The Everly Brothers – “This Is The Last Song I’m Ever Going To Sing” (1968)

Phil Everly Dies; Transformed Rock 'N' Roll With Brother Don : The Two-Way : NPR

About the Song

“This Is the Last Song I’m Ever Going to Sing” by The Everly Brothers is a curious and intriguing track from their 1968 album Roots. The title alone is a dramatic statement, leading listeners to wonder if the duo was contemplating retirement.

While the song itself is a solid country ballad, showcasing the Everlys’ signature harmonies and emotional depth, it’s the context of its release that adds an extra layer of interest. It came at a time when the duo’s popularity was waning, and the music industry was undergoing significant changes.

The song’s title, therefore, can be interpreted as a reflection of the challenges they were facing or perhaps a more poetic expression of their artistic journey. Regardless, it remains a fascinating piece of their discography, offering a glimpse into the minds of two iconic musicians at a pivotal point in their careers.

Don Everly: One half of legendary rock'n'roll duo | The Independent

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Lyrics: This Is The Last Song I’m Ever Going To Sing

This is the last song I’m ever going to sing
The last time I’ll play my old guitar
I wasted my life and I didn’t gain a thing
Oh I’m never gonna be a starI came to Nashville a long time ago
People said that I could be a star
But all that I remember is loneliness and hunger
Oh sure didn’t get so farThis is the last song I’m ever going to sing
The last time I’ll play my old guitar
I wasted my life and I didn’t gain a thing
Oh I’m never gonna be a starThe big time operators made a fool out of me
It sure don’t feel so good to fail
I’ve slept on every park bench in every park in Nashville
Oh I slept in a Nashville jail

This is the last song I’m ever going to sing
The last time I’ll play my old guitar
I wasted my life and I didn’t gain a thing
Oh I’m never gonna be a star
Oh I’m never gonna be a star
Oh never gonna be a star
Oh I’m never gonna be a star

The first time Merle Haggard laid eyes on Johnny Cash perform, he wasn’t standing backstage or even dreaming of a singing career. He was simply an inmate locked inside San Quentin. Merle was barely into his twenties yet already carrying more trouble than most men twice his age. An arrest, a prison stint, a failed escape attempt, and a permanent cell followed until Johnny Cash walked through the gates to put on a show for the convicts. Sitting right among the inmates, Merle watched a man dressed in black stand under the lights and sing directly to prisoners as if their humanity still mattered. Years later, Haggard often credited that exact afternoon with pushing him toward turning his life around and taking music seriously. He eventually walked out of San Quentin forever, but those prison years never truly left him. They bled directly into tracks like “Branded Man,” “Sing Me Back Home,” and his signature anthem “Mama Tried,” which captured a mother doing everything humanly possible while her son kept picking the wrong road. Decades later, Merle mentioned the San Quentin concert to Cash, who joked right back that he didn’t remember seeing him on the bill. Merle looked at him and said, “I was in the audience.” That simple truth marked the dividing line between Merle Haggard and almost every other artist who sang about prison walls. He didn’t have to use his imagination to know what they felt like.

TAMMY WYNETTE AND PRODUCER BILLY SHERRILL FINISHED WRITING AND RECORDING “STAND BY YOUR MAN” IN JUST FIFTEEN MINUTES, CREATING ONE OF THE MOST ICONIC ANTHEMS IN COUNTRY MUSIC HISTORY. With less than an hour remaining in a CBS recording session on August 28, 1968, producer Billy Sherrill took Tammy Wynette upstairs to his office to finish a few unfinished lines. Hustling through the lyrics in less than twenty minutes, the pair rushed back down to the studio floor to track the song that would define Wynette’s legendary career. Enhanced by lush strings and a soaring vocal climax, “Stand by Your Man” exploded to No. 1 country, crossed over onto the pop charts, and sold over two million copies despite sparking a fierce national debate over its lyrics. Entering the Library of Congress National Recording Registry, the track remains a masterclass in how a brief spark of inspiration can leave an everlasting mark on Nashville.

GLEN CAMPBELL DISCOVERED “RHINESTONE COWBOY” WHILE HIS CAREER WAS FADING, TURNING A LONELY ROAD TRIP ANTHEM INTO THE SMASH HIT THAT REVIVED HIS LEGENDARY MAINSTREAM CAREER. By 1974, Glen Campbell’s commercial peak on television and country radio had slowed down significantly, leaving the once-ubiquitous star searching desperately for a comeback. While preparing for an Australian tour, he received a cassette tape of Larry Weiss’s “Rhinestone Cowboy” and played it repeatedly during long drives between venues, including a grueling 650-mile stretch from Sydney to Brisbane. Finding deep personal resonance in the lyrics about years of compromise and relentless hope, Campbell already knew every turn of the arrangement by the time he returned to the United States. Released by Capitol Records in 1975, the single exploded on the charts to become his very first pop No. 1, selling millions of copies and successfully kickstarting a brilliant second act that proved some stars shine brightest after the storm.

Billy Joe Shaver first caught Waylon Jennings’ eye at Willie Nelson’s Dripping Springs Reunion back in 1972 while passing a guitar around backstage and picking “Willy the Wandering Gypsy and Me.” Waylon immediately stopped in his tracks, learned the chords on the spot, and promised to record the material. Instead of a quick cut, Shaver found himself stuck in Nashville for six months trying to collect on that promise while dealing with empty pockets and a songwriter dodging his calls. A sympathetic DJ eventually smuggled him right into one of Waylon’s studio dates. Still trying to brush him off, Waylon handed over a hundred-dollar bill with strict instructions to clear out. Shaver was broke enough to desperately need the cash, yet his pride won out. He fired the money right back with a harsh insult, prompting a furious Waylon to storm out into the hallway surrounded by a crowd. Shaver stood his ground and told him straight: listen to the songs, or catch a beating right there in front of God and everybody. Waylon finally sat down and listened. One track led to another until Jennings scrapped his own plans and built an entire record around Shaver’s writing. Released in 1973, Honky Tonk Heroes packed nine of Billy Joe’s compositions and turned into a crown jewel of the outlaw movement. The recording room stayed just as volatile, with Shaver loudly arguing over arrangement choices and accusing Waylon of altering his vision. Yet that exact friction gave the record its teeth. Waylon had just fought RCA for total creative freedom, and Billy Joe Shaver proved stubborn enough to demand that exact same respect for the words on the page.