Original subtitles

>> What is your name? >> Don Everly, age 20. >> Only a 20-year-old would say

>> Don Everly, age 20. >> Only a 20-year-old would say his age in the first place.

>> Only a 20-year-old would say his age in the first place. How about you?

his age in the first place. How about you? What's your name?

How about you? What's your name? >> Phil Everly, and I'm

What's your name? >> Phil Everly, and I'm 18 years old.

>> Phil Everly, and I'm 18 years old. >> ♪ Bye b, lo

18 years old. >> ♪ Bye b, lo ♪ Bye bye, happiness

>> ♪ Bye b, lo ♪ Bye bye, happiness ♪ Hello, loneliness

♪ Bye bye, happiness ♪ Hello, loneliness ♪ I think I'm gonna cry

>> Any musician th aet

of ears was influenced

by the Everly Brothers.

>> "Well, this is the best

rmony I've ever heard in my

life."

And from that moment, I was on

the train called the

Everly Brothers.

>> I don't think youever

find another pair that can match

them.

>> ♪ Here he ces ♪ That's Cathy's clown

>> There's that thing about

beg othe thatheivoic

were so similar, that that's

also why the harmonies just

sounded so great in unison.

>> Wakup, little Susie

>> They had a very different

und.

They were fusing new elements

into what had been up until

then, an easy-listening format.

>> ♪ I've been cheated ♪ Been mistreated ♪ When will I be loved?

>> Some people are lucky enough

to live in the time of a new

form.

Others are not.

The Everly Brothers were, that

moment when rock 'n' roll was

just starting, and their gifts

were perfect for it.

Young at the right time, two people singing as if one adith o voes.

two people singing as if one adith o voes. >> ♪ I will make you mine

as if one adith o voes. >> ♪ I will make you mine ♪ Taste your lips of wine

>> ♪ I will make you mine ♪ Taste your lips of wine ♪ Anytime, night or day

♪ Taste your lips of wine ♪ Anytime, night or day ♪ Only trouble is, gee whiz

♪ Anytime, night or day ♪ Only trouble is, gee whiz ♪ I'm dreaming my life away

>> For a period of five years,

from 1957 to 1962,

the Everly Brothers were

this amazing vocal duo who just

completely dominated the pop

charts, and they influenced a

raft of musicians and bands who

came in their wake.

>> And the reason we all do what

we do is because we heard that

and wanted to do it.

>> ♪ Walk right back to me this minute ♪ ♪ Bring your love to me,

this minute ♪ ♪ Bring your love to me, don't send it ♪

♪ Bring your love to me, don't send it ♪ ♪ I'm so lonesome every day

don't send it ♪ ♪ I'm so lonesome every day ♪ I'm so lonesome every day

♪ I'm so lonesome every day ♪ I'm so lonesome every day [ Cheers and applause ]

>> I went bowling in Jamaica

with Paul.

>> I was on a school coach

tripo thLake District.

>> You had to take a transfer and change buses. >> And on thjukex

and change buses. >> And on thjukex radio had...usrivessound.

>> And on thjukex radio had...usrivessound. [ Humming "Bye Bye Love" ]

radio had...usrivessound. [ Humming "Bye Bye Love" ] >> Which wasBye e Lo," a

[ Humming "Bye Bye Love" ] >> Which wasBye e Lo," a I didn't know who was singing it

>> Which wasBye e Lo," a I didn't know who was singing it or, indeed, what the song was.

I didn't know who was singing it or, indeed, what the song was. And for some reason, it played

or, indeed, what the song was. And for some reason, it played about nine times on the trip.

And for some reason, it played about nine times on the trip. I think the jukebox was stuck.

>> My best friend, Alan Clark,

and I are attending

a Catholic school girls' dance

on a Saturday night.

"Bye Bye Love" by the Everly Brothers came on the big eake, anit cngede

Everly Brothers came on the big eake, anit cngede and Alan's life completely.

eake, anit cngede and Alan's life completely. >> ♪ Bye bye, love

and Alan's life completely. >> ♪ Bye bye, love Byeye, ppins

>> ♪ Bye bye, love Byeye, ppins >> And both Paul and I went,

Byeye, ppins >> And both Paul and I went, "These guys are the greatest.

>> And both Paul and I went, "These guys are the greatest. How do they harmonize,

"These guys are the greatest. How do they harmonize, who are these people?"

How do they harmonize, who are these people?" >> I'd seen that it was by some

who are these people?" >> I'd seen that it was by some act called the Everly Brothers.

>> I'd seen that it was by some act called the Everly Brothers. >> "They're brothers.

act called the Everly Brothers. >> "They're brothers. Oh, no wonder -- the DNA gives

>> "They're brothers. Oh, no wonder -- the DNA gives them a huge leg up."

Oh, no wonder -- the DNA gives them a huge leg up." >> I didn't know how many there

them a huge leg up." >> I didn't know how many there were, whether they were a

>> I didn't know how many there were, whether they were a 10-piece band or what, but it

were, whether they were a 10-piece band or what, but it made an enormous impact on me.

10-piece band or what, but it made an enormous impact on me. >> ♪ There goes my baby

made an enormous impact on me. >> ♪ There goes my baby withomeone new ♪

>> ♪ There goes my baby withomeone new ♪ ♪ She sure looks happy

withomeone new ♪ ♪ She sure looks happy ♪ I sure am blue

♪ She sure looks happy ♪ I sure am blue ♪ She was my baby

♪ I sure am blue ♪ She was my baby till he stepped in ♪

♪ She was my baby till he stepped in ♪ ♪ Goodbye to romance

till he stepped in ♪ ♪ Goodbye to romance that might have been ♪

♪ Goodbye to romance that might have been ♪ >> It was the first time

that might have been ♪ >> It was the first time I ever heard music that I loved.

And I thought "Wow,

if this is what music is like,

I can't wait to find out more."

And then I spent the last

30 years looking for anything

that's as good as the

Everly Brothers, and there isn't

anything.

I assumed that was the tip of the iceberg. I thought all music was going to

the iceberg. I thought all music was going to be that good.

I thought all music was going to be that good. No.

be that good. No. >> You bet music was changing.

No. >> You bet music was changing. What came before that was so...

>> You bet music was changing. What came before that was so... tame.

What came before that was so... tame. Patti Page and Perry Como.

>> Doris Day andrankinat

and the Beverley Sisters.

>> The crooners came out of

the war and the war era

when everybody needed

to be on message,

if you like, and together.

And now you were starting to get the age of teenage rebellion. And younger people wanting music

the age of teenage rebellion. And younger people wanting music that they could identify with

And younger people wanting music that they could identify with which was much more their own.

that they could identify with which was much more their own. >> This stirring things up

which was much more their own. >> This stirring things up was much more...subversive

>> This stirring things up was much more...subversive is the word I would use.

was much more...subversive is the word I would use. >> I guess the best place

is the word I would use. >> I guess the best place tota is theeginng.

>> I guess the best place tota is theeginng. The beginning for Phil and I

tota is theeginng. The beginning for Phil and I is just a small dot on the map

The beginning for Phil and I is just a small dot on the map called Brownie, Kentucky.

is just a small dot on the map called Brownie, Kentucky. >> I was born

called Brownie, Kentucky. >> I was born Brownie, Kencky.

It was t Bwnieoal nes

that named it Brownie, Kentucky,

and my father worked at the coal

mines then.

>> These coal miners, you know,

they worked 5 or 6 days a week,

and on the weekends they'd get

together and have their little

parties and play music

>>nd mfath, heame ting.

of there playing a guitar.

>> Our father was a thumb-picker

out Kencky. >>ut M andad med t

>>ut M andad med t Chicago, and I don't remember the move because I was very

Chicago, and I don't remember the move because I was very young.

>> And their father was a great

musician, and somebody whose

knowledge of music, and folk

music in particular, was

encyclopedic.

>> He was a unique gtar ayer when he was up in Chicago in the area, playing the honky tonks.

when he was up in Chicago in the area, playing the honky tonks. >> He actually influenced

area, playing the honky tonks. >> He actually influenced Merle Travis.

>> He actually influenced Merle Travis. Merle was the guy that went

Merle Travis. Merle was the guy that went to Hollywood and made good

Merle was the guy that went to Hollywood and made good and influenced a lot of people.

to Hollywood and made good and influenced a lot of people. Ike Everly and Mer Tras

and influenced a lot of people. Ike Everly and Mer Tras are the people that we feel

Ike Everly and Mer Tras are the people that we feel is really responsible

are the people that we feel is really responsible for the thumb and finger style,

is really responsible for the thumb and finger style, or thumb style of guitar

for the thumb and finger style, or thumb style of guitar playing.

>> Chet Atkins is considered

one of the greatest guitar

players in American history and

rtaiy one of t mt

influential, because he took a

style which is sort of playing

the rhythm with your thumb

and using your fingers

to sort of pick out the melody,

and so you have sort of a double

guitar sound going on at once.

♪ ♪♪ >> The interesting thing about

♪♪ >> The interesting thing about the fingerpicking styles were

>> The interesting thing about the fingerpicking styles were they were things that were

the fingerpicking styles were they were things that were handed from musician to

they were things that were handed from musician to musician.

>> Ike Everly was a tremendous

influence on his sons, and of

course, made sure that even

though they were both

left-handed, they played the

correct way around.

Because he said, "You'll have trouble for the rest of your life if you don't do that."

trouble for the rest of your life if you don't do that." I'completely left-handed

life if you don't do that." I'completely left-handed in everything.

I'completely left-handed in everything. And he taught me right-handed.

in everything. And he taught me right-handed. He wouldn't let me learn

And he taught me right-handed. He wouldn't let me learn left-handed.

He wouldn't let me learn left-handed. >> Don was probably 6 years old,

left-handed. >> Don was probably 6 years old, Phil 4 years old.

>> Don was probably 6 years old, Phil 4 years old. They decided they did not want

Phil 4 years old. They decided they did not want them to grow up in a big town

They decided they did not want them to grow up in a big town like Chicago.

them to grow up in a big town like Chicago. They wanted to grow up kind of

like Chicago. They wanted to grow up kind of like they did.

They wanted to grow up kind of like they did. So they moved off to western

like they did. So they moved off to western Iowa.

So they moved off to western Iowa. >> Back then, radio had artists

Iowa. >> Back then, radio had artists that put their own shows on.

