All language subtitles for Tthe Everly Brothers-Harmonies From Heaven-2016

>> 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 ]

♪♪