"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.
Following Harrison's work with American guitarist David Bromberg, "Deep Blue" features sparse instrumentation in the folk-blues style. It includes one of Harrison's first uses of dobro on a recording. The song proved popular on US radio and was listed with the A-side when "Bangla Desh" peaked at number 23 on the Billboard Hot 100 chart.
Well regarded by music critics and commentators, "Deep Blue" was out of print since the early 1970s and gained a reputation as an overlooked B-side. The re-release came in September 2006, when EMI included the song as a bonus track on the reissue of Harrison's Living in the Material World album.
Background and inspiration
George Harrison's inspiration for writing "Deep Blue" was the fatal illness of his mother, Louise.[1] The youngest of her four children,[2] Harrison often credited his mother with encouraging his music career from a young age, and a sense of individuality generally.[3][4] Although a practising Catholic,[5][6] she instilled in all her children the importance of spirituality over religion, a trait that was influential in Harrison's embracing of Hinduism in 1966.[7] Louise was also diligent in replying to her son's fan mail[8][9] and, in the words of music journalist John Harris, she "stood alone among the Beatle parents as an active champion of their talents".[10]
Harrison discussed the song at length in a 1987 interview for Musician magazine, during which he recalls that his mother developed a brain tumour late in 1969 but then recovered for seven months.[11] After hearing of the initial diagnosis in September 1969, Harrison cancelled a recording session with Apple Records artist Jackie Lomax to see her;[12] author Peter Doggett comments that, because of the severity of this news, Harrison would later have no recollection of how he heard of John Lennon's decision to leave the Beatles, on 20 September.[13][nb 1]
Although Louise's cancer had gone into remission,[15] it returned in the spring of 1970.[16] Exhausted from nursing her, Harrison's father, Harry, was then also hospitalised.[17] As a result, their youngest son was "running back and forth" between Warrington and London while trying to record his first post-Beatles solo album, All Things Must Pass.[11][18] Adding to the strain, Harrison would also tell Musician, he was having to assure each of his parents that the other one was okay.[1][17] On 4 July, the day that his song "Something" won an Ivor Novello award,[19] Harrison put his solo album on hold and drove north to see Louise for the last time.[10][20] In his Musician interview, Harrison says that he wrote "Deep Blue" "at home one exhausted morning" during this period.[11]
Composition
Musically, the song is in the folk-blues style.[21] Author Simon Leng notes "Deep Blue" as a comparatively rare foray into the genre for Harrison, along with "Sue Me, Sue You Blues",[22] a song he wrote in early 1971 in response to Paul McCartney's lawsuit to dissolve the Beatles' partnership.[23] Leng attributes the folk-blues influence primarily to Bob Dylan and American roots guitarist David Bromberg, the latter of whom Harrison had met in New York, through Dylan, shortly before beginning work on All Things Must Pass.[24] Another Harrison biographer, Ian Inglis, writes that the style of "Deep Blue"'s "easy, unpretentious melody" is equally influenced by the Lovin' Spoonful.[25] Harrison recalled the mix of major and minor chords as reflecting the "frustration and gloom" he experienced while visiting his mother in the cancer ward.[26]
In what Inglis describes as a "poignant contrast" with the composer's Beatles track "Here Comes the Sun", Harrison sings that the sunshine brings him no relief,[25] but instead leaves him "suffering in the darkness", which is "so easy come by on the roadside of one long lifetime".[27] In his autobiography, I, Me, Mine, Harrison says of the mood he captured in the song: "it's that smell and the whole atmosphere of doom that's in those hospitals."[28]
["Deep Blue" is] filled with frustration and gloom of going to these hospitals and the feeling of disease that permeated the atmosphere. Not being able to do anything for suffering family or loved ones is an awful experience.[11]
The lyrics bear out the powerlessness he felt while someone dear to him died,[17][25] specifically in the second verse:[27]
When you stand there, watch tired bodies Full of sickness and pain to show you Just how helpless you really are...
Harrison was at Louise's bedside until her death on 7 July.[20][29] According to Rolling Stone contributor Mikal Gilmore, he read passages to her from a text about the Bhagavad Gita, "commenting on the sacred book's views of death as a changeover rather than a termination".[11] In "Deep Blue"'s final verse, Harrison's lyrics likewise focus on spirituality:[30]
When I think of the life I'm living Pray God help me, give me your light So I can love you and understand This repetition that keeps me here feeling deep blue...