>> This is in the days, of

thsandand ousas ofca had

very localized radio stations.

>> My mother and father figured t th thecoulgo g us on there as The Everly Family.

>> 54 degrees in Shenandoah,

The Everly Family.th

>> It was every morning, early morning radio show before school.

early morning radio show before school. >> And they appeared as

before school. >> And they appeared as Little Donnie and Baby Boy Phil.

♪he w cryg

♪ Totally crying

♪ Here I'falling,

endless love ♪ >> This is Daddy Everly, speaking for Mom, Don,

>> This is Daddy Everly, speaking for Mom, Don, Baby Boy Phil, saying so long!

speaking for Mom, Don, Baby Boy Phil, saying so long! Thank you for listening.

Baby Boy Phil, saying so long! Thank you for listening. >> Dad was teaching Phil and I

Thank you for listening. >> Dad was teaching Phil and I to sg, y know, together.

>> They grew up with harmony.

It was like a language, and thus

they could speak it

when they got older.

>> If you grewp inouislle

or you grew up in Kentucky, you

were used to hearing bluegrass

singing.

You were used to hearing that kind of two-part harmony. >> That was just part of their

that kind of two-part harmony. >> That was just part of their lives, because theirom and dad

>> That was just part of their lives, because theirom and dad were doing that for years.

lives, because theirom and dad were doing that for years. That was how they were

were doing that for years. That was how they were brought up.

That was how they were brought up. It was probably nothing strange

brought up. It was probably nothing strange for them.

It was probably nothing strange for them. We think it's strange, you know,

for them. We think it's strange, you know, but I guess for them it wasn't

We think it's strange, you know, but I guess for them it wasn't strange, because they were

but I guess for them it wasn't strange, because they were brought up that way.

strange, because they were brought up that way. >> I went back to Tennessee.

brought up that way. >> I went back to Tennessee. And then Itart wring, d

>> I went back to Tennessee. And then Itart wring, d it just came out of the clear

And then Itart wring, d it just came out of the clear blue.

it just came out of the clear blue. Chet Atkins had a lot to do

blue. Chet Atkins had a lot to do with it.

We went to a concert that he was

at down in Knoxville, Tennessee,

and my father called him over

and ey g to lking,

and he introduced Phil and I

to him, to Chet, and told him

that I was writing songs.

enored with Ike Everly

and his sons he finds out

are these talented singers,

so he encourages them to come

to Nashville and intces

them to Wesley Rose

who was running Acuff-Rose

which was the biggest music

publishing organization town.

anwe wt tohet kinsrom Knoxville house. He lived in Belle Meade at the

house. He lived in Belle Meade at the time.

He lived in Belle Meade at the time. >>nd wrecoed se thgs

time. >>nd wrecoed se thgs on Chet's tape at his house,

>>nd wrecoed se thgs on Chet's tape at his house, and he said, "I'll publish them,

on Chet's tape at his house, and he said, "I'll publish them, if Iet tm rerded

and he said, "I'll publish them, if Iet tm rerded And I said, "Fine."

if Iet tm rerded And I said, "Fine." >> The Everlys were very

And I said, "Fine." >> The Everlys were very fortatto he hias

>> The Everlys were very fortatto he hias their mentor in the early days.

fortatto he hias their mentor in the early days. But I think he recognized very

their mentor in the early days. But I think he recognized very early on that there was a

But I think he recognized very early on that there was a special talent there.

He s rely itincve

in the way he brought musicians

and songs together.

So that was a very inspired move to give Kitty Wells Don Everly's song,

to give Kitty Wells Don Everly's song, "Thou Shalt Not Steal."

Don Everly's song, "Thou Shalt Not Steal." >> It sort of startled me that

"Thou Shalt Not Steal." >> It sort of startled me that one of tm was recorded

>> It sort of startled me that one of tm was recorded already.

one of tm was recorded already. >> Kitty Wel, shwas e

already. >> Kitty Wel, shwas e first female country music star

>> Kitty Wel, shwas e first female country music star and was beginning to bring

first female country music star and was beginning to bring in real-life concerns,

and was beginning to bring in real-life concerns, real-life issues, singing about,

in real-life concerns, real-life issues, singing about, you know, the double standards

real-life issues, singing about, you know, the double standards for men and women.

you know, the double standards for men and women. >> It was a Bible song,

for men and women. >> It was a Bible song, it was about a cheating thing.

>> It was a Bible song, it was about a cheating thing. >> But can tra my ve

it was about a cheating thing. >> But can tra my ve for pride ♪

♪ My conscience just can't be

my guide ♪

♪ Too late to heed the warning

the law thou shalt not steal ♪

>> She sold quite a few records. I got my check.

I got my check. Thatoneyot Pl anI to

Thatoneyot Pl anI to Nashville when I graduated high

Nashville when I graduated high school. We're now living in

school. We're now living in Nashville, Tennessee.

We're now living in Nashville, Tennessee. >> This is our town of

Nashville, Tennessee. >> This is our town of Nashville.

>> This is our town of Nashville. >> Nashville as a c to,

Nashville. >> Nashville as a c to, you know, goes back to the start

>> Nashville as a c to, you know, goes back to the start of the Grand Ole Opry in the

you know, goes back to the start of the Grand Ole Opry in the 1920s, which is pretty much the

of the Grand Ole Opry in the 1920s, which is pretty much the beginning of commercial radio,

1920s, which is pretty much the beginning of commercial radio, commercial records

>>he Grand Ole Opry

s thnucleus of that, and

people came here by the droves

to be on that show, which was

broadcast on WSM which was a

50,000-watt clear channel.

>> And as the Opry grew, they had more reach than other radio stations.

they had more reach than other radio stations. So you could hear them in Texas,

than other radio stations. So you could hear them in Texas, you could hear them in Michigan.

So you could hear them in Texas, you could hear them in Michigan. You know, you could hear them

you could hear them in Michigan. You know, you could hear them in Florida.

You know, you could hear them in Florida. >> They were so paranoid that

in Florida. >> They were so paranoid that theyhoht asomeointhey

>> They were so paranoid that theyhoht asomeointhey might have to make announcements

theyhoht asomeointhey might have to make announcements over the radio nationally,

might have to make announcements over the radio nationally, if there was a threat

over the radio nationally, if there was a threat fromhe Siet ion.

if there was a threat fromhe Siet ion. >> We interrupt our normal

fromhe Siet ion. >> We interrupt our normal program to cooperate in

>> We interrupt our normal program to cooperate in seritynd cil defense

program to cooperate in seritynd cil defense meases.

seritynd cil defense meases. >> In the end, the technology

meases. >> In the end, the technology was used in a more positive way

>> In the end, the technology was used in a more positive way in terms of the music industry.

was used in a more positive way in terms of the music industry. >> You had millions of people

in terms of the music industry. >> You had millions of people sitting by their radio

>> You had millions of people sitting by their radio on those Saturday nights,

sitting by their radio on those Saturday nights, faing lovwithrtistse cities,

on those Saturday nights, faing lovwithrtistse cities, that they'd never seen,

faing lovwithrtistse cities, that they'd never seen, buwerell oa sudden,

that they'd never seen, buwerell oa sudden, becoming their best friends.

buwerell oa sudden, becoming their best friends. >> There's a great story

becoming their best friends. >> There's a great story about Chet Atkins.

>> There's a great story about Chet Atkins. You know somebody asked him,

about Chet Atkins. You know somebody asked him, "You know, Chet, like, what is

You know somebody asked him, "You know, Chet, like, what is the Nashville sound?"

"You know, Chet, like, what is the Nashville sound?" And he shakes his pocket and the

the Nashville sound?" And he shakes his pocket and the coins all rattle, and he goes,

And he shakes his pocket and the coins all rattle, and he goes, "That's the Nashville sound.

coins all rattle, and he goes, "That's the Nashville sound. That's the sound of money."

That's the sound of money." >> Mpares,

Boudleaux and Felice Bryant,

were the first songwriting duo

and team of professional writers

in Nashville.

So by 1957, when the Everlys had arrived, my parents had had many hits.

arrived, my parents had had many hits. >> They wrote every day.

hits. >> They wrote every day. It was their job, and they would

>> They wrote every day. It was their job, and they would wake up every morning and write.

wake up every morning and write. And wasyou ow, me rn

or come shine, or colds or

sickness.

It didn't matter.

This was their job.

>> They show that you can make

a living as songwriters.

And they also show that you had

to go to work at it,

and be a professional at it.

My otheand weren the backseat one day driving to a home site where we were building

backseat one day driving to a home site where we were building a new home, and there was a

home site where we were building a new home, and there was a light drizzle and the windshield

a new home, and there was a light drizzle and the windshield wipers were going.

light drizzle and the windshield wipers were going. And Dad started "Bye Bye Love"

wipers were going. And Dad started "Bye Bye Love" to the rhythm of the windshield

And Dad started "Bye Bye Love" to the rhythm of the windshield wipers.

to the rhythm of the windshield wipers. >> He said, "Listen to this."

wipers. >> He said, "Listen to this." So it was --

♪ Bye bye, love

♪ Bye bye, happiness

♪ Hello, something else

♪ I think I'm gonna

Die, cry, or whatever the heck

that was.

And I said, "Oh, yeah."

I was really impressed. >> Dad staed swingt around, and a lot of people

>> Dad staed swingt around, and a lot of people >> lisned it d I said, down.

around, and a lot of people >> lisned it d I said, down. "We could do it."

>> lisned it d I said, down. "We could do it." And it was as simple as that.

"We could do it." And it was as simple as that. >> I wld he su anying.

And it was as simple as that. >> I wld he su anying. The idea that we were going to

>> I wld he su anying. The idea that we were going to get a chance to record,

The idea that we were going to get a chance to record, and you were going to make $64.

get a chance to record, and you were going to make $64. And $64 sounded real important

and you were going to make $64. And $64 sounded real important to me at the time.

♪♪

>> I fell foBo Ddley sou and the rhythm that he got. And I just loved it. Loved it.

and the rhythm that he got. And I just loved it. Loved it. ♪♪

And I just loved it. Loved it. ♪♪ >> The drive that Bo Diddley had

♪♪ >> The drive that Bo Diddley had in his music is this incredible

>> The drive that Bo Diddley had in his music is this incredible nd orumb.

in his music is this incredible nd orumb. That's there in the

nd orumb. That's there in the Everly Brothers songs.

