Category:Music published by Harrisongs
Pages in category "Music published by Harrisongs"
The following 61 pages are in this category, out of 61 total. This list may not reflect recent changes (learn more).
The following 61 pages are in this category, out of 61 total. This list may not reflect recent changes (learn more).
1. Ballad of Sir Frankie Crisp (Let It Roll) – Ballad of Sir Frankie Crisp is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Commentators have likened the song to a journey through the grand house. The recording features backing from such as Pete Drake, Billy Preston, Gary Wright, Klaus Voormann. It was co-produced by Phil Spector, whose use of reverb adds to the ethereal quality of the song. AllMusic critic Scott Janovitz describes Ballad of Sir Frankie Crisp as offering a glimpse of the true George Harrison – at once mystical, humorous, solitary, playful, the composition gained further notability in 2009 when it provided the title for Harrisons posthumous compilation Let It Roll. My Morning Jacket lead singer Jim James and Dhani Harrison are among the artists who have covered the song, since 1965, George Harrison and his wife, Pattie Boyd, had lived in Kinfauns in Surrey, south of London. In January 1970, Harrison purchased the 120-room Friar Park, set on 33 acres of land, Harrison described Crisp as a cross between Lewis Carroll and Walt Disney. While compiling Harrisons autobiography, I, Me, Mine, in the late 1970s, on 17 March 1970, despite the propertys state of disrepair, the Harrisons threw a party to celebrate Patties 26th birthday and St Patricks Day. In what was a rare social get-together for the Beatles, three weeks before Paul McCartney announced he was leaving the band, the party was a great success, ODell writes. While satisfying Harrisons spiritual convictions, these proved less welcome to Boyd. The following month, Harrison performed a selection of his compositions in London for Phil Spector, his co-producer on All Things Must Pass, one of which was Everybody, Nobody. With its reference to roads and the UKs Highway Code, Everybody, Nobody has been described by musical biographer Simon Leng as Harrisons first motoring song. Harrison soon completely rewrote the lyrics and took part of the melody for his first musical tribute to Crisp and Friar Park – titled Ballad of Sir Frankie Crisp. In his book The Words and Music of George Harrison, Ian Inglis similarly views the song as a tour of the house and grounds. After scene twos setting – among the weeds and inside Friar Parks formal maze – the third focuses on the propertys grottos. The songs final scene focuses on what Leng calls the illusions within the illusion, as the returns to the interior of the house. In a song otherwise free of religiosity, theologian Dale Allison interprets Fools illusions everywhere as a typical Harrison statement regarding māyā – the illusory nature of human existence. According to Harrisons later recollection, Spector suggested that Ballad of Sir Frankie Crisp might attract a few cover versions if he changed the lyrics
2. The Day the World Gets 'Round – The Day the World Gets Round is a song by English musician George Harrison, released on his 1973 album Living in the Material World. Harrison recorded The Day the World Gets Round in England between October 1972 and March 1973, the recording features an orchestral arrangement by John Barham and a similarly well-regarded vocal performance from Harrison. The other contributing musicians were Nicky Hopkins, Klaus Voormann, Ringo Starr, reviewers have described the composition variously as a protest song, a devotional prayer, and a counterpart to John Lennons peace anthem Imagine. The song typifies Harrisons ideal for a world unencumbered by national, in 2009, Voormann and Yusuf Islam covered The Day the World Gets Round and released it as a single to benefit children in war-torn Gaza. In his 1980 autobiography, I, Me, Mine, George Harrison describes the following the two Concert for Bangladesh shows as very emotional. The concerts took place at Madison Square Garden, New York, on 1 August 1971, the generosity of all the participants, together with the response from the general public, encouraged Harrison to feel very positive about certain things. Harrison found frustration in this phase of the Bangladesh project. Harrison was resolute that Capitol should absorb the costs, just as the Beatles Apple record label had already paid for the albums lavish packaging, by early October 1971, bootleg recordings of the concerts were available in New York, potentially denying funds to the refugees. Menon then backed down, ceding much of the rights to