Read Ebook {PDF EPUB} Ike's Boys The Story of the Everly Brothers by Thomas Schultheiss Everly Brothers, The. Everly Brothers, The the most popular vocal duo from the rock ’n’ roll 1950s. MEMBERSHIP: Don Everly (b. Brownie, Ky, Feb. 1, 1937); Phil Everly (b. Brownie, Ky, Jan. 19, 1939, although some say Chicago). Don and Phil Everly were taught the guitar at an early age. Their parents, Ike and Margaret, were touring musicians and began hosting a weekly radio show on KMA in Shenandoah, la., in 1945. The brothers began appearing on The Everly Family Show when Don was eight and Phil six. During summers they toured the country circuit with their parents. In 1954, with the help of family friend Chet Atkins, Don was signed to a songwriting contract with Acuff-Rose Publishing, providing Kitty Wells with the major country hit ’Thou Shalt Not Steal,” A year later the brothers moved to Nashville, recording briefly for Columbia Records in late 1955. Early the following year, Wesley Rose became their manager, introducing them to the songwriting team of Felice and Boudleaux Bryant in 1957. Signed to Cadence Records, the Everly Brothers scored their first hit in 1957 with “Bye Bye Love” written by the Bryants. The song, like many that followed, became a three-way hit, making the pop, R&B and country- western charts. “Wake Up Little Susie,” written by the Bryants, topped all three charts, as did Boudleaux’s “All I Have to Do Is Dream/7 The Bryants’ “Problems” was both a pop smash and major country hit, and Boudleaux’s “Bird Dog” was a top pop/country/R&B hit. They debuted at the Grande Ole Opry in May and appeared on CBS Television’s Ed Sullivan Show in August. Their major hits through 1958 included Ray Charles’s “This Little Girl of Mine” Roy Orbison’s “Claudette,” and Boudleaux’s “Devoted to You.” The Everly Brothers briefly visited Great Britain in early 1959 and continued their string of pop hits with “Take a Message to Mary” backed with “Poor Jenny” (both by the Bryants). Don’s “(Til) I Kissed You,” recorded with the Crickets, was a pop/country/R&B hit. The tender ballad “Let It Be Me” (their first recording with strings) and Phil’s “When Will I Be Loved” became near- smashes on the pop charts. In 1960 the Everly Brothers were the first artists signed to the newly formed Warner Brothers label, for a reported $1,000,000. They toured Great Britain in the spring of 1960 and moved to Hollywood in early 1961. Without the services of producer Atkins, they scored a top pop/R&B hit with their own “Cathy’s Clown,” ultimately their biggest selling record. “So Sad” was a near-smash pop/R&B hit, “Walk Right Back” (by Sonny Curtis) a near-smash pop hit, and “Ebony Eyes” (by John D. Loudermilk) a near-smash pop/major country/major R&B hit. Parting company with Wesley Rose in the summer of 1961, the duo’s last major pop hits came in 1962 with “Crying in the Rain” (written by Carole King and Howie Greenfield) and “That’s Old Fashioned.” The brothers joined the Marine Corps Re-serve in late 1961, serving six months of active duty. They reunited with the Bryants for Gone, Gone, Gone, which yielded a moderate hit with their own title song, and recorded Two Yanks in England in London with the assistance of Jimmy Page plus Graham Nash, Allan Clarke and Tony Hicks of the Hollies. The brothers scored a British smash with “The Price of Love” in 1965, and a moderate American pop hit with “Bowling Green” in 1967. The Everly Brothers’ 1968 Roots was acclaimed as one of the finest early country-rock albums, and in 1970 they hosted The Everly Brothers Show, a summer replacement for The Johnny Cash Show, on ABC-TV. By the early 1970s they had switched to RCA Records, touring and recording the excellent 1972 set Stories We Could Tell with guitarist-keyboardist Warren Zevon and guitarist Waddy Wachtel. However, despite the inclusion of John Sebastian’s title song, Rod Stewart’s “Mandolin Wind,” Jesse Winchester’s “Brand New Tennessee Waltz” and Don’s ironic “I’m Tired of Singing My Songs in Las Vegas,” the album failed to sell, as did Pass the Chicken and Listen, recorded in Nashville with producer Chet Atkins. On July 14, 1973, Phil Everly smashed his guitar and stormed off stage at Knotts Berry Farm in Buena Park, Calif., effectively ending the brothers’ 28-year career. Both pursued solo careers and recorded