0:00:32 > 0:00:34MUSIC: 'Love Is Strange' by the Everly Brothers
0:00:36 > 0:00:38- Hey, Don?- What, Phil?
0:00:38 > 0:00:42How would you call your baby home?
0:00:42 > 0:00:46Well, if I needed her real bad, I guess I would call her like this.
0:00:51 > 0:00:57# Maybe, oh, sweet baby
0:00:57 > 0:01:01# My sweet baby
0:01:01 > 0:01:05# Please come home
0:01:11 > 0:01:14Yeah, that oughta bring her home, Don.
0:01:14 > 0:01:21# People don't understand
0:01:21 > 0:01:25# They think love is
0:01:25 > 0:01:30# Money in the hand
0:01:30 > 0:01:33# Your sweet lovin'
0:01:33 > 0:01:37# Is better than a kiss
0:01:37 > 0:01:41# When you love me
0:01:41 > 0:01:45# Sweet kisses I miss
0:01:45 > 0:01:48# Love is strange
0:01:48 > 0:01:52# Love is strange. #
0:02:01 > 0:02:05APPLAUSE
0:02:07 > 0:02:10Where you been?
0:02:10 > 0:02:11Thank you.
0:02:11 > 0:02:14I'm Don. I'm still the oldest one.
0:02:14 > 0:02:15LAUGHTER
0:02:15 > 0:02:17Phil's catching up, though.
0:02:17 > 0:02:18Won't be long!
0:02:18 > 0:02:20Won't be long before Phil's as old as I am,
0:02:20 > 0:02:22I guess, the way he keeps going.
0:02:22 > 0:02:25I hardly know what to say. I've thought and thought and thought
0:02:25 > 0:02:28what's the first words I should say.
0:02:28 > 0:02:31And I just couldn't come with anything other than...
0:02:31 > 0:02:33- It's good to be back. - It's good to be back.
0:02:33 > 0:02:38APPLAUSE
0:02:40 > 0:02:44MUSIC: "Bye Bye Love" by the Everly Brothers
0:02:49 > 0:02:52# Bye-bye, love
0:02:52 > 0:02:55# Bye-bye, happiness
0:02:55 > 0:03:00# Hello, loneliness Well, I think I'm gonna cry
0:03:00 > 0:03:03# Bye-bye, love
0:03:03 > 0:03:06# Bye-bye, sweet caress
0:03:06 > 0:03:08# Hello, emptiness
0:03:08 > 0:03:11# Well, I feel like I could die
0:03:11 > 0:03:14# Bye-bye, my love, goodbye
0:03:14 > 0:03:17# There goes my baby
0:03:17 > 0:03:20# With someone new
0:03:20 > 0:03:23# She looks happy
0:03:23 > 0:03:26# I sure am blue
0:03:26 > 0:03:28# She was my baby
0:03:28 > 0:03:31# Till he stepped in
0:03:31 > 0:03:38# Goodbye to romance that might have been
0:03:38 > 0:03:41# Bye-bye, love
0:03:41 > 0:03:44# Bye-bye, happiness
0:03:44 > 0:03:46# Hello, loneliness
0:03:46 > 0:03:49# I think I'm gonna cry
0:03:49 > 0:03:52# Bye-bye, love
0:03:52 > 0:03:55# Bye-bye, sweet caress
0:03:55 > 0:03:57# Hello, emptiness
0:03:57 > 0:04:00# I feel like I could die
0:04:00 > 0:04:03# Bye-bye, my love, goodbye
0:04:03 > 0:04:05# Bye-bye, my love, goodbye
0:04:05 > 0:04:08# Bye-bye, my love, goodbye
0:04:08 > 0:04:10# Bye-bye, my love, goodbye. #
0:04:18 > 0:04:22APPLAUSE
0:04:31 > 0:04:35Well, a great big howdy-do to all of our good friends and neighbours.
0:04:35 > 0:04:39This is Dad Everly talking for the Everly family, and we're going to play
0:04:39 > 0:04:44and sing you some songs, neighbours, family style, also country style.
0:04:44 > 0:04:50And we've got the whole gang on deck - Mom, Don, baby boy Phil.
0:04:50 > 0:04:54And you know, Mom, we kind of ought to tell the folks just how old these youngsters are.
0:04:54 > 0:04:59Some of the folks probably don't know. And Don, our oldest boy, is 15 years old.
0:04:59 > 0:05:04Phil is 13 and of course me and Mom, we quit telling our age a long time ago!
0:05:04 > 0:05:07You know, I'd like to do one here that was recorded by a good
0:05:07 > 0:05:10old buddy of mine. He's a well-known fellow, too.
0:05:10 > 0:05:14I'm sure most of the folks know Merle Travis and here's one he
0:05:14 > 0:05:21recorded he calls Blue Smoke, just some old country guitar picking.
0:05:21 > 0:05:24MUSIC: "Blue Smoke" by Ike Everly
0:05:35 > 0:05:37Oh, this is very nostalgic.
0:05:37 > 0:05:40Terry and the Pirates came on at five o'clock.
0:05:40 > 0:05:415.15, Dick Tracy.
0:05:41 > 0:05:465.30, Jack Armstrong. Gee, that's wonderful stuff.
0:05:46 > 0:05:50Shadow came on at nine. All those shows, I used to listen to them.
0:05:50 > 0:05:52Then Lemon Ebner was on Tuesday night at 7pm.
0:05:52 > 0:05:57- What time were you on? - We were on the mornings.
0:05:57 > 0:05:58And 5.30, or five o'clock.
0:05:58 > 0:06:02We were there for the farmers while they were milking or getting ready to milk.
0:06:02 > 0:06:04They would have radios in their barns
0:06:04 > 0:06:06and then it would be getting up!
0:06:06 > 0:06:10We would get up before the bakery was open. That's how early that was.
0:06:10 > 0:06:13And we would come back from the shows, stop at the bakery.
0:06:13 > 0:06:17We'd go in the back door and get hot cinnamon buns
0:06:17 > 0:06:21and take them home sometimes. In the dark of the night, it would still be dark in the winter
0:06:21 > 0:06:24up there when we've done our show and on our way home.
0:06:24 > 0:06:27Then we'd go back and get ready to go to school.
0:06:27 > 0:06:30Dad played all the time and we would go down the radio station
0:06:30 > 0:06:34and watch him perform and he taught you everything you knew but it
0:06:34 > 0:06:38wasn't like, at three o'clock, come in and learn to play the guitar, you know.
0:06:38 > 0:06:43It's the same way I taught my boys. You show them and they must go for it.
0:06:43 > 0:06:47You know, I kind of suggest that we get the Everly Brothers to team
0:06:47 > 0:06:50up on one here. Phil, what are you going to sing this time?
0:06:50 > 0:06:53Well, Dad, we'd like to do a number for the folks and it's called
0:06:53 > 0:06:55Don't Let Your Love Die.
0:07:02 > 0:07:10# Someone stole you, my darling from me
0:07:11 > 0:07:19# Someone stole your love and your heart
0:07:19 > 0:07:26# Is it really true you don't care for me?
0:07:26 > 0:07:32# Have you missed me since we've been apart?
0:07:34 > 0:07:41# What can I do to make you believe
0:07:41 > 0:07:46# That I love you, oh, won't you please try?
0:07:48 > 0:07:50# If there's room in your heart...
0:07:50 > 0:07:53MUSIC FADES INTO CONTEMPORARY VERSION OF SAME TRACK
0:07:53 > 0:07:55# ..Left for me... #
0:07:55 > 0:07:57I don't remember that line.
0:07:57 > 0:08:05# Darling, don't let our love die. #
0:08:05 > 0:08:08If there's any room in your heart left for me.
0:08:08 > 0:08:10GUITAR DROWNS OUT SPEECH
0:08:12 > 0:08:17- You started off as Little Donnie, though.- Yeah.- Tell us about that.
0:08:17 > 0:08:21When I was...you know, Little Donnie was that they had a 15-minute radio
0:08:21 > 0:08:24show on Saturdays, known as Little Donnie, and I used to get to
0:08:24 > 0:08:29read the commercials or something and do... The radio station had been...
0:08:29 > 0:08:32The fellow that was called the Earl May Seed Company, he had gone on
0:08:32 > 0:08:37- a trip around the world and he had fell in love with a mosque somewhere in India.- Yeah!
0:08:37 > 0:08:39He built this radio station to look like a mosque.
0:08:39 > 0:08:41With minarets on each end!
0:08:41 > 0:08:45It was the movie theatre and the radio station but what a building!
0:08:45 > 0:08:48This year, if you have corns and calluses,
0:08:48 > 0:08:52send for Foster's 30-minute wonder corn and callus remover.
0:08:52 > 0:08:55One dollar will bring you a big one-ounce bottle
0:08:55 > 0:08:59and it's guaranteed to get rid of at least a dozen corns and calluses.
0:08:59 > 0:09:03So be sure and send all your orders to the Everly family,
0:09:03 > 0:09:07station KFNF, Shenandoah, Iowa and get that order in the mail today.
0:09:07 > 0:09:09You know, it's about time in our programme that we hear
0:09:09 > 0:09:13from the old man from the mountains, Dad Everly.
0:09:13 > 0:09:18- Watch your step, Mom! - Get that guitar all tuned up there. Ike, what are you going to pick?
0:09:18 > 0:09:22You know, if you twist my arm a little, I'll do a little of that old country guitar picking.
0:09:22 > 0:09:25APPLAUSE
0:09:48 > 0:09:51'Phil and I don't remember anything else but show business.
0:09:51 > 0:09:52'We grew up in it.
0:09:52 > 0:09:55'The food in our mouth came from it, whether it was lean or fat,
0:09:55 > 0:09:58'you know, it came from what we did as music.
0:09:58 > 0:10:01'You know, we didn't earn it from anything else.'
0:10:04 > 0:10:05- Showing us up again.- Yeah.
0:10:05 > 0:10:07It's been a long time, boys.
0:10:07 > 0:10:10It surely has and it's been a long time since the old radio days,
0:10:10 > 0:10:12hasn't it, Dad?
0:10:12 > 0:10:13You know, back in the radio days, boys,
0:10:13 > 0:10:16that's when you sang good, you know.
0:10:16 > 0:10:20This is what we used to do back when we got started.
0:10:20 > 0:10:23And I'd say, I'd say, Dad, I don't want to sing today.
0:10:23 > 0:10:26I want to make up a poem instead.
0:10:26 > 0:10:28- I want to have a poem contest with you.- You do?
0:10:28 > 0:10:29Now, you know I can beat you, Phil.
0:10:29 > 0:10:31What do you want to have a contest for?
0:10:31 > 0:10:34I want to pick a hard subject this time. I want to pick...
0:10:34 > 0:10:37- Well, you usually picked that same one.- Well, this one is difficult.
0:10:37 > 0:10:41- It's going to be about... - How about me picking a subject? - All right, you pick a subject.
0:10:41 > 0:10:43- Birds.- That's awful easy.
0:10:43 > 0:10:45We'll make it about birds and grapefruit. Make it hard.
0:10:45 > 0:10:49- Birds and grapefruit? You mean both at once?- Both at once.
0:10:50 > 0:10:54- You go first.- OK. I'm going to beat you again. I'll go first.
0:10:54 > 0:10:56Birds and grapefruit.
0:10:56 > 0:11:00I wouldn't want to be a little bird that flies up so high.
0:11:00 > 0:11:04I'd rather be a grapefruit to squirt right in your eye.
0:11:04 > 0:11:07LAUGHTER
0:11:07 > 0:11:10- 'Do you think your father got the recognition that he deserved?' - 'No, not at all.
0:11:10 > 0:11:12'Actually, on the radio,'
0:11:12 > 0:11:15I never felt he ever really got to be himself there, either.
0:11:15 > 0:11:18He had to have a comedy relief. He had an alter ego called Cousin Ike.