Columbia/CBS. Further delaying the release until well into December, wholesalers objected to Apples financial terms, ignoring the spirit behind the release, author Peter Lavezzoli writes, some US retailers engaged in shameless price gouging. Of greater detriment to the project in the term, Harrisons business manager. Referring to the song and the responsibility of wealthy Western nations, he says in I, Me, Mine, If everyone would wake-up and do even a little. These lines have led to conflicting interpretations among Harrison biographers regarding a supposedly superior attitude on the singers part. While acknowledging the ambiguity of this message, Leng writes, This could be taken as Harrisons statement of his own spiritual superiority, If ego-driven politicians and self-serving military leaders were able to bow before anything, even a concept like God, the world would be a better place. The Day the World Gets Round laments human nature and calls for a little humility, dale Allison, a Christian theologian, views these lyrics as a song-wide message where Harrison mourns how few are working for a better world and paying homage to God. Allison refutes the idea of any elitism or superiority in Harrisons compositions, suggesting, George nowhere claims to have arrived, he is always a pilgrim. In the words of The Day the World Gets Round, he is one of those who has made a start, nothing more. Leng views Harrisons call for humility in The Day the World Gets Round as identical to the thrust of Dylans Masters of War, speaking in February 1977, Harrison told BBC Radios Anne Nightingale that the Bangladesh relief project took two years solid of his life
3. All Things Must Pass – All Things Must Pass is a triple album by English musician George Harrison. Recorded and released in 1970, the album was Harrisons first solo work since the break-up of the Beatles in April that year, and his third solo album overall. It includes the hit singles My Sweet Lord and What Is Life, as well as such as Isnt It a Pity. All Things Must Pass introduced Harrisons signature sound, the guitar. The original vinyl release consisted of two LPs of songs and a disc of informal jams, titled Apple Jam. Several commentators interpret Barry Feinsteins album cover photo, showing Harrison surrounded by four garden gnomes, production began at Londons Abbey Road Studios in May 1970, with extensive overdubbing and mixing continuing through October. The sessions produced an albums worth of extra material, most of which remains unissued. All Things Must Pass was critically and commercially successful on release, according to Colin Larkin, writing in the 2011 edition of his Encyclopedia of Popular Music, All Things Must Pass is generally rated as the best of all the former Beatles solo albums. During the final year of his life, Harrison oversaw a successful campaign to mark the 30th anniversary of the albums release. Following this reissue, in March 2001, the set was certified platinum by the Recording Industry Association of America. In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame, coinciding with this visit was a surge in Harrisons songwriting output, following his renewed interest in the guitar, after three years spent studying the Indian sitar. As well as being one of the few musicians to co-write songs with Dylan, Harrison had recently collaborated with Eric Clapton on Badge, which became a hit single for Cream in the spring of 1969. He also recorded artists such as Leon Russell and Jack Bruce. In addition, Harrison identified his involvement with the Hare Krishna movement as providing another piece of a puzzle that represented the spiritual journey he had begun in 1966. As well as embracing the Vaishnavist branch of Hinduism, Harrison produced two hit singles during 1969–70 by the UK-based devotees, credited as Radha Krishna Temple, in January 1970, Harrison invited American producer Phil Spector to participate in the recording of Lennons Plastic Ono Band single Instant Karma. This association led to Spector being given the task of salvaging the Beatles Get Back rehearsal tapes, released officially as the Let It Be album, and later co-producing All Things Must Pass. Harrison first discussed the possibility of making an album of his unused songs during the ill-tempered Get Back sessions. Despite having already made Wonderwall Music, an instrumental soundtrack album
