With 14 GRAMMYs between them, no one saw this coming: Green Day's Billie Joe Armstrong and Norah Jones have teamed for Foreverly, a duet album that doubles as a tribute to the Everly Brothers.

And it's not simply a rundown of Everly Brothers hits. Foreverly is a tribute to a lesser-known album in the Everly Brothers catalog, Songs Our Daddy Taught Us, which was released in 1958 as the duo were breaking into the mainstream with such hits as "Bye Bye Love" and "Wake Up Little Susie." Songs Our Daddy Taught Us, while still brimming with Phil and Don Everly's crisp, inimitable harmonies, was filled with dark, traditional tunes that were the antithesis of the duo's more popular fare.

Released Nov. 25, Foreverly features all 12 tracks on the original album, including the single "Long Time Gone," which showcases the album's retro-style arrangements and the unlikely yet pleasant pairing of Armstrong and Jones' voices. 

In an exclusive GRAMMY.com interview, Armstrong and Jones discussed the genesis of Foreverly, the dark lyrical nature of the original songs and fond memories of their respective GRAMMY histories.

What's the story behind Foreverly?
Billie Joe Armstrong: I just fell in love with the record [the Everly Brothers' Songs Our Daddy Taught Us]. The first time I heard it, I didn't know that they had made this record in the middle of a string of pop hits that they had in the '50s, and I love that stuff. And I loved the harmonies and started getting into the stories and how dark they are, and the old traditional songs that they were singing. I love digging deep as far as music history [and] rock and roll and folk and the blues and stuff. And when I heard the song "Oh So Many Years," I thought, "Man, it would be cool to do the whole album with a girl." My wife recommended Norah, and I thought it was a great idea.

Norah Jones: He called me and he really wanted to do this project — I guess he had it in mind for a while, but I was just off tour, so I was really tired. You know, a whole album is different than just committing to doing a song with somebody. So he kind of talked me into it, because I love the Everly Brothers, I love this kind of music. I love close harmonies. I was a little bit tired and not really ready to jump into a whole thing, but these are the kind of songs I love singing and they just kind of sing themselves, you know?

There really isn't anything really difficult or hard to them. So we agreed to go into the studio for just a couple days, and we ended up doing five days just to try it out — no pressure, and if it didn't work, it didn't work. We never really had sung together. Who knew if it would gel?

And when did it gel?
Jones: It took us a minute to find each other and sing well together. It happened pretty quickly, but there was definitely a tiny learning curve for us with each other. We just had to learn how to look at each other and follow each other's phrasing.

Armstrong: I think it happened when we did "Long Time Gone." That's when [we said], "Man, that sounds beautiful." We were so excited by it that Norah taught me how to two-step a little bit. It was just a great moment.

Norah, were you familiar with Songs Our Daddy Taught Us?
Jones: I was a big Everly Brothers fan my whole life, but I didn't really know this particular album that well. I knew a couple of songs off of it, so when I got the email from Billie Joe that he wanted to do this, I checked out the album before we talked on the phone. I love the album, and I love that it's old, old, old songs. And I love that it's not their hits or anything. It made it easier to reinterpret these old kind of folk songs, especially since it's just a stripped-down album. There's a lot of room to play around with the arrangements, which is nice. Although we were obviously doing their album, it wasn't like we were trying to copy them, which would be pointless.

Songs like "Lightning Express" and "I'm Here To Get My Baby Out Of Jail" have pretty dark overtones.
Jones: These are real story songs and the lyrics are pretty heavy. … When we got into the songs, it was, "Wow, some of these are so dark!" We had a lot of fun in the studio. The vibe was really silly and we were goofin' off, all of us, but the songs are really heavy, and we'd think, "God, can you imagine? This is a real story." It was fun to bring the darkness out of the songs and play that up even more in the arrangements.

Armstrong: That's my favorite part. They're just old songs about mourning and loss and lost love and kids dying of consumption. I think it's a lot about poor people and working-class people, and the one way people can unite and grieve on is something in song. That's the one thing traditionally in America that we've had, because God knows, we can't have health care. [laughs] At least we've got songs.

Do you have an album favorite?
Armstrong: Today it's "Lightning Express." Tomorrow, it'll probably be something else.

Jones: "Long Time Gone." It's my favorite off the Everly Brothers' record and it's my favorite of our versions, too. It's less of a family death song and more of a cheated-me song, which I always love, but the melody is pretty special and the chorus — there's a lot of dissonance in the harmonies that I love.