That's there in the Everly Brothers songs. I flowehim,ou kw,

Everly Brothers songs. I flowehim,ou kw, his music, and I was trying

I flowehim,ou kw, his music, and I was trying to get it involved in my music.

his music, and I was trying to get it involved in my music. >> And Archie Bleyer,

to get it involved in my music. >> And Archie Bleyer, the head of Cadence Records,

>> And Archie Bleyer, the head of Cadence Records, said, "Well, why don't you take

the head of Cadence Records, said, "Well, why don't you take that arrangement and put it on

said, "Well, why don't you take that arrangement and put it on 'Bye Bye Love'?"

that arrangement and put it on 'Bye Bye Love'?" And said

'Bye Bye Love'?" And said "I never thought of that."

And said "I never thought of that." ♪♪

>> You see, there are some

things you can't do in classical

regular tuning.

You can only do it

when you've got these weird

little country tuning stuff.

AnI gus th rubd of on me. Don's acoustic guitar, that

on me. Don's acoustic guitar, that rhythm guitar is rocking, man.

rhythm guitar is rocking, man. >> A nowightecon lat,

the intro is over.

The song begins.

>> ♪ Bye bye, love

♪ Bye bye, happiness

♪ Hello, loneliness

♪ I think I'm gonna cry

>> You know, you have to write

material that can sustain those

two voices running through the

whole song.

You know, so that when the individual voice comes in, you know, usually Don's, that really

individual voice comes in, you know, usually Don's, that really has a dramatic impact because

know, usually Don's, that really has a dramatic impact because mostly they're singing harmony

has a dramatic impact because mostly they're singing harmony all the way through.

mostly they're singing harmony all the way through. >> ♪ I'm through with romance

all the way through. >> ♪ I'm through with romance ♪ I'm through with love

>> ♪ I'm through with romance ♪ I'm through with love ♪ I'm through with countin'

♪ I'm through with love ♪ I'm through with countin' the stars above ♪

♪ I'm through with countin' the stars above ♪ ♪ And here's the reason

the stars above ♪ ♪ And here's the reason that I'm so free ♪

♪ And here's the reason that I'm so free ♪ ♪ My loving baby

that I'm so free ♪ ♪ My loving baby is through with me ♪

♪ My loving baby is through with me ♪ Byeye, ve

>> The Everly Brothers were

thfirsexame inock '

roll of something that happens

very rarely but always

beautifully in popular music

which is family groups

singing in close harmony --

The Andrews Sisters,

The Bee Gees who were the

Gibb brothers, The Beach Boys

who were a family group.

And these exquisite harmonies come from people who've just been together all their lives.

come from people who've just been together all their lives. They cannot be separated.

been together all their lives. They cannot be separated. >> T claic mel ithir.

They cannot be separated. >> T claic mel ithir. One guy sings ♪ La, da, da

>> T claic mel ithir. One guy sings ♪ La, da, da And the other guy goes

One guy sings ♪ La, da, da And the other guy goes ♪ La, da, da

And the other guy goes ♪ La, da, da The interval is thirds.

♪ La, da, da The interval is thirds. ♪ La

The interval is thirds. ♪ La ♪ Da

♪ La ♪ Da If you hold that interval, you

♪ Da If you hold that interval, you have a very simple and pleasing,

If you hold that interval, you have a very simple and pleasing, sweet kind of folky harmony.

haony,ou kw, a I jted that

sang it, you know, but he

designed it to be that way, and

that's all the greatness of...

All that stuff really counted.

>> Phil was such a genius at matching Don's sound that they produced two halves of a whole.

matching Don's sound that they produced two halves of a whole. >> Boudleaux could hear

produced two halves of a whole. >> Boudleaux could hear harmies.

>> Boudleaux could hear harmies. He could see what he wanted to

harmies. He could see what he wanted to happen with that piece of

He could see what he wanted to happen with that piece of material.

happen with that piece of material. >> ♪ Bye bye, love

material. >> ♪ Bye bye, love ♪ Bye bye, sweet caress

>> ♪ Bye bye, love ♪ Bye bye, sweet caress ♪ Hello, emptiness

♪ Bye bye, sweet caress ♪ Hello, emptiness ♪ I feel like I could die

♪ Hello, emptiness ♪ I feel like I could die ♪ Bye bye, my love, goodbye

♪ I feel like I could die ♪ Bye bye, my love, goodbye >> The difference is that Phil's

♪ Bye bye, my love, goodbye >> The difference is that Phil's ice s pitched in a tenor

>> The difference is that Phil's ice s pitched in a tenor range, and Don's was more

ice s pitched in a tenor range, and Don's was more baritone tenor so that the

range, and Don's was more baritone tenor so that the two-note difference that gives

baritone tenor so that the two-note difference that gives you the thirds interval was

two-note difference that gives you the thirds interval was perfectly comfortable for Phil

you the thirds interval was perfectly comfortable for Phil to be higher.

perfectly comfortable for Phil to be higher. >> ♪ Bye bye, my love, goodbye

to be higher. >> ♪ Bye bye, my love, goodbye >>hereas aittlbuzz, goodbye

>> ♪ Bye bye, my love, goodbye >>hereas aittlbuzz, goodbye about this record, you know.

>>hereas aittlbuzz, goodbye about this record, you know. This was a pretty good record.

about this record, you know. This was a pretty good record. So wgot job wn i

This was a pretty good record. So wgot job wn i Mississippi and Alabama.

So wgot job wn i Mississippi and Alabama. Well, on that trip, the record

Mississippi and Alabama. Well, on that trip, the record came out and we were making

Well, on that trip, the record came out and we were making $90 a week apiece, which was a

came out and we were making $90 a week apiece, which was a fortune to us.

$90 a week apiece, which was a fortune to us. >> The team in New York

fortune to us. >> The team in New York that did the promotion for

>> The team in New York that did the promotion for Cadence Records made a mistake

that did the promotion for Cadence Records made a mistake with the record "Bye Bye Love"

Cadence Records made a mistake with the record "Bye Bye Love" and sent it out to all of the

with the record "Bye Bye Love" and sent it out to all of the radio stations.

and sent it out to all of the radio stations. The country ones had received

radio stations. The country ones had received addresses on and the pop

The country ones had received addresses on and the pop stations.

addresses on and the pop stations. Navillon t endf thgot back to

stations. Navillon t endf thgot back to tour, we were in the Top 10,

Navillon t endf thgot back to tour, we were in the Top 10, in pop and in country, and it

tour, we were in the Top 10, in pop and in country, and it was...

in pop and in country, and it was... The game was on.

>> AerBye Bye Love," we went on the road, you know, and... Things were happening.

on the road, you know, and... Things were happening. And we were traveling around,

Things were happening. And we were traveling around, this, that, and the other,

And we were traveling around, this, that, and the other, abt a condingle.art thinking

this, that, and the other, abt a condingle.art thinking And then you became to worry

abt a condingle.art thinking And then you became to worry about being a one-record act,

And then you became to worry about being a one-record act, because there were

about being a one-record act, because there were plenty of them in rock 'n' roll.

because there were plenty of them in rock 'n' roll. And then Boudleaux brought in

plenty of them in rock 'n' roll. And then Boudleaux brought in "Wake Up Little Susie."

And then Boudleaux brought in "Wake Up Little Susie." But he had designed

"Wake Up Little Susie." But he had designed "Wake Up Little Susie" with the

But he had designed "Wake Up Little Susie" with the holes in it for that guitar

"Wake Up Little Susie" with the holes in it for that guitar work because he knew that this

holes in it for that guitar work because he knew that this would work.

work because he knew that this would work. And therein is the power of what

would work. And therein is the power of what we had from Boudleaux and Felice

And therein is the power of what we had from Boudleaux and Felice is that they started

we had from Boudleaux and Felice is that they started designing things for us.

>> Isn't it terrible to think

that a few years from now these

boys will both wind up looking

like Yul Brynner?

[ Laughter ]

♪♪ >> ♪ Wake up, little Susie ♪ Wake up

it qui aggssiv uses it,

rather than just be some gentle

backing to fill out the track.

So it would punch through the mix, sort of thing, and you'd get that.

mix, sort of thing, and you'd get that. ♪♪

>> It was down strokes.

Da,a, d da,a

The intro was all down strokes.

♪ Da, da, da, da, da, da, da, da ♪ ♪ Da, da, da

da ♪ ♪ Da, da, da ♪ Da, da, da, da-da

♪ Da, da, da ♪ Da, da, da, da-da ♪ Da, da, da, da, da, da, da,

♪ Da, da, da, da-da ♪ Da, da, da, da, da, da, da, da ♪

♪ Da, da, da, da, da, da, da, da ♪ ♪ Da, da, da

da ♪ ♪ Da, da, da ♪ Da, da, da, da-da

♪ Da, da, da ♪ Da, da, da, da-da ♪

♪ Da, da, da, da-da ♪ >> ♪ Wake up, little Susie

♪ >> ♪ Wake up, little Susie ♪ Wake up

>> ♪ Wake up, little Susie ♪ Wake up >> "Wake Up ttleusie

♪ Wake up >> "Wake Up ttleusie we recorded it here.

>> "Wake Up ttleusie we recorded it here. It was the next record after

we recorded it here. It was the next record after "Bye Bye Love."

>> I was upstairs.

I hadn't gotten out of bed yet,

and Boudleaux was on the main

floor which wasn't carpeted,

and so the acoustics were just

feeding up to the bedroom

section.

And I hear this, ♪ Wake up little Susie ♪ Wake up

♪ Wake up little Susie ♪ Wake up And I thought, "Man, that sounds

♪ Wake up And I thought, "Man, that sounds great."

And I thought, "Man, that sounds great." Just that much.

great." Just that much. And so I thought I'd better get

Just that much. And so I thought I'd better get downstairs because Boudleaux was

And so I thought I'd better get downstairs because Boudleaux was most capable of finishing stuff

downstairs because Boudleaux was most capable of finishing stuff on his own, and I had to jump in

most capable of finishing stuff on his own, and I had to jump in when I thought, "We've got

on his own, and I had to jump in when I thought, "We've got something here, I want a piece

when I thought, "We've got something here, I want a piece of this."

>> In its early stages,

as D wasriti it,

was a little bit what Mother

thought was a little too risqué.

She kind of cleaned it up.