4. Living in the Material World (song) – Living in the Material World is a song by English musician George Harrison, released as the title track to his 1973 solo album. Amid the favourable reception to the song on release, Stephen Holden of Rolling Stone termed it an incantatory. The 2006 reissue of the album includes a clip of Living in the Material World. Film-maker Martin Scorsese used the title for that of his 2011 documentary on the life of George Harrison. Harrison adds that the song specifically espouses the message that we are not these bodies, but he was not attached to it. Because he was searching for something higher, much deeper. It does seem like he already had some Indian background in him, author Gary Tillery draws parallels between Harrisons approach to through the motions of living in the material world and the way someone in the 21st century might play a virtual reality game. Speaking at a 1974 press conference, in reply to whether there was a paradox between his spiritualism and the lifestyle of a musician, Harrison conceded, It is difficult. You can go to the Himalayas and miss it completely and be stuck in the middle of New York, I think one by one we all free ourselves from the chains that we have chained ourselves to, whatever were chained to. The song contrasts the world of things against spiritual concerns. The verses describing the world are set to rock music. Harrison then states that he uses his body like a car / Taking me both near and far, author Ian Inglis regards this as an apt metaphor, since our bodies are merely the vehicles that carry us on our journeys. In the Indian-styled middle eight, Harrison sings about his memories of the spiritual sky. After returning to the setting, Harrison sings of his frustrations in the material world. In the final verse, Harrison expresses his desire for moksha, or release from the cycle of reincarnation, with the words, I hope to get out of this place / By the Lord Sri Krsnas Grace. While citing the Bhagavad Gita as a significant influence on Living in the Material World, Allison views the dualistic anthropology expressed in the song as central to self-conception, Harrison himself attributed this dualism to his Pisces astrological sign, an issue he addresses in the posthumously released Pisces Fish. He acknowledged in one interview, I am an extreme person, I was always extremely up or extremely down, extremely spiritual or extremely drugged. Harrison began recording his long-awaited follow-up to All Things Must Pass in October 1972, the Magic Is Here Again and The Light That Has Lighted the World were each rumoured to be the new albums title until Apple Records announced it as Living in the Material World
5. Sue Me, Sue You Blues – Sue Me, Sue You Blues is a song written by English musician George Harrison, released on his 1973 album Living in the Material World. Harrison initially let American guitarist Jesse Ed Davis record it for the latters Ululu album, the inclusion of Sue Me, Sue You Blues on Material World marked a rare example of a secular composition on Harrisons most spiritually oriented album. Some critics have compared the track with John Lennons How Do You Sleep, stephen Holden of Rolling Stone magazine described it as a clever Lennonist diatribe. Harrison performed Sue Me, Sue You Blues throughout his 1974 North American tour, utilising a funk-inspired arrangement that featured musicians Willie Weeks, Andy Newmark, for these performances, Harrison modified the lyrics to reflect the former Beatles uniting against manager Allen Klein. The songs title was a phrase that Harrison and commentators adopted when referring to Beatles-related legal issues during the 1970s, a film clip containing Harrisons 1971 demo of Sue Me, Sue You Blues appeared on the DVD accompanying the 2006 remaster of Living in the Material World. Author Robert Rodriguez describes the situation as a sour turn of events that mystified the public. Beginning on 19 February 1971, the court heard reports from Harrison, John Lennon and Ringo Starr of McCartneys attempts to control the band, on 12 March, High Court judge Mr Justice Stamp ruled in McCartneys favour, appointing London accountant James Spooner as Apple Corps official receiver. Harrison biographer Simon Leng suggests that the song takes a nearly impersonal overview of the Beatles self-infliced legal wounds, while Harrison biographer Dale Allison interprets a degree of animosity towards the other Beatles in the songs lyrics, Leng argues that they are directed solely at the legal profession. Inglis similarly dismisses the idea that Harrison was targeting his former bandmates, instead, inglis writes of Sue Me, Sue You Blues, It makes clear that amid the legal arguments, financial requirements, and technical language. There are four friends who are powerless to control events. The songs lyrics are set against a blues-based bottleneck riff, typical of Harrisons work at the time with