0:11:18 > 0:11:20He could tell tall tales
0:11:20 > 0:11:23and then sing the songs that the particular listeners wanted to hear.
0:11:23 > 0:11:28Basically, he liked blues. He loved the old blues and things.
0:11:28 > 0:11:32FINGERPICKING GUITAR 12-BAR BLUES
0:11:55 > 0:11:57Of course, I don't do it like he does.
0:11:57 > 0:12:03- Where did his style come from? - Well, he learned from Arnold Shultz.
0:12:03 > 0:12:06And Arnold Shultz was a black man that evidently was
0:12:06 > 0:12:09a magnificent musician. My father said he followed him around.
0:12:09 > 0:12:12There's a famous piece called the drum piece which only our
0:12:12 > 0:12:18Aunt Hattie could do, which was an open tuning that our grandfather, Melfred Everly,
0:12:18 > 0:12:22had paid five dollars to get Arnold Shultz to teach her to play.
0:12:22 > 0:12:25- She could still play it last time I saw her.- Yeah.- How does it go?
0:12:25 > 0:12:29Well, you put it in a tuning and she doesn't play it. She plays like this.
0:12:29 > 0:12:34Yeah, it's called the drum piece. You have to...
0:12:34 > 0:12:38- It's...- You know. - Oh, it's great.- It's very peculiar.
0:12:38 > 0:12:41- It's a very peculiar piece. - Whereabouts were you...
0:12:41 > 0:12:44- Where is this happening? - Muhlenberg County, Kentucky.- Yeah.
0:12:44 > 0:12:48- What kind of place was that? - Well, it's a coal-mining area.
0:12:48 > 0:12:52And I don't know, it seems to me, coalminers sing. Somewhere... I don't know...
0:12:52 > 0:12:55And there's areas in the United States that a lot of music...
0:12:55 > 0:12:57West Texas, in particular.
0:12:57 > 0:13:01I don't know, they're not miners there but there's something... A little pocket of music.
0:13:01 > 0:13:04Could be in the water.
0:13:04 > 0:13:07'I don't know what it could be but a lot of music came out of there.'
0:13:11 > 0:13:15'How much did your style change from when you were kids, really,
0:13:15 > 0:13:19- 'to when you were successful?' - 'I wouldn't say any.
0:13:19 > 0:13:22'I think it just comes from having sung all those years together,
0:13:22 > 0:13:26'the fact that we're brothers, the fact that we were being influenced
0:13:26 > 0:13:30'by too many things and we could pretty well sing almost anything.
0:13:30 > 0:13:33'And we had heard a lot of Bailes Brothers.'
0:13:33 > 0:13:36We dealt in a very close harmony and York Brothers
0:13:36 > 0:13:41and the Delmore Brothers and all these major kind of country acts
0:13:41 > 0:13:44but, er, we could pretty well sing anything.
0:13:46 > 0:13:50Dad had two brothers that he worked with and they worked in clubs
0:13:50 > 0:13:53together, three of them singing, and Uncle Leonard played guitar
0:13:53 > 0:13:56and banjo and then Chuck was a great rhythm guitar
0:13:56 > 0:14:00player in front of my father. And they're all three dead now.
0:14:00 > 0:14:05Dad was the only one that wound up really pursuing it as a livelihood.
0:14:07 > 0:14:09Now, I never heard them, but, the family, of course...
0:14:09 > 0:14:13All the tales of how wonderful they were together.
0:14:16 > 0:14:22# Kentucky
0:14:22 > 0:14:26# I miss your laurels
0:14:26 > 0:14:32# And your redbud trees
0:14:34 > 0:14:40# I know that
0:14:40 > 0:14:47# My mother, dad and sweetheart
0:14:47 > 0:14:52# Are waiting for me
0:14:56 > 0:15:00# Kentucky
0:15:01 > 0:15:08# I will be coming soon
0:15:11 > 0:15:15# When I die
0:15:17 > 0:15:28# I want to rest upon your graceful mountains so high
0:15:31 > 0:15:39# For that is where God will look for me
0:15:46 > 0:15:54# Kentucky. #
0:16:06 > 0:16:09Lord, why did you let 'em, why did you let 'em kill him?
0:16:11 > 0:16:16And then he said, looking up in the face of God
0:16:16 > 0:16:18"Just let me preach in this place."
0:16:19 > 0:16:22Walter, he was passed away, not long ago.
0:16:22 > 0:16:24He never had a calling from God for preaching.
0:16:24 > 0:16:27He had, he was a substitute preacher.
0:16:28 > 0:16:30Where are the nine?
0:16:30 > 0:16:31Here we are! Here we are!
0:16:31 > 0:16:35I know that I am a substitute preacher.
0:16:35 > 0:16:39I believe that God came down through the rows of the Everlys
0:16:39 > 0:16:43and I may be one of the choice ones first
0:16:43 > 0:16:46and had to wait round and get a call.
0:16:46 > 0:16:48But here we are.
0:16:48 > 0:16:49Here we are!
0:16:49 > 0:16:51Let me say, "Where are the nine?"
0:16:51 > 0:16:53Jesus said, "Where are the nine? Where are the nine?"
0:16:53 > 0:16:56And here we are. Let me say, "Here we are, we're waiting."
0:16:57 > 0:16:58We're waiting.
0:16:58 > 0:17:01The Bible says, "They that wait upon the Lord..."
0:17:01 > 0:17:04Let me read it to you from Isaiah, chapter number 40.
0:17:04 > 0:17:07They that wait upon the Lord
0:17:07 > 0:17:10"shall renew their strength.
0:17:10 > 0:17:12"They shall mount up with wings, as eagles,
0:17:12 > 0:17:16"they shall run and not be weary."
0:17:16 > 0:17:18"They shall walk and not fade!"
0:17:19 > 0:17:23# He's still working on me
0:17:23 > 0:17:27# To make me what I ought to be
0:17:27 > 0:17:29# It took him just a week
0:17:29 > 0:17:31# To make the moon and the stars
0:17:31 > 0:17:35# The sun and the earth and Jupiter and Mars
0:17:35 > 0:17:39# How loving and patient he must be
0:17:39 > 0:17:44# He's still working on me
0:17:44 > 0:17:48# He's still working on me
0:17:48 > 0:17:51# He's still working on me. #
0:17:52 > 0:17:57Thank you. We can do that. That's all right.
0:17:57 > 0:18:00You bear with us if we get a little bit clannish
0:18:00 > 0:18:01because we have a lot of Everlys,
0:18:01 > 0:18:03and we, I'm an Everly
0:18:03 > 0:18:04and I'm so proud of it
0:18:04 > 0:18:07and I thank God for being an Everly.
0:18:07 > 0:18:10This is Mr and Mrs Darrel Everly.
0:18:10 > 0:18:13If I ever had another brother, Darrel would be my brother.
0:18:13 > 0:18:18And you stand, and also, Darrel's family.
0:18:18 > 0:18:20We have some family that's here, OK.
0:18:20 > 0:18:22John's not here.
0:18:22 > 0:18:26And then around the corner there, that's Jewel Everly
0:18:26 > 0:18:28and Jewel, would you stand, please?
0:18:28 > 0:18:31And Mr and Mrs Jewel Everly, this is Marguerite.
0:18:31 > 0:18:35And then son, Kelly, and give them a hand, yeah.
0:18:35 > 0:18:36Thank you so much.
0:18:36 > 0:18:38APPLAUSE
0:18:38 > 0:18:42And then, of course, this is Uncle Roland and his wife.
0:18:42 > 0:18:45Uncle Roland, Aunt Margaret, to me, but they're here.
0:18:45 > 0:18:47I think he's very special.
0:18:47 > 0:18:51There was Jesse, Leonard, Charlie
0:18:51 > 0:18:55Ike, and Roland Everly
0:18:55 > 0:19:00of the Everly Brothers that were born to Milford and Mary Delilah
0:19:00 > 0:19:02And the last ones here...
0:19:02 > 0:19:06# ..I want you in my arms
0:19:06 > 0:19:09# When I want you
0:19:09 > 0:19:12# And all your charms
0:19:12 > 0:19:15# Whenever I want you
0:19:15 > 0:19:16# All I have to do... #
0:19:16 > 0:19:20Dad and Uncle Roland, his older brother, they held the mine record.
0:19:20 > 0:19:22They had loaded 18 tonnes of coal.
0:19:22 > 0:19:25But hand-loaded - you're talking shovelling.
0:19:25 > 0:19:26# When I feel blue... #
0:19:26 > 0:19:28He was working the mines when they had the picks
0:19:28 > 0:19:30and mules used and things.
0:19:30 > 0:19:33He was loading it for paying by the tonne.
0:19:33 > 0:19:35# To hold me tight
0:19:35 > 0:19:38# Whenever I want you
0:19:38 > 0:19:40# All I have to do
0:19:40 > 0:19:45# Is dream
0:19:47 > 0:19:49# I can make you mine
0:19:49 > 0:19:52# Taste your lips of wine
0:19:52 > 0:19:58# Any time, night or day
0:19:58 > 0:20:01# Only trouble is
0:20:01 > 0:20:03# Gee-whiz
0:20:03 > 0:20:09# I'm dreamin' my life away
0:20:09 > 0:20:13# I need you so
0:20:13 > 0:20:15# That I could die
0:20:15 > 0:20:18# I love you so
0:20:18 > 0:20:20# And that is why
0:20:20 > 0:20:24# Whenever I want you
0:20:24 > 0:20:26# All I have to do
0:20:26 > 0:20:33# Is dream, dream, dream, dream
0:20:33 > 0:20:35# Dream
0:20:35 > 0:20:41# Dream, dream, dream. #
0:20:41 > 0:20:44I said Uncle Roland, he's the only Everly that ever worked.
0:20:44 > 0:20:47The rest of us picked guitars!
0:20:47 > 0:20:49I don't have no guitar!
0:20:49 > 0:20:52LAUGHTER
0:20:52 > 0:20:54Well, I never bought one.
0:20:54 > 0:20:57I remember one time hearing a story about going to a contest.
0:20:57 > 0:21:01And Dad and Uncle Ike and Uncle Charlie won the contest
0:21:01 > 0:21:03by all three of them playing on one guitar.
0:21:03 > 0:21:06- How did they sound? Leonard and Chuck and Ike.- Yeah.
0:21:06 > 0:21:07Tell us about how they sounded.
0:21:07 > 0:21:11- Well, you could hear Charlie playing anything.- Oh, really?
0:21:11 > 0:21:13He'd play anything that made music.
0:21:13 > 0:21:15What about singing, when they sang together?
0:21:15 > 0:21:18Was it in any way similar to what Phil and I maybe sounded like?
0:21:18 > 0:21:19He is a good tenor singer.
0:21:19 > 0:21:21That's what they said.
0:21:21 > 0:21:23Charlie sounds like Phil, maybe.
0:21:23 > 0:21:25Or Phil sounds like Charlie!
0:21:25 > 0:21:28Phil does sing like Charlie!
0:21:28 > 0:21:34If they'd stuck together like y'all do...
0:21:34 > 0:21:36it, it, way up there.
0:21:36 > 0:21:39They didn't listen to Uncle Ike.
0:21:39 > 0:21:42I think Uncle Charlie and Dad never listened to Uncle Ike.
0:21:42 > 0:21:44They resented his...
0:21:44 > 0:21:46Your pa wanted to be boss, you see!
0:21:46 > 0:21:47That's right!
0:21:47 > 0:21:51- Ike wanted to be the boss, cos he was the eldest.- Well, he should.
0:21:51 > 0:21:53Charlie wanted to be boss cos he could play the best!
0:21:53 > 0:21:55LAUGHTER
0:21:55 > 0:21:59And Dad wanted to be the boss cos he was the youngest!
0:21:59 > 0:22:01- Yes! - LAUGHTER
0:22:01 > 0:22:04When we were young, things were kind of...
0:22:04 > 0:22:06Ha-ha! "When we were young"! Oh!
0:22:06 > 0:22:08Things were kind of tough, then.