solo albums. Don recorded Sunset Towers with British guitarist Albert Lee and scored his biggest solo hit in the country field with “Yesterday Just Passed My Way Again” in 1976. Phil performed on albums by John Sebastian, Dion, Warren Zevon (his debut), and J. D. Souther during the 1970s. In 1978 Phil made a cameo appearance in the Clint Eastwood film Every Which Way But Loose, performing “Don’t Say You Don’t Love Me No More” with co- star Sandra Locke. In 1983 Phil managed a moderate country hit with “Who’s Gonna Keep Me Warm” and a major British hit with “She Means Nothing to Me,” recorded with Cliff Richard. Don and Phil ended their bitter separation in September 1983 with concerts at London’s Royal Albert Hall. The following year they recorded EB ’84 with producer Dave Edmunds, guitarist Albert Lee and keyboardist Pete Wingfield (1975’s “Eighteen with a Bullet”). The album produced a country/pop hit with Paul McCartney’s “On the Wings of a Nightingale.” They toured with Lee and Wingfield in 1984 and 1986 and recorded Born Yesterday with Edmunds producing. The Everly Brothers were inducted into the Rock and Roll Hall of Fame in its inaugural year, 1986, and recorded Some Hearts with Brian and Dennis Wilson of the Beach Boys in 1988. Don’s daughter Erin was briefly married to Axl Rose of Guns N’ Roses in 1990. In 1992 Don’s son Edan recorded Dead Flowers with his band Edan for Hollywood Records. Despite a distinguished career, the Everly Brothers were without a record label by the mid 1990s. The Everly Brothers introduced country harmonies into rock music, with Don usually singing tenor lead and Phil supplying high harmony. Their precise, assured harmonies influenced a whole generation of rock singers, from the Beatles to the Hollies, the Beach Boys to the Byrds, from Simon and Garfunkel to the Eagles. Aided immeasurably by the songwriting team of Felice and Boudleaux Bryant and the guitar playing and production of Chet Atkins, the Everly Brothers recorded songs on topics of concern to teenagers such as parents, school, and young love. Discography. The Everly Brothers (1958); Songs Our Daddy Taught Us (1958); Best (1959); The Fabulous Style of the Everly Brothers (1960); It’s Everly Time (1960); A Date with the Everly Brothers (1960); Both Sides of an Evening (1961); Folk Songs (1962); Instant Party (1962); Golden Hits (1962); Christmas with the Everly Brothers (1962); Sing Great Country Hits (1963); Very Best (1964); Rock ’n’ Soul (1965); Gone, Gone, Gone (1965); Beat ’ri Soul (1965); In Our Image (1965); Two Yanks in England (1966); Hit Sound (1967); The Everly Brothers Sing (1967); Roots (1968); The Everly Brothers Show (1970); Stories We Could Tell (1972); Pass the Chicken and Listen (1972); Home Again (1985); The Reunion Concert (1984); EB ’84 (1984); Bom Yesterday (1985); Some Hearts (1985). Bibliography. Phyllis Karpp, Ike’s Boys: The Story of the Everly Brothers (Ann Arbor, Mich., 1988); Consuelo Dodge, The Everly Brothers: Ladies Love Outlaws (Starke, Fla., 1991). John Guerin Discography. Disc 1: 1. Don't Let Our Love Die [1951 Version] 2. Keep A' Lovin' Me 3. Bye Bye Love 4. I Wonder If I Care as Much 5. Hey Doll Baby [Demo Version] 6. Wake Up Little Susie 7. Maybe Tomorrow 8. All I Have to Do Is Dream 9. Claudette 10. Brand New Heartache 11. Bird Dog 12. Devoted to You 13. Problems 14. Long Time Gone 15. I'm Here to Get My Baby Out of Jail 16. Kentucky 17. Poor Jenny 18. Take a Message to Mary 19. ('Til) I Kissed You 20. Let It Be Me 21. Since You Broke My Heart 22. When Will I Be Loved? 23. Like Strangers. Disc 2: 1. Cathy's Clown 2. Always It's You 3. So Sad (To Watch Good Love Go Bad) 4. That's What You Do to Me 5. Sleepless Nights 6. Carol Jane 7. Lucille 8. Made to Love 9. Stick With Me Baby 10. Love Hurts 11. So How Come (No One Loves Me) 12. Donna Donna 13. Ebony Eyes 14. Walk Right Back 15. Why Not 16. Temptation 17. Don't Blame Me 18. Muskrat [Single Version] 19. Crying in the Rain 20. I'm Not Angry 21. Step It Up and Go 22. That's Old Fashioned (That's the Way Love Should Be) 23. How Can I Meet Her? 24. Nancy's Minuet [Alternate Version] 25. Nice Guys [Alternate Take] 26. Don't Ask Me to Be Friends 27. The Price of Love Listen 28. (So It Was. So It Is) So It Always Will Be 29. I'm Afraid 30. The Girl Sang the Blues 31. Love Her Listen 32. The Ferris