs in this finale. The two songs from Sweet Charity, written by Cy Coleman and Dorothy Fields, were “Big Spender,” performed by the show’s fictional tour cast, and “If My Friends Could See Me Now,” performed by both Kelcy Griffin and Michelle Williams. The other two songs are not from musicals: All That Jazz’s finale “Bye Bye Life,” which exists as a play on the Everly Brothers’s “Bye Bye Love,” written by Boudleaux and Felice Bryant, and performed by Lin-Manuel Miranda. Also performed by Lin is a version of “Mr. Bojangles” written by Jerry Jeff Walker. The finale viewership came in at a high of 992,000 total viewers, third only to the series’s first two episodes, with both live and DVR viewership rising from last week. What’s nice is, the finale’s live viewership was the highest it had been since the pilot, so luckily the show went out on a live high!! Bob is in pre-production for his semi-autobiographical movie All That Jazz, but the script still has a satisfying ending. Paddy hits the nail on the head when he tells Bob, “the problem with your movie is that your hero doesn’t change.” In his search for a realistic, if unsatisfying ending, part of the pre-production includes interviewing Gwen about her feelings about putting Bob’s next wife, Ann, into roles that she created. Her response? “It’s pretty familiar.” Part of the casting process is Bob auditioning Ann for the role of Katie - a role is obviously based on herself. Bob grills her, making Annie run the scene over and over pleading “why can’t you do the scene like it means something to you?” Her response: “Because this isn’t a scene. This is my life. These are my words. You took our life and you put it into a fucking scene in a movie.” Nicole is also watching her life being put into a fucking scene in a movie when she visits the All That Jazz set and watches the conversation she had with her dad being rehearsed by another actress playing her.  After creating Roxie in Chicago, Gwen is back where she was just a few years ago: at dinner with her manager, discussing dead ends of career opportunities. She really wants to act, but isn’t interested in following the work to LA. When Nicole’s interest in extracurricular drugs increases, Gwen considers moving her, Ron and Nicole out of the city. But dangled with another challenge to the way he sees the world, Bob gives Gwen the role of Roxie on tour, telling her, “It’s your show. It’s always been your show.” Her husband Ron forces Gwen to make a decision: staying with him vs. being puppeted by Bob. And so, she watches him pack up his life and leave.  Post-production, everyone is back on their shit: Gwen performing and hosting a medical auction on Staten Island, and Bob recreating conversations he had with Ann (both in real life and in the movie) with his latest girlfriend. Gwen takes on the task of shadow choreographing the pre-Broadway revival of Sweet Charity, but with the direction missing the heart of the show completely the only way for the show to work is for them to work as they always have been meant to: side by side, as partners. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sophos leaves to go conquer. We discuss PDA, impaling people on spikes, unnecessary diffidence, what it takes to wield authority, and turtles all the way down. Minor spoilers for RotT. Transcript available here: https://docs.google.com/document/d/1Jr2fvHXqqt9zvx6EMIpdwIEhKS9MKokoGHmIaI1QjIQ/edit?usp=sharing --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/attolian-archives-pod/support

The Hit Parade Jukebox series highlights the music from the days when the jukebox dominated our after-school social activities. And the songs we played with our nickels, dimes, and quarters determined the “hits” of the day. Enjoy. - - - Join the conversation on Facebook at - - - https://www.facebook.com/profile.php?id=100008232395712 or by email at - - - dannymemorylane@gmail.com - - - This episode features: 1) Seventeen by The Fontane Sisters 2) Please, Mr. Sun by Tommy Edwards 3) Tweedlee Dee by Lavern Baker 4) 26 Miles (Santa Catalina) by The Four Preps 5) You Make Me Feel So Young by Frank Sinatra 6) You Call Everybody Darling by The Andrews Sisters 7) Marianne by The Hilltoppers 8) And the Angels Sing by Steve Lawrence & Eydie Gorme 9) Opus One by The Clark Sisters 10) Walking the Floor Over You by Pat Boone 11) Smokey Joe's Cafe by The Coasters 12) You're Driving Me Crazy by Della Reese 13) Lazy River by Bobby Darin 14) Sixty-Minute Man by The Dominoes 15) Broken Hearted Melody by Sarah Vaughan 16) At My Front Door (Crazy Little Mama) by The El Dorados 17) Graduation Day by The Four Freshmen 18) Small World by Johnny Mathis 19) Have You Looked Into Your Heart by Jerry Vale 20) Lucky Lips by Ruth Brown 21) (Will You) Come Back My Love by The Wrens 22) The Gypsy In My Soul by Sammy Davis Jr. 23) Bye Bye Love by Ray Charles

