Apple Scruffs (song)

Last updated

"Apple Scruffs"
What Is Life (George Harrison single - cover art).jpg
US picture sleeve
Single by George Harrison
from the album All Things Must Pass
A-side "What Is Life"
Released15 February 1971 (US)
Genre Folk pop [1]
Length3:04
Label Apple
Songwriter(s) George Harrison
Producer(s) George Harrison, Phil Spector
George Harrison singles chronology
"My Sweet Lord" / "Isn't It a Pity"
(1970)		"What Is Life" / "Apple Scruffs"
(1971)		"Bangla Desh"
(1971)

"Apple Scruffs" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass . He wrote it as a tribute to the die-hard Beatles fans known as Apple scruffs, who used to wait outside the Apple Corps building and other London locations for a glimpse of the band members. This tradition continued after the group's break-up in April 1970, as the scruffs were a regular presence outside the studios where Harrison recorded his album. The song was also issued on the album's second single, as the B-side to "What Is Life".

Contents

Harrison recorded "Apple Scruffs" in the style of Bob Dylan, playing acoustic guitar and harmonica on the basic track. As such, the song is a departure from the big sound synonymous with All Things Must Pass. In his lyrics, Harrison expresses gratitude for the scruffs' support, states his love for them, and acknowledges that outsiders misunderstand their devotion. Harrison invited the scruffs into EMI Studios to hear the finished recording.

A popular track on radio and with several music critics, it was listed with the A-side on some singles charts in Australia and the United States. Some writers have commented on the song's significance in light of John Lennon's murder in 1980 and the attempted murder of Harrison in 1999, both at the hands of individuals obsessed with the Beatles, and in the context of the latter-day cult of celebrity.

Background and composition

The name "Apple scruffs" was coined by George Harrison in the late 1960s [2] for the devoted fans who waited outside the Beatles' Apple Corps headquarters and the recording studios where they worked. [3] Although well known for his aversion to fan worship, particularly the Beatlemania phenomenon, Harrison formed a bond with some of the scruffs, asking after their families and commenting when they had had their hair done. He acknowledged in an April 1969 interview with Disc and Music Echo magazine: "their part in the play is equally as important as ours." [4] His song "Apple Scruffs" was written as a tribute to these fans, [5] who, since late May 1970, had kept a vigil outside the various studios where he was recording his first post-Beatles solo album, All Things Must Pass . [6] [7]

Although Harrison makes no mention of the song in his 1980 autobiography, I, Me, Mine , Derek Taylor, in his role as the book's editor, describes the Apple Scruffs as the "central core" of fans after Beatlemania had subsided, adding that "We were all very fond of them". [8] According to Taylor, who was the Beatles' press officer at Apple, Harrison wrote "Apple Scruffs" because the scruffs had witnessed occasions when he was "going through some bad times" and he came to hold them in great affection. [9] [nb 1]

Since forming the alliance in 1968, the Scruffs had imposed a membership hierarchy and published a monthly magazine. [11] They were highly protective of the Beatles and shielded them from displays of intrusive fan worship. [12] In his lyrics to the song, Harrison acknowledges the Scruffs' dedication and expresses thanks for their perseverance through bad weather and "through the pleasures and the pain". He encourages the Scruffs to ignore the judgments of passers-by who cannot comprehend their devotion. [13] In the choruses, he declares, "How I love you, how I love you". [14]

Recording

"Apple Scruffs" was one of the more sparsely arranged tracks Harrison recorded for All Things Must Pass, [15] departing from co-producer Phil Spector's Wall of Sound aesthetic heard on much of the album. [16] The song is a solo performance, except for the percussive, tapping sound provided by Beatles assistant Mal Evans. [17] Harrison performed it live on acoustic guitar and harmonica, [18] [19] in the style of his friend Bob Dylan. [20] [21] Due to his heavy beard and moustache, Harrison struggled in his attempts to play the harmonica. [22] The sessions tapes also reveal he needed to coach himself on the sucking and blowing technique required for the part. [17]

