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. Doris Troy (album) – Doris Troy is an album released in 1970 on the Beatles Apple Records label by American soul singer Doris Troy. It features songs written by Troy and a number of the participants on the sessions, including George Harrison, Stephen Stills, Klaus Voormann and Ringo Starr. Through the extended period of recording, the became an all-star collaborative effort, typical of many Apple projects during 1968–70. Other guest musicians included Billy Preston, Peter Frampton, Leon Russell, Eric Clapton, like the Harrison-produced single Aint That Cute, Doris Troy failed to chart in Britain or America on release. The album was reissued in 1992 and 2010 with bonus tracks such as Troys version of the Beatles hit song Get Back, after having a one-off international hit with her song Just One Look in 1963, Doris Troy increasingly looked to Britain for continued success as a solo artist. Her brand of music was revered there throughout the 1960s and had produced hits for bands such as the Hollies. Troy settled in London in 1969 and became a vocal arranger. In the early summer of 1969, at the invitation of singer Madeline Bell, Troy attended the sessions for Billy Prestons first album on Apple Records. On meeting Prestons producer, George Harrison, Troy was surprised to learn that he was a fan of her work, and following the sessions, Harrison offered her a recording contract with Apple. Some of Troys material was routined and developed at Harrisons home in Surrey, with input from Preston, although he would only receive a production credit for Aint That Cute, Harrison is recognised as having co-produced all of Troys Apple sessions. Sources give the date of the Doris Troy sessions variously as June. Producing Prestons Encouraging Words and recordings by Jackie Lomax and Radha Krishna Temple, through these activities, other associates of Harrison offered to contribute to Troys album, which, in Lengs words, soon into an all-star affair with an emphasis on spontaneous collaboration. Peter Frampton recalls turning up at Trident Studios as a 19-year-old for a session for Aint That Cute in October. Originally intended as a single, Aint That Cute, backed with a cover of Vaya Con Dios, was released in February 1970. It failed to chart in Britain or America, but the A-side was later voted 1970s Soul Record of the Year by readers of Melody Maker. With the Beatles having broken up in April that year, Harrison completed mixing on Troys album on 7 June, Doris Troy was released on 11 September 1970 in the United Kingdom and 9 November in the United States. The album cover featured a photo taken by Beatles aide Mal Evans, Harrison and Troys arrangement of the gospel traditional Jacobs Ladder was issued as an advance single, with her fiery cover of the Beatles Get Back on the B-side. Like Billy Prestons concurrently released Encouraging Words, Troys album suffered from a lack of promotion under Allen Kleins control of Apple Records, despite receiving good reviews from several music critics, Doris Troy failed to make any commercial impact
2. All Things Must Pass (song) – All Things Must Pass is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. The subject matter deals with the transient nature of human existence, on release, together with Barry Feinsteins album cover image, commentators viewed the song as a statement on the Beatles break-up. Widely regarded as one of Harrisons finest compositions, its rejection by his band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described All Things Must Pass as the wisest song never recorded by The Beatles, although the Beatles failed to formally record the song, a 1969 solo demo by Harrison appears on their compilation Anthology 3. An early version from the All Things Must Pass sessions was released on Harrisons posthumous compilation Early Takes, paul McCartney performed All Things Must Pass at the Concert for George tribute in November 2002, a year after Harrisons death. Jim James, the Waterboys, Klaus Voormann and Yusuf Islam, like his friend Eric Clapton, George Harrison was inspired by Music from Big Pink, the seminal debut album from the Band, the former backing group for Bob Dylan. In appreciation, Robbie Robertson, the Bands guitarist, extended an invitation to Harrison to stop by in Woodstock, New York, when the opportunity arose. According to Helm, they discussed making a possible fireside jam album with Clapton and an Apple Films rock western called Zachariah, but neither project progressed beyond the planning stage. The bucolic surroundings proved fruitful for Harrison as a songwriter, producing his first collaboration with Dylan, Id Have You Anytime and he later described the latter song as a Robbie Robertson–Band type of tune, and said that he always imagined it being sung by Helm. Author Ian Inglis notes that the composition incorporates the same modes, cadences and suspensions found in Band songs such as The Weight, for his lyrics, Harrison drew inspiration from All Things Pass, a poem published in Timothy Learys 1966 book Psychedelic Prayers after the Tao Te Ching. In his 1980 autobiography, I Me Mine, Harrison refers to the idea for the originating from all kinds of mystics and ex-mystics. Like later Harrison compositions such as Here Comes the Sun, So Sad and Blow Away, the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature. Harrison states in the lines of verse one, Sunrise doesnt last all morning / A cloudburst doesnt last all day. According to Harrison biographer Simon Leng, the lyrics reflect lifes ephemeral character, Inglis suggests that the song is stensibly about the end of a love affair. He and theologian Dale Allison note the optimism offered in Harrisons words, since, as Leng puts it, a new day always dawns. The songs main message is offered in its eight, All things must pass None of lifes strings can last So I must be on my way And face another day. Similarly, the line its not always gonna be this grey was originally Its not always been this grey in verses one. On 2 January, day one of the Twickenham film shoot, Harrison introduced All Things Must Pass, during the Twickenham rehearsals, the Beatles also discussed the idea of Harrison performing All Things Must Pass solo for inclusion in the proposed film