0:22:08 > 0:22:10When Dad taught us to play the guitar,
0:22:10 > 0:22:13- all we could afford was one for the three of us.- For the three of you?
0:22:13 > 0:22:17- What do you do, take turns?- No, the three of us played it at once.
0:22:17 > 0:22:19The three of you at once?!
0:22:19 > 0:22:21That's like three men milking the same cow.
0:22:21 > 0:22:23Somebody's going to be pulling on somebody's fingers!
0:22:23 > 0:22:26LAUGHTER
0:22:26 > 0:22:29Yeah, how did you do it?
0:22:29 > 0:22:31You be Papa and we'll show you how it's done.
0:22:31 > 0:22:34I'll be Papa, I would have to be Papa. What did Papa do?
0:22:34 > 0:22:39- He played on these two strings right here.- And you played up there?
0:22:39 > 0:22:43- And what do you do?- I play whatever's left over.- Uh-huh. Now...
0:22:45 > 0:22:48- Papa played here, what did you play?- We played kind of blues.
0:22:48 > 0:22:52- Just kind of a blues beat, be fine. - Let's see if I can find it.
0:22:52 > 0:22:55- And Papa played on that there?- Mm-hmm.
0:22:55 > 0:22:58UPBEAT BLUES RHYTHM
0:22:59 > 0:23:01Well, for goodness' sake!
0:23:01 > 0:23:04APPLAUSE
0:23:04 > 0:23:06Thank you!
0:23:11 > 0:23:13Yeah!
0:23:13 > 0:23:16Papa knows this!
0:23:16 > 0:23:17# I'm a rattlesnake daddy
0:23:17 > 0:23:22# And I rattle where I please
0:23:22 > 0:23:24# Yes, I'm a rattlesnake daddy
0:23:24 > 0:23:29# And I rattle where I please
0:23:29 > 0:23:31# And when you hear me rattle
0:23:31 > 0:23:35# Better get down on your knees
0:23:37 > 0:23:41- IN HARMONY:- # I rattled last night, the night before
0:23:41 > 0:23:44# I woke up this morning, gonna rattle some more
0:23:44 > 0:23:48# I'm a rattlesnake daddy, yeah!
0:23:48 > 0:23:52# From Tennessee
0:23:52 > 0:23:55# And when you hear me rattle
0:23:55 > 0:24:00- # You better let me be - # You better let me be. #
0:24:02 > 0:24:09GENTLY-STRUMMED GUITAR
0:24:38 > 0:24:41One of the first things I remember, whenever we'd go to Kentucky.
0:24:41 > 0:24:43We'd always go to Kentucky. Wherever we would live,
0:24:43 > 0:24:46every summer, we would be back in Kentucky.
0:24:46 > 0:24:49All Kentuckians kept a little hut between Chicago and Kentucky.
0:24:49 > 0:24:51I mean, they lived in Chicago, but they were Kentuckians,
0:24:51 > 0:24:54they would go back.
0:24:54 > 0:24:56There still is a tradition in the neighbourhoods of Chicago,
0:24:56 > 0:24:59where people who are Kentuckians, or Tennesseeans,
0:24:59 > 0:25:03or West Virginians, that have gone there for work, but he would
0:25:03 > 0:25:07go back and he would go to the house and the guitar would be there.
0:25:07 > 0:25:11And he passed the guitar to this fella, passed it over,
0:25:11 > 0:25:12it was just constant.
0:25:34 > 0:25:37# Oh, well, it rained five days
0:25:37 > 0:25:42# And the sky turned dark as night
0:25:45 > 0:25:48# Well, it rained five days
0:25:48 > 0:25:52# And the sky turned dark as night
0:25:56 > 0:26:02# Trouble taking place in the lowlands at night
0:26:05 > 0:26:08# Well, it thundered and it lightnin'd
0:26:08 > 0:26:10# And the wind began to blow... #
0:26:10 > 0:26:12Gonna get you out of that bad tone.
0:26:14 > 0:26:17# Well, it thundered and it lightnin'd
0:26:17 > 0:26:21# And the wind began to blow
0:26:24 > 0:26:26#, Well there's thousands of people
0:26:26 > 0:26:29# Ain't got no place to go
0:26:32 > 0:26:38# Mmmmm, I can't live no more... #
0:26:38 > 0:26:39What a sad thing that is.
0:26:41 > 0:26:43# Oh!
0:26:43 > 0:26:47# I can't live no more
0:26:49 > 0:26:54# Well, my house fell down and I can't live there no more. #
0:26:58 > 0:26:59Well, that's great.
0:26:59 > 0:27:00What's that called, Mose?
0:27:00 > 0:27:02That's Lowland Blues.
0:27:02 > 0:27:04That's nice. Really nice.
0:27:04 > 0:27:07You're kidding me, right?
0:27:07 > 0:27:09No, never!
0:27:09 > 0:27:12We wouldn't kid you at all. That's wonderful. That really is.
0:27:12 > 0:27:13Well, thank you very much.
0:27:13 > 0:27:17I remember, back years ago, driving through Drakesboro
0:27:17 > 0:27:19and you always had a guitar
0:27:19 > 0:27:21and you and Dad wouldn't hardly say anything,
0:27:21 > 0:27:24just grab the guitar and sort of pass it back and forth.
0:27:24 > 0:27:26Yeah.
0:27:26 > 0:27:28Who taught you to play the guitar?
0:27:28 > 0:27:32Well, my sisters, I had about three or four sisters
0:27:32 > 0:27:34who played, you know?
0:27:34 > 0:27:35Played, and...
0:27:35 > 0:27:39HE STRUMS A JAUNTY COUNTRY RHYTHM
0:27:39 > 0:27:42They all played that,
0:27:42 > 0:27:46and so I'd then get the guitar and I wouldn't let 'em have no peace.
0:27:46 > 0:27:49I'm cryin', Momma's making me leave the guitar!
0:27:49 > 0:27:50DON LAUGHS
0:27:50 > 0:27:53And that tune'd keep me quiet now, right?
0:27:53 > 0:27:57So when I got the ol' guitar, you know, and I'd jump on it like this,
0:27:57 > 0:28:00and there was a little doorstep to go to, outside the cabin
0:28:00 > 0:28:04I'd hold nothing back once I got on there!
0:28:04 > 0:28:05LAUGHTER
0:28:05 > 0:28:06HE STRUMS GUITAR
0:28:06 > 0:28:08Oh, is that...?
0:28:10 > 0:28:15Boy, I'd do that all day long.
0:28:15 > 0:28:17And finally I learned to make 'em sing,
0:28:17 > 0:28:19combining the C chord...
0:28:19 > 0:28:21HE STRUMS CHORD
0:28:21 > 0:28:22- The G. - HE STRUMS CHORD
0:28:22 > 0:28:25Like that, y'know?
0:28:25 > 0:28:27They consider thumb-pick guitar to come from right here.
0:28:27 > 0:28:30I guess Merle is the one that popularised that.
0:28:30 > 0:28:33He was a good writer. Merle Travis was a very fine writer.
0:28:33 > 0:28:3616 Tonnes, Dark As A Dungeon.
0:28:36 > 0:28:41- Was that guitar style a particular thing in the mining areas?- Yeah.
0:28:41 > 0:28:44Merle came around to learn from Mose. My father,
0:28:44 > 0:28:48Merle gives Dad a lot of credit for helping teach him, actually,
0:28:48 > 0:28:50a few chords here and there, and whatever.
0:28:50 > 0:28:52Can I start pickin' a tune, boys?
0:28:52 > 0:28:53Yeah!
0:29:30 > 0:29:34Did you and Ike work down the mines at the same time in the same mine?
0:29:34 > 0:29:36We might have worked at the same mines
0:29:36 > 0:29:38but we didn't work in the same room.
0:29:39 > 0:29:41- Was it hard work?- Hard work?
0:29:41 > 0:29:44Man, when you had to go down that shaft, it'd almost kill you.
0:29:44 > 0:29:47That's right.
0:29:48 > 0:29:51Dad was sort of determined that Phil and I'd never work in the mines
0:29:51 > 0:29:55- because it was so dangerous. - Yes, it was.
0:29:56 > 0:29:58Up in East Kentucky around Harlan and Perry County,
0:29:58 > 0:30:03the coalminer sings a little song called The Nine Pound Hammer.
0:30:03 > 0:30:06Now, just picture yourself driving four-inch spikes and hard,
0:30:06 > 0:30:10black oak track ties about five miles back into the mountain.
0:30:10 > 0:30:13Where the top's so low in the mines that you can't straighten up
0:30:13 > 0:30:16to rest your back just for a minute.
0:30:16 > 0:30:19And lots of times, the air gets so foul back there
0:30:19 > 0:30:21that you just can't get a good, deep breath.
0:30:23 > 0:30:24HE EXHALES
0:30:24 > 0:30:26# This nine-pound hammer
0:30:26 > 0:30:29# Is a little too heavy
0:30:29 > 0:30:31# For my size
0:30:31 > 0:30:34# Buddy, for my size
0:30:34 > 0:30:36# I'm a-going over the mountains
0:30:36 > 0:30:38# Gonna see my baby
0:30:38 > 0:30:40# But I ain't coming back
0:30:40 > 0:30:43# Oh, I ain't comin' back
0:30:43 > 0:30:48# Oh, no, buddy, don't you go so slow
0:30:48 > 0:30:52# How can I roll when the wheels won't go?
0:30:52 > 0:30:55# Roll 'em, buddy
0:30:55 > 0:30:57# Pull a load of coal
0:30:57 > 0:31:02# How can I pull when the wheels won't roll? #
0:31:08 > 0:31:10- Did you know Dad?- Yeah, I knew him.
0:31:10 > 0:31:12Ah.
0:31:12 > 0:31:15What kind of, what would you call this?
0:31:15 > 0:31:18This is an underground mine, it's a highwall mine.
0:31:18 > 0:31:22You finish... You go straight back under.
0:31:22 > 0:31:24- How far would that go down? - Number nine coal seam.
0:31:24 > 0:31:28Number nine? Number nine coal, that's like in the song, isn't it? Number nine coal!
0:31:28 > 0:31:31# That number nine coal... #
0:31:31 > 0:31:33Dad worked the Brownie mines.
0:31:33 > 0:31:35That's where I was born, actually.
0:31:35 > 0:31:37Been riding in the same coal train as him.
0:31:37 > 0:31:38Oh, is that right?
0:31:38 > 0:31:40Well, I'll be darned!
0:31:40 > 0:31:42# Well, the wheel won't go. #
0:31:43 > 0:31:47You know, Dad also talked about you and him loading coal.
0:31:47 > 0:31:49That you and him held a record at one mine,
0:31:49 > 0:31:52or something, for loading coal, in your day.
0:31:52 > 0:31:53I don't know exactly how much
0:31:53 > 0:31:57me and Ike loaded together but we loaded, I loaded...
0:31:58 > 0:32:0243 tonnes, myself.
0:32:02 > 0:32:06- Phew! In one day?- In one day, yes. - Oh, Lord!
0:32:06 > 0:32:09We didn't have no union for nine years.
0:32:09 > 0:32:12They took the union. Busted it.
0:32:12 > 0:32:16- You helped get the union, didn't you?- Huh?
0:32:16 > 0:32:20I struck a year and a day for the union.
0:32:20 > 0:32:24Uncle Roland, do you remember Dad used to talk about a time
0:32:24 > 0:32:28when they fired on him with machine guns from the mines?
0:32:30 > 0:32:35Down there in Hopkins County, there was a creek.
0:32:36 > 0:32:39It was as wide as the road out there.
0:32:43 > 0:32:48Went down from there, and they come out, firing a machine gun at him,
0:32:48 > 0:32:52and boy, they would turn that creek bright red.
0:32:52 > 0:32:55- Trying to get out. - Getting away from there. Yeah.
0:32:55 > 0:32:58One old man, one old man
0:32:58 > 0:32:59stayed right out there.