>> I addedome ricsecau I thought Boudleaux was getting a little too rough, you know.

thought Boudleaux was getting a little too rough, you know. And so I put the bridge in --

a little too rough, you know. And so I put the bridge in -- ♪ The movie wasn't so hot

And so I put the bridge in -- ♪ The movie wasn't so hot ♪ Didn't have much of a plot

♪ The movie wasn't so hot ♪ Didn't have much of a plot ♪ We fell asleep

♪ Didn't have much of a plot ♪ We fell asleep ♪ Our goose is cooked

♪ We fell asleep ♪ Our goose is cooked ♪ Our reputation is shot

♪ Our goose is cooked ♪ Our reputation is shot >> ♪ The movie wasn't so hot

♪ Our reputation is shot >> ♪ The movie wasn't so hot ♪ It didn't have much of a

>> ♪ The movie wasn't so hot ♪ It didn't have much of a plot ♪

♪ It didn't have much of a plot ♪ ♪ We fell asleep

plot ♪ ♪ We fell asleep ♪ Our goose is cooked

♪ We fell asleep ♪ Our goose is cooked ♪ Our reputation is shot

♪ Our goose is cooked ♪ Our reputation is shot ♪ Wake up little Susie

♪ Our reputation is shot ♪ Wake up little Susie ♪ Wake up little Susie

♪ Wake up little Susie ♪ Wake up little Susie ♪ We got to go home

♪ Wake up little Susie ♪ We got to go home yowoulhavehat re calledse days,

♪ We got to go home yowoulhavehat re calledse days, regional breakouts, and then it

yowoulhavehat re calledse days, regional breakouts, and then it would go from region to region,

regional breakouts, and then it would go from region to region, so you'd be popular for a long

would go from region to region, so you'd be popular for a long period of time.

so you'd be popular for a long period of time. But not always in the same place

period of time. But not always in the same place at the same time.

But not always in the same place at the same time. So "Bye Bye Love" had a long

at the same time. So "Bye Bye Love" had a long chart life, peaking at

So "Bye Bye Love" had a long chart life, peaking at number two for an extended

chart life, peaking at number two for an extended run on the charts, and then

number two for an extended run on the charts, and then "Wake Up Little Susie" comes

run on the charts, and then "Wake Up Little Susie" comes out, and everybody's paying

"Wake Up Little Susie" comes out, and everybody's paying attention at the same time and

out, and everybody's paying attention at the same time and it's a very quick number one.

attention at the same time and it's a very quick number one. >> There's a kind of

it's a very quick number one. >> There's a kind of winking sexuality to

>> There's a kind of winking sexuality to "Wake Up Little Susie."

winking sexuality to "Wake Up Little Susie." You know, there's the sense

"Wake Up Little Susie." You know, there's the sense that, you know, essentially they

You know, there's the sense that, you know, essentially they spent the night together,

that, you know, essentially they spent the night together, and they were in trouble

spent the night together, and they were in trouble and the parents are upset

and they were in trouble and the parents are upset and the friends are saying

and the parents are upset and the friends are saying "Ooh, la, la."

and the friends are saying "Ooh, la, la." >> "Ooh, la, la," which everyone

"Ooh, la, la." >> "Ooh, la, la," which everyone knew was French for racy.

>> "Ooh, la, la," which everyone knew was French for racy. >> ♪ Well, what ar gon

knew was French for racy. >> ♪ Well, what ar gon tell your mama ♪

>> ♪ Well, what ar gon tell your mama ♪ ♪ What are we going to tell

tell your mama ♪ ♪ What are we going to tell your pop ♪

♪ What are we going to tell your pop ♪ ♪ What are we going to tell

your pop ♪ ♪ What are we going to tell our friends ♪

♪ What are we going to tell our friends ♪ ♪ When they say 'Ooh, la la'

our friends ♪ ♪ When they say 'Ooh, la la' ♪ Wake up little Susie

♪ When they say 'Ooh, la la' ♪ Wake up little Susie >> It was banned in Boston

♪ Wake up little Susie >> It was banned in Boston and a couple of other places,

>> It was banned in Boston and a couple of other places, and my father was thrilled

and a couple of other places, and my father was thrilled because at that time, as today,

and my father was thrilled because at that time, as today, when something is banned with

because at that time, as today, when something is banned with a certain amount of publicity,

when something is banned with a certain amount of publicity, it really has a tendency

a certain amount of publicity, it really has a tendency to spark interest and explode.

it really has a tendency to spark interest and explode. And indeed

to spark interest and explode. And indeed "Wake Up Little Susie" did.

>> Well, I'm sure that you

recoize is aa goen

record, and this the third

golden record that the boys have

won this year.

This, of course, is

"All I Have To Do Is Dream"

by the Everly Brothers.

>> Donald told me one night they were on the rock 'n' roll tour bus, and Buddy Holly came

they were on the rock 'n' roll tour bus, and Buddy Holly came over and sat down next to them

tour bus, and Buddy Holly came over and sat down next to them and he goes, "Hey, man,

over and sat down next to them and he goes, "Hey, man, I wrote a song for you guys.

and he goes, "Hey, man, I wrote a song for you guys. It's called 'Not Fade Away,'"

I wrote a song for you guys. It's called 'Not Fade Away,'" and he played it for them.

And Donald says to me

"Yeah, that's great," he said.

"I love it, but we can't do it.

We're going back to Nashville.

We got to cut something, some ballad called "Dream." "B Byeove,you ve tcomee

some ballad called "Dream." "B Byeove,you ve tcomee in with another novelty,

"B Byeove,you ve tcomee in with another novelty, "Wake Up Little Susie."

in with another novelty, "Wake Up Little Susie." After that, you've got to give

"Wake Up Little Susie." After that, you've got to give them...

After that, you've got to give them... You can live longer on a

them... You can live longer on a ballad.

ma us a difference betweenlly

sort of an act and then sort of

being here forever, you know.

>> At that time in America there were different categories, different charts -- pop charts,

there were different categories, different charts -- pop charts, country charts, what they called

different charts -- pop charts, country charts, what they called the Race Record charts.

country charts, what they called the Race Record charts. And not many artists crossed

the Race Record charts. And not many artists crossed over, because they were marketed

And not many artists crossed over, because they were marketed very differently.

over, because they were marketed very differently. >> "Bye Bye Love" and

very differently. >> "Bye Bye Love" and "Dam,"hey re all on theand

>> "Bye Bye Love" and "Dam,"hey re all on theand R&B charts, they were on the pop

"Dam,"hey re all on theand R&B charts, they were on the pop charts, and they were on the

R&B charts, they were on the pop charts, and they were on the country charts.

charts, and they were on the country charts. They were on all three charts

country charts. They were on all three charts at that time.

They were on all three charts at that time. >> ♪ Dream, dream, dream

at that time. >> ♪ Dream, dream, dream ♪ When I feel blue in the

>> ♪ Dream, dream, dream ♪ When I feel blue in the night ♪

♪ When I feel blue in the night ♪ ♪ And I need you

night ♪ ♪ And I need you ♪ To hold me tight

♪ And I need you ♪ To hold me tight ♪ Whenever I want you

♪ To hold me tight ♪ Whenever I want you ♪ All I have to do is dream

♪ Whenever I want you ♪ All I have to do is dream >> At this particular timeow,

♪ All I have to do is dream >> At this particular timeow, we're having success

>> At this particular timeow, we're having success with the Everlys, so we wrote

we're having success with the Everlys, so we wrote for them specifically.

with the Everlys, so we wrote for them specifically. >> On the slow ones, the

for them specifically. >> On the slow ones, the harmonies can really stretch

>> On the slow ones, the harmonies can really stretch out, and that is the forte

harmonies can really stretch out, and that is the forte of the Everly Brothers.

>> I c makyou ne

♪ Taste your lips of wine

♪ Anytime, night or day

♪ Only trouble is

♪ Gee whiz

♪ I'm dreaming my life away

>> That line,

I'dreang mlife away,"gee whiz,

is a great line.

"G whi" isne othe you know,

lyrics.

I don't think that now...

It doesn't have the same appeal, but that's the beauty of it. It was a time and it was, you

but that's the beauty of it. It was a time and it was, you know, at the time it was really

It was a time and it was, you know, at the time it was really cool, and I still think it's

know, at the time it was really cool, and I still think it's cool.

>> They recorded

"All I Have Do is Dream"

31 times.

Back in those days, u codn't record like you can now. You didn't have the digital

record like you can now. You didn't have the digital tracks where you could slice and

You didn't have the digital tracks where you could slice and cut.

tracks where you could slice and cut. If you messed up, get back there

cut. If you messed up, get back there and start it all over again.

>> A somhingappe andou

get a warmth and a power,

and of course adjusting the mics

all the time in between each

outtake.

So eventually it comes together and you hit the center and -- Bam! -- you've got it.

and you hit the center and -- Bam! -- you've got it. And you go, "That's it.

and -- Bam! -- you've got it. And you go, "That's it. We can all go home."

And you go, "That's it. We can all go home." >> Whever wantou

We can all go home." >> Whever wantou ♪ All I have to do is dream

>> Whever wantou ♪ All I have to do is dream ♪ Dream, dream, dream, dream

♪ All I have to do is dream ♪ Dream, dream, dream, dream ♪ Dream, dream, dream, dream

♪ Dream, dream, dream, dream ♪ Dream, dream, dream, dream ♪ Dream, dream, dream, dream

♪ Dream, dream, dream, dream ♪ Dream, dream, dream, dream [ Cheers and applause ]

>> There is the second level

of hits after the big three.

The big three established what they can do. It establishes them

what they can do. It establishes them internationally.

It establishes them internationally. Well, then, they've got to do

internationally. Well, then, they've got to do something else.

Well, then, they've got to do something else. But they can't make a

something else. But they can't make a breakthrough anymore because

But they can't make a breakthrough anymore because they've already made the

breakthrough anymore because they've already made the breakthrough.

they've already made the breakthrough. They've made their contribution.

breakthrough. They've made their contribution. They can just have more hit

They've made their contribution. They can just have more hit records.