Take 18 was selected for overdubs. [17] [23] The released recording was edited together from the full take, lasting around two-and-a-half minutes, with the section comprising the song's chorus and the following instrumental passage repeated, [18] thereby extending the track length to 3:04. [24] Earlier in the year, Spector had similarly extended Harrison's song "I Me Mine" when preparing the Beatles' Let It Be album for release. [25] [26] Although Spector received a co-production credit for "Apple Scruffs", Harrison produced the song alone. [27]

Harrison overdubbed backing vocals, credited on the album to "the George O'Hara-Smith Singers", and two slide-guitar parts onto the basic track. [27] [nb 2] In the view of musicologist Thomas MacFarlane, the slide guitar solo reflects Harrison's interest in microtonal expressivity and ends in a stuttering phrase that marks the start of the tape edit. He describes the backing vocal contributions as a "bright, shimmering chorus" that includes an urgently delivered "angelic countermelody" over the third verse. [23]

Scruffs' preview

New York Post writer Al Aronowitz was present during part of the recording for All Things Must Pass. [29] 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." [29] [30] Harrison asked Evans to invite the Scruffs into EMI Studios (now Abbey Road Studios) to hear the track. [31] [32]

A teenager at the time, Gill Pritchard later recalled that she and the other Scruffs were deeply moved by the song and "went home in a daze". When they presented Harrison with a giant wreath of flowers to express their gratitude, he told them: "Well, you had your own magazine, your own office on the steps [outside Apple], so why not your own song?" [33] [nb 3]

Release

Apple Records released All Things Must Pass on 27 November 1970. [34] "Apple Scruffs" was sequenced as the second track on side three of the triple LP, [24] between "Beware of Darkness" and "Ballad of Sir Frankie Crisp (Let It Roll)". [35] In the wake of the Beatles' break-up seven months before, according to author Peter Doggett, "Apple Scruffs" and tracks such as "Run of the Mill" and "Wah-Wah" offered the band's fans "a teasing glimpse into an intimate world that had previously been off-limits to the public". [36]

The song was also the B-side to "What Is Life", [37] released internationally (though not in Britain) as the second single off the album. [38] [39] The single was released in the US on 15 February 1971. [40] [41] Author Simon Leng refers to "Apple Scruffs" as Harrison in "busking mode", a style the artist revisited on two other acoustic B-sides over the first half of the 1970s: "Miss O'Dell", written for former Apple employee Chris O'Dell, [42] and "I Don't Care Anymore". [43] [nb 4] The US picture sleeve gave both sides of the single equal billing, with the song titles printed above a Barry Feinstein photo of the top of a tower at Harrison's new home, Friar Park. [45]

A popular track on radio, "Apple Scruffs" received as much airplay as the A-side in America. [27] 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. [46] [47] The two sides were also listed together on the US chart compiled by Record World , [48] where the single peaked at number 10. [45]

Critical reception

According to Beatles biographer Nicholas Schaffner, "Apple Scruffs" was one of the songs that suggested Dylan's "presence ... in spirit if not in person" on All Things Must Pass, further to speculation encouraged by Dylan and Harrison recording together in New York earlier in 1970. [29] Alan Smith of the NME described the track as "a Dylanesque, pacy piece with harmonica and a girlie chorus". [49] [50] Rolling Stone 's Ben Gerson deemed it "One of the most wonderful cuts on the album" and added: "it sounds as if it was recorded while co-producer Phil Spector was out for coffee." [51] Record World called it "Dylanesque." [52]

In his combined review of all the former Beatles' 1970 solo releases, Geoffrey Cannon of The Guardian described All Things Must Pass as "relaxed, well resolved, and, as ever with George, magnanimous" and said he especially admired the sentiments in "Apple Scruffs", despite it being "one of the slighter songs". [53] Billboard magazine's reviewer wrote of "What Is Life" and "Apple Scruffs" as "intriguing rhythm follows-ups" to Harrison's international hit "My Sweet Lord", and songs that were "sure to repeat that success" and become popular jukebox selections. [54] Don Heckman of The New York Times paired the song with "I Dig Love" as the tracks that conveyed a "familiarly whimsical" quality on an album where "The spirit of the Beatles is everpresent". [55]