Wheel. Disc 3: 1. Gone, Gone, Gone 2. Torture 3. You're My Girl 4. It Only Costs a Dime 5. Love Is Strange 6. Man With Money 7. To Show I Love You 8. I'll See Your Light 9. It's All Over 10. I Used to Love You 11. And I'll Go 12. The Power of Love (You Got) 13. Leave My Woman Alone 14. Somebody Help Me 15. So Lonely 16. Kiss Your Man Goodbye 17. The Collector 18. Even If I Hold It in My Hand (Hard Luck Story) 19. Bowling Green 20. I Don't Want to Love You 21. Mary Jane 22. Love of the Common People 23. You're Just What I Was Looking for Today. Disc 4: 1. Empty Boxes 2. Love With Your Heart 3. Milk Train 4. Lord of the Manor 5. Mama Tried 6. T for Texas (Blue Yodel No. 1) 7. I Wonder If I Care as Much [Version 2] 8. You Done Me Wrong 9. Turn Around 10. Omaha 11. I'm on My Way Home Again 12. Cuckoo 13. Carolina in My Mind 14. My Little Yellow Bird 15. Stories We Could Tell 16. Green River 17. Poems, Prayers and Promises 18. Paradise 19. On the Wings of a Nightingale 20. Why Worry 21. Arms of Mary 22. Born Yesterday 23. Don't Let Our Love Die [1990 Version] Personnel: John Guerin - Drums, Percussion (Disc 4-13) Don Everly - Guitar, Producer, Vocals Phil Everly - Guitar, Producer, Vocals Jerry Allison - Drums Tommy Allsup - Guitar Chet Atkins - Guitar, Producer John Audino - Trumpet John Bambridge - Brass John Barbata - Drums Robert Barene - Violin Chuck Berghofer - Bass Jim Keltner - Drums Hal Blaine - Drums Archie Bleyer - Producer George Bohannon - Trombone Perry Botkin, Jr. - Arranger Eddie Brackett - Percussion Harold Bradley - Guitar Luther Brandon - Guitar David Briggs - Keyboards Bobby Bruce - Fiddle James Burton - Guitar Lou Busch - Percussion Jerry Byrd - Bass Frank Capp - Percussion Al Capps - Arranger Al Casey - Guitar Floyd Chance - Bass Herman Clebanoff - Violin David Bennett Cohen - Guitar Ervan Coleman - Drums Gary Coleman - Drums, Percussion Howard Collins - Guitar Gerry Conway - Drums Ry Cooder - Slide Guitar Floyd Cramer - Piano Phil Cranham - Bass Sonny Curtis - Guitar Jimmy Day - Steel Guitar John Denver - Composer Vincent DeRosa - French Horn John DeVoogdt - Violin Justin DiTullio - Cello Philip Donnelly - Acoustic Guitar Ray Edenton - Guitar Dave Edmunds - Producer Ron Elliott - Guitar Buddy Emmons - Pedal Steel Guitar Gene Estes - Percussion Chris Ethridge - Bass Ike Everly - Guitar Margaret Everly - Narrator Wes Farrell - Producer Elliot Fisher - Violin Barry Galbraith - Guitar Hank Garland - Guitar James Getzoff - Violin John Giblin - Bass Johnny Gimble - Fiddle Dick Glasser - Producer Jim Gordon - Drums Dale Hallcom - Bass Buddy Harman - Drums Allan Harshman - Viola Jimmie Haskell - Arranger Tony Hatch - Producer Walter Haynes - Steel Guitar Neal Hefti - Arranger Jimmy Hilliard - Producer Cliff Hills - Bass William Hinshaw - French Horn Jim Horn - Saxophone Marvin Hughes - Piano Roy M. "Junior" Husky - Bass Jules Jacob - Saxophone Raymond Johnson - Guitar Bill Justis - Arranger Anatol Kaminsky - Violin Nathan Kaproff - Violin The Anita Kerr Singers - Background Vocals Larry Knechtel - Bass, Piano Robert Knigge - Bass William Kurash - Violin Jay Lacy - Guitar Don Lanier - Guitar Don Law - Producer Albert Lee - Guitar Cappy Lewis - Trumpet Billy Liebert - Organ Larrie Londin - Drums Mundell Lowe - Guitar Dónal Lunny - Producer Leonard Malarsky - Violin Lew McCreary - Trombone Sam McCue - Guitar Malfred McKibbon - Bass Michael Melvoin - Organ Jay Migliori - Woodwind Leslie Milton - Drums Ollie Mitchell - Trumpet Tommy Morgan - Harmonica Alex Murray - Violin Erno Neufeld - Violin Liam O'Flynn - Pipe Joe Osborn - Bass Allan Ostrowkky - Viola Jimmy Page - 12 String Guitar Earl Palmer - Drums Van Dyke Parks - Multi Instruments Gene Parsons - Banjo Gram Parsons - Guitar Richard Perissi - French Horn Wayne Perkins - Guitar Bill Pitman - Guitar Stanley Plummer - Violin Ray Pohlman - Bass Billy Preston - Piano Sammy Purett - Guitar Jack Rael - Producer Bob Rafkin - Drums Don Randi - Keyboards Lyle Ritz - Bass Hargus "Pig" Robbins - Keyboards Donald Robertson - Piano Tony Romeo - Arranger Paul Rothchild - Producer Henry Rowland - Piano Michel Rubini - Piano Harold Rugg - Steel Guitar Leon Russell - Keyboards Ambrose Russo - Violin Emmet Sargeant - Cello, Violin Joseph Saxon - Cello Steve Schaffer - Bass Jerry Scheff - Bass John Sebastian - Guitar Dale Sellers - Guitar Sidney Sharp - Violin Terry Slater - Bass Billy Strange - Guitar Bruce Talbot - Producer Tommy Tedesco - Guitar Anthony Terran - Brass Darrel Terwilliger - Violin Milton Thomas - Viola Lloyd Trotman - Bass Waddy Wachtel - Guitar Dorothy Wade - Violin Pete Wade - Guitar Lenny Waronker - Producer Bob West - Keyboards Clarence White - Guitar Terry Williams - Drums Pete Wingfield - Keyboards Arthur Wright - Keyboards Paul Yandell - Guitar Tibor Zelig - Violin. ezho MUSIC AND TUBES. The Everly Brothers are a pair of brothers who were top-selling country-influenced rock and roll performers, best known for their acoustic guitar playing and close harmony singing, who had their greatest success in the 1950s. Don Everly was born Isaac Donald Everly February 1, 1937 in Brownie, a small coal-mining town (now defunct) near Central City, Muhlenberg County, Kentucky. Phil Everly was born Philip Everly January 19, 1939 in Chicago, Illinois. The sons of two Kentucky country musicians, Ike and Margaret Embry Everly, the Everly Brothers grew up performing with their parents on live radio and in small-market live shows. MORE. Old School Music Lover. Let It Be Me as Performed by The Everly Brothers (1960) and Betty Everett & Jerry Butler (1964) “Let It Be Me” is a reworking of a French song recorded in 1955 by Gilbert Becaud called “Je T’Appartiens.” The first English version of the song was recorded in 1957 by an actress named Jill Corey with limited success. But The Everly Brothers released their remake as a single and it zoomed to #7 on the US Pop Singles Chart and #13 on the UK charts. It also appeared on the Cadence label LP “The Fabulous Style of the Everly Brothers” that went to #23 on the Pop LP Charts in 1960. The Everlys performed together as a group from 1954 to 1973, setting an example for all country/pop/rockers to follow. And their harmonies were flawlessly beautiful and unique. This next extraordinary cover version, like the Everlys, also became a top ten Hot 100 hit. But it also bested the Everly Brothers version by also going to #1on Billboard’s R&B chart! I do believe that this is the definitive version of song, that has been covered countless times in every decade since the Sixties to date, by solo artists, other duos and larger groups as well. (Personally I am also partial the The Sylvers version and will share it here under the appropriate theme and time in the future.) Just goes to show you that a classic song is what all artists want to interpret. Betty Everett sang gospel growing up in Mississippi and then began recording secular music for Cobra in 1958 with no success . But then when she joined Chicago’s Vee-Jay Records the hits came. She first recorded “You’re No Good”. Next the Shoop-Shoop Song zoomed to #6 in 1964 and then this Duet with Jerry Butler zoomed to #5. Of course Jerry Butler and his childhood friend Curtis Mayfield also grew up singing gospel music, then secular music together in the Roosters, which then became Kerry Butler & the Impressions. Eventually Mr. Butler went on to pusure a successful solo career after leaving the Impressions, as well as a string of hit duets and last but not least a venture into Chicago politics. Mr. Butler has served as the Cook County Illinois Commissioner and then became a City Alderman. Jerry Butler still performs today, as seen in this August 2001 PBS Special “Doo Wop 51 Live in Pittsburgh”. This was Betty Everett’s last public appearance; she died at her Wisconsin home in August 2001. Let It Be Me Composed By Gilbert Bécaud, Mann Curtis, Pierre Delanoé God bless the day I found you I want to stay around you And so I beg you Let it be me Don’t take this heaven from one If you must cling to someone Now and forever Let it be me Each time we meet love, I find complete love Without your sweet love Tell me, what would life be? So never leave me lonely Tell me you love me only And that you’ll always Let it be me. Beautiful sweet lyrics for a beautiful sweet song. Hope you enjoyed the music. Phil Everly’s Last Interview: Thoughts on ‘Foreverly,’ Gene Autry, Being ‘Happy at 74’ “Everybody’s happy. I am, at 74,” Phil Everly declared last month in an interview that Paste says is “what we believe to be his last.” Without ever alluding to the illness that would take his life on Jan. 3, Everly was affirming that he and his