Harrison was alone with his mother at the end, author Joshua Greene writes, and when she began to slip into unconsciousness, he "put down the book and began chanting softly into her ear".[17] Inglis views the lyrics to "Deep Blue" as exemplifying Harrison's "fondness for family".[31][nb 2]Pattie Boyd, Harrison's wife at the time, recalls that Louise had withheld the seriousness of her condition from him for eight weeks before September 1969, "in case George was busy" with his career, and that, following her death, Harrison was anxious about how his father would manage alone.[34] Keen to strengthen the familial bond, Harrison invited his brothers Harold and Pete to live on his Friar Park estate in Oxfordshire,[35] along with their father.[36]
Recording
Within a year of Louise Harrison's death, Harry was staying in Los Angeles with Harrison and Boyd,[36][37] while Harrison worked with Ravi Shankar on the soundtrack to the film Raga.[38][39] A Bengali Hindu, Shankar was distraught at the news of the humanitarian disaster then occurring in East Pakistan,[40] following the outbreak of the Bangladesh Liberation War in March 1971.[38][41] After fleeing the war zone in their homeland, an estimated 7 million[42] refugees were being accommodated in inadequate camps in India, where diseases such as cholera had become rife.[43][44] Shankar later recalled that Harrison was deeply moved by his request for help in aiding the Bengali refugees,[45][46] as a result of which he committed to staging the Concert for Bangladesh in New York that summer.[47][48] Author Elliot Huntley suggests that, having been incapable of assuaging his mother's pain as she lay dying in 1970, Harrison gained extra motivation from "a situation his fame and commercial cache could do something to alleviate".[49]
As a B-side for the hastily written "Bangla Desh",[50] which he composed to bring attention to the cause,[51][52] Harrison chose to record "Deep Blue".[53] In the Bangladesh context of 1971, author Bruce Spizer writes, the song made a suitable, "intimately chilling" companion to the hard-charging lead track.[54] Harrison recorded "Deep Blue" in Los Angeles, at the Record Plant West on 4–5 July,[55] while organising the benefit concerts to be held at New York's Madison Square Garden on 1 August.[56][57][nb 3]
In contrast with the extravagant sound normally associated with co-producer Phil Spector's work,[60] "Deep Blue" received a sparse musical arrangement.[54][61] Underpinned by Jim Keltner's kick drum, the recording features three distinctive guitar parts, all performed by Harrison – two finger-picked acoustic guitars, along with fills played on a dobro.[61] Leng cites Bromberg's influence again in Harrison's acoustic guitar playing on the track and considers the American guitarist to have been Harrison's inspiration for adopting the dobro,[62] the two musicians having recently collaborated on "The Holdup" for Bromberg's debut solo album.[63][64] The dobro had since become "something of a party piece for him", Leng writes, as "Deep Blue" preceded 1971 releases by John Lennon, Gary Wright and Billy Preston that each featured Harrison "cameos" on the instrument.[65][nb 4]
The only other musician on the session for "Deep Blue", bassist Klaus Voormann, recalls that he, Harry Harrison and Memphis producer Don Nix then travelled to Nashville and explored the American South,[67] before heading to New York for the concert rehearsals.[68][69] "Deep Blue" appeared on Harrison's initial setlist at the rehearsals,[70] but was not performed at either of the two Concert for Bangladesh shows.[71]
Release
Trade ad for the "Bangla Desh" single, August 1971
Apple Records issued the "Bangla Desh" / "Deep Blue" single on 28 July 1971 in the United States (as Apple 1836) and 30 July in Britain (R 5912).[72] Before then, Apple's US distributor, Capitol Records, had manufactured one-sided promo discs, featuring just "Bangla Desh",[54] with the result that the lead side had already received considerable airplay in the build-up to the concerts.[73] The release was accompanied by a trade advertisement that reflected the emotion conveyed in "Deep Blue", of someone watching a loved one "waste away", Spizer writes; in this case, the image depicted a mother attempting to comfort her starving child.[74]
The B-side was a popular track in its own right at the time of release.[1] In his 1987 feature on Harrison, in Musician, music journalist Timothy White described the song as having been "a jukebox favorite in bars in the [United] States".[75] By 11 September, when the single reached its peak position on America's Billboard Hot 100,[76] at number 23,[77] radio programmers had opted for "Deep Blue" and the entry appeared as a double A-side in the chart listings. The single enjoyed more success on the other two US national charts, peaking at number 20 on Cash Box and number 13 on Record World.[78] In a chart compiled by Poland's Music Clubs' Co-Ordination Council, "Deep Blue" was listed at number 1 in December 1971, just ahead of "Bangla Desh".[79]
