Concerts by the EB's and solo

Nobody has yet found a live video of this Frankfurt, Germany concert, so it is great to see all of these photos, "Any Which Way You Can"! Too bad the photographer didn't have a video camera!
Last update on February 24, 3:03 am by Gloria Solis.
The Everly Brothers appeared at the Winnipeg Auditorium November 16 1964




Winnipeg Auditorium. Winnipeg's main concert hall complex from 1932, when it opened, until 1968, when it was supplanted in that function by the Manitoba Centennial Concert Hall. It was designed jointly by three architectural firms - Northwood & Chivers, Pratt & Ross, and J.N.

The main auditorium (seating over 4000) and the concert hall (seating 800) shared a single stage - a doubtful economy since it made their simultaneous use impossible. A third auditorium (the assembly hall, seating 400) shared the third floor with the Winnipeg Art Gallery and the Manitoba Museum.

Although it was the largest and one of the finest Canadian buildings of its day, the main auditorium was poor acoustically and was far surpassed in this regard by its successor, the centennial hall. The acoustics were a by-product of its all-purpose design, with unraked floor and removable seats permitting its conversion for social dancing, roller skating, wrestling, bond rallies, conventions, etc.





Bill Hillman re-lives the concert, he was part of the "Fugitives"

"The Fugitives" big break came on November 16, 1964, when they were booked as opening act for the CKY Fall Festival of Stars in the Winnipeg Auditorium. They stayed on stage as backup band for the Newbeats, who were warm-up act for Roger Miller and The Everly Brothers. Miller's guitar player was Thumbs Carlisle while the Everly's lead player was Sonny Curtis from Buddy Holly's Crickets (composer of Walk Right Back, Mary Tyler Moore Theme, etc.)

The "Fugitives" first experience with a really wild audience... it started with them singing along with all the hits... and then bursting into screams as the Everly magic took hold
• the show had originally been billed as The Roger Miller show as he was currently riding high with a string of top ten hits BUT early in the tour it was determined that Don and Phil Everly HAD to close the show because at every appearance the audience had gone wild in Beatlemania style
• you can play the chords and melody to "Walk Right Back" (the Everly's 1961 hit written by Sonny Curtis) when you sing Roger Miller's 1965 hit "Engine, Engine Number Nine." When told about that, Sonny Curtis said, "Mad at Roger for copying me? No, I'm honoured."
• the exciting look and stage presence of the Everlys... and the goose bump harmonies!
• the fire wardens closing the show down each time waves of fans mobbed the stage during the Everlys' act
• the first time we had worked with male performers who wore stage make-up... and who appeared strangely "glassy-eyed."
• returning to the auditorium to pack up equipment the next morning and finding one of the famous black Everly Brother Gibson acoustic guitars behind a curtain
• the "disappointment" next morning while we were packing up when a long distance call came from the Everlys' road manager in Minneapolis asking if anyone had found a missing guitar
• the drudgery of returning to the Oh-so-mundane classes at Brandon College
• then the excitement, soon after our return, of learning that we had been chosen as Bobby Curtola's backup band for his winter tour of Western Canada.





YOUTHSCENE by Andy Mellen
Winnipeg Free Press ~ March 28, 1973
THE READERS WRITE: Dear Andy: I noticed an item in your column some time ago about the past appearance of the Everly Brothers in Winnipeg. I can add one more to your list. On Monday, November 16, 1964, my band, The Dovermen, appeared on a Fall Festival of Stars in the Winnipeg Auditorium. We opened the show with half a dozen numbers and then backed the Newbeats. The Everly Brothers were the hit of the show, and their performance was stopped numerous times while fans who were packed around the stage were ordered back to their seats. It is with great enthusiasm that my wife and I await their appearance this week. Best regards, Bill Hillman, Strathclair, Manitoba.
The Everlys along with warm-up act Sam Neely will be at the concert hall tomorrow and Friday for 8:30 p.m. shows.









AUDITORIUM HEADLINERS

Headliners on the Roger Miller Show, coming to the Auditorium Nov. 16, are the Everly Brothers, Don and Phil, (above) of Bye Bye Love fame. Sharing the billing are the Newbeats and the Chug-A-Lug Band. The Everly Brothers rendition of Bye Bye Love sold one and one-half million records.


