5 Everly Brothers Covers That Show the Duo's Eerie, Enduring Influence | Pitchfork

About the Song

The Everly Brothers were one of the most influential and popular rock and roll duos of all time. Their close harmonies and infectious energy helped to define the sound of early rock and roll, and their songs have been covered by countless artists.

“This Little Girl of Mine” is one of The Everly Brothers’ most beloved songs. It was written by Ray Charles and released in 1958. The song is a sweet and tender ballad about a young man’s love for his girlfriend. The Everly Brothers’ harmonies are simply beautiful, and their vocals are full of emotion.

The song was a commercial success, reaching number one on the Billboard Hot 100 chart. It has also been covered by many other artists, including Roy Orbison, The Beatles, and The Beach Boys.

“This Little Girl of Mine” is a classic example of the Everly Brothers’ sound. It is a beautiful and timeless song that will continue to be enjoyed by music lovers for generations to come.

Here are some interesting facts about the song:

  • The song was originally written by Ray Charles for his daughter, Ray Charles Jr.
  • The Everly Brothers’ version of the song was produced by Archie Bleyer.
  • The song was featured in the 1964 film “The Beatles Come to America”.
  • The song was inducted into the Grammy Hall of Fame in 2004.

The Everly Brothers: Rolling Stone Interview

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Lyrics: This Little Girl Of Mine

This little girl of mine,
I want you people to know
This little girl of mine,
I take her everywhere I goOne day I looked at my suit, my suit was new
I looked at my shoes and they were too
And that’s why, why, why, why I oh yeah,
Love that little girl of mineThis little girl of mine,
Makes me happy when I’m sad
This little girl of mine,
Love’s me even when I’m badShe knows how to love me right down to her teeth
If she does any wrong, you know she keeps it from me
And that’s why, why, why, why I, oh yeah,
Love that little girl of mineAnd that’s why, why, why, why I, oh yeah,
Love that little girl of mine

This little girl of mine,
Called me last night about eight
This little girl of mine,
Told me that we had a date

She said that she’d meet me at a-quarter to nine,
Believe or not but she was right on time
And that’s why, why, why, why I, oh yeah,
Love that little girl of mine

This little girl of mine,
Knows how to dress so neat
This little girl of mine,
Stops the traffic on the street

And when a fella starts a-whistlin’, I don’t mind
I can’t blame him, ’cause she is fine
And that’s why, why, why, why I, oh yeah,
Love that little girl of mine

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SHE STEPPED UP TO THE MICROPHONE TO SING A LOVE SONG WITH A MAN WHO WAS ALREADY GONE. When Lorrie Morgan walked into the studio to record “‘Til a Tear Becomes a Rose,” she wasn’t just performing a track for a Greatest Hits album. She was stepping into a haunting, high-stakes duet with her late husband, Keith Whitley, who had passed away just a year earlier. The technology was simple, but the emotional weight was crushing. Keith’s voice was already on the tape, preserved from an old demo he’d recorded with his friend Ricky Skaggs. There was no studio collaboration, no sharing a smile between takes, and no husband to hold once the final note faded. Lorrie had to stand in the silence, put on her headphones, and wait for Keith’s voice to come through—then harmonize with a ghost. When the song was released in 1990, it didn’t just climb the charts; it hit a nerve that few country songs ever reach. It felt raw, immediate, and painfully real. That fall, when the industry gathered for the CMA Awards, the song took home the trophy for Vocal Event of the Year. The two names—Lorrie Morgan and Keith Whitley—were etched together on the award, a cruel reminder of a partnership that had been tragically severed in its prime. While Lorrie stood alone to accept the honor, the recording remained a permanent monument to what they had been. It wasn’t just a song about sorrow or a performance about heartbreak; it was a widow using her own voice to reach across the silence and sing one last time with the man she couldn’t hold again. It stands today as a testament to the fact that while death can end a marriage, it can’t always silence the music that two people built together.

A PERFECT FINALE: ALAN JACKSON HANGS UP HIS HAT AND WELCOMES HIS FIFTH GRANDCHILD.For a man who built a career on songs that capture the milestones of life—the memories, the heartbreaks, and the quiet joys—the timing of Alan Jackson’s latest chapter feels like something written into a country standard.On June 27, 2026, Alan Jackson took the stage at Nashville’s Nissan Stadium for his final, massive farewell concert, “Last Call: One More for the Road – The Finale.” With over 50,000 fans in the stands and a roster of country’s biggest names joining him, the mood was one of celebration and reflection. During the show, Alan shared a sweet, prophetic moment with the crowd, pointing out his daughter Dani, who was heavily pregnant at the time. “We have three wonderful daughters and sons-in-law, and now we’ve got 4.75 grandchildren,” he joked. “One’s due any minute. She’s out there… I feel sad for her being here tonight, she’s about to go into labor with all this sound going on.” He wasn’t off by much. Twelve days after that final bow, the Jackson family grew once more. On July 9, 2026, Dani and her husband, Sam Carrington, welcomed Samuel Hudson Carrington—”Hudson”—the couple’s first child and Alan and Denise’s fifth grandchild. Alan shared the news on Instagram with a touching photo of himself and Denise cradling the newborn. It’s a milestone that brings a beautiful full-circle moment to the Jackson household. With all three of his daughters—Mattie, Ali, and Dani—having been pregnant at the same time, this “baby boom” has been the perfect way for Alan to transition from the spotlight of his touring career to the quiet, cherished life of a grandfather. For the man who spent decades singing “Remember When,” this is a new “remember when” in the making: one legendary farewell, one beautiful hello, and a retirement that couldn’t have been timed more perfectly.

PEOPLE SAW WHAT THE CANCER HAD TAKEN, BUT WHEN HE STEPPED TO THE MIC, HE SHOWED THEM THE ONE THING IT COULD NEVER REACH. By the end of 2023, the physical toll was impossible to miss. Stomach cancer had stripped away the frame of the man who once seemed to fill an entire arena just by walking out onto the stage. When Toby Keith stepped onto the boards at Dolby Live in Las Vegas, the audience wasn’t looking at the “Big Dog Daddy” of the 2000s; they were looking at a man who had been through the fires of hell. But then, he started to sing. The voice was different—weathered by pain, tempered by exhaustion, and rougher around the edges. But it wasn’t broken. It carried the same iron-clad authority that had defined his career for three decades. He didn’t try to hide his condition or mask the changes with stagecraft; he stood there, exposed and honest, and let the music do the work. When he performed “Don’t Let the Old Man In,” the atmosphere in the room shifted. It wasn’t just a song anymore; it was a manifesto. Every word felt like a deliberate strike against the inevitable, a defiant declaration from a man who wasn’t done yet. He wasn’t just singing about age; he was singing from the front lines of his own battle. Those shows were meant to be a comeback. Instead, history turned them into a final stand. In the end, cancer succeeded in weakening his body and cutting his time short, but it couldn’t touch the core of who he was. When he began to sing, the noise of his illness vanished, leaving behind only the one thing that had fueled his entire life: an unwavering refusal to back down.