Reissue
Musician magazine: You've drawn some strong statements from sorrow, "Deep Blue" was very affecting … Harrison: I'm glad you noticed that one ... I got the impression people never heard a lot of these [B-sides].[75]
– Harrison discussing the song with Timothy White in 1987
The 1971 single remained the only official release for "Deep Blue" for over 30 years,[59] during which the song was largely forgotten.[26] In his conversations with Derek Taylor over 1978–79 for I, Me, Mine, Harrison acknowledged that the track had become "a bit obscure".[80] Inglis suggests that its exclusion from any album releases was because the lyrics' "raw imagery" confined the track to a "very specific personal and political relevance" within the Bangladesh context.[81]
After the expiration of Harrison's contract with Capitol in 1976, this and other non-album B-sides were among the notable omissions from The Best of George Harrison,[82] a compilation that ignored many popular songs from his solo career in favour of an LP side of Beatles tracks.[83][84] That same year, Harrison signed with Warner Bros. Records,[85] whose staff producer Ted Templeman expressed his admiration for "Deep Blue".[86] As a result, Harrison wrote a song in the same musical style, the more upbeat "Soft-Hearted Hana", for his 1979 album George Harrison.[87][88]
From the mid-1990s, "Deep Blue" became available on Harrison bootleg compilations such as Pirate Songs and Through Many Years.[89] Along with "Miss O'Dell", a song he wrote in Los Angeles partly about the Bangladesh crisis,[90][91] it was finally given an official CD release in September 2006,[92] as a bonus track on Harrison's remastered Living in the Material World album.[93] "Deep Blue" also appears on the 2014 Apple Years 1968–75 reissue of the album.[94]
Reception
"Deep Blue" impressed the notably anti-Harrison[95]Village Voice critic Robert Christgau, who considered the song on a par with "Here Comes the Sun" and "My Sweet Lord", while noting its status as a track "hidden away" on a B-side.[96] In their 2000 book on the four ex-Beatles' solo recordings, Chip Madinger and Mark Easter wrote of "Deep Blue": "The track's understated instrumentation and perceptive lyrical content make this one of the best, yet most overlooked songs in George's catalog."[59] In a 2001 appraisal of Harrison's Apple recordings, for Record Collector, Peter Doggett opined that Harrison had "tucked away an acoustic gem" on the B-side to "Bangla Desh" and described the song as "a sad but still buoyant lament inspired by his regular visits to his dying mother's bedside".[97] Former Melody Maker editor Richard Williams writes that "Harrison sings [it] very confidently, feeling no need to bury his voice in waves of production. His bottleneck work is beautifully restrained."[98]
Among reviews of the Living in the Material World reissue, John Metzger of The Music Box calls "Deep Blue" a "loose, swinging acoustic blues".[93] Writing for AllMusic, Bruce Eder views it as an "important bonus track", as well as "a fantastic showcase" for Harrison's acoustic guitar playing.[99]
Theologian Dale Allison recognises "Deep Blue" as Harrison's "musically beautiful and lyrically moving" response to his mother's death, a "prayer to God for help, light, love, and understanding in the midst of personal grief".[100] Ian Inglis praises the song's "uncluttered production and economical backing", adding: "'Deep Blue' is unlike anything he had written or recorded at that time, and its relative obscurity is undeserved."[101] While comparing the song favourably with better-known compositions by Lennon ("Julia") and McCartney ("Yesterday", "Let It Be"), Inglis concludes: "Where they differ is that Harrison's song is about himself as much as it is about his mother; her death is a starting point for an exploration of the 'suffering' and 'darkness' that afflict us all."[81] Elliot Huntley describes it as "a plaintive acoustic guitar tune" that became an "unjustly overlooked B-side".[26]
Simon Leng sees "Deep Blue" as a candidate for what he terms "the 'last great B-side' accolade", rivalling Harrison's Beatles tracks "The Inner Light" and "Old Brown Shoe". Leng also considers it to be a "worthy companion" to Dylan's New Morning album and the work of Bromberg and Ry Cooder.[61]
Personnel