Let the "Good Times Roll" as CCR listens to the Cars debut album "The Cars." And this show is good, when it's over you'll say to yourself that was "Just What I Needed!" Ok, enough puns - "The Cars" is a great album featuring radio staples like "Bye Bye Love," "You're All I've Got Tonight" and "Moving in Stereo!" And in this episode, Jim And George will break down the "Ocasek" and "Orr" side, the original album cover vs. the one they used, the "Fast Times" connection and a whole lot more! [Original Air Date: 11/08/20 on Houston Radio Platinum]Don't have the recording?Listen to it on YouTube for free here:https://www.youtube.com/watch?v=IGz1k-L4gpo&list=PL1gLT2gwYzAHrPJaFj67VnW1GrtnVYCOA

One man's trash is another man's…million-selling record.

In episode twenty-six we get my son, Kolby Nowlin, involved with the content of the show with his first-ever song pick, The Kill by Thirty Seconds To Mars. Five songs later we'll check back in with our buddy from the Ages of Rock Podcast, the hunky Allen Tate, who submitted Bye Bye Love by The Everly Brothers.  Follow along as Eric Carr, Collective Soul, and Bob Ezrin create a few of the links making the chain in today's show.  Can you figure out who else is a part of the linkage?   If you enjoy this episode, please give us a like and share us with as many people as possible! It would be greatly appreciated...thanks for listening!!! Yours truly, Corey Nowlin

The Danny Lane Music Museum is for listening and remembering the great rock & roll music of the past. This museum is a global effort. We are available around the world and at any time you want. Ordinary museums have varying aims, ranging from serving researchers and specialists to serving the general public. We serve the world of Oldies But Goodies. Enjoy ****** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 or by email at dannymemorylane@gmail.com - - - - You’ll hear: 1) Play Those Oldies, Mr. D.J. by Anthony & The Sophomores (1963) 2) Dream Lover by Bobby Darin (w/ Neil Sedaka on piano) (1959) 3) Blue Moon by The Marcels (1961) 4) First Name Initial by Annette Funicello (1959) 5) Tossin' And Turnin' by Bobby Lewis (1961) 6) Diana by Paul Anka (1957) 7) Hit The Road Jack by Ray Charles (1961) 8) Well, I Told You by The Chantels (An answer to the Ray Charles song "Hit the Road, Jack) (1961) 9) He's A Rebel by The Crystals [actually done by Darlene Love & The Blossoms] (1962) 10) One Summer Night by The Danleers (1958) 11) Surfin' Safari by The Beach Boys (1962) 12) Oh, Pretty Woman by Roy Orbison (1964) 13) Mona by Bo Diddley (1957) 14) Twistin' U.S.A. by Chubby Checker (1961) 15) Let's Dance by Chris Montez (1962) 16) Heart and Soul by The Cleftones (1961) 17) Mickey's Monkey by The Miracles (w/ Smokey Robinson) (1963) 18) Runaway by Del Shannon (1961) 19) Everybody's Somebody's Fool by Connie Francis (1960) 20) Betty Lou Got a New Pair of Shoes by Bobby Freeman (1958) 21) Calendar Girl by Neil Sedaka (1961) 22) Boys by The Shirelles (1960) 23) I Want to Be Wanted by Brenda Lee (1960) 24) Wild Weekend by The Rockin' Rebels (1962) 25) Runaround Sue by Dion (backed by The Del-Satins) (1961) 26) Lucille by Little Richard (1959) 27) New Orleans by Gary U.S. Bonds (1960) 28) Do You Love Me? By The Contours (1962) 29) Please Love Me Forever by Cathy Jean & The Roommates (1961) 30) Please Mr. Postman by The Marvelettes (1961) 31) There's A Moon Out Tonight by The Capris (1961) 32) Whole Lotta Shakin' Goin' On by Jerry Lee Lewis (1957) 33) Big Girls Don't Cry by The Four Seasons (1962) 34) Tallahassee Lassie by Freddy Cannon (1959) 35) Bristol Stomp by The Dovells (1961) 36) Everybody Loves To Cha Cha Cha by Sam Cooke (1962) 37) Sweets For My Sweet by The Drifters (w/ Charlie Thomas, lead) (1961) 38) What In The World's Come Over You by Jack Scott (1960) 39) You Really Got A Hold On Me by The Beatles (1964) 40) Town Without Pity by Gene Pitney (1961) 41) Why Do Fools Fall In Love by Frankie Lymon and The Teenagers (1956) 42) Tonight I Fell In Love by The Tokens (1961) 43) Mother-In-Law by Ernie K-Doe (w/ Benny Spellman) (1961) 44) Son-In-Law [Answer song to Mother-In-Law] by The Blossoms (1961) 45) Venus by Frankie Avalon (1959) 46) Bye Bye Love by The Everly Brothers (1957) 47) You're Sixteen (You're Beautiful And You're Mine) by Johnny Burnette (1960) 48) The Happy Organ by Dave "Baby" Cortez (1959) 49) My Boyfriend's Back by The Angels (1963) 50) I Can't Help Falling In Love With You by Elvis Presley & The Jordanaires (1961)

