Miss O'Dell

Last updated

"Miss O'Dell"
Miss O'Dell label.jpg
Single by George Harrison
A-side "Give Me Love (Give Me Peace on Earth)"
Released7 May 1973
RecordedOctober 1972–February 1973
Apple Studio, London; FPSHOT, Oxfordshire
Genre Folk rock
Length2:33
Label Apple
Songwriter(s) George Harrison
Producer(s) George Harrison
George Harrison singles chronology
"Bangla Desh"
(1971)		"Give Me Love (Give Me Peace on Earth)'" / "Miss O'Dell"
(1973)		"Dark Horse"
(1974)

"Miss O'Dell" is a song by English musician George Harrison, released as the B-side of his 1973 hit single "Give Me Love (Give Me Peace on Earth)". Like Leon Russell's "Pisces Apple Lady", it was inspired by Chris O'Dell, a former Apple employee, and variously assistant and facilitator to musical acts such as the Beatles, Derek & the Dominos, the Rolling Stones, Bob Dylan and Santana. Harrison wrote the song in Los Angeles in April 1971 while waiting for O'Dell to pay him a visit at his rented home. As well as reflecting her failure to keep the appointment, the lyrics provide a light-hearted insight into the Los Angeles music scene and comment on the growing crisis in East Pakistan that led Harrison to stage the Concert for Bangladesh in August that year.

Contents

Harrison recorded "Miss O'Dell" in England between October 1972 and February 1973, during the sessions for his Living in the Material World album. The arrangement reflects the influence of Dylan, and the recording is notable for Harrison breaking into laughter midway through the verses. A popular B-side, "Miss O'Dell" was unavailable officially for over 30 years after this initial release, until its inclusion as a bonus track on the 2006 reissue of Living in the Material World. An alternate, laughter-free vocal take of the song circulates on Harrison bootleg CDs and was included on the DVD accompanying the deluxe edition of Living in the Material World in 2006. O'Dell named her 2009 autobiography after the song.

Background and composition

After arriving in London from Los Angeles in mid-May 1968, to start work at the Beatles' Apple Corps headquarters at the invitation of her friend Derek Taylor, [1] Chris O'Dell began a career that saw her become, in author Philip Norman's words, "the ultimate insider" in rock-music circles. [2] In the space of two years, O'Dell witnessed first-hand a series of key moments in rock 'n' roll:[ citation needed ] she joined in the backing chorus on the song "Hey Jude"; she was on the Apple rooftop in January 1969 when the Beatles played live for the last time; she personally delivered the harmonicas for Bob Dylan's comeback performance at the Isle of Wight; and on the day Paul McCartney announced he was leaving the Beatles, she was there at George Harrison's Friar Park mansion when Harrison and John Lennon met to discuss the news. [3] Later in the 1970s, O'Dell went on to work with the Rolling Stones, during the LA sessions for Exile on Main St. (1972) and their subsequent "STP" US tour, and on Crosby, Stills, Nash & Young's 1974 reunion tour and Dylan's Rolling Thunder Revue of 1975, but said her time with the Stones, she says, felt like a "climb down the ladder". [4] Similarly, after working for Harrison and his wife Pattie Boyd during their first few months at Friar Park, from March to June 1970, she would always view the Henley estate as a spiritual home, [5] and the Harrisons as her most important friends in the fickle world of the music business. [6] O'Dell assisted Harrison in preparing for the recording sessions for All Things Must Pass (1970), helped him recruit musicians for the Bangladesh benefit concerts, served on his 1974 North American tour with Ravi Shankar, and was privy to the details that ended the Harrisons' marriage as well as that of Ringo Starr and Maureen Starkey. [7]

By April 1971, O'Dell was back in California, working with former Apple Records A&R manager Peter Asher on developing the careers of singer-songwriters such as James Taylor, Carole King and Linda Ronstadt. [8] At the same time, Harrison, having recently contributed to the debut solo album by Bobby Whitlock, formerly of Derek & the Dominos, and finished the Radha Krishna Temple (London) album [9] [10] – both acts that O'Dell had been involved with professionally in 1969–70 – was now in Los Angeles to begin work on Shankar's Raga film soundtrack. [11] [12] He had also been informed of the tragic events occurring in Shankar's homeland, following the Bhola cyclone and the outbreak of the Bangladesh Liberation War. [13] [14] This was an issue that Harrison dealt with in the opening verse of a song he began writing, "Miss O'Dell", [15] while waiting for his eponymous friend to visit him at his rented Malibu home: [11] [16]

I'm the only one down here who's got
Nothing to say about the war or the rice
That keeps going astray on its way to Bombay  ...

Adopting a considerably more lighthearted approach than would be the case in his "storming, urgent" song "Bangla Desh" a couple of months later, [17] these lines refer to international donations of rice, which "somehow" ended up becoming the property of the Indian Government instead and either being sold in government shops in India, or getting exported back to the West to be sold in Indian shops there. [18] ("Very strange," he concludes in his autobiography. [18] )

His disenchantment with the Californian surroundings and O'Dell's failure to turn up as arranged [19] are reflected in the next lines: [20]

That smog that keeps polluting up our shores
Is boring me to tears
Why don't you call me, Miss O'Dell?

In verse two, Harrison describes the ocean-front house, the balcony of which stretched out over the waves below: [11]

I'm the only one down here who's got
Nothing to fear from the waves or the night
That keeps rolling on right up to my front porch ...