the dobro, played in his favoured open E tuning, Sue Me, Sue You Blues was one of a number of bottleneck-inspired Harrison compositions from the early 1970s. Commentators similarly adopted sue me, sue you blues as a description for the litigation surrounding Harrison, Harrison recorded a brief demo of Sue Me, Sue You Blues, in the Delta blues style, which became available in the 1990s on bootleg compilations such as Pirate Songs. Leng describes this 1971 recording as astonishing and a must for inclusion on any forthcoming George Harrison anthology, with Harrison sounding like a lost bluesman, bootlegged in Chicago. The demo was issued in September 2006, on the DVD included in the deluxe edition of Harrisons remastered 1973 solo album. The song is set to footage, showing images of Harrisons National resonator guitar. In the opinion of Music Box editor John Metzger, this version of Sue Me, although the 2006 reissue lists it as an acoustic demo version, Harrison played electric slide guitar on the recording. The same film clip appears on the DVD exclusive to the Apple Years 1968–75 Harrison box set, both Davis and Clapton ended up playing at the two shows, on 1 August. In gratitude to Davis, Harrison offered him Sue Me, Sue You Blues for inclusion on his solo album
6. Wah-Wah (song) – Wah-Wah is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Harrison wrote the following his temporary departure from the Beatles in January 1969, during the troubled Get Back sessions that resulted in their Let It Be album. Music critics and biographers recognise the song as Harrisons statement of personal and its creation contrasted sharply with his rewarding collaborations outside the group in the months before the Get Back project, particularly with Bob Dylan and the Band in upstate New York. Recorded shortly after the Beatles break-up in 1970, Wah-Wah was the first track taped for All Things Must Pass. The recording features a dense production treatment from Phil Spector and backing from a large cast of musicians including Eric Clapton, Ringo Starr, Billy Preston, Bobby Keys and the band Badfinger. On release, Rolling Stone magazine described it as a cacophony of sound in which horns sound like guitars. While several reviewers find the production appropriate for the song, Harrison considered the recording overproduced. Wah-Wah was the first song Harrison played live as a solo artist when he performed it as his opener for the Western-music portion of the Concert for Bangladesh, in August 1971. At the Concert for George in November 2002, a year after Harrisons death, Wah-Wah was performed by a band that included Clapton, Jeff Lynne, Starr. Ocean Colour Scene, Buffalo Tom, Beck and the Tedeschi Trucks Band are among the artists who have covered the song. In addition, he had recently co-written Creams single Badge with Eric Clapton, Harrison later recalled his two months in the United States as having been such a good time, yet the moment I got back with the Beatles, it was just too difficult. The couple had recently descended into heroin addiction, leaving Lennon, in author Peter Doggetts words, emotionally removed and artistically bankrupt. On 6 January 1969, the third day at Twickenham Film Studios, in south-west London. A resigned Harrison told him, Ill play what you want me to play, and he always did, he always played fine solos. On 8 January, Harrison debuted I Me Mine, an inspired by the bickering. It was met with ridicule by Lennon and an argument ensued between the two musicians, during which Lennon dismissed Harrisons abilities as a songwriter. According to Sulpy and Schweighardt, Lennons resentment was most likely a reaction to Harrisons productivity throughout the sessions, since he himself was unable to write a decent new song. In addition, Harrison had been alone in voicing his objections to Onos presence, telling the couple how, in Lennons later recollection, Dylan, on Friday,10 January, a more severe argument took place in which Harrison berated Lennon for contributing nothing positive to the rehearsals