Writing in 1977, Schaffner said that "Apple Scruffs" and the other songs that evoked Dylan's presence were overshadowed by those with the Spector sound, yet they were "far more intimate, both musically and lyrically". [29] [nb 5] Simon Leng praises the track's slide guitar parts, and particularly the backing vocals, which he describes as "the best on the album". [56] Tom Moon, in his book 1,000 Recordings to Hear Before You Die , refers to the song as having "an explosive peak-experience refrain that comes direct from heaven's songbook". [57]

Reviewing the 30th anniversary reissue of All Things Must Pass in 2001, James Hunter of Rolling Stone highlighted "Apple Scruffs" among the tracks on an album that "helped define the decade it ushered in", and advised listeners to "proceed to music that exults in breezy rhythms", which included "the colorful revolutions of 'What Is Life' … bluesy and intricate on Harrison and Dylan's 'I'd Have You Anytime', fizzy on 'Apple Scruffs'". [58] Writing for Record Collector that same year, Peter Doggett also included it among the album's highlights, describing the song as Dylan-esque and a "message of love to the Beatles fans who camped outside their office". [59] In an article covering the launch of the expanded edition of I, Me, Mine in 2017, Billboard's Andy Gensler said that "Apple Scruffs" "could have been a White Album classic". [60]

Legacy

According to Harrison biographer Alan Clayson, "Apple Scruffs" represented "the most intrinsically valuable if belated recognition of a vigil soon to end with adulthood [for the Scruffs] and the realisation that the Beatles as a 1960s myth would long outlive the mere mortals that constituted its dramatis personae". [31] In a 1996 article on the Apple Scruffs for Mojo , Cliff Jones wrote that Harrison's musical tribute "immortalised" a fan phenomenon in which, as witnesses to the Beatles' final years, the participants transcended fandom and were themselves part of the band's history. [61]

Leng says that the song especially resonates in pop culture history after John Lennon's murder in New York City in 1980 and Harrison's knife attack at Friar Park in 1999, both of which were carried out by individuals who were obsessed with the Beatles. [62] He comments that the Beatles' unprecedented impact "virtually invented" the tradition of rock fans being emotionally invested in their heroes' work; given that this tradition became increasingly manipulated for commercial gain, Leng continues, "Apple Scruffs" represents "an echo from a distant, carefree age" and "shows how much has been lost". [14]

Ian Inglis similarly views the song in the context of the violence inflicted on Harrison and Lennon, and within a cultural climate where obsession with celebrities would more likely see the scruffs issued with restraining orders than a tribute song. Describing Harrison's track as a "celebration of a unique and warm connection between the members of the Beatles and their public", Inglis adds: "Heard today, its sentiments evoke the last days of what novelist Edith Wharton had referred to, several decades earlier, as 'the age of innocence'." [63]

Writing for Rolling Stone in 2014, author William Shaw concluded his article on the Apple scruffs by quoting Harrison's lyrics to support the contention that "Most of all, they acted as a kind of balm for the Beatles during their most punishing days as the four most famous people on the planet." Shaw also commented that despite the existence of fan groups devoted to acts such as Duran Duran, Justin Bieber, Miley Cyrus and Beyoncé, none were or would ever be as "legendary and as sweetly original" as the scruffs. [64]

Personnel

According to Simon Leng [14] and Chip Madinger and Mark Easter: [65]

Notes

  1. ↑ According to author Andrew Grant Jackson, Harrison began writing the song for a proposed musical by him and Taylor about life at Apple. He then completed it for his 1970 solo album. [10]
  2. ↑ Various takes and rough mixes of the song appear on the 1997 bootleg compilation The Making of All Things Must Pass. [17] [28]
  3. ↑ Wendy Sutcliffe, another Apple scruff, said of Harrison's tribute: "It was like he had seen it all, understood how we felt and, most of all, knew that we weren't just sad, stupid girlies." [33]
  4. ↑ Author Ian Inglis says the three B-sides share a "jugband informality". [44]
  5. ↑ More recently, Beatles historian Bruce Spizer has written of the song: "Sandwiched in the middle of an album full of elaborate wall-of-sound productions, 'Apple Scruffs' breaks through like a breath of fresh air." [18]