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring JW JonesThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!Chick Willis,12 Voodoo Woman,Al Basile,Invisible Man,Last HandSugar Ray & the Bluetones feat. Little Charlie Baty,Reel Burner,Too Far from the BarTrevor Sewell,2.Shaky Ground,Nikki O'Neill,A Place at the Table,World is Waiting - Pre-Release MP3Nikki O'Neill,World is Waiting,World is Waiting - Pre-Release MP3Peter Parchek,6. Mississippi Suitcase (Slight Return),Eric Johanson,02_Down To The Bottom,Lucas Spinosa,Red Tail Lights On A Blues Highway,Friends & Legends Of LouisianaWily Bo Walker & Danny Flam,Time To Forget You,Ain't No Man a Good ManLisa Mann,It's The Monkeys Or Me,Old GirlJeff Chaz,I'll Be Sad With You Baby,Kirsten Thien,07_Better Or You're Gonna Get Burned,Larkin Poe,She's A Self Made Man,JW-Jones,5. Bye Bye Love,Sonic DeparturesJW-Jones,7. It's Obdacious,Sonic Departureswww.makingascene.org,JW Jones,JW-Jones,1. Blue Jean Jacket,Sonic DeparturesJW-Jones,9. When It All Comes Down,Sonic DeparturesA Band Called Sam,Good To Ya,Kat Riggins,Heavy,Cry OutJohn Pagano Band,Misbehavin,SingleSam Joyner,When U Need A Friend,When U Need A FriendMark Telesca,15 Black Dress,Higher VibrationsBette Smith,Signs and Wonders,"The Good, the Bad and the Bette"Johnny & The Mongrels,Louisiana Girl,Creole SkiesThe Lucky Losers,What Makes You Act Like That,Godless LandDave Fields,Why Can't You Ever Treat Me Right,Force of WillBart Ryan,Walk Away,Starlight and Tall TalesCrooked Eye Tommy,Twist the Sky,Hot Coffee & PainSavoy Brown,Rocking in Louisiana,Ain't done yetScott Weis Band,08 The Way I Do,Simmer Me DownRick Berthod,One More Chance,Peripheral Visions"Downchild (Featuring Dan Aykroyd, Paul Shaffer & Kenny Neal)",Soul Man,"50th Anniversary ""Live At The Toronto Jazz Festival"""JD Taylor,It Ain't No Good,The Coldwater SessionsCary Morin,Valley Of The Chiefs,Kenny Blues Boss Wayne,Don't Want To Be The President,"Go, Just Do It!"Kern Pratt,New Kind of Blues FINAL mp3, 