EVERLY BROTHERS SCORE GREAT HIT
by Richie Cage
Winnipeg Free Press ~ November 16, 1964
The Everly Brothers, Roger Miller and the Newbeats headed the CKY Fall Festival of Stars at the Winnipeg Auditorium on Monday night.
Don and Phil Everly, the original long-hair boys, sang their hearts out to the near capacity audience. Harmony and perfect tune was made for these two brilliant young performers. Bye Bye Love, Wake Up Little Susie were some of their great hits on the record charts not long ago.

The Everly Brothers haven't been heard from in a long time. Teen-agers thought they had died out, but their performance left a solid impression on the audience. They still have appeal.

The audience, for the first time this season, sang along with the performers. Never before has the audience sung for performers of the Rock and Roll era.

Roger Miller, a relatively new singer on the teen scene, was another wonderful performer. He combined wit, and a sparkling, friendly personality.

Mr. Miller has showmanship and a rare talent. Chug-a-lug and Dang Me are two of his current hits.

He was behind the scenes for many years as a successful song writer and only recently has he made his debut as a singer. If Mr. Miller were not a success as a singer he could quite easily become a top comedian. He has a mind like a bear trap that snaps decisively on things of humor. On stage he clowned with the members of his group and made the crowd roar with his antics.

The Newbeats, three slick-looking gentlemen in powder-blue suits, sang their hit tunes Bread and Butter and Pink Delarus. Dean, Mark and Larry supplement their good looks with great hits, such as Tell Him No. Larry Henley, the lead singer, has tremendous range to his voice. This strange quality has brought the Newbeats recognition in the recording world.

Rounding out the performance was the Dover Men from Brandon, a group of three guitarists and a drummer. This group backed the Newbeats after only 15 minute's playing and turned in a great performance.

The surprise of the night was the audience participation which, at such performances is usually apathetic. The chorus could be heard along the avenue for some time after the show was over.
Last update on March 8, 7:13 pm by Chris.


Exhibit at the Iowa Rock 'n' Roll Music Association Museum in Arnolds Park, IA.

From the Iowa Rock 'n' Roll Music Association Facebook page:
"DID YOU KNOW? Our 2003 inductees The Everly Brothers held the attendance record (4,000!) at the Roof Garden Ballroom (below, in Arnolds Park, IA) for eight years, from 1962 to 1970."




Last update on March 11, 9:36 pm by Mary.
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The Everly Brothers, who both spent their formative years in Shenandoah, IA, played the Roof Garden Ballroom every year for seven years straight.





After a tornado demolished a portion of the ballroom in 1968, Oleson rebuilt the Roof Garden. However, Olesen tragically died in a plane crash in 1972. Fewer and fewer bands played the Roof Garden Ballroom after that. The ballroom fell into a state of disrepair and along with the amusement park next door, the Roof Garden closed for good in 1987. A year later, local fire departments burned down the original Roof Garden Ballroom for practice.



The above photo is of the original roof garden before it caught fire.
In 1989, some local people helped restore the amusement park, and then a few years later a new ballroom was built just south of the original Roof Garden. This is where the Iowa Rock and Roll Hall of Fame has their induction ceremonies, and the museum has bands come in and play for the Roof Garden's "Rock the Roof" Thursday night shows during the summer months.





Connie Mueller took us into the new ballroom and told us that they get about 1200 to 1500 people each Thursday night through the summer months when they have the "Rock the Roof" events. There is also an outdoor stage in a park to the east of the shops opposite the museum that features bands on Friday and Saturday nights through the summer. Connie told us that even with the attached reception hall on the north side of the new Roof Garden Ballroom, the total square footage of the entire building is smaller than the original Roof Garden.

Interestingly, we were told by a lady working with Connie Mueller that day that the creaky floor we were standing on in the center to the front of the museum was a restored piece of the old floor at the original Roof Garden Ballroom. "They found it in a heap after the original Roof Garden was gone," she told us. "This part of the floor was the biggest piece they could find, but it was covered in bird poop and sort of weathered from the elements." She said when they built the museum they put the floor in to be part of the display. "So you can say you actually stood on the floor of the Roof Garden Ballroom," she proudly exclaimed.