Related Research Articles

<i>All Things Must Pass</i> 1970 studio album by George Harrison

All Things Must Pass is the third studio album by English rock musician George Harrison. Released as a triple album in November 1970, it was Harrison's first solo work after the break-up of the Beatles in April that year. It includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that had been overlooked for inclusion on releases by the Beatles. The album reflects the influence of Harrison's musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison's signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams titled Apple Jam. Several commentators interpret Barry Feinstein's album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.

<span class="mw-page-title-main">All Things Must Pass (song)</span> 1970 song by George Harrison

"All Things Must Pass" is a song by English rock musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as "All Things (Must) Pass" – on his Apple Records album Encouraging Words (1970) after the Beatles had rehearsed the song in January 1969 but did not include it on their Let It Be album. The composition reflects the influence of the Band's sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968. In his lyrics, Harrison drew inspiration from Timothy Leary's poem "All Things Pass", a psychedelic adaptation of the Tao Te Ching.

<i>The Best of George Harrison</i> 1976 compilation album by George Harrison

The Best of George Harrison is a 1976 compilation album by English musician George Harrison, released following the expiration of his EMI-affiliated Apple Records contract. Uniquely among all of the four Beatles' solo releases, apart from posthumous compilations, it mixes a selection of the artist's songs recorded with the Beatles on one side, and later hits recorded under his own name on the other.

<span class="mw-page-title-main">What Is Life</span> (1970) song by George Harrison

"What Is Life" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass. In many countries, it was issued as the second single from the album, in February 1971, becoming a top-ten hit in the United States, Canada and elsewhere, and topping singles charts in Australia and Switzerland. In the United Kingdom, "What Is Life" appeared as the B-side to "My Sweet Lord", which was the best-selling single there of 1971. Harrison's backing musicians on the song include Eric Clapton and the entire Delaney & Bonnie and Friends band, with whom he had toured during the final months of the Beatles. Harrison co-produced the recording with Phil Spector, whose Wall of Sound production also employed a prominent string arrangement by John Barham and multiple acoustic rhythm guitars, played by Harrison's fellow Apple Records signings Badfinger.

<span class="mw-page-title-main">You (George Harrison song)</span> 1975 single by George Harrison

"You" is a song by English musician George Harrison, released as the opening track of his 1975 album Extra Texture . It was also the album's lead single, becoming a top 20 hit in America and reaching number 9 in Canada. A 45-second instrumental portion of the song, titled "A Bit More of You", appears on Extra Texture also, opening side two of the original LP format. Harrison wrote "You" in 1970 as a song for Ronnie Spector, formerly of the Ronettes, and wife of Harrison's All Things Must Pass co-producer Phil Spector. The composition reflects Harrison's admiration for 1960s American soul/R&B, particularly Motown.

"Beware of Darkness" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass. It is the opening track on the second disc of the album. The lyrics warn against allowing illusion to get in the way of one's true purpose in life, an admonition that, like the content of "My Sweet Lord", reflects the influence of Harrison's association with the Radha Krishna Temple. Several critics recognise the song as one of the best tracks on All Things Must Pass.

"Don't Let Me Wait Too Long" is a song by English rock musician George Harrison, released on his 1973 album Living in the Material World. It was scheduled to be issued as a single in September that year, as the follow-up to "Give Me Love ", but the release was cancelled. Music critics have traditionally viewed "Don't Let Me Wait Too Long" as a highlight of the Material World album, praising its pop qualities and production, with some considering the song worthy of hit status.