Norah, you won your first five GRAMMYs for Come Away With Me at the 45th GRAMMY Awards in 2003. Do you remember that GRAMMY night?
Jones: Oh wow, you're going way back. I remember I was starving because there was no food anywhere. I was so hungry, and I couldn't believe that there was no food backstage. I was just ready to go party and eat. It was fun — a really crazy night. I'll never forget that cheeseburger I had after it was all over.

Last year, you accepted a Recording Academy Lifetime Achievement Award for your late father Ravi Shankar with your sister Anoushka Shankar.
Jones: It was nice to be there with my sister. It was really nice and special — he knew about it before he died. Had he been alive, he would have been able to be there. So it was kind of bittersweet, for sure. But I'm glad he got a chance to know about it before he died.

Billie Joe, you've won five GRAMMY Awards with Green Day. Which do you treasure most?
Armstrong: I think when we got Best Rock [Album] for 21st Century Breakdown [at the 52nd GRAMMY Awards in 2010]. That was a pretty grueling record to make, and right now, it's kind of standing out as my favorite Green Day record.

(Nick Krewen is a Toronto-based journalist and co-author of Music From Far And Wide: Celebrating 40 Years Of The Juno Awards, as well as a contributor to The Routledge Film Music Sourcebook. He has written for The Toronto Star, TV Guide, Billboard, Country Music and was a consultant for the National Film Board's music industry documentary Dream Machine.)

Not all Norah Jones fans know this, but her debut 2002 album Come Away With Me was recorded in its entirety a whopping three times. Her latest, Visions, is no less detailed or exacting. But in true Blue Note fashion — it's out March 8, via said label — it sprang from an improvisatory, immediate space.

"I didn't really have a lot of preconceived ideas," Jones tells GRAMMY.com over Zoom, as a typically oppressive winter in New York blurs into spring. ("I like winter," she says. "Sometimes I feel like I'm the only one.") Despite this dearth of advance material, "We just wrote and played," Jones continues. "And, honestly, he's one of the most fun people I get to play music with."

"He" is none other than producer, multi-instrumentalist and two-time GRAMMY nominee Leon Michels; Jones, a nine-time GRAMMY winner and 19-time nominee herself, previously worked with him on her first-ever holiday album, 2021's I Dream of Christmas.

Highlights like "Staring at the Wall," "Running" and "I'm Awake" show Jones is clearly the same artist who made classics like Come Away With Me and 2004's Feels Like Home — but in the ensuing decades, her work has assumed layers of adventurousness and dynamism.

"I love playing music with people and collaborating and trying new things, and I feel very at ease with myself and as myself in all those situations," Jones says. "Which is why it works, I think. I'm not trying to be somebody else when I do this. I'm comfortable, but I love to just try new clothes on musically."

Read on for a breakdown of people, concepts and things that inspired the making of Visions.

Her Podcast "Norah Jones Is Playing Along"

Over 32 episodes and counting, Jones has sat down with everyone from Jeff Tweedy to Seth MacFarlane to Laufey for extemporaneous collaborations and conversations. Jones notes that they're gearing up to release more episodes.

While she doesn't expressly note the podcast as a direct influence, its one-on-one format harmonizes with the dynamic between herself and Michel on Visions.

"I think anything you do influences you in some ways, even if you don't realize how," Jones says. "I've always been a pretty open musician, but I just feel like I get more and more open."

Her Creative Synergy With Leon Michels

When Jones had a shred of an idea — a few lyrics, a sketch of a melody — she would sit at a piano or guitar, Michels would get behind the kit, and they'd jam it out, garage band-style.

From there, the collaborators would add "a ton of harmonies" — more on that later — as well as bass, guitar, horns, organ, or whatever else would elevate the songs.

"The live energy you feel on those recordings is from me and him playing drums and piano or guitar," Jones says, "and just having fun."

Subconscious, Subterranean Zones

As Jones noted in the press materials, Visions came from a space beyond wakefulness.

"The reason I called the album Visions is because a lot of the ideas came in the middle of the night or in that moment right before sleep," she said. She then evoked the lead single: "'Running' was one of them where you're half asleep and kind of jolted awake."

"I think it just all flowed really fast," Jones says in retrospect. "There were some songs that I had to tweak the lyrics more because they were slower to come, but most of them were pretty fast."