0:32:59 > 0:33:02He just stood there, he didn't run, huh?
0:33:02 > 0:33:06No. He said, "Kill me, but you can't scare me!
0:33:06 > 0:33:10LAUGHTER
0:33:11 > 0:33:17# For 18 year
0:33:17 > 0:33:20# It's a mighty long time
0:33:22 > 0:33:27# To labour and toil
0:33:27 > 0:33:33# Down in the coalmine
0:33:33 > 0:33:39# My bones they do ache me
0:33:39 > 0:33:44# Lord, my kneecaps got bad
0:33:45 > 0:33:51# I went to that doctor
0:33:51 > 0:33:55# And I heard him say
0:33:55 > 0:34:00# Both lungs are broke down
0:34:00 > 0:34:04# You spent your best days
0:34:04 > 0:34:09# Go back to that coalmine
0:34:09 > 0:34:14# They got you this way. #
0:34:14 > 0:34:16True, they did.
0:34:22 > 0:34:26When we get down to the bottom of the hill, we'll take a left
0:34:26 > 0:34:30and probably, within 100 yards something, we're down on the front.
0:34:33 > 0:34:36That's old Brownie, right back in there.
0:34:36 > 0:34:38So there was a whole town just there?
0:34:38 > 0:34:41Right there, in there. You're in Brownie.
0:34:41 > 0:34:43Why did they choose to destroy it?
0:34:43 > 0:34:48Well, it served its purpose.
0:34:53 > 0:34:55That's Peabody's colours right there,
0:34:55 > 0:34:59- green and yellow with the red stripe.- Who are Peabody?
0:34:59 > 0:35:00Peabody's the coal company.
0:35:03 > 0:35:06Now, all the economy in Muhlenberg County is contingent on coal.
0:35:09 > 0:35:11Um, everything, even the businesses.
0:35:13 > 0:35:17And without the coal industry, there's no Muhlenberg County.
0:35:19 > 0:35:22# When I was a child, my family would travel
0:35:22 > 0:35:27# Down to Western Kentucky where my parents were born
0:35:29 > 0:35:34# There's a backward old town that I often remember
0:35:34 > 0:35:39# So many times that my memories are worn
0:35:41 > 0:35:45# And Daddy, would you take me back to Muhlenberg County
0:35:45 > 0:35:50# Down by the Green River where paradise lay?
0:35:50 > 0:35:54# Well, I'm sorry, my son, but you're too late in asking
0:35:54 > 0:35:58# Mr Peabody's coal train has hauled it away
0:36:01 > 0:36:05# Then the coal company came with the world's largest shovel
0:36:05 > 0:36:10# And they tortured the timber and stripped all our land
0:36:13 > 0:36:17# Well, they dug for their coal till the land was forsaken
0:36:17 > 0:36:22# And they wrote it all down as the progress of man
0:36:24 > 0:36:28# And Daddy, won't you take me back to Muhlenberg County
0:36:28 > 0:36:33# Down by the Green River where paradise lay?
0:36:33 > 0:36:37# Well, I'm sorry, my son, but you're too late in asking
0:36:37 > 0:36:42# Mr Peabody's coal train has hauled it away... #
0:37:05 > 0:37:09# If you talk too much, you might get into trouble
0:37:09 > 0:37:13# If you talk too much, your troubles will be doubled... #
0:37:13 > 0:37:16We were sitting there having the biggest thrill
0:37:16 > 0:37:18and up walked the waiter and he had the biggest bill.
0:37:18 > 0:37:21And I said, "Who's this for?" And he said, "You!"
0:37:21 > 0:37:25And I said, "14 for a hamburger and a glass of water?!"
0:37:25 > 0:37:27I paid him, though.
0:37:27 > 0:37:31# If you talk too much, you might get into trouble
0:37:31 > 0:37:36# If you talk too much, your troubles will be doubled... #
0:37:36 > 0:37:38And there's other verses but they're not clean!
0:37:40 > 0:37:42It's such fun, yes, it was the best time
0:37:42 > 0:37:47- back in Cleaton.- And you'd sit on the porch and swing, and, er...
0:37:47 > 0:37:49HE CLEARS HIS THROAT
0:37:49 > 0:37:54Up at Aunt Myrtle's and Uncle Roland's
0:37:54 > 0:37:56and Nadine's and GW's
0:37:56 > 0:38:01and we would, we'd be playing at night in Cleaton, Kentucky
0:38:01 > 0:38:04and it'd be pitch-black, cos there weren't city lights
0:38:04 > 0:38:07and you could start playing
0:38:07 > 0:38:11and you'd see little lights start to appear because people could hear you
0:38:11 > 0:38:12and they'd come down.
0:38:12 > 0:38:14And they'd come down, about on the porch light,
0:38:14 > 0:38:17just about the time they'd get about ten or 12 feet away,
0:38:17 > 0:38:20right, you know, people would come up together.
0:38:20 > 0:38:22We were talking about times we'd done it
0:38:22 > 0:38:24because we got to singing loud enough,
0:38:24 > 0:38:27and when we got older, we were singing a little louder
0:38:27 > 0:38:30because sometimes that music attracts the young girls!
0:38:30 > 0:38:33You had a chance to meet somebody that way.
0:38:33 > 0:38:36But it was the best of times. It was the best of times.
0:38:36 > 0:38:38What about that melancholy that you talked about?
0:38:38 > 0:38:44Where do you think that comes from? Is it because of that history of where people come from in this area?
0:38:44 > 0:38:46Well, I don't really call it melancholy.
0:38:46 > 0:38:48I think it's just a basic truth.
0:38:48 > 0:38:52Life is full of both happy and sad events.
0:38:52 > 0:38:57Love and death, and losing and winning,
0:38:57 > 0:39:03and this area and this music, people are very honest about it.
0:39:03 > 0:39:05And when you're happy, you sing a happy song
0:39:05 > 0:39:09and when you're sad, you sing it sad, and you allow yourself to feel.
0:39:17 > 0:39:20# You cheated me
0:39:20 > 0:39:24# And made me lonely
0:39:24 > 0:39:28# I tried to be
0:39:28 > 0:39:32# Your very own
0:39:32 > 0:39:40# There'll be a day you want me only
0:39:40 > 0:39:44# But when I leave
0:39:44 > 0:39:47# I'll be a long time gone
0:39:47 > 0:39:51# Be a long time gone
0:39:51 > 0:39:55# Be a long time gone
0:39:55 > 0:39:59# Yes, when I leave
0:39:59 > 0:40:03# I'll be a long time gone
0:40:07 > 0:40:11# You're gonna be sad
0:40:11 > 0:40:14# You're gonna be weepin'
0:40:14 > 0:40:17# You're gonna be blue
0:40:17 > 0:40:21# And all alone
0:40:21 > 0:40:25# You'll regret the day
0:40:25 > 0:40:29# You seen me leavin'
0:40:29 > 0:40:33# Cos when I leave
0:40:33 > 0:40:36# I'll be a long time gone
0:40:37 > 0:40:41# Be a long time gone
0:40:41 > 0:40:45# Be a long time gone
0:40:45 > 0:40:49# Yes, when I leave
0:40:49 > 0:40:53# I'll be a long time gone
0:40:56 > 0:41:00# You'll see my face
0:41:00 > 0:41:03# Through tears and sorrow
0:41:03 > 0:41:07# You'll miss the love
0:41:07 > 0:41:11# You called your own
0:41:11 > 0:41:15# Baby there'll be
0:41:15 > 0:41:18# No tomorrow
0:41:18 > 0:41:22# Cos when I leave
0:41:22 > 0:41:25# I'll be a long time gone
0:41:25 > 0:41:29# Be a long time gone
0:41:29 > 0:41:33# Be a long time gone
0:41:33 > 0:41:36# Yes, when I leave
0:41:36 > 0:41:41# I'll be a long time gone. #
0:41:41 > 0:41:44Nashville was pretty much the Mecca of country music.
0:41:44 > 0:41:49And, of course, we were doing that strange brand of country
0:41:49 > 0:41:51and some of the other things that we'd been listening to.
0:41:51 > 0:41:53Phil and I wanted to get on the records.
0:41:53 > 0:41:55That was the thing, your own records.
0:41:55 > 0:41:59And any way we could do it was what we would do.
0:41:59 > 0:42:01We liked all kinds of music at that point.
0:42:01 > 0:42:05We were trying to make it in our field, as we saw it.
0:42:05 > 0:42:08And the Grand Ole Opry was considered being the start of...
0:42:08 > 0:42:11Hank Williams, to me, was the first real rock 'n' roll star,
0:42:11 > 0:42:14in the way I would call a rock 'n' roll star.
0:42:14 > 0:42:19To me, he wasn't real, pure country, down-home musician. He was out there.
0:42:19 > 0:42:23He was chugging along, and he was dancing and stuff.
0:42:23 > 0:42:27I think it was a combination of that and black R & B
0:42:27 > 0:42:29that made rock 'n' roll.
0:42:29 > 0:42:34There was something so glamorous about the cowboy suit with
0:42:34 > 0:42:38the white piping and the Cadillac and the music and the whole thing.
0:42:39 > 0:42:42# Hey-hey, good lookin'
0:42:42 > 0:42:45# What ya got cookin'?
0:42:45 > 0:42:49# How's about cookin' something up for me?
0:42:50 > 0:42:53# Hey-hey, sweet baby
0:42:53 > 0:42:56# Don't you think maybe
0:42:56 > 0:43:01# We could find us a brand-new recipe?
0:43:01 > 0:43:04# I got a hot-rod Ford and a two-dollar bill
0:43:04 > 0:43:07# And I know a spot right over the hill
0:43:07 > 0:43:10# There's soda pop and the dancin's free
0:43:10 > 0:43:13# So if you wanna have fun, come along with me
0:43:13 > 0:43:16# Hey, good lookin'
0:43:16 > 0:43:18# What ya got cookin'?
0:43:18 > 0:43:24# How's about cookin' something up with me...? #
0:43:24 > 0:43:28We hadn't made it yet, but we were going to make it one day, you know?
0:43:28 > 0:43:32We were plugging and going to make it.
0:43:32 > 0:43:37Going to make it. They'd made it, you know? That was the lure of Nashville.
0:43:43 > 0:43:46# In the Bible
0:43:46 > 0:43:50# It says, "Thou shalt not steal"
0:43:50 > 0:43:53# But I have found the love I want
0:43:53 > 0:43:57# My heart knows that it's real
0:43:59 > 0:44:03# I found her in my best friend's arms
0:44:03 > 0:44:06# Stole her though I meant no harm
0:44:06 > 0:44:09# Too late to heed the warning
0:44:09 > 0:44:13# The love thou shalt not steal... #
0:44:19 > 0:44:22We would hang around the alley here at the back of the Opry,
0:44:22 > 0:44:25and whoever would be passing back and forth, going in and out,
0:44:25 > 0:44:27we would have our guitars, and they'd say,
0:44:27 > 0:44:31"They are the Everly Bros, they're songwriters and they're singers."
0:44:31 > 0:44:33And they'd say, "We'd like to hear you," and we'd sing for 'em.
0:44:33 > 0:44:35And show them a song.
0:44:35 > 0:44:38- There were a lot of people hanging out here.- We weren't the only ones!
0:44:38 > 0:44:41No! It was kind of a line, you know, of musicians.
0:44:41 > 0:44:43We wanted to be on a record, and on the Grand Ole Opry.
0:44:43 > 0:44:45To us, that was the top.
0:44:45 > 0:44:48And we were waiting for that break, that record,
0:44:48 > 0:44:51whatever it took to accomplish that.
0:44:51 > 0:44:53And I think it was due to Chet Atkins saying,
0:44:53 > 0:44:56"These kids are pretty good" that made it acceptable.
0:44:56 > 0:44:58And we were accepted.
