#phil everly

[musickickztoo]

Phil Everly   

January 19, 1939 – January 3, 2014

[pcificoceanblue]

Buddy Holly with the Everly Brothers, 1958

[helloparkerrose]

[harrisonarchive]

George Harrison hanging out with Phil Everly, Ron Krasinski, Ian McLagan, and Philip Donnelly after an Everly Brothers concert in Adelaide, Australia, circa 1984/1985. Photographer unknown.

“The Beatles were always big Everly Brothers fans, but I’m not sure if they ever played this one [‘Let It Be Me’] in the early days. However, George did go to see them at the Royal Albert Hall on their reunion tour in 1983 [23 September], and I think he went home afterwards and recorded this the same night. We first came across him singing this on one of the demo reels, but then we found this multi-track version a bit later. On first listen I thought it might have been George harmonising with Jeff Lynne, I didn’t realise it was two Georges, but Olivia put me straight.” - Giles Martin, Music Radar, 18 May 2012

“Among those [tracks] she [Olivia Harrison] most prizes on this first release [Early Takes Vol. 1] are ‘Woman Don’t You Cry for Me,’ which takes on a benedictory tone in the wake of Harrison’s premature death, and her husband’s rendition of the Everly Brothers’ ‘Let It Be Me.’
‘I remember the Everly Brothers had just come to England and that’s when he recorded that song,’ she said. ‘Anything he did when I was around was special for me. I really wanted those tracks on there.’” - The L.A. Times Music Blog, 2 May 2012 (x)

[odk-2]

The Everly Brothers - Cathy's Clown (1960)

The Everly Brothers - Cathy's Clown (1960) Don Everly from: "Cathy's Clown" / "Always It's You" (Single) "A Date with the Everly Brothers" (LP)

Pop | Rock and Roll

JukeHostUK (left click = play) (320kbps)

Personnel: Don Everly: Vocals / Guitar Phil Everly: Vocals / Guitar

Vocals: Don Everly: Solo Bridges Don and Phil: Choruses

Studio Musicians: Unknown

Produced by Wesley Rose

Recorded: @ The RCA Victor Studios in Nashville, Tennessee USA on March 18, 1960

Single Released: April, 1960

Album Released: October, 1960

Warner Bros. Records

♪♪♪ ♪♪♪ ♪♪♪

"Cathy's Clown" is noted for its unorthodox structure, such as beginning on a chorus and having bridges but no verses.The song was a worldwide success and the best-selling single of the Everly Brothers career. Because of its enduring influence on popular music the song was added to the National Recording Registry of the Library of Congress in 2013. - Wikipedia

[ominous-synths-records]

Monterey - John Stewart

If the backing vocals sound familiar to you, it's because they likely are. Though not well-known himself, John Stewart had a lot of friends who were a little more famous than him and loved his music enough to want to sing with him on his albums. On this album you can hear Linda Ronstadt, Nicolette Larson, and Phil Everly.

[julio-viernes]

Uno de los mejores álbumes de los Everly Brothers en los años sesenta salió en enero de 1966, "In Our Image", un combinado de folk rock, R+B, y cortes con las habituales y magníficas armonizaciones vocales del dúo. Sólo por llevar "The Price of Love" hay que tenerlo, pero también hay cabida para la groovy-soul "[You Got] The Power of Love", y cosas como "Leave My Girl Alone" y "Glitter & Gold". Aquí el nivel medio es muy alto y son ellos de verdad.

Eso no pasa en "The Everly Brothers Sing", su segundo LP de 1967 que enlaza con "Image" por su vocación pop actualizadora del dúo. En este caso un remozamiento fallido y forzado con estúpidas vocecitas "sunshine" que mosquean considerablemente (Chin!). Nadie las necesitaba teniendo dos de las mejores voces de los 60s: la de Phil y la de Don. Lo mejores temas del LP son los que carecen de ese punto absurdo. Intentaron hacer el disco de moda de los Everly y convertirlos en algo que no eran.

[beatleshistoryblog]

LECTURE 5: INFLUENCES (PART 2): Since I began this lecture’s blog entries with the Everly Brothers’ “Cathy’s Clown” and the studio version of “Please Please Me,” it seems fitting to wrap it up with a Beatles song that was heavily influenced by Phil and Don: “Please Please Me,” recorded in 1962. It’s one of the catchiest and most effervescent songs by the band. The Beatles were diehard Everly Brothers fans, and admitted the beloved duo had a huge influence on “Please Please Me.” Fourteen years later, Paul McCartney lovingly referenced “Phil and Don” in “Let ‘Em In,” a Top 10 smash hit that he recorded in 1976 with his band, Wings..