So it wasn't the Rock and Roll Hall of Fame out in Cleveland (a place that we visited about 8 years ago). It took us about 30 minutes, tops, to go through the museum - and that included looking around the new Roof Garden Ballroom and chatting with the ladies in the museum. But for a kid growing up in a rock and roll culture of the 60's with three older sisters and an older brother that played rock music on the car radio or on the Zenith transistor radio that we had around the house, it was a pretty neat experience. I think it's definitely worth the buck a head admission fee. Heck, I would have paid TWO BUCKS to experience Iowa Rock and Roll Hall of Fame museum.
Last update on March 12, 6:42 pm by Chris.
The Everly Brothers appeared at the Tennessee Theatre in Knoxville in 1998





Knoxville is home to a rich arts community and has many festivals throughout the year. Its contributions to old-time, bluegrass and country music are numerous, from Flatt & Scruggs and Homer & Jethro to the Everly Brothers. For the past several years an award-winning listener-funded radio station, WDVX, has broadcast weekday lunchtime concerts of bluegrass music, old-time music and more from the Knoxville Visitor's Center on Gay Street, as well as streaming its music programming to the world over the Internet.

In its May 2003 "20 Most Rock & Roll towns in the U.S." feature, Blender ranked Knoxville the 17th best music scene in the United States.


Downtown Knoxville

By Andrew Male January 7, 2014



BACK IN DECEMBER 2012 I interviewed Will Oldham about the album of Everly Brothers covers that he’d just recorded with Faun Fables’ Dawn McCarthy. We’re both huge fans of the brothers’ work – especially the beguiling B-sides and heart breaking covers they cut for Warner Brothers in the late ’60s – but, understandably, Oldham was deeper into their back catalogue than me and opened my eyes to a double live album I’d always assumed was but four sides of contractual filler. Of course, you should never do that, and 1970’s The Everly Brothers Show proves the rule.

Recorded live at the Grand Hotel in Anaheim, California on February 6, 1970, The Everly Brothers Show was produced by Lou Adler and saw the brothers backed by a crack team featuring Milwaukee guitar instrumentalist Sam McCue, Walker Brothers stalwart Al “Tiny” Schneider on drums and Robert Knigge on bass.

The Grand Hotel, Anaheim, CA



At first glance, the album appears to be little more than your standard live ragbag of ’50s Everly classics and rock’n’roll oldies – Maybellene, Suzie Q, Bird Dog, Wake Up Little Susie – but it also contains some stunning versions of more recent material – a hard-driving cover of 1967 single Bowling Green and a stripped-back, soulful rework of Lord Of The Manor – and a twenty minute medley that now ranks as one of my favourite side-long album tracks.



Talking about the Medley in 2012, Will Oldham said, “This is one of my favourite tracks of recorded music anywhere. It’s frantic. The one potential promise of jazz that didn’t seem to come into fruition was great musicians taking popular songs and just kind of riffing on them. It seems like that stayed within a jazz tradition. But this is close. It’s 18 minutes of going from one song to another with extended four minute bass solo section, three-minute drum solo section… When you listen to it you just laugh, because it’s insane, infectious.”

The concert was filmed, and sections were shown on the Everlys’ 1970 ABC TV vehicle, also called The Everly Brothers Show. This five-minute clip is taken from that medley and shows Don and Phil moving seamlessly from Chuck Berry’s Rock And Roll Music into Abbey Road‘s valedictory coda, The End. In light of the brothers’ acrimonious split in 1973 and, of course, Phil Everly’s recent passing, the sequence now feels incredibly moving, especially as everything Don Everly sang around this time was touched by shades of night. It could be just a cover. But given the brothers’ troubles, it could also be a gesture of reconciliation, an admission of guilt, an onstage taunt.





However you read it, the whole Medley feels like a conversation, a sibling narrative running between two brothers who, by that stage, had pretty much given up on talking to each other off-stage. If you don’t believe there’s something else going on here, other than the standard Vegas segue-fest, just watch how Don and Phil effortlessly glide from the saccharine hippie optimism of The Hair Soundtrack’s Aquarius into the cold, romantic pessimism of The Price Of Love and Joe South’s zero-sum game The Games People Play.



If that isn’t enough of a convincer, here’s Will Oldham on another highlight from the album, one without an accompanying Youtube clip, sadly…

“There’s one moment after everyone’s done their extended solo section that the whole band comes back together doing the Ticket To Ride riff, just for a second. You think that the musicians don’t know where each other are, and then they go back into their groove. It’s just one of the most intense pieces of music to listen to. That’s one I play regularly for people. Usually I’ll play it on tour in the van because everybody gets lost in it.”






The entire show is attached
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