Artist: Everly Brothers
Genre(s):
Rock
Country
Jazz
Discography:
The definitive CD 2
Year: 2002
Tracks: 24
The definitive CD 1
Year: 2002
Tracks: 26
Twenty Classic Hits
Year: 1999
Tracks: 20
Heartaches and Harmonies (cd4)
Year: 1994
Tracks: 23
Heartaches and Harmonies (cd3)
Year: 1994
Tracks: 24
Heartaches and Harmonies (cd2)
Year: 1994
Tracks: 33
Heartaches and Harmonies (cd1)
Year: 1994
Tracks: 23
The Very Best Of Everly Brothers
Year:
Tracks: 16
The Rock 'N' Roll Era
Year:
Tracks: 24
The Memories of
Year:
Tracks: 14
Everly Brothers
Year:
Tracks: 14
Best Of
Year:
Tracks: 16
A Date With 1961
Year:
Tracks: 12
32 Greatest Hits
Year:
Tracks: 33
The Everly Brothers were not solely among the most important and best early stone & revolve stars, but also among the most influential bikers of whatever era. They put matchless standards for come together, two-way harmonies and infused early rock & twine with some of the best elements of country and bolt down medicine. Their bequest was and is felt tremendously in all rock acts of the Apostles that engage harmonies as prime features, from the Beatles, Simon & Garfunkel, and legions of country-rockers to contemporary roots bikers like Dave Edmunds and Nick Lowe (world Health Organization once recorded an EP of Everlys songs together).
Don (born February 1, 1937) and Phil (born January 19, 1939) were professionals way ahead their teens, schooled by their realized guitarist male parent Ike, and singing with their phratry on radio broadcasts in Iowa. In the mid-'50s, they made a brief stab at conventional Nashville area with Columbia. When their unmarried flopped, they were cast adrift for quite an a while until they latched onto Cadence. Don invested their first base single for the label, "Bye Bye Love," with a Bo Diddley trounce that helped uprise the song to number deuce in 1957.
"Bye Bye Love" began a phenomenal three-year drawstring of classic strike singles for Cadence, including "Wake up Up Little Susie," "All I Have to Do Is Dream," "Birdie Dog," "('Til) I Kissed You," and "When Will I Be Loved." The Everlys sang of young love with a heartrending hungriness and compelling melodies. The harmonies owed audible debts to Appalachian area music, only were imbued with a keen advanced pop sensitiveness that made them more accessible without sacrificing whatsoever power or looker. They were not as raw as the wild rockabilly manpower from Sun Records, merely they could rock tough when they wanted. Even their midtempo numbers racket and ballads were executed with a force missing in the unbowed state and pop tunes of the geological era. The duette enjoyed a ace support team of manufacturer Archie Bleyer, majuscule Nashville session players like Chet Atkins, and the brilliant songwriting team of Boudleaux and Felice Bryant. Don, and now and again Phil, wrote splendid songs of their possess as considerably.
In 1960, the Everlys left wing Cadence for a remunerative contract with the then-young Warner Bros. mark (though it's not a great deal noted, the Everlys would do a lot to establish Warners as a major effect in the record business enterprise). It's sometimes been scripted that the twosome never recaptured the deception of their Cadence recordings, but actually Phil and Don poorly both commercially and artistically with their number 1 Warners releases. "Cathy's Clown," their first-class honours degree Warners single, was one of their sterling songs and a issue i hit. Their first-class honours degree iI Warners LPs, employing a richard Buckminster Fuller and brasher production than their Cadence work, were not just among their best ferment, just 2 of the topper john Rock albums of the early '60s. The hits kept coming for a twosome of age, some great ("Walk Right Back," "Temptation"), some displaying a worrisome, increasing tendency toward soft crop up and soupy sentiments ("Ebony Eyes," "That's Old Fashioned").
Don River and Phil's personal lives came under a circumstances of stress in the early '60s: they enlisted into the Marine Corps Reserves (unitedly), and studied playacting for sise months but never made a motion mental picture. More in earnest, Don highly-developed an addiction to stop number and about died of an overdose in late 1962. By that time, their vocation as graph titans in the U.S. had terminated; "That's Old Fashioned" (1962) was their last Top Ten strike. Their albums became careless, erratic personal matters, which was all the more frustrating because many of their bust singles of the time were o.k., even near-classic efforts that demonstrated they could motionless deliver the goods.
Virtually alone among first-generation rock & roll superstars, the Everlys stuck with no-nonsense rock & roll and remained driven to observe their sound present-day, preferably than drifting toward soft pop or nation care so many others. Although their mid-'60s recordings were for the most part unheeded in America, they contained some of their finest work, including a ferocious Top 40 single in 1964 ("Gone, Gone, Gone"). They remained big stars abroad -- in 1965, "Price of Love" went to number iI in the U.K. at the tallness of the British Invasion. They incorporated jangling Beatle/Byrdesque guitars into some of their songs and recorded a fine album with the Hollies (wHO were probably more blatantly influenced by the Everlys than whatsoever other British lot of the time). In the late '60s, they helped pioneer country-rock with the 1968 album Roots, their most sophisticated and unified full-length statement. None of this revived their vocation as hitmakers, though they could always bidding vast audiences on international tours and hosted a meshing TV variety show in 1970.
The decades of enforced professional togetherness finally took their price on the geminate in the early '70s, which saw a few dispirited albums and, ultimately, an bitter dissolution in 1973. They spent the succeeding decennary acting solo, which just proven -- as is so a great deal the cause in close-knit artistic partnerships -- how much each blood brother needed the other to sound his best. In 1983, sufficiency water had flowed under the bridge for the deuce to re-start playing and transcription together. The tours, with a backup band light-emitting diode by guitarist Albert Lee, proved they could motionless sing intimately. The records (both unrecorded and studio) were sightly efforts that, in the concluding estimation, were non in closely the like league as their '50s and '60s classics, although Paul McCartney penned a small hit single for them ("On the Wings of a Nightingale"). One of the more successful and dignified reunions in the john Rock annals, the Everlys continued to perform live, although they didn't record an album since the later '80s.
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