[buttererer]

Phil Everly - Mystic Line (1975)

[weaversweek]

49 - "Cathy's clown", The Everly Brothers

1960 Written by Don Everly

An entry in Let's Do It, my fave 50 singles from 1954-76.

When writing this song, Don Everly was inspired by his father's memories of being taunted by cries of "Mary had a little Ike" from an unrequited crush. And a jazz piece called "On the trail". And Don remembered his own crush, Catherine Coe.

The result is a tale of heartbreak and contempt. Listen to the musical structure: harmonies turn to dissonance, there's a new-fangled tape loop of the drum, and Don sings most of the song without Phil. In Liverpool, young men are listening and figuring out why this is so good.

Mostly, this song works because of the emotions. The military, percussive nature gets right in your head. The clarion call of a man calling out his friend? acquaintance? village idiot? Cathy has exposed his lies, and someday her unnamed paramour will have a tale for his children.

[singeratlarge]

HAPPY BIRTHDAY to Desi Arnaz Jr., Carl Brashear, Dewey Bunnel (America), Carman, Paul Cézanne, Michael Crawford, Martha Davis, electric lighting (1883), Rod Evans (Deep Purple), Tippi Hedren, Janis Joplin, Ish Kabbible, Laurie London, Rachel Luttrell, Massenet’s 1884 opera MANON, Simone Missick, Robert Palmer, Dolly Parton, Edgar Allen Poe, conductor Simon Rattle, Owsley Stanley, Jean Stapleton, Verdi’s 1853 opera IL TROVATORE, Caron Wheeler (Soul II Soul), John Wozniak (Marcy Playground), and Phil Everly, half of one of popular music’s greatest duos, The Everly Brothers. Their influence didn’t stop with Americana, country, folk, rock’n’roll, and rockabilly. Their sound reached across the pond to England, where The Beatles mimic’d the Everly’s tight harmonies and jangly guitars, and it is said The Beach Boys, The Bee Gees, and Simon & Garfukel owe a debt to the Everlys. Their long career produced mulitple hits, from oft-covered originals (“When Will I Be Loved”) to classics penned by Felice and Boudleux Bryant. 

I was born the day The Everly’s were in the studio to record “Wake Up Little Susie”—the perfect portrait of young America. One of my first childhood memories (age 2) is seeing them on TV. I’m also a fan of their late 60s “gothic country” recordings as well as their solid 80s comeback albums. In the 90s Phil launched a guitar accessories company. At the time I was the buyer for a music store and decided to try Everly Strings. Weeks later I was at the NAMM Show, visiting the Everly Music booth, and Phil stopped by. I was very excited, telling him about songs I wrote that were influenced by him and his brother. He listened graciously, smiling like a Kentucky gentleman. He gave me a t-shirt, thanked me for supporting his company, and said to keep in touch. 

Fast forward to 2003—The Everlys were on a major reunion tour, and I had tickets. The set was amazing—a fan’s dream. I had with me a photo of me wearing an Everly Strings t-shirt with Davy Jones (Monkees). Backstage I briefly met Don, did a group photo (which I since lost), and gave Phil a copy of the photo I brought. Phil laughed and said, “Cool. I’m going to hang this in my office.”

Here’s a rare non-lyric collaboration Phil did with Roy Wood—an homage to The Beach Boys. HB Phil and thank you for your light.

#PhilEverly #EverlyBrothers #harmony #rocknroll #country #rockabilly #folkrock #Americana #CadenceRecords #DavyJones #Monkees #NAMM #EverlyStrings #johnnyjblair #singeratlarge

[musickickztoo]

Phil Everly   

January 19, 1939 – January 3, 2014

[music-crush]

Phil Everly

Happy birthday, Phillip Everly!

[quinnallerton]

Today I learned that The Everly Brothers were from a small town near to where I recently moved.

[franklyimissparis]

who’s who in “let ‘em in” by wings (1976)

and some other thoughts on the song

prefacing this by saying that paul himself has changed his own interpretations and offered many explanations up for each name mentioned in the song! i don't necessarily think there's one right answer about what's about who - paul is known for writing about multiple things at once and having many layers of inspiration behind his lyrics. i will mostly be focusing on the names paul lists off within the song, in the order they appear, starting with:

- sister suzy: suzy was linda mccartney's alter ego within her own band, suzy and the red stripes which was active at the time this song was written. paul has stated on many occasions, including in “the lyrics”, that sister suzy is a reference to linda.