Intro Song – Muddy Waters, “I Want To Be Loved”, Hard Again First Set – Nappy Brown, “Your Love Is Real”, Something Gonna Jump Out The Bushes Shakey Jake, “Keep A-Loving Me Baby”, Good TimesKid Ramos, “You Don't Love Me”, Two Hands Two HeartsAnthony Geraci, “Love Changes Everything”, Daydreams In Blue Second Set –Tom Holland & The Shuffle Kings, “Don't Know Why I Love You”, Tom Holland & The Shuffle Kings Solomon Burke, “Please Send Me Someone To Love”, Proud Mary – The Bell SessionsLittle Walter, “I Just Keep Loving Her”, Rock BottomLouis Jordan, “Love You ‘Til Your Money's Gone Blues”, Let The Good Times Roll (1938-1954) Third Set – WIB Shemekia Copeland, “Big Lovin' Woman”, Turn The Heat UpSamantha Fish, “I'm In Love With You”, Wild HeartRuth Brown, “Love Contest”, Miss Rhythm (Greatest Hits and More)Dawn Tyler Watson, “Love To Burn”, Mad Love Fourth Set – JW Jones, “Bye Bye Love”, Sonic DeparturesOmar & The Howlers, “Special Love”, Courts Of LuluSonny Rhodes, “Ten Pounds Of Love (In A Five-Pound Sack)”, A Good Day To Play The Blues

Bom dia, Cinéfilos!No episódio de hoje, o Tiago e o Rodrigo falam da Nova Hollywood com dois filmes desse movimento: Quem Bate à Minha Porta, de 1967 , e All That Jazz – O Show deve Continuar, de 1979.Siga o Rodrigo no Instagram:www.instagram.com/drigodamasce/etinyurl.com/methidoacSiga o Centro de Artes – MeierNo Facebook: tinyurl.com/cameierNo Instagram: instagram.com/centrodeartes_meier/Música de Encerramento: Ben Vereen e Roy Scheider: Bye Bye Life (versão de Bye Bye Love, de Boudleaux Bryant and Felice Bryant)

WE ARE ON PATREON! PATREON DOT COM SLASH ASYOUWEREFUCK THE POLICE

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.

Carol talks about Grace Under Fire and we watched Bye Bye Love with Paul Reiser, Randy Quaid, and Mathew Modine.

Fin --- 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/shajuan-broaden/message Support this podcast: https://anchor.fm/shajuan-broaden/support

From 1957

10 impactful albums challenge! Actually I did like 15... The top albums that shaped me, PLUS I debut another brand new Mayer Hawthorne song! Tracklist: LL Cool J "I'm Bad" (Bigger And Deffer) Mobb Deep "Up North Trip" (The Infamous) Prince "When You Were Mine" (Dirty Mind) The Cars "Bye Bye Love" (The Cars) Kraftwerk "Computer World 2" (Computer World) The Beatles "I'm Only Sleeping" (Revolver) Smashing Pumpkins "Spaceboy" (Siamese Dream) Slum Village "Untitled" (Fantastic Vol. 2) Barry White "Playing Your Game" (Barry White Sings For Someone You Love) Parliament "Dr. Funkenstein" (The Clones of Dr. Funkenstein) Marvin Gaye "After The Dance (Instr)" (I Want You) The Moments "Next Time I See You" (Those Sexy Moments) Bob Marley "All Day All Night" (Catch A Fire) Steely Dan "The Caves of Altamira" (The Royal Scam) The Three Sounds "It's Nice" (Introducing The Three Sounds) Mayer Hawthorne "Healing"