"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 latter's Ululu album (1972), in gratitude to Davis for his participation in the Concert for Bangladesh. When writing the song, Harrison drew inspiration from the legal issues surrounding the Beatles during the early months of 1971, particularly the lawsuit that Paul McCartney initiated in an effort to dissolve the band's business partnership, Apple Corps.

"Who Can See It" is a song by English musician George Harrison, released on his 1973 album Living in the Material World. The lyrics reflect Harrison's uneasy feelings towards the Beatles' legacy, three years after the group's break-up, and serve as his statement of independence from expectations raised by the band's unprecedented popularity. Some music critics and biographers suggest that he wrote the song during a period of personal anguish, following the acclaim he had received as a solo artist with the 1970 triple album All Things Must Pass and his 1971–72 Bangladesh aid project. The revelatory nature of the lyrics has encouraged comparisons between Living in the Material World and John Lennon's primal therapy-inspired 1970 release, Plastic Ono Band.

<span class="mw-page-title-main">Wah-Wah (song)</span> Song by George Harrison

"Wah-Wah" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass. Harrison wrote the song following his temporary departure from the Beatles in January 1969, during the troubled Get Back sessions that resulted in their Let It Be album and film. The lyrics reflect his frustration with the atmosphere in the group at that time – namely, Paul McCartney's over-assertiveness and criticism of his guitar playing, John Lennon's lack of engagement with the project and dismissal of Harrison as a songwriter, and Yoko Ono's constant involvement in the band's activities. Music critics and biographers recognise the song as Harrison's statement of personal and artistic freedom from the Beatles. 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.

"Sunshine Life for Me (Sail Away Raymond)" is a song by English musician Ringo Starr from his 1973 album Ringo. It was written by George Harrison, Starr's former bandmate in the Beatles, and was one of several contributions Harrison made to Ringo. Recording for the song took place in Los Angeles in March 1973, with Richard Perry as producer. In addition to Starr and Harrison, the musicians on the track include Levon Helm, Robbie Robertson, Rick Danko and Garth Hudson of the Band, and multi-instrumentalist David Bromberg.

<span class="mw-page-title-main">Ballad of Sir Frankie Crisp (Let It Roll)</span> 1970 song by English rock musician George Harrison

"Ballad of Sir Frankie Crisp (Let It Roll)" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass. Harrison wrote the song as a tribute to Frank Crisp, a nineteenth-century lawyer and the original owner of Friar Park – the Victorian Gothic residence in Henley-on-Thames, Oxfordshire, that Harrison purchased in early 1970. Commentators have likened the song to a cinematic journey through the grand house and the grounds of the estate.

<span class="mw-page-title-main">Run of the Mill (George Harrison song)</span> 1970 song by George Harrison

"Run of the Mill" is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Harrison wrote the song shortly after the Beatles' troubled Get Back sessions in early 1969, during a period when his growth as a songwriter had inadvertently contributed to the dysfunction within the Beatles' group dynamic. The lyrics reflect the toll that running their company Apple Corps had taken on relationships within the band, especially between Paul McCartney and the other three Beatles, as well as Harrison's dismay at John Lennon's emotional withdrawal from the band. Commentators recognise "Run of the Mill" as one of several Harrison compositions that provide an insight into events behind the Beatles' break-up, particularly the difficulties surrounding Apple.

"Awaiting on You All" is a song by English musician George Harrison, released on his 1970 triple album, All Things Must Pass. Along with the single "My Sweet Lord", it is among the more overtly religious compositions on All Things Must Pass, and the recording typifies co-producer Phil Spector's influence on the album, due to his liberal use of reverberation and other Wall of Sound production techniques. Harrison recorded the track in London backed by musicians such as Eric Clapton, Bobby Whitlock, Klaus Voormann, Jim Gordon and Jim Price – many of whom he had toured with, as Delaney & Bonnie and Friends, in December 1969, while still officially a member of the Beatles. Musically, the composition reflects Harrison's embracing of the gospel music genre, following his production of fellow Apple Records artists Billy Preston and Doris Troy.