3. Apple Scruffs (song) – Apple Scruffs is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Apple Scruffs was also released as the B-side to What Is Life, gaining popularity through airplay on US radio. The name Apple scruffs was first coined by George Harrison during the late 1960s, new York Post writer Al Aronowitz was present during much of the All Things Must Pass sessions. He later wrote, Outside the studio door, whether it rained or not, there was always a handful of Apple Scruffs, one of them a girl all the way from Texas. Sometimes George would record from 7 p. m. to 7 a. m. and there they would be, waiting through the night, beggars for a sign of recognition on his way in and out. Harrison recorded Apple Scruffs late in the proceedings, during the overdubbing and mixing phase of All Things Must Pass. Uniquely among the tracks on All Things Must Pass, Apple Scruffs was performed solo by Harrison – except for a percussive, Harrison recorded the song live on acoustic guitar and harmonica, in the style of his friend Bob Dylan. Earlier in the year, co-producer Phil Spector had similarly extended Harrisons song I Me Mine when preparing the Beatles Let It Be album for release, Harrison overdubbed backing vocals, credited on the album to the George OHara-Smith Singers, and two slide-guitar parts onto the basic track. Harrison invited the Apple scruffs into Abbey Road Studios to hear the results, a teenager at the time, Gill Pritchard later recalled that Harrison told them, Well, you had your own magazine, your own office on the steps, so why not your own song. Apple Records released All Things Must Pass on 27 November 1970, the song was afforded further exposure when issued as the B-side to What Is Life, released internationally in February 1971 as a second single off the album. The US picture sleeve gave both sides of the single equal billing, the titles printed above a Barry Feinstein photo of the top of a tower at Harrisons new home. In Australia, Apple Scruffs and What Is Life were listed as a double A-side when the single topped the Go-Set National Top 60 in May 1971, the two sides were also listed together on the US chart compiled by Record World, where the single peaked at number 10. On release, reviewers were quick to point out the Dylan influence on Apple Scruffs, Alan Smith of the NME described it as a Dylanesque, pacy piece with harmonica and a girlie chorus. Rolling Stones Ben Gerson considered Apple Scruffs to be One of the most wonderful cuts on the album and added, simon Leng praises the tracks bottleneck parts, and particularly the backing vocals, which he describes as the best on the album
4. Awaiting on You All – Awaiting on You All is a song by English musician George Harrison, released on his 1970 triple album, All Things Must Pass. Musically, the composition reflects Harrisons embracing of the music genre, following his production of fellow Apple Records artists Billy Preston. In his lyrics to Awaiting on You All, Harrison espouses a direct relationship with God over adherence to the tenets of organised religion, the track is featured in the books 1001 Songs You Must Hear Before You Die by Robert Dimery and 1001 Songs by Toby Creswell. Harrisons posthumous compilation Early Takes, Volume 1 includes a version of the song. Having long disavowed the Catholic faith of his upbringing, from 1966 Harrison was inspired by the teachings of Indian yogi Swami Vivekananda. The latters contention that Each soul is divine, the goal is to manifest that divinity particularly resonated with Harrison in its contrast to the doctrine of the Catholic Church. This divergence in philosophy also formed part of Harrisons subject matter for Awaiting on You All, a song that, Greene writes, projected his message to the world. In an October 1974 radio interview with Alan Freeman, Harrison recalled writing Awaiting on You All while preparing to go to bed, and mentioned it as a composition that had come easily to him. In his autobiography, I, Me, Mine, Harrison states that his inspiration for the song was Japa Yoga meditation, whereby mantras are sung and counted out on prayer beads. The song opens with a guitar riff, later repeated after each chorus. In his lyrics to Awaiting on You All, Harrison conveys the importance of experiencing spirituality directly, author Ian Inglis writes that the lyrics recognise the merit in all faiths, as Harrison sings that the key to any religion is to open up your heart. The songs three verses provide a list of items or concepts that are unnecessary to this realisation. The opening lines – You dont need no love-in / You dont need no bed pan – serve as a criticism of Lennon and Onos bed-ins and other forms of peace activism during 1969. Harrison then uses what Christian theologian Dale Allison terms the language of pollution to describe the problems afflicting the world, and offers a method by which to cleanse oneself spiritually. In verse two, Harrison sings of the futility of passports and travel for those searching to see Jesus, since an open heart will reveal that Christ is right there. In the songs verse, Harrison states that churches, temples, religious texts. These symbols of organised religion meant searching in the places, Tillery writes, when in keeping with Vivekanandas philosophy. Every person is therefore the child of God, allMusic critic Lindsay Planer comments on Harrisons observation of repression in the lines Weve been kept down so long / Someones thinking that were all green
5. 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