10 impactful albums challenge! Actually I did like 15... The top albums that shaped me, PLUS I debut another brand new Mayer Hawthorne song! Tracklist: LL Cool J "I'm Bad" (Bigger And Deffer) Mobb Deep "Up North Trip" (The Infamous) Prince "When You Were Mine" (Dirty Mind) The Cars "Bye Bye Love" (The Cars) Kraftwerk "Computer World 2" (Computer World) The Beatles "I'm Only Sleeping" (Revolver) Smashing Pumpkins "Spaceboy" (Siamese Dream) Slum Village "Untitled" (Fantastic Vol. 2) Barry White "Playing Your Game" (Barry White Sings For Someone You Love) Parliament "Dr. Funkenstein" (The Clones of Dr. Funkenstein) Marvin Gaye "After The Dance (Instr)" (I Want You) The Moments "Next Time I See You" (Those Sexy Moments) Bob Marley "All Day All Night" (Catch A Fire) Steely Dan "The Caves of Altamira" (The Royal Scam) The Three Sounds "It's Nice" (Introducing The Three Sounds) Mayer Hawthorne "Healing"

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.  

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…)

You might think they're crazy, but the Daly Brothers are back to pay tribute to Ric Ocasek. Join Ryan and Neil as they share and discuss their favorite songs by The Cars. Track list All Mixed Up You Might Think Bye Bye Love Moving in Stereo Let's Go My Best Friend's Girl You're All I've Got Tonight Drive Magic I'm Not the One Tonight She Comes Shake It Up Just What I Needed Since You're Gone Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. Like the FIRE AND WATER RECORDS Facebook page at: This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER - https://twitter.com/FWPodcasts Like our FACEBOOK page - https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Subscribe to FIRE AND WATER RECORDS on iTunes: https://podcasts.apple.com/us/podcast/fire-and-water-records/id1458818655 Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Thanks for listening!

One man’s trash is another man’s…million-selling record.

Boudleaux and Felice Bryant had a deep impact in Nashville, with notable hits like "Bye Bye Love" and “All I Have to Do Is Dream.” Their music has been recorded by artists like The Beatles, Bob Dylan, Dolly Parton and Simon & Garfunkel. The hit-making couple is the subject of a new exhibit at The Country Music Hall of Fame and Museum in Nashville, Tenn.

Ric Ocasek..., RIP to a real one. My relationship with The Cars started in 1983. Inspired by my tapehead father and uncle, all I wanted for my 8th birthday was a Sony Walkman (the blue one with orange foam pads on the headphones). That year my dad came through and my uncle even kicked in a few tapes that included The Cars debut. From then on I was a fan. Even as I've grown much older I remained astonished at the cool electronic synth and drum machine sounds they used on most of their albums. Like most of the coolest pop-culture things in modern American history, there's a Northeast Ohio connection in the form of their bass player and co-lead singer, Benjamin Orr, who sadly passed away in 2000. When you dig through The Cars' catalog, you quickly realize that it's actually Benjamin Orr who sings lead on 40% of their most noteworthy songs. I'm sure they're catching up in heaven right now as I type this up. I hope you enjoy my little playlist of Ric Ocasek Cars bangers. I took creative license by playing the Orr-led "Bye Bye Love" after "You're All I've Got Tonight" because not playing those two tracks in the proper sequence only serves to increase the chances of a black hole opening up in the universe to swallow us all. After many decades of strict observance, I've noticed that classic rock stations have recently started to ignore that unspoken rule, probably because their playlists are programmed by computers instead of human beings nowadays... Oh well, not on my watch. You're All I've Got Tonight Bye Bye Love Dangerous Type Since I Held You Don't Cha Stop Strap Me In Hello Again Magic A Dream Away I'm Not The One I'm In Touch With Your World Night Spots Got A Lot On My Head Candy-O Good Times Roll Since You're Gone