- brother john: a lot of articles reference brother john as being john eastman, linda's brother, while others reference john lennon. paul himself said it could be either. but if we're being honest, the first person paul's gonna think of when someone says “john” is lennon, hands down.

it's worth noting the use of sister when describing linda, paul's wife. while it could make sense in the context of the line brother john being john eastman (john and linda being actual brother and sister to one another), i think it's valid to examine the other potential meanings as well, particularly if we think of brother john as john lennon. it places paul's relation to them both as, firstly, familial and implies an equality in the roles they've served within paul's life. starting the list of people with linda (placing her as the most important as the lot) and then john second is interesting as well. we've seen countless examples of paul and john both comparing their relationships with their wives to their relationships with each other and i think it's striking that paul does this here, whether consciously or not.

(nowadays, paul's brother and sister in law via his wife nancy are actually named jon and susie, coincidentally enough.)

- martin luther: paul writes in "the lyrics" that this is about MLK which i'm sure it partially is but also there is an account of the other three beatles jokingly calling john "john martin luther lennon" in the early days though i couldn't find a solid source for this. there is the infamous 1985 hunter davies quote from paul's off the record phone call with him where he called john “martin luther lennon" but that was obviously years after let 'em in and in a massively different context (though potentially this could suggest that it’s a comparison he’s mentally made before but that’s a bit of a stretch, evidence wise lol). i’ve also heard people say martin luther could potentially be a reference to george martin as well, which is possible. others have speculated that this is a reference specifically to martin luther and the 95 theses (“knocking on the door" i.e. nailing the theses to the door) which paul says may have been true on an unconscious level but wasn't purposeful.

- phil and don: the everly brothers, one of paul and john's earliest and biggest influences as young lads. they were heavily inspired by the everly brothers when they performed as their duo, the nerk twins. they also referred to themselves as the foreverly brothers on other occasions.

- brother michael: paul's brother mike, unsurprisingly. though paul also states in “the lyrics” that this might have been a reference to michael jackson as the timing works with paul and linda meeting the jackson 5 around the same time as well but i think realistically he probably mostly had mike mccartney in mind with this one.

- auntie jin: paul’s real and favourite auntie from liverpool. saw one very rogue take that it’s meant to sound like ‘antigen’ but, quite frankly, i think that’s a bit horseshite.

- uncle ernie: in “the lyrics”, paul mentions that he has a cousin called ian who was sometimes referred to as "ern". but also states that at this point he was just playing with words and sounds and this probably wasn't his intention. previously, paul has attributed the line as a reference to keith moon, who was close to the mccartneys in the 70s prior to his death and played the character of uncle ernie in the film tommy (1975). it also could refer to ringo starr as well, as he voiced uncle ernie in the LSO's recording of tommy. ringo himself referenced let 'em in ("someone's knocking on the door/someone's ringing my bell") in 2003 in the song "english garden" which suggests that, at the very least, he felt as though there was some connection to him there.

- uncle ian: like previously stated, paul has mentioned his cousin ian as potentially inspiring this line but personally i think uncle ian could be a reference to paul himself. "ian iachimoe" (meant to phonetically sound out "paul mccartney" backwards) is one of paul's many pseudonyms, thought to have been created around 1966. he signed the lyrics of paperback writer with "yours sincerely, ian iachimoe" and it is also said that in order to distinguish themselves from the rest of his mail, paul would tell his close friends and family to address letters to ian iachimoe so he would know to read them.

paul referred to "let 'em in" as the musical equivalent of a "stocking stuffer" in “the lyrics” which i'm sure it was in his mind but me and my tin hat will be reading deeper into it as usual! this song reminds me quite a lot of “call me back again" in the sense that i think (subconsciously) it may be a bit of a poke at john to get in contact with him.

it's important to note that the album was written/recorded/released around the time of the infamous “it isn't 1956 anymore” incident where, according to john, paul kept showing up at the dakota with his guitar after sean was born without calling ahead. john would let him in but would be a bit put off about it until one day he gave paul a bit of shite for it and paul took it quite personally. while the actual incident is noted as happening in april of 1976 (according to the beatles bible) if it's true that, as john says, this happened a few times there could have also been some tension with paul appearing at john's in the prior months before paul recorded the song in february of 1976.

paul has spoken of the song as reminiscent of a typical party in liverpool where there's sort of a constant stream of family and friends coming through the door - this could be something paul is nudging john to remember (especially with the references to their teenage musical influences and acquaintances and paul's family members that john himself once knew personally.) something along the lines of "oh come on, john, you've gotta just let people into your life, you can't shut out the people who love and miss you. this is how it used to be with us, don't you remember those days?" ... but that's just my interpretation. anyway sorry this was so long but i just thought i'd share in case some of you hadn't heard all the possible interpretations of the lines :))

[balladofsallyrose]

Phil Ochs with fans at an Everly Brothers concert (1969)