7. My Sweet Lord – My Sweet Lord is a song by English musician and former Beatle, George Harrison. It was released in November 1970 on his triple album All Things Must Pass, also issued as a single, Harrisons first as a solo artist, My Sweet Lord topped charts worldwide and was the biggest-selling single of 1971 in the UK. In America and Britain, the song was the first number one single by an ex-Beatle, Harrison originally gave the song to his fellow Apple Records artist Billy Preston to record, this version, which Harrison co-produced, appeared on Prestons Encouraging Words album in September 1970. Preston, Ringo Starr, Eric Clapton, and the group Badfinger are among the musicians appearing on the recording. In 1976, Harrison was found to have subconsciously plagiarised the earlier tune and he claimed to have used the out-of-copyright Oh Happy Day, a Christian hymn, as his inspiration for the songs melody. Harrison performed My Sweet Lord at the Concert for Bangladesh in August 1971 and he reworked the song as My Sweet Lord for inclusion as a bonus track on the 30th anniversary reissue of All Things Must Pass. My Sweet Lord is ranked 460th on Rolling Stone magazines list of the 500 Greatest Songs of All Time, the song reached number 1 in Britain for a second time when re-released in January 2002, two months after Harrisons death. George Harrison began writing My Sweet Lord in December 1969, when he, Billy Preston and Eric Clapton were in Copenhagen, Denmark, by this time, Harrison had already written the gospel-influenced Hear Me Lord and Gopala Krishna, and the African-American spiritual Sing One for the Lord. He had also produced two religious-themed hit singles on the Beatles Apple record label, Prestons Thats the Way God Planned It, Harrison now wanted to fuse the messages of the Christian and Gaudiya Vaishnava faiths into what musical biographer Simon Leng terms gospel incantation with a Vedic chant. The Copenhagen stopover marked the end of the Delaney & Bonnie tour, according to Harrisons 1976 court testimony, My Sweet Lord was conceived while the band members were attending a backstage press conference and he had ducked out to an upstairs room at the theatre. Harrison recalled vamping chords on guitar and alternating between sung phrases of hallelujah and Hare Krishna and he later took the idea to the others, and the chorus vocals were developed further. British music journalist John Harris has questioned the accuracy of Bramletts account, however, using as his inspiration the Edwin Hawkins Singers rendition of an eighteenth-century Christian hymn, Oh Happy Day, Harrison continued working on the theme. He completed the song, with help from Preston, once they had returned to London. The songs lyrics reflect Harrisons often-stated desire for a relationship with God, expressed in simple words that all believers could affirm. Author Ian Inglis observes a degree of understandable impatience in the first verses line, Really want to see you, Lord, following the Sanskrit lines, hallelujah is sung twice more before the mantra repeats, along with an ancient Vedic prayer. Gurur Brahmā, gurur Viṣṇur gurur devo Maheśvaraḥ gurus sākṣāt, paraṃ Brahma tasmai śrī gurave namaḥ, the prayer is the third verse of the Guru Stotram, a fourteen-verse hymn in praise of Hindu spiritual teachers. Some Christian fundamentalist anti-rock activists objected that chanting Hare Krishna in My Sweet Lord was anti-Christian or satanic, several commentators cite the mantra and the simplicity of Harrisons lyrics as central to the songs universality. All of us – Christian, Hindu, Muslim, Jew, Buddhist – can address our gods in the same way, using the same phrase
8. Isn't It a Pity – Isnt It a Pity is a song by English musician George Harrison from his 1970 solo album All Things Must Pass. It appears in two variations there, one the well-known, seven-minute version, the other a reprise, titled Isnt It a Pity, Harrison wrote the song in 1966, but it was rejected for inclusion on releases by the Beatles. In many countries around the world, the song was issued on a double A-side single with My Sweet Lord. In America, Billboard magazine listed it with My Sweet Lord when the single topped the Hot 100 chart, while in Canada, co-produced by Phil Spector, the recording employs multiple keyboard players, rhythm guitarists and percussionists, as well as orchestration by arranger John Barham. In its extended fadeout, the references the closing refrain of the Beatles 1968 hit Hey Jude. Other musicians on the recording include Ringo Starr, Billy Preston, Gary Wright, the song appeared as the closing track on Harrisons career-spanning compilation Let It Roll, and a live version, from his 1991 tour with Clapton, was included on Live in Japan. Clapton and Preston performed the song together at the Concert for George tribute in November 2002, Eric Clapton has described this bond as being just like that of a typical family, with all the difficulties that entails. Isnt It a Pity was one of these, having most recently been rejected by the Beatles during the January 1969 Get Back sessions that resulted in their final album, according to Abbey Road engineer Geoff Emerick, however, the song had been offered for inclusion on 1967s Sgt. Peppers Lonely Hearts