<span class="mw-page-title-main">Let It Down</span> 1970 song by George Harrison

"Let It Down" is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. The recording was co-produced by Phil Spector and employs the latter's Wall of Sound production technique to lavish effect. Its brash opening and choruses contrast with the ethereal quality of the verses – a loud/soft approach that has been credited with influencing indie bands during the 1980s and 1990s.

"Hear Me Lord" is a song by English rock musician George Harrison from his 1970 triple album All Things Must Pass. It was the last track on side four of the original LP format and is generally viewed as the closing song on the album, disc three being the largely instrumental Apple Jam. Harrison wrote "Hear Me Lord" in January 1969 while still a member of the Beatles, who rehearsed it briefly at Twickenham Film Studios that month, but passed it over for inclusion on what became their final album, Let It Be.

<span class="mw-page-title-main">Deep Blue (song)</span> 1971 single by George Harrison

"Deep Blue" is a song by English rock musician George Harrison that was released as the B-side to his 1971 charity single "Bangla Desh". Harrison wrote the song in 1970, midway through the recording sessions for All Things Must Pass, and recorded it in Los Angeles the following year while organising the Concert for Bangladesh. The composition was inspired by the deteriorating condition of his mother, Louise, before she succumbed to cancer in July 1970, and by Harrison's feelings of helplessness as he visited her in hospital in the north of England. Given the subject matter, "Deep Blue" also served to convey the suffering endured by the millions of refugees from war-torn Bangladesh in 1971, as sickness and disease became widespread among their makeshift camps in northern India.

"You and Me (Babe)" is a song by English musician Ringo Starr, released as the final track on his 1973 album Ringo. Starr's fellow ex-Beatle George Harrison wrote the song along with Mal Evans, the Beatles' longtime aide and a personal assistant to Starr during the making of Ringo. The track serves as a farewell from Starr to his audience in the manner of a show-closing finale, by lyrically referring to the completion of the album. During the extended fadeout, Starr delivers a spoken message in which he thanks the musicians and studio personnel who helped with the recording of Ringo – among them, Harrison, John Lennon and Paul McCartney, and his producer, Richard Perry.

"I'll Still Love You" is a song written by English rock musician George Harrison and first released in 1976 by his former Beatles bandmate Ringo Starr. Produced by Arif Mardin, the track appeared on Starr's debut album for Atlantic Records and Polydor, Ringo's Rotogravure. The composition had a long recording history before then, having been written in 1970 as "Whenever", after which it was copyrighted with the title "When Every Song Is Sung".

<span class="mw-page-title-main">I Don't Care Anymore (George Harrison song)</span> 1974 single by George Harrison

"I Don't Care Anymore" is a song by English musician George Harrison, released as the B-side of the lead single from his 1974 album Dark Horse. The A-side was "Dark Horse" in the majority of countries internationally and "Ding Dong, Ding Dong" elsewhere, including the United Kingdom. It is one of Harrison's relatively rare compositions in the country music genre and, equally unusual among his 1970s releases, the recording is a solo performance.