Stacking Harmonies — Christmas Style

Two years and change ago, I Dream of Christmas displayed a newer facet of Jones' sound: dense, layered harmonies. It worked so well on those yuletide tunes that Jones and Michels expanded on that concept for Visions.

"I'm always hearing harmonies, and I'm pretty quick at adding them," Jones recalls, and he's always, "Add a harmony, add a harmony, add a harmony." It's really part of the sound of the record."

Jones says this comes straight from her record collection. "It does come pretty naturally. It comes from years of loving music," she says. "I mean, I used to imitate Aretha's background singers. I think it was Cissy Houston. I love that kind of harmony." (Plus, she sang in jazz groups and high school and college, with 10 vocalists as a united throng.)

For Jones' upcoming tour dates on the East Coast, which span May and June, Michels won't be present. But those shimmering, layered vocals will.

Bringing Two More Singers To The Party

Along with four-time GRAMMY-winning drummer extraordinaire Brian Blade and the great, indie-oriented bassist Josh Lattanzi, Jones will perform alongside singers Sasha Dobson and Sami Stevens, who will also chip in on guitar and keys.

"We had our first rehearsal yesterday, and it sounds incredible," Jones says, aglow. She then considers the nuances of bringing studio creations to life onstage.

"Sometimes, you want to hit all the parts and sometimes you can and sometimes you can't," she says. "And you have to strip a song back and it sounds just as great, because it's a good song, and that's always a good feeling."

Onstage, though, Jones says they'll have all the resources to pull it off. Call it Visions come to life, and made material.

Norah Jones On Her Two-Decade Evolution, Channeling Chris Cornell & Her First-Ever Live Album, 'Til We Meet Again

Green Day's new album represents a spiritual link between their past and present. Fittingly titled Saviors, the band's 14th release is wholly in the present while connecting to their lynchpin albums: 1994's Dookie and 2004's American Idiot.

The quartet will tour Saviors — which was released Jan. 19 and shares a title with the tour — in conjunction with the 20th and 30th anniversaries of Green Day's major albums. As with any major milestone, creating a new record as two of their biggest albums aged created a bit of wistful creative confusion. 

"Did I want it to be an old-school Green Day punk record, or did I want to do something that felt more lush and stadiumlike?" leader Billie Joe Armstrong told Vulture. "When we saw it come together, I remembered thinking, Oh, this is the connection. Saviors does feel like a trifecta with Dookie and American Idiot where it feels like a life's work.

"I went from not knowing what the hell I was doing," Armstrong continued, "to going, 'Oh gosh, we managed to bridge the gap between those two huge albums.'"

This summer, listeners can behold the triad: Green Day will perform the relentless, hilarious, melody-stuffed Dookie and stadium-sized, polemical American Idiot in full. Tickets to the international dates — with support from the Smashing Pumpkins, the Hives, the Linda Lindas, and many more — can be found at their website.

With Saviors out in the world, here's a breakdown of the ramp-up to the album.

Their Previous Album Took A Detour, But They're Back On Course

Green Day's last album, 2020's Father of All Motherf—ers — commonly shortened to Father of All… — was arguably their most divisive to date.

"Motown, glam and manic anthemic. Punks, freaks and punishers!" is how Armstrong, bassist Mike Dirnt and drummer Tré Cool described it. Which sums up its 10 frenzied tunes, which add up to a very lean 26 minutes.

But at times, Father of All… didn't quite sound like Green Day, but an unpredictable  Frankenstein of retro and modern styles, a feel-bad Black Keys. And, sadly, the pandemic precluded them from proving these songs' mettle live.

Their next album would be tailored to the live experience — consciously or not. 

Saviors Was Almost Called 1972

And in many regards, Green Day decided to go back to their roots with Saviors. In fact, the original title was the year all three men were born.

When Green Day banded together in London with Rob Cavallo — who produced Dookie and American Idiot, among other career highlights — the album had the working title of 1972.

The album's title track resembles some of the sentiment on American Idiot, Armstrong told USA Today. "Saviors" centers on the feeling of being "desperate for answers and leadership and getting out of the mess we’re in."

Until the end of the recording process, Saviors didn't have its lead single, "The American Dream is Killing Me."

"The American Dream Is Killing Me" Came Late In The Game

Crafted as "a look at the way the traditional American Dream doesn't work for a lot of people" — as the band put it in a statement — "The American Dream is Killing Me" actually dates back to four years ago.