Club Band, while Mark Lewisohn, the bands acknowledged recording historian, has stated that it was first presented during sessions for the previous years Revolver. In his 1980 autobiography, Harrison explains, Isnt It a Pity is about whenever a relationship hits a down point and it was a chance to realise that if I felt somebody had let me down, then theres a good chance I was letting someone else down. This theme had featured in previous Harrison songs such as Within You Without You and While My Guitar Gently Weeps and would remain prominent in much of his subsequent compositions. The same parallels regarding the universality of love in Harrisons work has been noted by Dale Allison, author of the first spiritual biography on the ex-Beatle, When George asks, Allison writes, the scope of his question is vast, it embraces almost everything. Speaking to Billboard editor-in-chief Timothy White in 2000, Harrison said of Isnt It a Pity, Its just an observation of how society and we take each other for granted – and forget to give back. That was really all it was about, Two contrasting versions of the song were recorded in London in mid 1970 during the sessions for All Things Must Pass, both of which were intended for release, from the outset. The so-called Isnt It a Pity is noticeably slower than the better known, like the concurrently recorded My Sweet Lord, the albums other Isnt It a Pity betrays the influence of co-producer Phil Spector more so than the comparatively sedate Version Two. Isnt It a Pity starts small and builds – and it builds and it builds, now in the key of G, Isnt It a Pity begins dirge-like with a two-note pedal point provided by layers of keyboards and acoustic guitars. Pianist Gary Wright, who would go on to collaborate regularly with Harrison over the subsequent decades, bobby Whitlock, the other main keyboard player on All Things Must Pass, with Wright, recalls playing a phase-shifted pump organ, or harmonium on the track. Another possible participant is Maurice Gibb, Starrs Highgate neighbour at the time, the full, seven-minute Isnt It a Pity was therefore issued as a double A-side with My Sweet Lord on 23 November in the United States and Canada, four days before the albums release there
9. Maggie May (folk song) – Maggie May is a traditional Liverpool folk song about a prostitute who robbed a homeward bounder, a sailor coming home from a round trip. John Manifold, in his Penguin Australian Song Book, described it as A focsle song of Liverpool origin apparently and it became widely circulated in a skiffle version from the late 1950s. In 1964, the composer and lyricist Lionel Bart, used the song, the show, also called Maggie May, ran for two years in London. In 1970 a truncated version of the performed by the Beatles was included on their album Let It Be. As with most folk songs, the lyrics exist in many variant forms, the song specifies several real streets in Liverpool, notably Lime Street in the centre of the city. In the most established version, it is sung in the first person by a sailor who has home to Liverpool from Sierra Leone. He is paid off for the trip, with his wages in his pocket, he sees Maggie cruising up and down old Canning Place. She had a figure so divine and he picks her up and she takes him home to her lodgings. When he awakes the following morning, she has all his money and even his clothes, insisting that they are in Kellys locker. When he fails to find his clothes in the pawn shop and she is found guilty of theft and sentenced to transportation to Botany Bay. Stan Hugill writes of a reference to the song in the diary of Charles Picknell. This indicates that versions of the date back to the actual period of penal transportation mentioned in the lyrics as Maggies fate. In the earliest known version the protagonist is charming Nellie Ray, the historical relation of the song to the 1856 American slave song Darling Nellie Gray published as the work of Benjamin Hanby is unclear. The tune is similar and the chorus of Hanbys song contains the lines Oh, my darling Nellie Gray, they have taken you away. Its possible that Hanbys tune was adopted to the existing words, the same tune is used for the Geordie song Keep yor feet still Geordie hinny to words by Joe Wilson. Maggie May was widely performed in the late 1950s, and was adapted to the craze of the era. In this period Lime Street was established as her favoured haunt, a. L. Lloyd recorded it in 1956 on the album English Drinking Songs, describing it in the liner notes as last fling of sailor balladry. It is a song that has found its way into every ship, liz Winters and Bob Cort released a skiffle version in 1957