The following musicians contributed to the recording of "Deep Blue":[54][102]
↑ In her autobiography, however, Harrison's wife Pattie Boyd recalls that Lennon arrived unexpectedly at their house and told Harrison that he was intending to quit the band.[14]
↑ Another track that Inglis highlights among its composer's family-oriented songs is "Unknown Delight",[32] written about the birth of Harrison's son, Dhani.[33]
↑ The recording details of 4–5 July 1971 in Los Angeles are consistent with statements by authors Keith Badman[55] and Simon Leng, the last of whom interviewed Concert for Bangladesh participants Klaus Voormann and Jim Horn for his book.[58] In Eight Arms to Hold You, however, Chip Madinger and Mark Easter suggest that "Deep Blue" might have been a 1970 All Things Must Pass outtake "dusted off for release", based on Harrison's comments in I, Me, Mine about writing the song.[59] According to Spizer, the session took place at Friar Park.[54]
The Concert for Bangladesh was a pair of benefit concerts organised by former Beatles guitarist George Harrison and Indian sitar player Ravi Shankar. The shows were held at 2:30 and 8:00pm on Sunday, 1 August 1971, at Madison Square Garden in New York City, to raise international awareness of, and fund relief for refugees from East Pakistan, following the Bangladesh Liberation War-related genocide and the 1970 Bhola cyclone. The concerts were followed by a bestselling live album, a boxed three-record set, and Apple Films' concert documentary, which opened in cinemas in the spring of 1972.
The discography of English singer-songwriter and former Beatle George Harrison consists of 12 studio albums, two live albums, four compilation albums, 35 singles, two video albums and four box sets. Harrison's first solo releases – the Wonderwall Music film soundtrack (1968) and Electronic Sound (1969) – were almost entirely instrumental works, issued during the last two years of the Beatles' career. Following the band's break-up in April 1970, Harrison continued to produce recordings by his fellow Apple Records acts, notably former bandmate Ringo Starr. He recorded and collaborated with a wide range of artists, including Shankar, Bob Dylan, Eric Clapton and Gary Wright.
The Best of George Harrison is a 1976 compilation album by the 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.
"Give Me Love (Give Me Peace on Earth)" is a song by English musician George Harrison, released as the opening track of his 1973 album Living in the Material World. It was also issued as the album's lead single, in May that year, and became Harrison's second US number 1, after "My Sweet Lord". In doing so, the song pushed Paul McCartney and Wings' "My Love" from the top of the Billboard Hot 100, marking the only occasion that two former Beatles have held the top two chart positions in America. The single also reached the top ten in Britain, Canada, Australia, and Holland.
"Dark Horse" is a song by English rock musician George Harrison and the title track to his 1974 solo album on Apple Records. The song was the album's lead single in North America, becoming a top-20 hit in the United States, but it was Harrison's first single not to chart in Britain when issued there in February 1975. The term "dark horse" had long been applied to Harrison due to his unexpected emergence as the most accomplished solo artist of the four former Beatles following the band's break-up in 1970. In the song, however, he said he used the phrase in reference to gossip about someone who carries out clandestine sexual relationships. Commentators interpret the lyrics as a rebuttal to several possible detractors: Harrison's first wife, Pattie Boyd; reviewers who criticised the spiritual content of his 1973 album Living in the Material World; and his former bandmates John Lennon and Paul McCartney. Harrison named his Dark Horse record label after the song, and his 1974 North American tour with Ravi Shankar came to be known as the Dark Horse Tour.
"Far East Man" is a song written by English rock musicians George Harrison and Ronnie Wood, each of whom released a recording of the song in 1974. Wood's version appeared on I've Got My Own Album to Do, his debut solo album, and Harrison's on Dark Horse. Their only official songwriting collaboration, "Far East Man" is an affirmation of friendship in the face of life's obstacles and musically reflects the two guitarists' adoption of the soul genre. Written mostly by Harrison, the composition has been interpreted as a restatement of the humanitarian message expressed in his 1971 single "Bangla Desh", and a tribute to Indian musician Ravi Shankar.
"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.