6. Bangla Desh (song) – Bangla Desh is a song by English musician George Harrison. Harrisons inspiration for the song came from his friend Ravi Shankar, a Bengali musician, in 2005, United Nations Secretary-General Kofi Annan identified the songs success in personalising the Bangladesh crisis, through its emotive description of Shankars request for help. Bangla Desh appeared at the height of Harrisons popularity as a solo artist, following the break-up of the Beatles and it was pop musics first charity single, and its release took place three days before the Harrison-sponsored Concert for Bangladesh shows at New Yorks Madison Square Garden. The single became a top ten hit in the United Kingdom and elsewhere in Europe, the recording was co-produced by Phil Spector and features contributions from Leon Russell, Jim Horn, Ringo Starr and Jim Keltner. The Los Angeles session for the song marked the start of two enduring musical associations in Harrisons solo career, with Keltner and Horn. Backed by these musicians and others including Eric Clapton and Billy Preston, Harrison performed Bangla Desh at the UNICEF concerts, on 1 August 1971, as a rousing encore. In a review of the Concert for Bangladesh live album for Rolling Stone magazine, artists who have covered the song include Stu Phillips & the Hollyridge Strings and Italian saxophonist Fausto Papetti. Just as importantly, writes Peter Lavezzoli, author of The Dawn of Indian Music in the West, Harrison had amassed such good will in the music community during that time. A Bengali by birth, Shankar had already brought the growing crisis in Bangladesh to Harrisons attention, while staying at the ex-Beatles house, Friar Park. This declaration resulted in a military crackdown by Khans troops. By 13 June, details of the massacre of citizens were beginning to emerge internationally via the publication in Londons Sunday Times of an article by Anthony Mascarenhas. But while I talked to George he was deeply moved. And he said, Yes, I think Ill be able to do something, as a result, Harrison committed to staging the Concert for Bangladesh at Madison Square Garden, New York, on Sunday,1 August. Six weeks of frantic activity ensued as Harrison flew between New York, Los Angeles and London, making preparations and recruiting musicians to join him. Bangla Desh was written in ten minutes at the piano, he would later recall. The title translates as Bengal nation, and the fact that Harrison spelt it as two words is indicative of how little the new name had been acknowledged by the Western media at this time. As with the concerts, Harrison made a point of steering clear of the politics behind the problem, with little time to begin rehearsing for the New York shows, the Bangla Desh single was rush-recorded in Los Angeles. Sources differ over the venue and date, the Record Plant West seems the most likely studio, with sessions taking place on 4–5 July, Phil Spector again co-produced, but as with the recording details for the sessions, the exact line-up of musicians is a matter of conjecture
7. Behind That Locked Door – Behind That Locked Door is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Its lyrics address Dylans elusive nature, and reflect the high regard in which Harrison held the American singers work, Harrison recorded Behind That Locked Door in London early in the summer of 1970, shortly after taking part in a session for Dylans New Morning album in New York. With its understated performance, the track is a rare departure from the big production commonly associated with All Things Must Pass. On release, Alan Smith of the NME described the song as a piece of country-meets-Hawaii. An alternate take of Behind That Locked Door appears on the 2012 Harrison compilation Early Takes, Olivia Newton-John, Jim James, the Felice Brothers and Norah Jones are among the artists who have covered the song. In mid August 1969, Bob Dylan had confounded the expectations by shunning the Woodstock Festival. Now a popular act in their own right, the Band agreed to back Dylan for the performance, alone among the many celebrity guests, George Harrison had spent time with Dylan during his period away from the limelight, in Bearsville, near Woodstock. The two musicians strengthened the bond they had established in upstate New York and were heard performing near-perfect impersonations of the Everly Brothers in the farmhouse. In addition to an estimated at 200,000, a group of 300 American journalists descended on the Isle of Wight. This contrast was encouraged by the promotional campaign for the event. Harrison watched Dylans performance from the VIP enclosure, an experience that informed the lyrics to a new composition, John Harris describes Behind That Locked Door as a sweet acknowledgement of Dylans shyness. According to Harrisons recollection in a December 2000 interview for Billboard magazine, after asking Why are you still crying. For much of his career, Harrison repeatedly identified Dylan as one of his biggest musical influences, to Inglis, these verse-two lines reflect the level of Harrisons respect for his work, since while millions of others may look to the Beatles for guidance, he looks to Dylan. Harrison musical biographer Simon Leng observes that, in the counseling Harrison gives Dylan in Behind That Locked Door, musically, the song is set in a slow, country-waltz time signature with, as Leng observes, melody and lyrics working in tandem. Within each couplet, a musical figure presents the problem. Dylans set at the festival was roundly viewed as anticlimactic, if not a Midnight Flop. in the opinion of one British tabloid, Inglis highlights Behind That Locked Door as an example of how Harrisons songwriting reflects his fondness for family and close friends. Dylans reluctance to live again was only broken by his friendship with Harrison. According to Mukunda Goswami, speaking in a 1982 interview with Harrison, Dylan became a visitor to the Los Angeles Radha Krishna temple