0:44:58 > 0:45:01Hello there, I'm Chet Atkins and you're about to enter a place
0:45:01 > 0:45:04where country music history was made. For many years,
0:45:04 > 0:45:08Studio B served as RCA's prime recording studio in Nashville.
0:45:08 > 0:45:11It was a time in which the Nashville sound was born.
0:45:11 > 0:45:14And countless country hits were recorded.
0:45:14 > 0:45:18And a lot of it happened right here in this studio.
0:45:18 > 0:45:21# When you left me... #
0:45:33 > 0:45:36With hits by Elvis, Jim Reeves, Eddy Arnold and Don Gibson
0:45:36 > 0:45:39between me and the other producers
0:45:39 > 0:45:41we came up with a lot of hit records.
0:45:41 > 0:45:48# Here he comes, that's Cathy's clown... #
0:45:52 > 0:45:56FINGERPICKED GUITAR
0:46:21 > 0:46:23You can do it! Yeah!
0:46:23 > 0:46:25HE LAUGHS
0:46:34 > 0:46:39- Whose guitar is this? Is this yours? - This is mine.- It's bad!
0:46:39 > 0:46:42That's the best it's ever sounded!
0:46:42 > 0:46:46There used to be stories that Ike and Mose used to go down to this...
0:46:46 > 0:46:48- Arnold Schultz, is that his name? - Yeah.
0:46:48 > 0:46:51They'd go down to his house and crawl under the porch
0:46:51 > 0:46:54and listen to him pick at night, little kids.
0:46:54 > 0:46:57Then they'd go home and try to imitate what he was doing.
0:46:57 > 0:46:58I don't know if it's true.
0:46:58 > 0:47:01Dad said he followed him around everywhere.
0:47:01 > 0:47:03Said he followed him everywhere.
0:47:03 > 0:47:05If I explain more...
0:47:08 > 0:47:11It's, I can't do it, but...
0:47:15 > 0:47:18It's probably the way Arnold was playing.
0:47:18 > 0:47:24Country folks...
0:47:24 > 0:47:27Blind Lemon Jefferson and Big Boy Crudup and all those people.
0:47:27 > 0:47:30They loved... The lyrics were about the same.
0:47:30 > 0:47:34About the same problems - love and infidelity and everything
0:47:34 > 0:47:38and they... I would say the first tunes I learned to play
0:47:38 > 0:47:43were like, the guy that had Match Box Blues, Blind Lemon Jefferson.
0:47:43 > 0:47:46And I used to win money off my stepdaddy
0:47:46 > 0:47:49who'd say, "You can't play this," and I would play it.
0:47:49 > 0:47:52I'd copy the record and play it.
0:47:52 > 0:47:56So it was, most white southerners in the South do that, or did that,
0:47:56 > 0:48:00bought a lot of black blues.
0:48:01 > 0:48:03Dad was very aware of gospel
0:48:03 > 0:48:05and black gospel and everything
0:48:05 > 0:48:08and he used to listen to it on the radio in Chicago
0:48:08 > 0:48:11and was a child, I remember going down to Maxwell Street with him.
0:48:11 > 0:48:12Can you explain what that was?
0:48:12 > 0:48:17Well, Maxwell Street, then, this was a long time ago,
0:48:17 > 0:48:19was just where they set up little flea markets,
0:48:19 > 0:48:23and people busking and passing the hat for money.
0:48:24 > 0:48:27People playing instruments.
0:48:28 > 0:48:30And Dad really took a liking to it.
0:48:30 > 0:48:33We used to see him over there, and this guy would sing this song...
0:48:33 > 0:48:36# Going to New Orleans to get my cold ice cream
0:48:36 > 0:48:38# Oh, Daddy, don't you go
0:48:38 > 0:48:42# Going to New Orleans to get my cold ice cream... #
0:48:42 > 0:48:45That was it, he'd sing it right over and over and over.
0:48:45 > 0:48:48Daddy used to just love it.
0:48:49 > 0:48:53They were into Bo Diddley, and people like that, at that time.
0:48:53 > 0:48:56And I was, too. They introduced me to stuff like that.
0:48:56 > 0:49:01- And so we would talk about him and try to play his licks.- Yeah?
0:49:01 > 0:49:07And that, I think, helped them get a contemporary sound,
0:49:07 > 0:49:10because the first thing they did, when they got in the studio,
0:49:10 > 0:49:13they started playing that Bo Diddley lick
0:49:13 > 0:49:15that we had listened to.
0:49:16 > 0:49:20Which is a derivative of Bo Diddley.
0:49:20 > 0:49:24He didn't play that many chords, I don't think.
0:49:24 > 0:49:26ENGINE RUMBLES
0:49:26 > 0:49:27Uh-oh!
0:49:32 > 0:49:34Hi there, once again, everybody, this is the swinging
0:49:34 > 0:49:37sound of the Art Roberts Show, just cooking up a storm with you.
0:49:37 > 0:49:40Let's continue with that man, Mr Bo Diddley!
0:49:42 > 0:49:44GUNSHOTS
0:49:45 > 0:49:48GUNSHOTS IN TIME WITH RAPIDLY-STRUMMED GUITAR
0:49:54 > 0:49:57# We're gonna be married
0:49:57 > 0:50:01- # We're gonna be married... # - Ha-ha-ha! You ready? Woo!
0:50:01 > 0:50:03Yeah, all right!
0:50:03 > 0:50:05Me too. Hee-hee-hoo!
0:50:05 > 0:50:08- All right! - Go, girls, swing!
0:50:08 > 0:50:11# Gon' save my money now Gon' get married
0:50:11 > 0:50:12# Woo! Yeah! Right!
0:50:15 > 0:50:17# Daddy gonna gimme no horse and carriage
0:50:17 > 0:50:18# Woo! Yeah, right!
0:50:18 > 0:50:21# Tell all your friends! #
0:51:12 > 0:51:13Chet Atkins had told me about them,
0:51:13 > 0:51:17but there again, I just sort of let it slide
0:51:17 > 0:51:21because Chet had made the remark that he knew two great singers,
0:51:21 > 0:51:24a couple of brothers that were a great duet, and that,
0:51:24 > 0:51:28if you found the right material, he might record them.
0:51:28 > 0:51:31But that's sort of a hazy, too much of a hazy thing to go in
0:51:31 > 0:51:34and try to go into full production on,
0:51:34 > 0:51:38as far as writing goes.
0:51:38 > 0:51:42How did they strike you when you first met them?
0:51:42 > 0:51:46When I first heard them I thought they were wonderful.
0:51:46 > 0:51:49They had a different, a different quality.
0:51:49 > 0:51:51They were of course a duet,
0:51:51 > 0:51:53and there had been many duets before,
0:51:53 > 0:52:00but they had that little extra something, and when the two
0:52:00 > 0:52:08voices came together there was an abstract third something happening
0:52:08 > 0:52:14that made them just a little touch above most anybody I'd ever heard.
0:52:14 > 0:52:17They were like a fine Swiss watch.
0:52:17 > 0:52:20Boudleaux would know what would sound good
0:52:20 > 0:52:23and he would know how high Phil could sing and he would put him
0:52:23 > 0:52:29up there, because Phil, to Boudleaux, sounded like a Stradivarius
0:52:29 > 0:52:31when he hit those high notes.
0:52:31 > 0:52:33And Boudleaux just loved that.
0:52:33 > 0:52:39# Who's gonna shoe # Your pretty little feet?
0:52:40 > 0:52:46# Who's gonna glove your hand?
0:52:48 > 0:52:52# Who's gonna kiss
0:52:52 > 0:52:55# Your ruby-red lips?
0:52:55 > 0:52:58# Mmm, mmm...
0:53:04 > 0:53:10# Mmm, mmm
0:53:12 > 0:53:17# Mmm, mmm... #
0:53:17 > 0:53:20'A man from Nashville'
0:53:20 > 0:53:22gave me a call one day
0:53:22 > 0:53:27and suggested I listen to a demo he'd made with two young boys.
0:53:27 > 0:53:29And he saw it had great potential.
0:53:29 > 0:53:31They were the Everly Brothers.
0:53:31 > 0:53:35Well, listening to the record that was sent to me,
0:53:35 > 0:53:38I was really not that impressed with them.
0:53:38 > 0:53:42And of course, in the phone conversation with a music
0:53:42 > 0:53:47publisher from Nashville, whose name was Wesley Rose.
0:53:47 > 0:53:51Wesley suggested that he'd make a demo with them and that
0:53:51 > 0:53:56I listen again, because he felt sure that these boys could be successful.
0:53:57 > 0:54:01So he made a new demo and I listened to it and
0:54:01 > 0:54:04this time I was very much impressed.
0:54:04 > 0:54:05And I signed them.
0:54:10 > 0:54:13# Bye-bye, love
0:54:13 > 0:54:16# Bye-bye, happiness
0:54:16 > 0:54:19# Hello, loneliness
0:54:19 > 0:54:22# I think I'm a-gonna cry-y
0:54:22 > 0:54:24# Bye-bye, love... #
0:54:26 > 0:54:29One month we were out there and the next month we were here,
0:54:29 > 0:54:34and that, in itself, was phenomenal as far as I was concerned.
0:54:34 > 0:54:37I remember encoring here, one time, four times.
0:54:37 > 0:54:41Coming back and the crowd not stopping. They just kept applauding.
0:54:41 > 0:54:44We would come back and sing Bye-bye Love, maybe half of it,
0:54:44 > 0:54:46three or four times again.
0:54:46 > 0:54:49We just carried the banner of country all the way
0:54:49 > 0:54:50through as far as we were concerned.
0:54:50 > 0:54:52That was important.
0:54:52 > 0:54:54It felt like a sea of people, too.
0:54:54 > 0:54:57I remember, the crowd - it's different now when we've played
0:54:57 > 0:55:01large audiences, but at that time, it looked like an ocean of people.
0:55:04 > 0:55:07- Something.- The world was a little smaller, then.
0:55:07 > 0:55:08PHIL LAUGHS
0:55:17 > 0:55:20# I've been made blue
0:55:20 > 0:55:25# I've been lied to
0:55:25 > 0:55:30# When will I be loved?
0:55:33 > 0:55:37# I've been turned down
0:55:37 > 0:55:41# I've been pushed round
0:55:41 > 0:55:48# When will I be loved...? #
0:55:48 > 0:55:50I guess the best place to start is at the beginning.
0:55:50 > 0:55:51The beginning for Phil
0:55:51 > 0:55:55and I was just a small dot on the map called Brownie, Kentucky.
0:55:55 > 0:55:57We're now living in Nashville, Tennessee.
0:55:59 > 0:56:00This is our town of Nashville.
0:56:02 > 0:56:05# I've been cheated
0:56:05 > 0:56:09# Been mistreated
0:56:09 > 0:56:14# When will I be loved...?
0:56:15 > 0:56:17As you can tell, when we all get together,
0:56:17 > 0:56:20we usually wind up somewhere round the music room.
0:56:20 > 0:56:21Where we are now.
0:56:21 > 0:56:24And Don's playing with the guitar, there,
0:56:24 > 0:56:26and Sue and I are enjoying it very much.
0:56:26 > 0:56:29I'm kind of waiting for my turn, though.
0:56:30 > 0:56:31# Mr Sandman... #
0:56:33 > 0:56:35# We're gonna rock, rock, rock till broad daylight
0:56:35 > 0:56:39# We're gonna rock, gonna rock around the clock tonight... #
0:56:47 > 0:56:48APPLAUSE
0:56:48 > 0:56:50Welcome, welcome, welcome.
0:56:51 > 0:56:53It's nice to have you at our Rock Around The Clock party.
0:56:53 > 0:56:56I think we're going to have a lot of fun this evening.
0:56:56 > 0:56:58We've got a lot of wonderful dancing kids.
0:56:58 > 0:57:00And we also have some wonderful guests for you.
0:57:00 > 0:57:02And to start things off,
0:57:02 > 0:57:06two boys who have had a long succession of hits.
0:57:06 > 0:57:07The Everlys!