They can just have more hit records. And so they have this period

records. And so they have this period of very enjoyable songs

And so they have this period of very enjoyable songs which would be late '58 and '59.

of very enjoyable songs which would be late '58 and '59. >> ♪ Johnny is a jok

which would be late '58 and '59. >> ♪ Johnny is a jok ♪ He's a bird

>> ♪ Johnny is a jok ♪ He's a bird ♪ A very funny joker

♪ He's a bird ♪ A very funny joker ♪ He's a bird

♪ A very funny joker ♪ He's a bird ♪ But when he jokes my honey

♪ He's a bird ♪ But when he jokes my honey ♪ He's a dog

♪ But when he jokes my honey ♪ He's a dog ♪ His jokin' ain't so funny

♪ He's a dog ♪ His jokin' ain't so funny ♪ What a dog

♪ His jokin' ain't so funny ♪ What a dog ♪ Johnny is a joker that's

♪ What a dog ♪ Johnny is a joker that's a-trying to steal my baby ♪

♪ Johnny is a joker that's a-trying to steal my baby ♪ ♪ He's a bird dog

a-trying to steal my baby ♪ ♪ He's a bird dog >> Great lyrics, again.

♪ He's a bird dog >> Great lyrics, again. meandaftut blliant.

>> Great lyrics, again. meandaftut blliant. ♪♪

meandaftut blliant. ♪♪ >> There was another one.

♪♪ >> There was another one. They throw it in there.

>> There was another one. They throw it in there. Oh it's in "Problems," isn't it?

They throw it in there. Oh it's in "Problems," isn't it? That thing, you know, the --

Oh it's in "Problems," isn't it? That thing, you know, the -- ♪♪

That thing, you know, the -- ♪♪ That bit.

♪♪ That bit. That's the Everly Brothers

That bit. That's the Everly Brothers thing.

That's the Everly Brothers thing. ♪♪

thing. ♪♪ >> ♪ Problems, problems

♪♪ >> ♪ Problems, problems ♪ Problems all day long

>> ♪ Problems, problems ♪ Problems all day long ♪ Will my problems work out

♪ Problems all day long ♪ Will my problems work out right or wrong ♪

♪ Will my problems work out right or wrong ♪ >> My father was working digging

right or wrong ♪ >> My father was working digging ditches and stuff up there by

>> My father was working digging ditches and stuff up there by then, and he told us that he

ditches and stuff up there by then, and he told us that he couldn't support us anymore.

then, and he told us that he couldn't support us anymore. And I said, "It's okay.

couldn't support us anymore. And I said, "It's okay. We're making money now."

And I said, "It's okay. We're making money now." And then I said, "You got to

We're making money now." And then I said, "You got to quit your job and come back with

And then I said, "You got to quit your job and come back with us."

quit your job and come back with us." >> The trappings of success

us." >> The trappings of success were certainly back then very

>> The trappings of success were certainly back then very straightforward material things.

were certainly back then very straightforward material things. You know, a nice place to live,

straightforward material things. You know, a nice place to live, a nice car, nice clothes,

You know, a nice place to live, a nice car, nice clothes, be able to go out to the

a nice car, nice clothes, be able to go out to the higher-class establishments.

be able to go out to the higher-class establishments. >> In the late 50s, everybody...

higher-class establishments. >> In the late 50s, everybody... You did just the normal thing.

>> In the late 50s, everybody... You did just the normal thing. We bought them a house and

You did just the normal thing. We bought them a house and everything.

We bought them a house and everything. >> ♪ Worries, worries,

everything. >> ♪ Worries, worries, pile up on my head ♪

>> ♪ Worries, worries, pile up on my head ♪ ♪ Woe is me, I should have

pile up on my head ♪ ♪ Woe is me, I should have stayed in bed ♪

♪ Woe is me, I should have stayed in bed ♪ >> I was paying 90% taxe

stayed in bed ♪ >> I was paying 90% taxe First taxes I paid were 90%.

>> I was paying 90% taxe First taxes I paid were 90%. I couldn't believe that,

First taxes I paid were 90%. I couldn't believe that, but that was the way it was.

I couldn't believe that, but that was the way it was. >> ♪ Problems, problems,

but that was the way it was. >> ♪ Problems, problems, problems ♪

>> ♪ Problems, problems, problems ♪ ♪ They won't be solved

problems ♪ ♪ They won't be solved until I'm sure of you ♪

♪ They won't be solved until I'm sure of you ♪ >> 90% is a lot of mon to y

until I'm sure of you ♪ >> 90% is a lot of mon to y to the government for nothing.

>> 90% is a lot of mon to y to the government for nothing. For bombers and things,

to the government for nothing. For bombers and things, you know.

For bombers and things, you know. >> ♪ Problems, problems,

you know. >> ♪ Problems, problems, problems all day long ♪

>> ♪ Problems, problems, problems all day long ♪ >> I played one of the

problems all day long ♪ >> I played one of the Everly Brothers' signature

>> I played one of the Everly Brothers' signature editions.

Everly Brothers' signature editions. It was one of the Gibson ones.

editions. It was one of the Gibson ones. It's just one of those --

It was one of the Gibson ones. It's just one of those -- You'd pick it up and it was a

It's just one of those -- You'd pick it up and it was a pretty magical thing.

You'd pick it up and it was a pretty magical thing. It had that really like top-end

pretty magical thing. It had that really like top-end sound to it, which you know,

It had that really like top-end sound to it, which you know, is just them.

sound to it, which you know, is just them. >> We designed it.

is just them. >> We designed it. I said I wanted a smaller

>> We designed it. I said I wanted a smaller guitar.

I said I wanted a smaller guitar. I said, "Make a 3/4 size of it.e

guitar. I said, "Make a 3/4 size of it.e we wt."

I said, "Make a 3/4 size of it.e we wt." And I want a black guitar.

we wt." And I want a black guitar. >> And they said, "Oh, black

And I want a black guitar. >> And they said, "Oh, black guitars wouldn't be any good

>> And they said, "Oh, black guitars wouldn't be any good because they wouldn't sell."

guitars wouldn't be any good because they wouldn't sell." And I said, "Well, that's what I

because they wouldn't sell." And I said, "Well, that's what I want."

And I said, "Well, that's what I want." Didn't play that good.

want." Didn't play that good. They looked good.

Didn't play that good. They looked good. They looked like a '50s

They looked good. They looked like a '50s Cadiac.

They looked like a '50s Cadiac. [ Laughing ] You know?

>> I can see why they re hs.

They were great...records.

Every one for about 12, 13 in a

row for the first few years.

I would buy my Cadence Records produced by Archie Bleyer take it home and go,

produced by Archie Bleyer take it home and go, "The streak continues."

take it home and go, "The streak continues." They just don't quit in

"The streak continues." They just don't quit in how great they are, these guys.

>> ♪ Take a message to Mary

♪ But don't tell her where

I am ♪

♪ Take a message to Mary

♪ But don't say I'm in a jam ♪ You can tell her I had to see the world ♪

♪ You can tell her I had to see the world ♪ ♪ Tell her that my ship set

the world ♪ ♪ Tell her that my ship set sail ♪

♪ Tell her that my ship set sail ♪ ♪ You can say

sail ♪ ♪ You can say she better not wait for me ♪

♪ You can say she better not wait for me ♪ ♪ But don't tell her I'm in

she better not wait for me ♪ ♪ But don't tell her I'm in jail ♪

♪ But don't tell her I'm in jail ♪ >> When I listen to it, it just

jail ♪ >> When I listen to it, it just sends like, you know, those

>> When I listen to it, it just sends like, you know, those shivers up your spine.

sends like, you know, those shivers up your spine. You know, it's a good sadness.

shivers up your spine. You know, it's a good sadness. You know, it makes you feel

You know, it's a good sadness. You know, it makes you feel a certain way.

You know, it makes you feel a certain way. It's not a typical sadness.

>> "Take A Message to Mary"

waa stone in the vacuum

cleaner.

Click, click, click, click.

♪ Take a message to Mary At the session, when they were recording this,

At the session, when they were recording this, Archie Bleyer who knew nothing

when they were recording this, Archie Bleyer who knew nothing about my vacuum cleaner said to

Archie Bleyer who knew nothing about my vacuum cleaner said to Boudleaux he said,

about my vacuum cleaner said to Boudleaux he said, "You know, Boudleaux, I hear a

Boudleaux he said, "You know, Boudleaux, I hear a 'chink...chink...chink'

"You know, Boudleaux, I hear a 'chink...chink...chink' in this 'Take A Message.'"

'chink...chink...chink' in this 'Take A Message.'" And he said, "Somebody bring me

in this 'Take A Message.'" And he said, "Somebody bring me a coke bottle and somebody

And he said, "Somebody bring me a coke bottle and somebody get me a screwdriver."

a coke bottle and somebody get me a screwdriver." So he says, "Here, Boudleaux.

get me a screwdriver." So he says, "Here, Boudleaux. You belong to the union."

So he says, "Here, Boudleaux. You belong to the union." Hey says, "Hit this Coke

You belong to the union." Hey says, "Hit this Coke bottle," and he says,

Hey says, "Hit this Coke bottle," and he says, "That will take care of what I

bottle," and he says, "That will take care of what I think I hear."

"That will take care of what I think I hear." And so that's what you hear

think I hear." And so that's what you hear on the Everly's record of

And so that's what you hear on the Everly's record of "Take A Message to Mary."

on the Everly's record of "Take A Message to Mary." You'll hear Boudleaux playing a

"Take A Message to Mary." You'll hear Boudleaux playing a Coke bottle.

You'll hear Boudleaux playing a Coke bottle. >> ♪ You can tell her I had to

Coke bottle. >> ♪ You can tell her I had to change my plans ♪

>> ♪ You can tell her I had to change my plans ♪ ♪ And cancel out the wedding

change my plans ♪ ♪ And cancel out the wedding day ♪

♪ And cancel out the wedding day ♪ ♪ But please don't mention

day ♪ ♪ But please don't mention my lonely cell ♪

♪ But please don't mention my lonely cell ♪ ♪ Were I'm gonna pine away

my lonely cell ♪ ♪ Were I'm gonna pine away ♪ Until my dying day

♪ Were I'm gonna pine away ♪ Until my dying day >> The Everlys could pull

♪ Until my dying day >> The Everlys could pull your...heartstrings out, man,

>> The Everlys could pull your...heartstrings out, man, and they still do when I listen

your...heartstrings out, man, and they still do when I listen to the records.

>> They couldn't not sound good.

They couldn't.

You know, they would take a

song, take it apart, put it back

together, and it's still really,

really interesting and solid.

>> "'Til I Kissed You" was DoEver -- thinhe wte that on his own.

DoEver -- thinhe wte that on his own. Yeah it had a great "doo-doom,"

that on his own. Yeah it had a great "doo-doom," that drum sound on it.