References

  1. ↑ Greg Kot, "All Things Must Pass", Chicago Tribune , 2 December 2001 (retrieved 2 November 2020).
  2. ↑ Clayson, p. 272.
  3. ↑ Harrison, p. 36.
  4. ↑ Clayson, pp. 272–73.
  5. ↑ MacFarlane, p. 74.
  6. ↑ Leng, pp. 77, 93.
  7. ↑ Clayson, pp. 288–89.
  8. ↑ Harrison, pp. 36, 383.
  9. ↑ Jones, p. 72.
  10. ↑ Jackson, p. 44.
  11. ↑ Inglis, p. 28.
  12. ↑ Jones, pp. 69, 72.
  13. ↑ Inglis, pp. 28–29.
  14. 1 2 3 Leng, pp. 93–94.
  15. ↑ Leng, p. 102.
  16. ↑ Jackson, pp. 79–80.
  17. 1 2 3 4 Madinger & Easter, p. 430.
  18. 1 2 3 Spizer, p. 224.
  19. ↑ MacFarlane, pp. 74–75.
  20. ↑ Rodriguez, pp. 147, 148.
  21. ↑ Leng, pp. 94, 102.
  22. ↑ Rodriguez, p. 147.
  23. 1 2 MacFarlane, p. 75.
  24. 1 2 Castleman & Podrazik, p. 94.
  25. ↑ MacDonald, p. 322.
  26. ↑ MacFarlane, pp. 60, 74.
  27. 1 2 3 Madinger & Easter, p. 431.
  28. ↑ Richie Unterberger, "George Harrison The Making of All Things Must Pass", AllMusic (retrieved 13 April 2021).
  29. 1 2 3 4 Schaffner, p. 142.
  30. ↑ Harry, p. 20.
  31. 1 2 Clayson, p. 297.
  32. ↑ Harry, p. 19.
  33. 1 2 Jones, p. 71.
  34. ↑ Badman, p. 16.
  35. ↑ Spizer, p. 220.
  36. ↑ Doggett, pp. 141, 142.
  37. ↑ MacFarlane, pp. 75–76.
  38. ↑ Clayson, p. 296.
  39. ↑ Schaffner, pp. 208, 212.
  40. ↑ Castleman & Podrazik, p. 99.
  41. ↑ Badman, p. 26.
  42. ↑ Harry, p. 271.
  43. ↑ Leng, pp. 136, 158.
  44. ↑ Inglis, p. 76.
  45. 1 2 Spizer, p. 231.
  46. ↑ "Go-Set Australian charts – 8 May 1971", poparchives.com.au (retrieved 25 July 2014).
  47. ↑ "Hits of the World", Billboard , 29 May 1971, p. 58 (retrieved 14 April 2021).
  48. ↑ Frank Mitchell (ed.), "The Singles Chart", Record World , 27 March 1971, p. 31.
  49. ↑ Alan Smith, "George Harrison: All Things Must Pass (Apple)", NME , 5 December 1970, p. 2; available at Rock's Backpages (subscription required).
  50. ↑ Chris Hunt (ed.), NME Originals: Beatles – The Solo Years 1970–1980, IPC Ignite! (London, 2005), p. 32.
  51. ↑ Ben Gerson, "George Harrison All Things Must Pass" Archived 28 April 2013 at the Wayback Machine , Rolling Stone , 21 January 1971, p. 46 (retrieved 20 February 2012).
  52. ↑ "Picks of the Week" (PDF). Record World. 20 February 1971. p. 1. Retrieved 22 April 2023.
  53. ↑ Geoffrey Cannon, "Ringo Stars: Geoffrey Cannon on the Beatles' Solo Albums", The Guardian , 19 December 1970; available at Rock's Backpages (subscription required).
  54. ↑ "Spotlight Singles", Billboard , 20 February 1971, p. 62 (retrieved 13 October 2013).
  55. ↑ Don Heckman, "Pop: Two and a Half Beatles on Their Own", The New York Times , 20 December 1970, p. 104 (retrieved 6 April 2021).
  56. ↑ Leng, p. 93.
  57. ↑ Moon, p. 345.
  58. ↑ James Hunter, "George Harrison All Things Must Pass 30th Anniversary reissue", Rolling Stone , 29 March 2001.
  59. ↑ Peter Doggett, "George Harrison: The Apple Years 1968–75", Record Collector , April 2001, p. 36.
  60. ↑ Andy Gensler, "Olivia Harrison Reveals Ringo Recently Stumbled Upon a Lost George Harrison Song", Billboard , 3 April 2017 (archived version retrieved 5 April 2021).
  61. ↑ Jones, p. 68.
  62. ↑ Leng, pp. 93–94, 222.
  63. ↑ Inglis, p. 29.
  64. ↑ William Shaw, "Love Them Do: The Story of the Beatles' Biggest Fans", Rolling Stone , 14 February 2014 (archived version retrieved 10 April 2021).
  65. ↑ Madinger & Easter, pp. 430–31.

Sources

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.