0:57:11 > 0:57:16# Problems, problems problems all day long
0:57:18 > 0:57:23# Will my problems work out right or wrong?
0:57:26 > 0:57:32# My baby don't like anything I do
0:57:34 > 0:57:39# My teacher seems to feel the same way, too... #
0:57:39 > 0:57:41my daughter, Jackie, was a great influence on me.
0:57:41 > 0:57:46As a matter of fact, I've sort of learned to listen through her ears.
0:57:46 > 0:57:50And she was, of course, much impressed by the Everly Brothers.
0:57:50 > 0:57:53I would watch her reaction.
0:57:53 > 0:57:56Not to the point of asking, "Jackie, do you like this?"
0:57:56 > 0:57:59But I'd wait for signs, for example,
0:57:59 > 0:58:03when I came home with Bye-Bye, Love, she immediately called all
0:58:03 > 0:58:06her girlfriends to come over and listen to the record.
0:58:09 > 0:58:12# Wake up, little Susie, wake up
0:58:14 > 0:58:18# Wake up, little Susie, wake up
0:58:19 > 0:58:22# We've both been sound asleep
0:58:22 > 0:58:25# Wake up little Susie and weep
0:58:25 > 0:58:27# The movie's over, it's four o'clock
0:58:27 > 0:58:29# And we're in trouble deep
0:58:29 > 0:58:31# Wake up, little Susie
0:58:31 > 0:58:34# Wake up, little Susie
0:58:34 > 0:58:37# Well, what are we gonna tell your Mama?
0:58:37 > 0:58:39# What are we gonna tell your Pa?
0:58:40 > 0:58:44# What are we gonna tell our friends when they say, "Ooh la la!"?
0:58:44 > 0:58:46# Wake up little Susie
0:58:46 > 0:58:49# Wake up little Susie
0:58:49 > 0:58:54# Well, I told your Mama that you'd be in by ten
0:58:54 > 0:58:59# Well, Susie baby, looks like we goofed again
0:58:59 > 0:59:02# Wake up, little Susie
0:59:02 > 0:59:04# Wake up, little Susie
0:59:04 > 0:59:06# We gotta go home... #
0:59:07 > 0:59:11As soon as we could afford it, we went and had a suit made.
0:59:11 > 0:59:15And the first thing we did when we went to New York was try to find...
0:59:15 > 0:59:18We quit dressing what they call '50s style now, immediately,
0:59:18 > 0:59:22cos everybody was wearing it. Your father was wearing it, first of all.
0:59:22 > 0:59:25The last thing you want to look like is your father!
0:59:25 > 0:59:26We went Ivy League strictly.
0:59:26 > 0:59:29Three buttons, button-down collars and little things
0:59:29 > 0:59:32and everything had a belt in the back, including your shoes.
0:59:32 > 0:59:34LAUGHTER
0:59:35 > 0:59:38In those days, there was no youth market.
0:59:38 > 0:59:41There was no shop for young people to go buy clothes,
0:59:41 > 0:59:44because nobody had any money if you were young.
0:59:45 > 0:59:48I remember when The Crickets showed up, and they said,
0:59:48 > 0:59:50"Where'd you guys get those clothes?" You know?
0:59:50 > 0:59:53And then I've seen pictures of Buddy,
0:59:53 > 0:59:55and we'd taken them down to Phil's Men's Shop.
0:59:55 > 0:59:59- There was a place called Phil's Men's Shop.- Where was that?
0:59:59 > 1:00:03In New York City. Before we really started getting tailor-made things.
1:00:03 > 1:00:07It was way off the beaten track.
1:00:07 > 1:00:11It was like, somebody had to tell you about it, to find it.
1:00:11 > 1:00:15But, they had, even before that, even in Knoxville, Tennessee, we had
1:00:15 > 1:00:20gone down...more towards the black area, I remember those Mr B shirts.
1:00:20 > 1:00:24Yes, we wore Mr B shirts in the '50s. Mr B collars and stuff. Yeah.
1:00:24 > 1:00:27That whole thing, and the new haircuts. You know?
1:00:27 > 1:00:31- Where did you get your hair done? - Dad and Mom.
1:00:31 > 1:00:35Dad had gone to barber school and Mom had gone to a beautician's school,
1:00:35 > 1:00:36so they cut it.
1:00:37 > 1:00:40- I tell you, the hassle over haircuts, it is just immense.- Yeah, it's phenomenal.
1:00:40 > 1:00:44And all through the airports. I remember the first time I walked down Hong Kong,
1:00:44 > 1:00:47walking through the streets of Hong Kong, early '60s, before us,
1:00:47 > 1:00:49before the Beatles,
1:00:49 > 1:00:53and my hair was just a little bit longer than it is now.
1:00:53 > 1:00:57Stopped traffic. Literally stopped traffic.
1:00:57 > 1:00:59People stopped and stared.
1:01:01 > 1:01:03APPLAUSE
1:01:06 > 1:01:13# I want you to tell me Why you walked out on me
1:01:13 > 1:01:21# I'm so lonesome every day
1:01:21 > 1:01:28# I want you to know that since you walked out on me
1:01:30 > 1:01:34# Nothin' seems to be the same old way
1:01:37 > 1:01:44# Think about the love that burns within my heart for you
1:01:44 > 1:01:53# The good times we had before you went away, oh me
1:01:53 > 1:01:57# Walk right back to me this minute
1:01:57 > 1:02:01# Bring your love to me, don't send it
1:02:01 > 1:02:07# I'm so lonesome every day
1:02:08 > 1:02:15# I'm so lonesome every day. #
1:02:17 > 1:02:19APPLAUSE
1:02:22 > 1:02:26We tried to continually introduce new things.
1:02:26 > 1:02:31I mean, we were the first in Nashville to have horns in the sessions
1:02:31 > 1:02:35and harpsichords and bringing all kinds of other things,
1:02:35 > 1:02:39attempting other sounds other than the same thing every time.
1:02:39 > 1:02:42After you have one hit with a group, it's very exciting
1:02:42 > 1:02:44because you realise,
1:02:44 > 1:02:47they got so big with their first hit that you know the next one's
1:02:47 > 1:02:49going to be a hit, so it's very important
1:02:49 > 1:02:51and interesting what you play,
1:02:51 > 1:02:54because millions of people are going to hear it, so they loved that.
1:02:56 > 1:03:00I remember when Chet came along with the volume control and changed it
1:03:00 > 1:03:04to tonal control, which is the first, they called it the wah-wah pedal.
1:03:04 > 1:03:06And then he'd also taken a tremolo,
1:03:06 > 1:03:09which was unknown at that point.
1:03:09 > 1:03:11You couldn't buy an amplifier with it in it.
1:03:11 > 1:03:16And he graciously, here's for All I Have To Do Is Dream,
1:03:16 > 1:03:19we were into that. We wanted to experiment.
1:03:21 > 1:03:26# Dream, dream, dream, dream
1:03:26 > 1:03:31# Dream, dream, dream, dream
1:03:31 > 1:03:35# When I want you in my arms
1:03:35 > 1:03:40# When I want you and all your charms
1:03:40 > 1:03:50Whenever I want you, all I have to do is dream, dream, dream, dream
1:03:50 > 1:03:54# When I feel blue in the night
1:03:54 > 1:03:58# And I need you to hold me tight
1:03:58 > 1:04:01# Whenever I want you
1:04:01 > 1:04:08# All I have to do is dream
1:04:08 > 1:04:13# I can make you mine, taste your lips of wine
1:04:13 > 1:04:17# Any time night or day
1:04:17 > 1:04:22# Only trouble is, gee whizz
1:04:22 > 1:04:26# I'm dreamin' my life away
1:04:26 > 1:04:31# I need you so that I could die
1:04:31 > 1:04:35# I love you so and that is why
1:04:35 > 1:04:38# Whenever I want you
1:04:38 > 1:04:40# All I have to do is
1:04:40 > 1:04:45# Dream, dream, dream, dream, dream
1:04:45 > 1:04:50# Dream, dream, dream, dream, dream... #
1:04:55 > 1:04:58HE CLAPS A BEAT
1:05:01 > 1:05:05# Lollipop, lollipop, Oh, lolly-lolly-lolly
1:05:05 > 1:05:08# Lollipop, lollipop, Oh, lolly-lolly-lolly
1:05:08 > 1:05:11# Lollipop, lollipop, Oh, lolly-lolly-lolly
1:05:11 > 1:05:12# Lollypop. #
1:05:12 > 1:05:14POP
1:05:14 > 1:05:17# Well, since my baby left me
1:05:17 > 1:05:19# I've found a new place to dwell
1:05:19 > 1:05:22# It's down at the end of lonely street
1:05:22 > 1:05:24# At Heartbreak Hotel. #
1:05:24 > 1:05:27I believe Elvis Presley is still a kind of a king.
1:05:27 > 1:05:29If he hadn't have kicked down all the doors,
1:05:29 > 1:05:32none of us could have gotten through.
1:05:32 > 1:05:36Music, then, was going through a real major change.
1:05:36 > 1:05:40The orchestras and that era was ending.
1:05:40 > 1:05:44Records were beginning to rock'n'roll and people hated rock.
1:05:44 > 1:05:46You either hated it or you loved it.
1:05:46 > 1:05:49Did you know what it was? Did anyone identify it as rock'n'roll?
1:05:49 > 1:05:53Well, we called it rock'n'roll, that was only because of Alan Freed.
1:05:53 > 1:05:55Alan Freed named it rock'n'roll.
1:05:55 > 1:05:58It was the records that were happening...
1:05:58 > 1:06:03The things we were listening to... I called Little Richard rock'n'roll.
1:06:03 > 1:06:09But I guess I also called what Buddy Holly was doing was rock'n'roll.
1:06:09 > 1:06:12The basic music that I grew up with
1:06:12 > 1:06:15and lived all my life will always be with me.
1:06:15 > 1:06:18I didn't think because I would settle down and get married
1:06:18 > 1:06:22and have a house in the suburbs that I would quit liking that music.
1:06:38 > 1:06:41# Lucille
1:06:41 > 1:06:45# Won't you do your daddy's will?
1:06:45 > 1:06:48# Lucille
1:06:48 > 1:06:51# You don't do your daddy's will
1:06:53 > 1:06:56# Well, it ain't nothin' to you
1:06:56 > 1:06:59# But I love you still
1:07:01 > 1:07:03# I woke up this morning
1:07:03 > 1:07:05# Lucille was not in sight
1:07:05 > 1:07:07# I asked her friends about her
1:07:07 > 1:07:09# But all their lips were tight
1:07:09 > 1:07:12# Lucille
1:07:12 > 1:07:15# Please come back where you belong
1:07:16 > 1:07:18# I been good to you, baby
1:07:18 > 1:07:24# Please don't leave me alone
1:07:24 > 1:07:27# Oh! #
1:07:31 > 1:07:34At the end of the '50s, I mean, it was pretty tumultuous,
1:07:34 > 1:07:36being on the road too.
1:07:36 > 1:07:38The big package tours that we would get on...
1:07:38 > 1:07:43You had 15 to 20 acts and you were playing to 100,000 people a night
1:07:43 > 1:07:47in these big coliseum stadiums, doing three songs, and pandemonium.
1:07:47 > 1:07:50You could hear nothing. Everyone screaming
1:07:50 > 1:07:52and yelling from the time it started to the time it ended.
1:07:52 > 1:07:55You were saying yesterday, you were friendly with Cochran
1:07:55 > 1:07:59and Holly and that. Was there a sort of sense of camaraderie between...?
1:07:59 > 1:08:01Oh, yes. It was like fraternity.
1:08:01 > 1:08:04It was like being in a college fraternity. It was great.
1:08:04 > 1:08:06- Us against them, always.- Yeah.
1:08:06 > 1:08:09Very few of those rock'n'roll people from our life, in fact,
1:08:09 > 1:08:13none that I can think of, anyone had any control over what they did.