Ric Ocasek..., RIP to a real one. My relationship with The Cars started in 1983. Inspired by my tapehead father and uncle, all I wanted for my 8th birthday was a Sony Walkman (the blue one with orange foam pads on the headphones). That year my dad came through and my uncle even kicked in a few tapes that included The Cars debut. From then on I was a fan. Even as I've grown much older I remained astonished at the cool electronic synth and drum machine sounds they used on most of their albums. Like most of the coolest pop-culture things in modern American history, there's a Northeast Ohio connection in the form of their bass player and co-lead singer, Benjamin Orr, who sadly passed away in 2000. When you dig through The Cars' catalog, you quickly realize that it's actually Benjamin Orr who sings lead on 40% of their most noteworthy songs. I'm sure they're catching up in heaven right now as I type this up. I hope you enjoy my little playlist of Ric Ocasek Cars bangers. I took creative license by playing the Orr-led "Bye Bye Love" after "You're All I've Got Tonight" because not playing those two tracks in the proper sequence only serves to increase the chances of a black hole opening up in the universe to swallow us all. After many decades of strict observance, I've noticed that classic rock stations have recently started to ignore that unspoken rule, probably because their playlists are programmed by computers instead of human beings nowadays... Oh well, not on my watch. You're All I've Got Tonight Bye Bye Love Dangerous Type Since I Held You Don't Cha Stop Strap Me In Hello Again Magic A Dream Away I'm Not the One I'm in Touch With Your World Night Spots Got a Lot on My Head Candy-O Good Times Roll Since You're Gone

Ric Ocasek..., RIP to a real one. My relationship with The Cars started in 1983. Inspired by my tapehead father and uncle, all I wanted for my 8th birthday was a Sony Walkman (the blue one with orange foam pads on the headphones). That year my dad came through and my uncle even kicked in a few tapes that included The Cars debut. From then on I was a fan. Even as I've grown much older I remained astonished at the cool electronic synth and drum machine sounds they used on most of their albums. Like most of the coolest pop-culture things in modern American history, there's a Northeast Ohio connection in the form of their bass player and co-lead singer, Benjamin Orr, who sadly passed away in 2000. When you dig through The Cars' catalog, you quickly realize that it's actually Benjamin Orr who sings lead on 40% of their most noteworthy songs. I'm sure they're catching up in heaven right now as I type this up. I hope you enjoy my little playlist of Ric Ocasek Cars bangers. I took creative license by playing the Orr-led "Bye Bye Love" after "You're All I've Got Tonight" because not playing those two tracks in the proper sequence only serves to increase the chances of a black hole opening up in the universe to swallow us all. After many decades of strict observance, I've noticed that classic rock stations have recently started to ignore that unspoken rule, probably because their playlists are programmed by computers instead of human beings nowadays... Oh well, not on my watch. You're All I've Got Tonight Bye Bye Love Dangerous Type Since I Held You Don't Cha Stop Strap Me In Hello Again Magic A Dream Away I'm Not The One I'm In Touch With Your World Night Spots Got A Lot On My Head Candy-O Good Times Roll Since You're Gone

if they are going to leave us for some younger girl then we are NOT HAVING IT. What is the best way to get revenge? Take all their money, stuff and ruin their lives obviously. Goldie Hawn, Bette Midler, and Diane Keaton team up to get drunk, dance and show their men whats what while make the world slightly better in the process. Do you want some quality content about Girl Power and the F**king Patriarchy? Well then look no further because this week we cover The First Wives Club!

Surprise! This week Rebecca has been busy being On Set so instead of a new CC episode you get the lovely episode 2 of Jacking Off with Richie and Rebecca and you love it. On this week’s Jacking Off, Rebecca and Richie briefly discuss some of Jack’s minor roles (Demolition Man, Bye Bye Love) and then do a deep dive on The NeverEnding Story III: Escape From Fantasia, and Jack’s one off role in The X-Files (Season 3, Episode 3). What’s it like to watch the third installment of a movie when you haven’t seen the first two movies? What happens when Rock people sing Rock music? Is it okay to say that two child step siblings want to have sex with each other? Is making Giovanni Ribisi angry a good idea? Would you back up a friend on a murderous rampage? All of these questions will be answered, PLUS Richie debuts a script! This week on Jacking Off with Rebecca and Richie! Jack Off with us! NeverEnding Story III is available on YouTube (the link is available on our Twitter @jackingoffpod)! X-Files is streaming on Hulu!