brother Don were content in their retirement and had no plans to ever tour or record as the Everly Brothers again. “You couldn’t get me to go travel around and sit in a hotel room again,” Everly told the web magazine. “I have no interest in doing that. So everybody’s happy. I am, at 74. Some people like doing it, but I never was much for that, anyway. It’s a lot of work. So the only thing I miss about all of it is the camaraderie of the tour, but that doesn’t offset the rest of it. So it’s not something that we’re going to do.” Returning to the studio also held no interest for the Everlys, who released their last album a quarter-century ago. “Whenever people talk about Don and I recording again, which almost everybody usually mentions, I always say ‘Well, there’s plenty of things that you haven’t heard! Plenty of things out there to discover!’” He singled out a “strange damn title” from 1972 to recommend. “Have you heard our Pass the Chicken and Listen album?… Anybody who’s actually interested in our stuff and wanted to hear something, they ought to listen to that album.” The reason Paste dialed up Everly a few weeks before his passing was to get his take on Foreverly , a newly released tribute album by Green Day’s Billie Joe Armstrong and Norah Jones . (The salute by that unlikely duo was one of three Everly tributes released in 2013, the others being A Date with the Everly Brothers by the Chapin Sisters and What the Brothers Sang by Dawn McCarthy & Bonnie “Prince” Billy .) Phil Everly was high on the Armstrong/Jones homage, though he admitted to only having heard a sampling. “The two pieces that I have heard are just really, really sensational, really good,” he said. “In the beginning of rock & roll, there was always innovation. Artists were always trying to do something new and something different. And I find that true for Billie Joe Armstrong — it’s very unusual for him to have done this.” The most unusual aspect of Foreverly is that it’s a song-for-song remake of the Everlys’ 1958 Songs Our Father Taught Us , which was itself a tribute to the folk songs the brothers grew up under the tutelage of their dad, Ike, who led a family band. Asked by Paste if the boys hadn’t found some of those old death-themed ballads like “Barbara Allen” a little morbid as kids, Everly replied, “You know, it’s a little like… like gore. When you’re young, you really like gore anyhow, so I think I just found those songs really interesting.” Conceding that Songs Our Father Taught Us was “such a strange album,” Everly admitted that there may have been other reasons than just artistic ones for a collection of somber folk tunes having been the brothers’ second LP release. Like, maybe, it being a contractual obligation album. “I think it was at the transitional period where we had another album to do for [first label] Cadence, and then we were going to go to Warner Brothers. So all of that comes into play,” Everly said. But “it was so much a part of our life, our heritage. So it’s kind of nice to see somebody who’s brave enough to do the same thing, all over again.” To return the favor to Armstrong — who came up with the concept for Foreverly , then enlisted Jones as his duet partner — Everly told the magazine he was “seriously considering” Green Day’s “Wake Me Up When September Ends,” “because that song is very similar to a Boudleaux Bryant song,” he said, referring to the writers of most of the brothers’ biggest hits in the late ‘50s and early ‘60s. But his only recordings of late had been “some Christmas things” he did at his son’s studio, he said, apparently referring to a video version of “Silent Night” released on YouTube in December 2012. Everly added that one of the songs from Songs Our Father Taught Us and Foreverly , “That Silver Haired Daddy of Mine,” brought up “emotional feeling(s)” and was “hard to sing” when the brothers performed it as part of their final concert dates in England in 2005. “Silver Haired Daddy” had been Gene Autry ’s first hit in 1935, four years before Phil Everly was born. Funnily enough, he said he’d been renewing his Autry fandom recently. “In my old age, it’s kind of funny — at night, what I like to do is watch TV when I go to sleep,” Everly told Paste. “And what I really like is to put on a Gene Autry film, because he sings really well. So he sings me to sleep.”