"That Is All" is a song by English musician George Harrison released as the final track of his 1973 album Living in the Material World. A slow, heavily orchestrated ballad, it is one of many Harrison love songs that appear to be directed at either a woman or a deity. Harrison wrote and recorded the song during the height of his public devotion to Hinduism; on release, Rolling Stone described its lyrics as "a sort of Hindu In Paradisium".
"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 was inspired to write the song following the successful Concert for Bangladesh shows, which were held in New York on 1 August 1971 as a benefit for refugees from the country formerly known as East Pakistan. The lyrics reflect his disappointment that such a humanitarian aid project was necessary, given the abundance of resources available across the planet, and his belief that if all individuals were more spiritually aware, there would be no suffering in the world. Adding to Harrison's frustration while writing the song, the aid project became embroiled in financial problems, as commercial concerns delayed the release of the Concert for Bangladesh album, and government tax departments failed to embrace the goodwill inherent in the venture.
"The Lord Loves the One (That Loves the Lord)" is a song by English rock musician George Harrison, released on his 1973 album Living in the Material World. Like the album's title track, it was inspired by the teachings of A.C. Bhaktivedanta Swami Prabhupada, founder of the International Society for Krishna Consciousness (ISKCON), more commonly known as the Hare Krishna movement. The song is an uptempo rock track with elements of blues and gospel. Some commentators have described it as the musical highpoint of Living in the Material World, with Harrison's slide guitar playing singled out as being among the finest performances of his career.
"World of Stone" is a song by English rock musician George Harrison, released in 1975 on Extra Texture , his final album for Apple Records. It was also issued as the B-side of the album's lead single, "You". Harrison wrote the song in 1973 but recorded it two years later, following the unfavourable critical reception afforded his 1974 North American tour with Ravi Shankar and the Dark Horse album. Due to its context on release, commentators view "World of Stone" as a plea from Harrison for tolerance from these detractors. According to some of his biographers, the lyrics reflect Harrison's doubts regarding his devotion to a spiritual path – an apparent crisis of faith that followed his often-unwelcome spiritual pronouncements during the tour, and which permeated his work throughout 1975.
"Bangla Desh" is a song by English musician George Harrison. It was released as a non-album single in July 1971, to raise awareness for the millions of refugees from the country Bangladesh, formerly known as East Pakistan, following the 1970 Bhola cyclone and the outbreak of the Bangladesh Liberation War. Harrison's inspiration for the song came from his friend Ravi Shankar, an Indian-Bengali musician, who approached Harrison for help in trying to alleviate the suffering. "Bangla Desh" has been described as "one of the most cogent social statements in music history" and helped gain international support for Bangladeshi independence by establishing the name of the fledgling nation around the world. In 2005, United Nations Secretary-General Kofi Annan identified the song's success in personalising the Bangladesh crisis, through its emotive description of Shankar's request for help.
"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.
"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.
"Hari's on Tour (Express)" is an instrumental by English musician George Harrison, released as the opening track of his 1974 album Dark Horse. It was also the B-side of the album's second single – which was "Ding Dong, Ding Dong" in North America and most other territories, and "Dark Horse" in Britain and some European countries. Among Harrison's post-Beatles solo releases, the track is the first of only two genuine instrumentals he released from 1970 onwards – the other being the Grammy Award-winning "Marwa Blues", from his 2002 album Brainwashed.
"Can't Stop Thinking About You" is a song by English musician George Harrison, released in 1975 on his final album for Apple Records, Extra Texture . A love song in the style of a soul/R&B ballad, it was written by Harrison in December 1973, towards the end of his marriage to Pattie Boyd and while he was having an affair with Maureen Starkey, the wife of his former Beatles bandmate Ringo Starr. Having first considered the song for his 1974 release Dark Horse, Harrison recorded "Can't Stop Thinking About You" in Los Angeles in May 1975 for his so-called "soul album", Extra Texture. Some authors view its inclusion on the latter release as an obvious attempt by Harrison to commercialise the album, in response to the harsh critical reception afforded Dark Horse and his 1974 North American tour.
"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.
"So Sad" is a song by English rock musician George Harrison that was released on his 1974 album Dark Horse. Harrison originally recorded the song for his previous album, Living in the Material World, before giving it to Alvin Lee, the guitarist and singer with Ten Years After. Lee recorded it – as "So Sad " – with gospel singer Mylon LeFevre for their 1973 album On the Road to Freedom. The latter recording includes contributions from Harrison and marked the first of several collaborations between him and Lee.
"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.
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