1:08:16 > 1:08:19It wound up that the publishing company had control over what
1:08:19 > 1:08:22was being released. We disagreed with that entirely.
1:08:22 > 1:08:26And anybody, to this day, if your publishing company controls
1:08:26 > 1:08:30your releases, they're going to want their songs to be released.
1:08:30 > 1:08:33And so, artistic freedom, came down to that, we had to have it
1:08:33 > 1:08:37and we got it. By saying, but in the process,
1:08:37 > 1:08:40all the people that we were dealing with had to go by the wayside,
1:08:40 > 1:08:45in order for us to go ahead and pursue it, right or wrong,
1:08:45 > 1:08:47what we wanted to do musically.
1:08:47 > 1:08:50Cos rock'n'roll wasn't going to stay in that one spot.
1:08:50 > 1:08:51Let's face it, it didn't.
1:08:57 > 1:09:02# Don't want your love
1:09:02 > 1:09:04# Any more
1:09:05 > 1:09:10# Don't want your kisses
1:09:10 > 1:09:12# That's for sure
1:09:13 > 1:09:16# I die each time
1:09:17 > 1:09:21# I hear this sound
1:09:21 > 1:09:25# Here he comes
1:09:25 > 1:09:29# That's Cathy's clown
1:09:29 > 1:09:34# When you see me shed a tear
1:09:34 > 1:09:37# And you know that it's sincere
1:09:37 > 1:09:39# Don't you think it's kind of sad
1:09:39 > 1:09:41# That you're treating me so bad?
1:09:41 > 1:09:45# Or don't you even care?
1:09:45 > 1:09:49# Don't want your love
1:09:49 > 1:09:52# Any more
1:09:53 > 1:09:57# Don't want your kisses
1:09:57 > 1:10:00# That's for sure
1:10:00 > 1:10:05# I die each time
1:10:05 > 1:10:09# I hear this sound
1:10:09 > 1:10:13# Here he comes
1:10:13 > 1:10:16# That's Cathy's clown
1:10:16 > 1:10:20# That's Cathy's clown. #
1:10:20 > 1:10:23This is John Wayne, white cap and gloves,
1:10:23 > 1:10:28blue tunic and white belt, light blue trousers with a red stripe.
1:10:28 > 1:10:32This is the bold dress blue uniform of the United States Marine.
1:10:32 > 1:10:35Whether he earns his dress blues as an honour man at boot camp or
1:10:35 > 1:10:40acquires them later in his career, a Marine wears them with deep pride.
1:10:40 > 1:10:43Being a Marine is like being a part of the nation's history.
1:10:46 > 1:10:49I hadn't thought this through and I said...you know,
1:10:49 > 1:10:52Marines sound like death to me, you know?
1:10:52 > 1:10:57And Donald said, "Yeah," and he did say this, he said, "Yeah, but you know, they got those..."
1:10:57 > 1:11:00He said shiny helmets too, which...
1:11:00 > 1:11:03I never saw a shiny helmet in the time, you know?
1:11:03 > 1:11:07So one thing led to another and we wound up in that.
1:11:07 > 1:11:11But the Marines, there's an esprit de corps connected with it.
1:11:11 > 1:11:14It was great training, it was something that actually,
1:11:14 > 1:11:19I think, all in all, helped us in a period of time in our lives
1:11:19 > 1:11:21that maybe could have been more difficult.
1:11:21 > 1:11:23But I think it was good.
1:11:23 > 1:11:26I'll tell you how tough it was, as far as discipline, we didn't
1:11:26 > 1:11:29even speak for the first week, two weeks, that we were together.
1:11:29 > 1:11:33We stood side by side for two weeks and we did not have time to speak.
1:11:33 > 1:11:36Once you get through that, and everybody that gets
1:11:36 > 1:11:39through it is proud to put that uniform on, from then on.
1:11:39 > 1:11:43You meet somebody with that uniform on, you say, "There's a Marine."
1:11:43 > 1:11:47- And if he knows you're a Marine... - I've heard from so many people since then, if you're a Marine...
1:11:47 > 1:11:50Instantly, they know what you've done.
1:11:50 > 1:11:52Phil, you were scratching off each day.
1:11:52 > 1:11:56- As each day went, you would be writing it off...- I would.
1:11:56 > 1:12:01And when he'd do that, I'd check it. I wanted to know how many, you know?
1:12:01 > 1:12:04And now, ladies and gentlemen, bringing out on stage here,
1:12:04 > 1:12:07two United States Marines.
1:12:07 > 1:12:10The Everly Brothers have just finished their boot training out on the coast.
1:12:10 > 1:12:14Let's have a wonderfully warm welcome for them. The Everly Brothers!
1:12:17 > 1:12:20- Glad to have you back on our show. - Thank you very much.- Congratulations.
1:12:20 > 1:12:23- I understand you put on 20 pounds. - That's right.- Wow! You look great.
1:12:23 > 1:12:26- Thank you.- Sing a number there for Colonel Glenn.- Be glad to.
1:12:33 > 1:12:37# I'll never let you see
1:12:37 > 1:12:41# The way my broken heart is hurting me
1:12:41 > 1:12:46# I've got my pride and I know how to hide
1:12:46 > 1:12:49# All my sorrow and pain
1:12:50 > 1:12:52# I'll do my crying in the rain
1:12:57 > 1:13:00# Raindrops falling from heaven
1:13:01 > 1:13:05# Could never wash away my misery
1:13:05 > 1:13:08# But since we're not together
1:13:08 > 1:13:11# I pray for stormy weather
1:13:11 > 1:13:15# To hide these tears I hope you'll never see
1:13:17 > 1:13:20# Some day when my crying's done
1:13:20 > 1:13:25# I'm going to wear a smile And walk in the sun
1:13:25 > 1:13:29# I may be a fool, But till then, darling
1:13:29 > 1:13:33# You'll never see me complain
1:13:33 > 1:13:37# I'll do my crying in the rain
1:13:37 > 1:13:43# I'll do my crying in the rain. #
1:13:43 > 1:13:47APPLAUSE
1:13:54 > 1:13:58We turned around twice and you had to be English. It was in to be English.
1:14:04 > 1:14:07# Some other guy now
1:14:07 > 1:14:10# Has taken my love away from me, Oh, no
1:14:10 > 1:14:12# Some other guy now
1:14:12 > 1:14:15# Has taken away my sweet desire, Oh, now
1:14:15 > 1:14:17# Some other guy now
1:14:17 > 1:14:20# I just don't wanna hold my hand
1:14:20 > 1:14:23# I'm the lonely one, As lonely as I can feel all right. #
1:14:26 > 1:14:29If you weren't from England, for a period of time,
1:14:29 > 1:14:32especially The Beatles and The Rolling Stones, a lot of good
1:14:32 > 1:14:36came over, but then it dominated the airwaves for quite a period.
1:14:36 > 1:14:39Did you feel the pressure to change your way of performing?
1:14:39 > 1:14:42Well, the only pressure I felt was people said, "The Beatles
1:14:42 > 1:14:46"sound an awful lot like you," and I said, "Well, what can I do?"
1:14:46 > 1:14:48# She loves you, yeah, yeah... #
1:14:48 > 1:14:51From our side of the music business, it became very square
1:14:51 > 1:14:55if you didn't get stoned and you didn't have really long hair
1:14:55 > 1:14:58and that...element about your mystique, you know?
1:15:02 > 1:15:06I was listening to the music. And to me it wasn't revolutionary.
1:15:06 > 1:15:09I mean, it was louder and there were more tracks.
1:15:11 > 1:15:15They didn't know what to think of us at all. Not at all.
1:15:15 > 1:15:17I mean, even if we didn't wear tuxes.
1:15:17 > 1:15:20They didn't know what to think of us. They knew we were from the '50s.
1:15:20 > 1:15:22You know, and that was not the '60s.
1:15:22 > 1:15:24You know, it was that attitude
1:15:24 > 1:15:28and our songs didn't have anything about double meanings.
1:15:28 > 1:15:30You know, so...
1:15:30 > 1:15:33we had a hard road to hoe within that group
1:15:33 > 1:15:37and we'd also worked in Vegas and that was really bad.
1:15:37 > 1:15:40RASPING GUITAR MUSIC
1:15:55 > 1:15:58Music quit being something you could earn an honest living by.
1:15:58 > 1:16:01It had to be a social movement.
1:16:01 > 1:16:04- PHIL:- I always felt that the '60s were phoney.
1:16:04 > 1:16:06Include the psychedelic period.
1:16:06 > 1:16:08You still have to get records played
1:16:08 > 1:16:13and when everybody has an attitude that they're going for,
1:16:13 > 1:16:17like that sort of political reform in this, that and the other,
1:16:17 > 1:16:19I think the '60s was a very bad period for music.
1:16:21 > 1:16:23DON: In the '60s,
1:16:23 > 1:16:26we were never able to break into that record thing at all.
1:16:26 > 1:16:28No matter what music we pursued.
1:16:28 > 1:16:31I got stoned, I did everything trying to record something.
1:16:31 > 1:16:35I said, maybe there's something I'm missing in this whole thing.
1:16:36 > 1:16:40Got to set record stoned... that didn't work!
1:16:40 > 1:16:44- But we just were never accepted. - Did it get you down?
1:16:44 > 1:16:45It got me down a bit.
1:16:45 > 1:16:47I wanted to be on records.
1:16:47 > 1:16:49I mean, I found myself all of a sudden...
1:16:49 > 1:16:53we were working, but our records weren't
1:16:53 > 1:16:56and we made some really good records.
1:16:56 > 1:17:00APPLAUSE
1:17:00 > 1:17:03# Way down in Bowling Green
1:17:03 > 1:17:06# Prettiest girls I've ever seen
1:17:06 > 1:17:10# A man in Kentucky sure is lucky
1:17:10 > 1:17:13# To love down in Bowling Green, yeah
1:17:13 > 1:17:17# Bowling Green folks treat you kind
1:17:17 > 1:17:21# They let you think your own mind
1:17:21 > 1:17:24# A man in Kentucky sure is lucky
1:17:24 > 1:17:26# In Bowling Green you walk your own line
1:17:26 > 1:17:31# Kentucky sunshine makes the heart unfold
1:17:31 > 1:17:36# It warms the body I know it touches the soul
1:17:36 > 1:17:43# Bluegrass is fine, Kentucky owns my mind... #
1:17:43 > 1:17:46'Don and I toured almost 16 years
1:17:46 > 1:17:50'and we had been working for years and years before.
1:17:50 > 1:17:53'So, I'd had a lot.'
1:17:53 > 1:17:57'Phil and I for a while was working seven, eight months a year,
1:17:57 > 1:18:01'nine months a year. So, that takes it up... the year.
1:18:01 > 1:18:05'And if you do that for a period of 20 years, or something like that,
1:18:05 > 1:18:09'you've got a big chunk of your life has been spent travelling.
1:18:09 > 1:18:12'Being a duet and in the music business,
1:18:12 > 1:18:14'especially the kind of duet Phil and I are.
1:18:14 > 1:18:17'You know, close harmony, nose to nose,
1:18:17 > 1:18:19'right up on stage there every night
1:18:19 > 1:18:24'when we were working. That takes a lot of strain on a relationship.'
1:18:24 > 1:18:26# Bluegrass is fine
1:18:26 > 1:18:31# Kentucky owns my mind... #
1:18:52 > 1:18:57# Wandering down the road of life
1:18:57 > 1:19:02# Wandering over the hill
1:19:02 > 1:19:07# Don't know what I'm searching for... #
1:19:17 > 1:19:22The real pressure in that was the business. It's the business.
1:19:22 > 1:19:27We had more to worry about than, you mean, like sibling rivalry?
1:19:27 > 1:19:31Continuing the past adolescence all the way into adulthood?
1:19:31 > 1:19:35No, it's more the pressures of the business.