Yeah it had a great "doo-doom," that drum sound on it. The drum was quite an important

that drum sound on it. The drum was quite an important part of the rhythm, which was

The drum was quite an important part of the rhythm, which was unusual for the Everlys.

part of the rhythm, which was unusual for the Everlys. >> ♪ Never felt like this

unusual for the Everlys. >> ♪ Never felt like this until I kissed you ♪

>> ♪ Never felt like this until I kissed you ♪ ♪ How did I exist

until I kissed you ♪ ♪ How did I exist until I kissed you? ♪

♪ How did I exist until I kissed you? ♪ ♪ Never had you on my min

until I kissed you? ♪ ♪ Never had you on my min ♪ Now you're there all the

♪ Never had you on my min ♪ Now you're there all the time ♪

♪ Now you're there all the time ♪ ♪ Never knew what I missed

time ♪ ♪ Never knew what I missed 'til I kissed you ♪

♪ Never knew what I missed 'til I kissed you ♪ ♪ Uhuh, Iissed you

'til I kissed you ♪ ♪ Uhuh, Iissed you ♪ Oh, yeah

♪ Uhuh, Iissed you ♪ Oh, yeah >> It's funny, you know, if you

♪ Oh, yeah >> It's funny, you know, if you listen to the records, too,

>> It's funny, you know, if you listen to the records, too, when the harmonies are singing,

listen to the records, too, when the harmonies are singing, Phil's voice is the louder

when the harmonies are singing, Phil's voice is the louder voice.

>> His voice was pure.

He had a pure voice, you know,

pure harmony, and everybody

liked that harmony.

They would sing along with the

records.

They would equate that with

Phil.

>> ♪ You've got a way about

you ♪

♪ Now I can't live without you

♪ I never knew what I missed

'til I kissed you ♪

♪ Uh-huh I didn't know yo w w really frieny with

I didn't know yo w w really frieny with both of them at the same time.

>> It's just funny to think of

the Everly Brothers as belonging

to another great rock tradition,

which is that of the brothers

>>hen u ha twoalendh other.

people working together,

there's always

going to be friction,

and that fiction often leads

to really good things.

>> After the Everlys, there came the Kinks, Oasis, Creedence Clearwater Revival,

the Kinks, Oasis, Creedence Clearwater Revival, Jesus & Mary Chain -- it just

Creedence Clearwater Revival, Jesus & Mary Chain -- it just seems that there's something

Jesus & Mary Chain -- it just seems that there's something about having two brothers in a

seems that there's something about having two brothers in a lot which is a recipe for

about having two brothers in a lot which is a recipe for conflict and grief.

lot which is a recipe for conflict and grief. >> The fact that they happened

conflict and grief. >> The fact that they happened to be brothers means that they

>> The fact that they happened to be brothers means that they probably expressed themselves

to be brothers means that they probably expressed themselves more directly to each other.

probably expressed themselves more directly to each other. >> Phil died about

more directly to each other. >> Phil died about a year-and-a-half ago,

>> Phil died about a year-and-a-half ago, almost two years now.

a year-and-a-half ago, almost two years now. And I miss him, you know?

almost two years now. And I miss him, you know? >> ♪ We used to have good times

And I miss him, you know? >> ♪ We used to have good times togeer ♪

>> ♪ We used to have good times togeer ♪ ♪ But now I feel them slip

togeer ♪ ♪ But now I feel them slip away ♪

♪ But now I feel them slip away ♪ ♪ It makes me cry

away ♪ ♪ It makes me cry ♪ To see love die

♪ It makes me cry ♪ To see love die ♪ So sad to watch good love go

♪ To see love die ♪ So sad to watch good love go d ♪

♪ So sad to watch good love go d ♪ >> Wwentrom dence to

d ♪ >> Wwentrom dence to Warner Brothers because

>> Wwentrom dence to Warner Brothers because they offered us $1 million.

Warner Brothers because they offered us $1 million. >> Y havto tnk owhat

they offered us $1 million. >> Y havto tnk owhat $1 million was then and

>> Y havto tnk owhat $1 million was then and what $1 million is now.

$1 million was then and what $1 million is now. You know, if you think about

what $1 million is now. You know, if you think about what $1 million could have

You know, if you think about what $1 million could have bought.

what $1 million could have bought. >> Wner othe was new

bought. >> Wner othe was new company.

>> Wner othe was new company. It was a spin-off of the film

company. It was a spin-off of the film company, obviously, and it

It was a spin-off of the film company, obviously, and it started releasing film

company, obviously, and it started releasing film soundtracks and movie-related

started releasing film soundtracks and movie-related stuff, but they wanted a rock

soundtracks and movie-related stuff, but they wanted a rock group because rock 'n' roll was

stuff, but they wanted a rock group because rock 'n' roll was big, so they got the

group because rock 'n' roll was big, so they got the Everly Brothers in.

big, so they got the Everly Brothers in. >> When we left Cadence,

Everly Brothers in. >> When we left Cadence, we had to give them

>> When we left Cadence, we had to give them 14 records or 14 singles.

we had to give them 14 records or 14 singles. And I thought, "Oh, gosh.

14 records or 14 singles. And I thought, "Oh, gosh. 14 singles wouldn't work."

And I thought, "Oh, gosh. 14 singles wouldn't work." So I told Archie, I said,

14 singles wouldn't work." So I told Archie, I said, "Why don't we do songs

So I told Archie, I said, "Why don't we do songs our ddy ughts?"

"Why don't we do songs our ddy ughts?" I have had that idea,

our ddy ughts?" I have had that idea, I thought it was a good idea.

I have had that idea, I thought it was a good idea. >> It's like "No, maybe we

I thought it was a good idea. >> It's like "No, maybe we better make this record that

>> It's like "No, maybe we better make this record that shows audiences a little bit

better make this record that shows audiences a little bit who we are more fully."

shows audiences a little bit who we are more fully." I tnk is initab tha

who we are more fully." I tnk is initab tha as well as doing that pop rock

I tnk is initab tha as well as doing that pop rock 'n' roll as it was considered

as well as doing that pop rock 'n' roll as it was considered then, that they would go back

'n' roll as it was considered then, that they would go back to their roots because their

then, that they would go back to their roots because their roots go deep.

roots go deep. >> Iean, this s, you know,

kind of mountain music

and folk music and stuff

that was very much woven into

the kind of communities that

they lived in and grew up in.

>> One of these early songs ich ey u on that album is a favorite of mine called

ich ey u on that album is a favorite of mine called "Kentucky."

is a favorite of mine called "Kentucky." This was something of a standard

"Kentucky." This was something of a standard in country circles.

This was something of a standard in country circles. I don't think it was a big pop

in country circles. I don't think it was a big pop hit, but it was a favorite

I don't think it was a big pop hit, but it was a favorite with the country audiences.

♪♪

>> ♪ Kentucky

♪ I miss you

>> They both had to get in on

that one mic, and that was

really magical.

Therwas methg abt it

when they got on

that one microphone,

we'd all look at each other

and say, "Wow, listen to that."

>> ♪ When I die >> Don would do his -- ♪

>> Don would do his -- ♪ Maybe do his little solo bits

♪ Maybe do his little solo bits and he'd lift it up

Maybe do his little solo bits and he'd lift it up to the microphone, you know.

and he'd lift it up to the microphone, you know. So you could hear it, you know.

to the microphone, you know. So you could hear it, you know. ♪♪

So you could hear it, you know. ♪♪ >> I'd never hea athinso

♪♪ >> I'd never hea athinso beautiful.

>> I'd never hea athinso beautiful. And by the time they got

beautiful. And by the time they got to the ending, where they do

And by the time they got to the ending, where they do this slide down at the end of

to the ending, where they do this slide down at the end of it, this vocal slide down

this slide down at the end of it, this vocal slide down together, I was standing there

it, this vocal slide down together, I was standing there crying.

together, I was standing there crying. >> ♪ Kentucky

crying. >> ♪ Kentucky ♪♪

>> ♪ Kentucky ♪♪ >> "Cathy's Clown" was the first

♪♪ >> "Cathy's Clown" was the first one for Warner's.

>> "Cathy's Clown" was the first one for Warner's. The first one for Warner's

one for Warner's. The first one for Warner's had to be good.

The first one for Warner's had to be good. Thatas o of e creria

had to be good. Thatas o of e creria >> Had it not been for the

Thatas o of e creria >> Had it not been for the Everly Brothers, Warner Brothers

>> Had it not been for the Everly Brothers, Warner Brothers probably would not exist today.

Everly Brothers, Warner Brothers probably would not exist today. Because of "Cathy's Clown."

>> ♪ Don't want your love

anymore ♪

>> huginteatiol

number one, "Cathy's Clown."

So at a time when Warner Brothers is hemorrhaging money, their balance sheet is

Warner Brothers is hemorrhaging money, their balance sheet is saved not by a film star,

money, their balance sheet is saved not by a film star, not by a soundtrack,

saved not by a film star, not by a soundtrack, but by the Everly Brothers.

not by a soundtrack, but by the Everly Brothers. You couldn't make it up.

but by the Everly Brothers. You couldn't make it up. >> ♪ I die each ti

You couldn't make it up. >> ♪ I die each ti I hear the sound ♪

>> ♪ I die each ti I hear the sound ♪ ♪ Here he comes,

I hear the sound ♪ ♪ Here he comes, that's Cathy's clown ♪

♪ Here he comes, that's Cathy's clown ♪ >> "Cathy's Clown" was designed

that's Cathy's clown ♪ >> "Cathy's Clown" was designed pretty much in the same way

>> "Cathy's Clown" was designed pretty much in the same way Donald designed that, and what

pretty much in the same way Donald designed that, and what people mistook for the lead

Donald designed that, and what people mistook for the lead was the harmony part.

people mistook for the lead was the harmony part. He wanted me on a sustained

was the harmony part. He wanted me on a sustained note, and that was his idea,

He wanted me on a sustained note, and that was his idea, and he dropped the lead down to

note, and that was his idea, and he dropped the lead down to that.

and he dropped the lead down to that. >> Phil told me that all of a

that. >> Phil told me that all of a sudden he had to call Donald

>> Phil told me that all of a sudden he had to call Donald and say "Hey, man,

sudden he had to call Donald and say "Hey, man, you better come over here.

and say "Hey, man, you better come over here. I think I wrote something good."

you better come over here. I think I wrote something good." So he goes over to his house

I think I wrote something good." So he goes over to his house and he's got the chorus to

So he goes over to his house and he's got the chorus to "Cathy's Clown" written, and

and he's got the chorus to "Cathy's Clown" written, and Donald wrote the parts that he

"Cathy's Clown" written, and Donald wrote the parts that he sang alone.