On this week’s Jacking Off, Rebecca and Richie briefly discuss some of Jack’s minor roles (Demolition Man, Bye Bye Love) and then do a deep dive on The NeverEnding Story III: Escape From Fantasia, and Jack’s one off role in The X-Files (Season 3, Episode 3). What’s it like to watch the third installment of a movie when you haven’t seen the first two movies? What happens when Rock people sing Rock music? Is it okay to say that two child step siblings want to have sex with each other? Is making Giovanni Ribisi angry a good idea? Would you back up a friend on a murderous rampage? All of these questions will be answered, PLUS Richie debuts a script! This week on Jacking Off with Rebecca and Richie! Jack Off with us! NeverEnding Story III is available on YouTube (the link is available on our Twitter @jackingoffpod)! X-Files is streaming on Hulu!

VE 126 Apples and Oranges Richard Dawson: Apples And Oranges Pink Floyd: Apples And Oranges Pink Floyd: If Bread: If Roberta Flack: Feel Like Making Love Bad Company: Feel Like Making Love Bon Jovi: Runaway Del Shannon: Runaway Jefferson Starship: Runaway Ringo Starr: Photograph Def Leppard: Photograph Cars Bye Bye Love Everly Brothers: Bye Bye Love Radiohead: High And Dry Rolling Stones: High And Dry Five Satins: In The Still Of The Night Frank Sinatra: In the Still Of The Night Today on the VE... a real cool theme that will have you connecting the dots thorugh the next hour of music--but first, let's begin with a salute to actor and game show master Richard Dawson, who died last week, but left this 45 RPM relic as part of his show business lagacy. I'm PC and this is the VE : Richard Dawson: Apples And Oranges Richard Dawson, at the height of his Hogan's Heroes fame, with the psychedelic novelty record, "Apples And Oranges." Funny...didn't Pink Floyd releaase a single with the same title at about the same time? (Pink Floyd: Apples And Oranges, est & fade) ....and so, my eureka moment....struggling with a theme for this week's Vinyl Experience...it's right there...like apples and oranges...some songs can share the same title, but be very different..case in point--let's stay with with Pink Floyd, and a cut from their 1970 album "Atom Heart Mother," called "If, " and follow that with a very different group, song of the same title, and similar emotional tenor...can you guess who it will be ... Pink Floyd: If Bread: If The VE with Bread, and Pink Floyd...two groups as different as apples and oranges, and two different, but relatable songs with the common title of "If." See how this works. OK.. Let's stay in the early 70's....1974 specifically, when two songs, both on Atlantic Records, shared the same title, and the distinction of being two of the year's bigest hits... Roberta Flack: Feel Like Making Love Bad Company: Feel Like Making Love The VE....Feel Like Making Love, by Bad Company, and Roberta Flack. As different as Apples and Oranges...let's keep it going , two entirely differnt eras of rock and roll, but two teen-idol bad boys, each debuting with a song called "Runaway." Bon Jovi: Runaway Del Shannon: Runaway The VE, Apples and Oranges...the songs Runaway by Del Shannon ion 1961, and Bon Jovi, who was an infant the year that came out, but shot to stardom in '83 with his tune. How about a bonus "Runaway" ?! Jefferson Starship: Runaway The VE....same title, different songs. Like apples and oranges...or paintings and.... photographs... Ringo Starr: Photograph Def Leppard: Photograph The VE....I know you've got the hang of this by now Cars Bye Bye Love Everly Brothers: Bye Bye Love Apples and oranges, and Cars and Everly Brothers, "Bye Bye Love," on the VE. There are so many twin title songs, we'll have to do a sequel hour some time....but for now, just time for another couple of sets...this one is Radiohead's most covered tune Radiohead: High And Dry Rolling Stones: High And Dry The Rolling Stones first attempt at a country-blues tune, and with fine harmonica by Mick jagger, on Aftermath's "High And Dry," and Radiohead, wit thie lonesome cowboy ballad "High ANd Dry," a tune Thom Yorke dislikes, but artists as diverse as Sugarland and Jamie Cullum, adore...they'e done their own versions...apples and oranges indeed. Let's wrap it up with some greasers, and the original skinny kid singer from the neighborhood.... Five Satins: In The Still Of The Night Frank Sinatra: In the Still Of The Night And that's the VE. As simple as The Five Satins, as sophisticated as Sinatra.....