1:19:35 > 1:19:39That's a method I think a lot of people have tried to handle us
1:19:39 > 1:19:43with that because it's, you know,
1:19:43 > 1:19:47it's a simplistic kind of view
1:19:47 > 1:19:50that that's what would be a problem
1:19:50 > 1:19:54and that led to the ultimate end of the Everly Brothers,
1:19:54 > 1:19:55- but it's untrue.- Sure.
1:19:55 > 1:19:59Obviously, it's something that I think everybody is interested in,
1:19:59 > 1:20:03the fact that you were so close when you sing and then,
1:20:03 > 1:20:08can you just tell me about the last time you performed together?
1:20:08 > 1:20:11Well, I never really, basically discuss it.
1:20:11 > 1:20:14I've basically approached my life this way.
1:20:14 > 1:20:17Yesterday is yesterday and if you bring
1:20:17 > 1:20:21and take all of your past mistakes and drag them
1:20:21 > 1:20:24into your present, you're only going to confuse your present.
1:20:24 > 1:20:27Tomorrow's more important than your yesterday.
1:20:29 > 1:20:32I went through a period I didn't want to sing anything
1:20:32 > 1:20:35that Phil and I had done. I just needed a rest.
1:20:36 > 1:20:40I wasn't pursuing it, I wasn't... I spent a lot of time just
1:20:40 > 1:20:44sort of living I think an ordinary life which I hadn't done before.
1:20:44 > 1:20:49You know, I think that took up a lot of my... I was amazed to
1:20:49 > 1:20:52be off the road in the first time that I could remember.
1:20:53 > 1:20:57I did one album in California.
1:20:57 > 1:20:59Really out of the... for the thing of feeling that
1:20:59 > 1:21:02I should do an album and I did one.
1:21:02 > 1:21:05And it was a band called Heads, Eyes and Feet.
1:21:05 > 1:21:09Came into town, Albert Lee became a good friend of mine
1:21:09 > 1:21:12and I wanted really started working with them
1:21:12 > 1:21:15on a collaboration of an album called Sunset Towers.
1:21:17 > 1:21:20- PHIL:- Periodically, I will get an urge to go play
1:21:20 > 1:21:22and I would go do it.
1:21:22 > 1:21:28But I'll go two years without performing in front of somebody
1:21:28 > 1:21:30and it wouldn't bother me too much.
1:21:30 > 1:21:34Because I would make music at home and I was always satisfied.
1:21:47 > 1:21:50Be sure and put your phone number down as Don told you to have a
1:21:50 > 1:21:54fine programme Monday through Friday, two o'clock in the afternoon
1:21:54 > 1:21:57called Tune Tips and neighbours, if they call you up, you're going to
1:21:57 > 1:22:00be playing this. Donny, I feel another tune coming on.
1:22:00 > 1:22:02Let's get in gear and play another old favourite called
1:22:02 > 1:22:05Stealin' The Blues.
1:22:05 > 1:22:07BLUEGRASS STYLE GUITAR MUSIC PLAYS
1:22:11 > 1:22:14The Everly Brothers are the all-time greats.
1:22:14 > 1:22:17They have the two most extraordinary voices in pop and put together.
1:22:17 > 1:22:20What I think is incredible is that, you know, the early records
1:22:20 > 1:22:24were 25 years ago and the voices were still just unbelievable.
1:22:24 > 1:22:27There's really no better singers than the Everly Brothers, is there?
1:22:29 > 1:22:31I don't think there's any better singers than them.
1:22:31 > 1:22:35The voices, I mean they've managed to keep their voices
1:22:35 > 1:22:38throughout 25 years of rock'n'roll and they still sound like,
1:22:38 > 1:22:42you know, two birds with crystal clear voices. Amazing.
1:22:45 > 1:22:50- How long have you been an Everly fan?- Oh, I think all my life.
1:22:50 > 1:22:52As long as I remember, anyway.
1:22:52 > 1:22:54Yeah. When did you first hear their stuff?
1:22:54 > 1:22:57I guess I started listening to them when I was about 16. I mean,
1:22:57 > 1:23:01that's as far back as I can remember and I have always absolutely
1:23:01 > 1:23:05loved them, so I was really happy to see them back together again.
1:23:17 > 1:23:20BLUES GUITAR MUSIC PLAYS
1:23:39 > 1:23:42How come it's ten years. Why this year?
1:23:43 > 1:23:45That's a good question.
1:23:45 > 1:23:48I think maybe it could be I'm tired of everyone saying,
1:23:48 > 1:23:52"Why don't you do it, why don't you do it?" Every day of my life.
1:23:52 > 1:23:55And when we finally decided to do it people quit asking me
1:23:55 > 1:23:58that question and I don't know... the times change.
1:23:58 > 1:24:02You change, you mellow. And you...
1:24:02 > 1:24:05You see things. You get anxious again, maybe.
1:24:05 > 1:24:09I had enough time, we had enough time alone,
1:24:09 > 1:24:11enough time away from the road and everything.
1:24:11 > 1:24:16But then, sooner or later time changes. And I don't know.
1:24:16 > 1:24:18'It's an adventure.
1:24:18 > 1:24:22'That's the major thing. Right now it's an adventure which is wonderful.
1:24:22 > 1:24:25'If your father were alive, he'd love to see this.
1:24:25 > 1:24:28- 'He would be there with us. - Yeah.- That's the one regret.
1:24:28 > 1:24:31'Actually, I also, too think that I kind of feel
1:24:31 > 1:24:34'because of playing the Royal Albert that Dad is there
1:24:34 > 1:24:37'and it's special, you know, because I know that he really,
1:24:37 > 1:24:39'no matter what all of this other stuff,
1:24:39 > 1:24:43'that Dad basically would like this. This is important.
1:24:43 > 1:24:46'It's more important that we do do this,
1:24:46 > 1:24:48'regardless of what we do afterwards and all that.
1:24:48 > 1:24:52'It's important that we sing together at least once more and it's
1:24:52 > 1:24:54'a magic moment in my life, you know, and Don's too,
1:24:54 > 1:24:55'so it was just ideal.'
1:25:03 > 1:25:07AUDIENCE CLAMOURS
1:25:08 > 1:25:11APPLAUSE
1:25:13 > 1:25:18AUDIENCE CHEERS
1:25:33 > 1:25:37CHEERING AND APPLAUSE CONTINUE
1:25:52 > 1:25:59# I bless the day I found you
1:26:00 > 1:26:06# I want to stay around you
1:26:06 > 1:26:12# Now and forever
1:26:14 > 1:26:20# Let it be me
1:26:21 > 1:26:28# Don't take this heaven from one
1:26:29 > 1:26:35# If you must cling to someone
1:26:36 > 1:26:42# Now and forever
1:26:44 > 1:26:49# Let it be me
1:26:52 > 1:26:56# When I'm with you love
1:26:58 > 1:27:04# I find complete love
1:27:06 > 1:27:12# Without your sweet love
1:27:12 > 1:27:18# What would life be
1:27:19 > 1:27:27# So never leave me lonely
1:27:27 > 1:27:34# Say that you love me only
1:27:35 > 1:27:42# And that you'll always
1:27:42 > 1:27:47# Let it be me
1:27:49 > 1:27:57# Say that you'll always
1:27:58 > 1:28:06# Let it be me. #
1:28:09 > 1:28:13CHEERING
1:28:24 > 1:28:27- ENTOURAGE:- Isn't this wonderful? Come on, guys.
1:28:31 > 1:28:32THEY CHAT
1:28:32 > 1:28:36CHEERING AND APPLAUSE
1:28:36 > 1:28:38- ENTOURAGE: Come on.- Hold on.
1:28:38 > 1:28:41FANS CLAMOUR
1:28:41 > 1:28:44FANS' EXCITED CHATTER
1:28:51 > 1:28:54- PREACHER:- 'Here we are, Lord, and we're singing.
1:28:54 > 1:28:57'Really enjoyed these Everlys' singing today.
1:28:57 > 1:29:01'Where are the nine? And we answer today, Lord, here we are
1:29:01 > 1:29:03'and the first time ever
1:29:03 > 1:29:06'you seen all the Everly men singing.
1:29:06 > 1:29:08'We're singing.
1:29:08 > 1:29:12'I believe there was singing at the foundation of the world.
1:29:12 > 1:29:16'I believe there was singing at the creation of the world.
1:29:16 > 1:29:19'I believe there was singing at the incarnation of the Lord Jesus.
1:29:19 > 1:29:21'The angels, the heaven descended
1:29:21 > 1:29:23'and they were singing a heavenly choir.'
1:29:23 > 1:29:27I believe they were singing for every great occasion in your life.
1:29:27 > 1:29:32They'll be singing at the marriage supper.
1:29:32 > 1:29:34They'll singing and singing and singing but here we are, Lord,
1:29:34 > 1:29:36we're singing.
1:29:38 > 1:29:40GOSPEL HALL PIANO PLAYS
1:29:42 > 1:29:45Stand right up here. You just lead us in.
1:29:52 > 1:29:55Now you stand up there. We'll just stand around you.
1:29:55 > 1:29:57See this, this is the last one right here.
1:29:57 > 1:29:59And ain't he precious? 91.
1:30:01 > 1:30:04OK. You lead out, Uncle Roland.
1:30:04 > 1:30:06OK, let's try.
1:30:06 > 1:30:10ALL: # Amazing Grace
1:30:10 > 1:30:15# How sweet the sound
1:30:15 > 1:30:23# That saved a wretch like me
1:30:25 > 1:30:30# I once was lost
1:30:30 > 1:30:35# But now am found
1:30:35 > 1:30:40# Was blind but now I see... #
1:30:40 > 1:30:43THEY SCREAM
1:30:47 > 1:30:49'You can sing the blues at 20 and be blue.
1:30:49 > 1:30:53'You can be sad at 20, but when you sing the blues at 40 you've got
1:30:53 > 1:30:58'40 years of blues and 40 years of sad and it's sadder,
1:30:58 > 1:31:02'but then at 60, it'll be some other way.'
1:31:02 > 1:31:04'The family made music.
1:31:04 > 1:31:09'Dad made music and he taught us the craft and actually,
1:31:09 > 1:31:12'it's probably... I probably believe that it's a family business
1:31:12 > 1:31:16'otherwise I wouldn't have taught my sons and passing that on,
1:31:16 > 1:31:20'I would like to see, you know, my grandchildren learned to play
1:31:20 > 1:31:23'just because it's what my dad taught me.
1:31:24 > 1:31:28'His guitar got him out of the coal mines of Kentucky.
1:31:28 > 1:31:34'And the guitar he gave us got us all the way to London and the guitar
1:31:34 > 1:31:39'I've given my son, I think is doing very well with him with the girls.
1:31:39 > 1:31:43So, you know, if he can do the same for his son I think it's a grand
1:31:43 > 1:31:45'kind of thing, but we were...
1:31:45 > 1:31:47'basically that's what the family did.'
1:31:50 > 1:31:52DON: Ah, you spoil us, you spoil us!
1:32:00 > 1:32:04# Kentucky
1:32:12 > 1:32:17# You are the dearest land
1:32:17 > 1:32:24# Outside of heaven to me
1:32:33 > 1:32:39# Kentucky
1:32:43 > 1:32:47# I miss your laurel
1:32:47 > 1:32:52# And your redbud tree
1:33:01 > 1:33:08# I know that
1:33:10 > 1:33:16# My mother, dad and sweetheart
1:33:16 > 1:33:23# Are waiting for me
1:33:30 > 1:33:37# Kentucky
1:33:43 > 1:33:48# I will be coming soon
1:33:57 > 1:34:04# When I die
1:34:06 > 1:34:13# I want to rest upon a graceful
1:34:13 > 1:34:18# Mountain so high
1:34:26 > 1:34:32# For that is
1:34:35 > 1:34:43# Where God will look for me
1:34:50 > 1:34:57# Kentucky... #
1:35:05 > 1:35:09CHEERING AND APPLAUSE
1:35:12 > 1:35:14- PHIL:- Thank you!