"It was one of the last things we recorded," Dirnt told Rolling Stone. "Rob's like, 'What else do you got?' As we get towards the end of recording, it was two songs. It was that one and 'Father to a Son.' And those two songs, Rob's like, 'Oh, you've got to record those.'"

They're Not Getting Sucked Into The Past

Two albums, from decades ago, performed front-to-back, in stadiums the world over: that could categorize Green Day as a nostalgia act. But Green Day are nostalgic for nothing; rather, they still harbor the ethos of their punk youth.

"I still try to maintain that kind of spirit about what we do," Armstrong told People, "which is just being independent and free to express yourself the way that you want." That might mean a surprise set inside a New York City subway station, or announcing their Saviors tour plans on "The Howard Stern Show." 

"I think one of the strong points of this band is we just stay in the moment," Dirnt said to Rolling Stone. "Don't look backwards, and don't look too far forward. Stay in the moment, but appreciate the moment." And the Saviors tour will provide so many moments to remember.

10 Bay Area Punk Bands To Know: Dead Kennedys, Operation Ivy, Green Day & More

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit "Talk Saxy" — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with "Razor," many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 "Barbra Streisand" sound with their new dance single, "LALALA."

Listen to these seven new tracks and albums that will gear you up for spooky season 2023.

RIIZE - "Talk Saxy"

K-pop’s rising stars, RIIZE, are making a vibrant musical return with their new single, "Talk Saxy," a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention.

"Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy," RIIZE croons on the chorus.

This track follows their debut single "Get a Guitar," which launched their announcement that they’d signed with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of "Razor," a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track "'Virginia Moon."

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song "Wherever I Go," a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record.

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover.

The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as "Little Blue" with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.

Mr Eazi - The Evil Genius

Afrobeats sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"

American DJ & singer Tiësto dropped a fresh new track with Tears For Fears, NIIKO X SWAE and GUDFELLA for a reimagining of the 1985 "Everybody Wants To Rule The World." This heart-racing banger has blended stylistic worlds to imbue a classic song with an even catchier, dance-flavored beat.

NIIKO X SWAE originally released an unofficial remix on Soundcloud, which then went viral on social media.. "Rule The World (Everybody)" could certainly become a new party anthem to put on your ‘Halloweekend’ playlist.

Maria José Llergo - ULTRABELLEZA

Spanish singer María José Llergo released her newest album ULTRABELLEZA, following her 2020 Sanación. The album features songs that transverse between genres like "NOVIX," which features a intricate, Latin rhythm and "Superpoder," a star-studded pop song.

"Flamenco is like the blues," she said in a NY Times interview.  Liergo discusses how she incorporated Flamenco, a Spanish art form, into her album in hopes of keeping her cultural traditions rooted in the lyrics that "tell stories of survival — it’s always been a way for the most oppressed to escape."

Duck Sauce - "LALALA"

The hitmakers behind 2010 classics "Barbra Streisand" and "Big Bad Wolf" are back with another dubsmash single called, "LALALA." This duo has made another infectious dance track, which makes listeners transports them to the wildest party of their dreams. "LALALA" feels reminiscent of their past collaborations together, keeping up the nostalgia theme on this special Friday.

The GRAMMY-nominated producers behind Duck Sauce, Armand Van Helden and A-Trak, have recently joined Defected Records’ D4 D4NCE imprint. Keep checking GRAMMY.com on Fridays for a sampler platter of new sounds!

Global Spin: JINI Is Impatient In Love During This Passionate Performance Of Her Debut Solo Single, "C'mon"

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions,  and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit “Talk Saxy” — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with “Razor,” many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 “Barbra Streisand” sound with their new dance single, “LALALA.”

Listen to these seven new tracks that will gear you up for spooky season 2023.

RIIZE - “Talk Saxy”

Kpop’s rising stars, RIIZE, are making a vibrant musical return with their new single, “Talk Saxy,” a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention. 

“Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy,” RIIZE croons on the chorus. 

This track follows their debut single “Get a Guitar,” which launched their announcement to signing with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of “Razor,” a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track “'Virginia Moon.”

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song “Wherever I Go,” a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record. 

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover. 

**The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as “Little Blue” with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.** 

Mr Eazi's - The Evil Genius

Afrobeat sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"