Donald wrote the parts that he sang alone. ♪ I've got to stand tall

sang alone. ♪ I've got to stand tall ♪ou know a man can't crawl

♪ I've got to stand tall ♪ou know a man can't crawl ♪ When he knows you're tellin'

♪ou know a man can't crawl ♪ When he knows you're tellin' lies and he lets them pass him

♪ When he knows you're tellin' lies and he lets them pass him by ♪

lies and he lets them pass him by ♪ ♪ Then he's not a man at all

by ♪ ♪ Then he's not a man at all >> They could express it.

♪ Then he's not a man at all >> They could express it. That young sort of yearning,

>> They could express it. That young sort of yearning, melancholy, and still

That young sort of yearning, melancholy, and still make you feel good, you know,

melancholy, and still make you feel good, you know, even though it was sort of sad

make you feel good, you know, even though it was sort of sad to see good love go bad.

>> Cathy's Clown, which is

credited to both of them,

was probably, in terms

of sales, their biggest of all,

which is interesting

because it is a magnificent

pop record, superbly sung.

Great, great song.

But it's not a universal theme,

really.

>> Ioulduesshat st of

the audience wasn't listening to

it thinking like, "Yeah,

everybody's making fun of me.

That's why I like to listen to

this song."

I think they liked to hear it because the beat was so cool, and the singing was so powerful

because the beat was so cool, and the singing was so powerful and the harmonies worked

and the singing was so powerful and the harmonies worked together so well.

and the harmonies worked together so well. And that's when people just

together so well. And that's when people just hadn't heard anything like that

And that's when people just hadn't heard anything like that and couldn't stop listening to

hadn't heard anything like that and couldn't stop listening to it because it was just such

and couldn't stop listening to it because it was just such a visceral experience.

>> I started listening to like,

you know, "Cathy's Clown"

and songs like

"All I Have To Do Is Dream,"

just because the harmonies

were, you know, so cool.

I wanted to learn both parts. >> Tre a aspts of the song -- you know, that middle

>> Tre a aspts of the song -- you know, that middle part in the song, the bridge,

song -- you know, that middle part in the song, the bridge, takes you to another place.

part in the song, the bridge, takes you to another place. It's a little more confident,

takes you to another place. It's a little more confident, but then you're right back into

It's a little more confident, but then you're right back into that struggle of feeling

but then you're right back into that struggle of feeling like you're Cathy's clown.

that struggle of feeling like you're Cathy's clown. You're the guy that got left.

like you're Cathy's clown. You're the guy that got left. >> ♪ When you see me shed a

You're the guy that got left. >> ♪ When you see me shed a tear ♪

>> ♪ When you see me shed a tear ♪ ♪ And you know that it's

tear ♪ ♪ And you know that it's sincere ♪

♪ And you know that it's sincere ♪ ♪ Oh, don't you think it's kind

sincere ♪ ♪ Oh, don't you think it's kind of sad ♪

♪ Oh, don't you think it's kind of sad ♪ ♪ That you're treating me so

of sad ♪ ♪ That you're treating me so bad ♪

♪ That you're treating me so bad ♪ ♪ Or don't you even care

bad ♪ ♪ Or don't you even care ♪ Don't want your love

♪ Or don't you even care ♪ Don't want your love anymore ♪

♪ Don't want your love anymore ♪ >> Paul and I were a brandew

anymore ♪ >> Paul and I were a brandew rock 'n' roll oup acting,

>> Paul and I were a brandew rock 'n' roll oup acting, practicing, and we used the

rock 'n' roll oup acting, practicing, and we used the Everlys as our models, and we

practicing, and we used the Everlys as our models, and we started writing songs that were

Everlys as our models, and we started writing songs that were like Don and Phil.

>> Phil got his chance to shine

en hwrot

"When Will I Be Loved," and I

think that's one of the most

soulful records they ever did.

There's just a feel to that

record that doesn't quit.

>> ♪ I've been made blue

♪ I've been lied to

♪ When will I be loved?

>> Iove e fa tha

"When Will I Be Loved" was issued by Cadence Records when "Cathy's Clown" had charted

was issued by Cadence Records when "Cathy's Clown" had charted on Warner Brothers.

when "Cathy's Clown" had charted on Warner Brothers. So it was like, "Wait a minute,

on Warner Brothers. So it was like, "Wait a minute, you've left us, but we've still

So it was like, "Wait a minute, you've left us, but we've still got these."

you've left us, but we've still got these." And it turns out

got these." And it turns out "When Will I Be Loved" was a

And it turns out "When Will I Be Loved" was a major song.

"When Will I Be Loved" was a major song. >> ♪ It happens every time

major song. >> ♪ It happens every time ♪ I've been cheated

>> ♪ It happens every time ♪ I've been cheated ♪ Been mistreated

♪ I've been cheated ♪ Been mistreated ♪ When will I be loved?

♪ Been mistreated ♪ When will I be loved? ♪ When will I be loved?

TheverlBrotrs h

a real watershed in '59

when they were signed by

Warner Brothers -- $1 million

deal.

It seemed amazing,

but actually, it turned out

to be a real poisoned chalice.

>> The Everly Brothers' early

manager and their publisher,

sleyose,as also my

family's publisher.

>> D and, sowherin le

'61, broke with Wesley Rose, and Wesley Rose had been managing us, and we didn't want

and Wesley Rose had been managing us, and we didn't want him to manage us anymore.

managing us, and we didn't want him to manage us anymore. And when that happened,

him to manage us anymore. And when that happened, Wesley Rose would not license

And when that happened, Wesley Rose would not license anymore Boudleaux and

Wesley Rose would not license anymore Boudleaux and Felice Bryant songs for us, so

anymore Boudleaux and Felice Bryant songs for us, so we couldn't get any moongs

Felice Bryant songs for us, so we couldn't get any moongs And at w a terrible ing

we couldn't get any moongs And at w a terrible ing to have happen.

And at w a terrible ing to have happen. You know, it really was.

to have happen. You know, it really was. That's not our fault,

You know, it really was. That's not our fault, not the Bryants' fault,

That's not our fault, not the Bryants' fault, that was Wesley's fault.

not the Bryants' fault, that was Wesley's fault. >> Acuff-Rose happened to

that was Wesley's fault. >> Acuff-Rose happened to represent not only

>> Acuff-Rose happened to represent not only Boudleaux and Felice Bryant,

represent not only Boudleaux and Felice Bryant, which meant the Everly Brothers

Boudleaux and Felice Bryant, which meant the Everly Brothers were cut off from their songs,

which meant the Everly Brothers were cut off from their songs, but the Everly Brothers.

were cut off from their songs, but the Everly Brothers. So that meant they couldn't even

but the Everly Brothers. So that meant they couldn't even record their own songs.

So that meant they couldn't even record their own songs. >> I mean that was silly, to

record their own songs. >> I mean that was silly, to have a deal with a publishing

>> I mean that was silly, to have a deal with a publishing company where they wouldn't

have a deal with a publishing company where they wouldn't puisheand ey published it.

company where they wouldn't puisheand ey published it. It was silly.

puisheand ey published it. It was silly. It's death for an artist.

It was silly. It's death for an artist. The's ncourof appeals

It's death for an artist. The's ncourof appeals You know, I mean, obviously

The's ncourof appeals You know, I mean, obviously the Bryants want the

You know, I mean, obviously the Bryants want the Everly Brothers to record their

the Bryants want the Everly Brothers to record their songs.

Everly Brothers to record their songs. The Everly Brothers want those

songs. The Everly Brothers want those songs, you know, but the company

The Everly Brothers want those songs, you know, but the company says no, and that's the end of

songs, you know, but the company says no, and that's the end of it.

says no, and that's the end of it. It's rough stuff.

it. It's rough stuff. Whaan uearae siatio

It's rough stuff. Whaan uearae siatio And when we learned that in

Whaan uearae siatio And when we learned that in future, we want to go back in

And when we learned that in future, we want to go back in time to 1962 and say "Oh, my

future, we want to go back in time to 1962 and say "Oh, my God, now I know why you have

time to 1962 and say "Oh, my God, now I know why you have recorded "Crying In The Rain"

God, now I know why you have recorded "Crying In The Rain" by Carole King and

recorded "Crying In The Rain" by Carole King and Howard Greenfield.

by Carole King and Howard Greenfield. Because you can't record your

Howard Greenfield. Because you can't record your own songs and you can't record

Because you can't record your own songs and you can't record >>o, i1962and Felice Bryant

own songs and you can't record >>o, i1962and Felice Bryant the Everly Brothers had this

>>o, i1962and Felice Bryant the Everly Brothers had this massive hit.

the Everly Brothers had this massive hit. It wasn't their own song.

massive hit. It wasn't their own song. It was Carole King's song

It wasn't their own song. It was Carole King's song "Crying In The Rain."

It was Carole King's song "Crying In The Rain." But it went into the Top 10

"Crying In The Rain." But it went into the Top 10 and it was actually their last

But it went into the Top 10 and it was actually their last big American Top 10 hit.

and it was actually their last big American Top 10 hit. Great for them, but they

big American Top 10 hit. Great for them, but they couldn't really enjoy it or even

Great for them, but they couldn't really enjoy it or even capitalize on that success,

couldn't really enjoy it or even capitalize on that success, because at that point

capitalize on that success, because at that point they were in the Marines.

because at that point they were in the Marines. >> ♪ I'll never let you see

they were in the Marines. >> ♪ I'll never let you see ♪ The way my broken heart

>> ♪ I'll never let you see ♪ The way my broken heart is hurting me ♪

♪ The way my broken heart is hurting me ♪ ♪ I've got my pride

is hurting me ♪ ♪ I've got my pride and I know how to hide ♪

♪ I've got my pride and I know how to hide ♪ ♪lly sorrow and pain

and I know how to hide ♪ ♪lly sorrow and pain ♪ I'll do my crying in the

♪lly sorrow and pain ♪ I'll do my crying in the rain ♪

♪ I'll do my crying in the rain ♪ >> And then the Beatles happen,

rain ♪ >> And then the Beatles happen, and even though the Beatles are

>> And then the Beatles happen, and even though the Beatles are directly influenced by the

and even though the Beatles are directly influenced by the Everly Brothers, no one wants to

directly influenced by the Everly Brothers, no one wants to know anybody who existed before

Everly Brothers, no one wants to know anybody who existed before breakfast, because now it's the

know anybody who existed before breakfast, because now it's the Beatles and the

breakfast, because now it's the Beatles and the British Invasion.

Beatles and the British Invasion. >> So suddenly the

British Invasion. >> So suddenly the Everly Brothers, who had

>> So suddenly the Everly Brothers, who had actually influenced the Beatles,

Everly Brothers, who had actually influenced the Beatles, start to look really

actually influenced the Beatles, start to look really old-fashioned and old hat.

start to look really old-fashioned and old hat. wi the Stones and the Beatles,l

old-fashioned and old hat. wi the Stones and the Beatles,l because it happened to be 1963,

wi the Stones and the Beatles,l because it happened to be 1963, and the world was suddenly

because it happened to be 1963, and the world was suddenly changing, and suddenly they were

and the world was suddenly changing, and suddenly they were old-fashioned for some reason.

changing, and suddenly they were old-fashioned for some reason. Well, there was no reason,

old-fashioned for some reason. Well, there was no reason, really, in musical terms to

Well, there was no reason, really, in musical terms to think so.

really, in musical terms to think so. >> Everybody was grabbing

think so. >> Everybody was grabbing what was relevant from,

>> Everybody was grabbing what was relevant from, you know, the Everly Brothers.

what was relevant from, you know, the Everly Brothers. >> You know, the Beatles taking

you know, the Everly Brothers. >> You know, the Beatles taking the harmonies and that part of

>> You know, the Beatles taking the harmonies and that part of it.

the harmonies and that part of it. >> I mean "From To You,"

it. >> I mean "From To You," "Please Please Me" --

>> I mean "From To You," "Please Please Me" -- Everything is based on

"Please Please Me" -- Everything is based on Everly Brothers harmony.

Everything is based on Everly Brothers harmony. >> Paul McCartney said that

Everly Brothers harmony. >> Paul McCartney said that >>ou kw, Aan Crke d was Phil.

>> Paul McCartney said that >>ou kw, Aan Crke d was Phil. Graham singing their two part.

>>ou kw, Aan Crke d was Phil. Graham singing their two part. They called it the Hollies

Graham singing their two part. They called it the Hollies but they were doing Everlys.

They called it the Hollies but they were doing Everlys. Andf yotalk to

but they were doing Everlys. Andf yotalk to the Stones, if you talked to

Andf yotalk to the Stones, if you talked to the Beatles, if you talked to

the Stones, if you talked to the Beatles, if you talked to everybody, if you talked to

the Beatles, if you talked to everybody, if you talked to everyone that was in the

everybody, if you talked to everyone that was in the British Invasion --

everyone that was in the British Invasion -- Herman's Hermits -- everybody

British Invasion -- Herman's Hermits -- everybody you wanted to know loved the

Herman's Hermits -- everybody you wanted to know loved the Everly Brothers and tried to do

you wanted to know loved the Everly Brothers and tried to do that.

Everly Brothers and tried to do that. >> The Great British Invasio

that. >> The Great British Invasio didn't come at a very good time

>> The Great British Invasio didn't come at a very good time for the Everlys.

didn't come at a very good time for the Everlys. I remember going to see the

for the Everlys. I remember going to see the Everly Brothers in '63,

I remember going to see the Everly Brothers in '63, and the opening act was

Everly Brothers in '63, and the opening act was The Rolling Stones.

and the opening act was The Rolling Stones. It's an Everly Brothers tour.

The Rolling Stones. It's an Everly Brothers tour. So I got to watch those guys

It's an Everly Brothers tour. So I got to watch those guys every night.

So I got to watch those guys every night. >> I remember watching

every night. >> I remember watching Mick Jagger on stage and I said,

>> I remember watching Mick Jagger on stage and I said, "That's different."

Mick Jagger on stage and I said, "That's different." Man, that was different.

"That's different." Man, that was different. And I told him, I said, "You

Man, that was different. And I told him, I said, "You guys can make it in the States."

And I told him, I said, "You guys can make it in the States." >> You kind of thought --

guys can make it in the States." >> You kind of thought -- ll, is act,

>> You kind of thought -- ll, is act, The Rolling Stones, I mean,

ll, is act, The Rolling Stones, I mean, I certainly wasn't prescient

The Rolling Stones, I mean, I certainly wasn't prescient enough to say, "These guys are

I certainly wasn't prescient enough to say, "These guys are gonna be the biggest thing out."

enough to say, "These guys are gonna be the biggest thing out." But you could see that there was

gonna be the biggest thing out." But you could see that there was a different audience emerging.

But you could see that there was a different audience emerging. >> At the same time, the Everlys

a different audience emerging. >> At the same time, the Everlys had to live with the fact

>> At the same time, the Everlys had to live with the fact that the Stones were suddenly

had to live with the fact that the Stones were suddenly the flavor of the month.

that the Stones were suddenly the flavor of the month. And they actually stepped down

the flavor of the month. And they actually stepped down and gave us the top part

And they actually stepped down and gave us the top part of the bill at the Albert Hall,

and gave us the top part of the bill at the Albert Hall, after six weeks on the road,

of the bill at the Albert Hall, after six weeks on the road, and I think that was an amazing

after six weeks on the road, and I think that was an amazing gesture on their part.

and I think that was an amazing gesture on their part. >> Ihinkhe rson y th

gesture on their part. >> Ihinkhe rson y th may have faded from the public

>> Ihinkhe rson y th may have faded from the public appreciation is the fact that

may have faded from the public appreciation is the fact that times move on, you know?

appreciation is the fact that times move on, you know? I mean, there are people that

times move on, you know? I mean, there are people that think that Paul McCartney was in

I mean, there are people that think that Paul McCartney was in Wings.

think that Paul McCartney was in Wings. >> Tir ds ofelli big

Wings. >> Tir ds ofelli big >>he Everly Brothers didn't

>> Tir ds ofelli big >>he Everly Brothers didn't lose their talent, but they lost

>>he Everly Brothers didn't lose their talent, but they lost that sense of being part of the

lose their talent, but they lost that sense of being part of the zeitgeist.

that sense of being part of the zeitgeist. >> They continued to perform,

zeitgeist. >> They continued to perform, but the atmosphere between them

>> They continued to perform, but the atmosphere between them was very strained, to the point

but the atmosphere between them was very strained, to the point where 1973...

was very strained, to the point where 1973... Infamous live performance.

where 1973... Infamous live performance. They're playing a gig in

Infamous live performance. They're playing a gig in California, and then they had

They're playing a gig in California, and then they had this really acrimonious split

California, and then they had this really acrimonious split right there on stage and

this really acrimonious split right there on stage and didn't speak to each other for

right there on stage and didn't speak to each other for 10 years.

didn't speak to each other for 10 years. en ty rermedn 1983 for

10 years. en ty rermedn 1983 for this amazing comeback concert

en ty rermedn 1983 for this amazing comeback concert at the Royal Albert Hall.

this amazing comeback concert at the Royal Albert Hall. >> ♪ And I so I beg you

at the Royal Albert Hall. >> ♪ And I so I beg you ♪ Let it be me

>> ♪ And I so I beg you ♪ Let it be me >> They were battling brothers,

♪ Let it be me >> They were battling brothers, but they were brothers

>> They were battling brothers, but they were brothers nonetheless,

but they were brothers nonetheless, d wh thesangogetr,

nonetheless, d wh thesangogetr, you can really feel

d wh thesangogetr, you can really feel that connection in their sound.

you can really feel that connection in their sound. >> They brought together so many

that connection in their sound. >> They brought together so many muc, a proctedt tollyntemporary

>> They brought together so many muc, a proctedt tollyntemporary genuinely, through what they

muc, a proctedt tollyntemporary genuinely, through what they were, which was two young kids

genuinely, through what they were, which was two young kids making their way.

were, which was two young kids making their way. >> Ihinkop mic wld have

making their way. >> Ihinkop mic wld have been quite different if it

>> Ihinkop mic wld have been quite different if it hadn't been for the

been quite different if it hadn't been for the Everly Brothers.

hadn't been for the Everly Brothers. >> That simplicity when it comes

Everly Brothers. >> That simplicity when it comes to songwriting and, you know,

>> That simplicity when it comes to songwriting and, you know, simple, strong melodies.

to songwriting and, you know, simple, strong melodies. >> I don't think you can listen

simple, strong melodies. >> I don't think you can listen to that music or look at those

>> I don't think you can listen to that music or look at those guys singing so close in harmony

to that music or look at those guys singing so close in harmony like that and not smile.

guys singing so close in harmony like that and not smile. Their legacy is that their music

like that and not smile. Their legacy is that their music will last forever.

Their legacy is that their music will last forever. >> Is infinae.

will last forever. >> Is infinae. And that, I guess, is the beauty

>> Is infinae. And that, I guess, is the beauty of it, is that you can't

And that, I guess, is the beauty of it, is that you can't put your finger on it, but, boy,

of it, is that you can't put your finger on it, but, boy, look at those boys sing, man.

put your finger on it, but, boy, look at those boys sing, man. It'an ieresng qstion

look at those boys sing, man. It'an ieresng qstion for Artie Garfunkel,

It'an ieresng qstion for Artie Garfunkel, who is not Paul Simon's brother.

for Artie Garfunkel, who is not Paul Simon's brother. There is no DNA there, but

who is not Paul Simon's brother. There is no DNA there, but damned if we didn't try to make

There is no DNA there, but damned if we didn't try to make it seem like there was.

damned if we didn't try to make it seem like there was. We were brothers when we were

it seem like there was. We were brothers when we were in junior high school, we were

We were brothers when we were in junior high school, we were each other's main friends.

in junior high school, we were each other's main friends. We smoked our first cigarettes

each other's main friends. We smoked our first cigarettes together.

We smoked our first cigarettes together. We were trying to be in each

together. We were trying to be in each other's family.

We were trying to be in each other's family. But we didn't quite get to where

>> ♪ So never leave me lonel

♪ Tell me you love me only

♪ And that you'll always

♪ Let it be me

♪♪

[ Applause ]

♪♪