Inside the house, neither he nor his driver Ben could get the record player to work, [11] and Harrison admits to his absent friend over the song's middle eight: "I can tell you, nothing new / Has happened since I last saw you." [20]

In her 2009 memoir, O'Dell explains that her escalating drug habit had been responsible for her non-attendance on the evening in question, as well as a reluctance to have to put up with scores of hangers-on around the ex-Beatle. [21] In the song's third verse, however, Harrison shows that he too had no interest in the typical trappings of the LA music scene: [20]

I'm the only one down here who's got
Nothing to say about the hip or the dope
Or the cat with most hope to fill the Fillmore
That pushed-and-shoving ringing on my bell
Is not for me tonight
Why don't you call me, Miss O'Dell?

O'Dell eventually drove up the Pacific Coast Highway to Malibu and found him, in keeping with the song's "I'm the only one down here" refrain, alone and feeling "pretty lonely". [14] After joking to her "I'm going to make you famous", Harrison played the new song, about which O'Dell would later write: "I heard George sing 'Miss O'Dell' many times in the years to come, but it would never sound as good as it did that night with the waves breaking and the breeze blowing through the room ..." [22]

Recording

Following the completion of the Rolling Stones' North American tour in late July 1972, [23] a "[d]ead tired and strung out" O'Dell visited Friar Park and found Harrison "happy" and enthusiastic [24] about the music he would soon record for his much-anticipated follow-up to All Things Must Pass. [25] "I remember thinking that this was the old George", O'Dell later wrote, "the fun, light, mischievous George I remembered from my first days at Apple, almost as if the Bangladesh concert had released him from the woes of the past." [24] The same good humour is evident in the performance of "Miss O'Dell", [26] [27] which Harrison recorded during the Living in the Material World album sessions, beginning in early October. [28] Musical biographer Simon Leng describes the performance as Harrison in "'Apple Scruffs' busking mode", referring to his Dylan-influenced 1970 tribute song to the Beatles' diehard fans known as Apple scruffs. [29] In early January 1973, Dylan was another guest at Friar Park, along with his wife Sara Lownds. [30] The couple had temporarily escaped a chaotic location shoot in Durango, Mexico, where Dylan was starring in the Sam Peckinpah western Pat Garrett and Billy the Kid . [31]

On the recording of "Miss O'Dell", Harrison plays acoustic guitar and harmonicas, [20] backed by just the rhythm section of Klaus Voormann and Jim Keltner. [32] With its unusually sparse backing, on which Keltner's cowbell is a prominent feature, [20] the released version of "Miss O'Dell" is notable for the three occasions when Harrison bursts into laughter midway through the verses. [33] [34] Among the music industry in-jokes contained in the lyrics, [35] Harrison concludes the song by leaving a phone number – that of Paul McCartney's old home in Liverpool. [26] Another example was Harrison's adoption of a similar logo to Wings' for his fictitious "Jim Keltner Fan Club" banner, on the back of the Material World album cover. [36] [37] Harrison recorded a "straight" vocal on the same backing track, a version that is available unofficially on bootlegs such as Living in the Alternate World and Pirate Songs. [26]

Release

Trade ad for the "Give Me Love" single, May 1973 George Harrison - Give Me Love.png
Trade ad for the "Give Me Love" single, May 1973

Apple Records released "Miss O'Dell" as the B-side of Living in the Material World's lead single, "Give Me Love (Give Me Peace on Earth)", [38] on 7 May 1973 in America and 25 May in Britain. [39] Authors Chip Madinger and Mark Easter suggest that the song was considered for inclusion on the album also, in its non-laughing vocal take; an alleged early alternative to the LP's side-one track order omitted the album opener, "Give Me Love", and had "Miss O'Dell" closing the side. [40]

As with the majority of the songs on Living in the Material World, [41] the copyright for "Miss O'Dell" was assigned to the Material World Charitable Foundation. [42] Harrison established the foundation in April 1973, [43] partly to support charitable causes, [44] and as a means to avoid the government and legal interference that had resulted in the withholding of funds raised for the Bangladeshi refugees over 1971–72. [45] [46] [47]

Reissue

Having become a sought-after rarity for over 30 years, [34] "Miss O'Dell" was finally given a second release when included as a bonus track on the 2006 remaster of Living in the Material World. [48] [49] The "straight"-vocal take of the song was issued at this time as well, set to archival footage and included on the deluxe-edition, CD/DVD version of the album. [50]

"Miss O'Dell" also appears on the 2014 Apple Years 1968–75 reissue of Material World. [51] The DVD exclusive to the Apple Years box set similarly includes the film clip originally issued in 2006. [52]

Reception

Writing for AllMusic, Bruce Eder considers "Miss O'Dell" to be an "important bonus track" on the remastered Living in the Material World CD, as well as "an exuberant and richly produced, light-hearted number". [53] In another review of the 2006 reissue, for the Vintage Rock website, Shawn Perry viewed the inclusion of "Miss O'Dell" as "unremarkable yet special enough to thrill the hardcore fans". Perry described the film accompanying the alternative take as "a still photo slideshow of Harrison and his pals eating, drinking, and frolicking on the grounds of what may or may not be Friar Park, the former Beatle's estate", and admired the bonus DVD as perhaps the "pièce de résistance" of the deluxe edition of Material World. [54]

The song has traditionally received a warm reception from Beatles biographers. Simon Leng describes it as a "jaunty, Dylanesque flip side", a "short musical postcard" from an ex-Beatle "[sent] off to rock star exile in Los Angeles" and obviously bored with what he finds there. [20] Bruce Spizer views it a "delightful throw-away song perfect for a B-side", [33] while to Chip Madinger and Mark Easter, less impressed with the Material World album, "Miss O'Dell" is a "great track, full of the humor so desperately missing from the rest of the LP". [40]

Theologian Dale Allison describes it as "enigmatic", a "biting exposé" of Harrison's own celebrity status, reflecting the same "ennui" that would later inspire his Traveling Wilburys song "Heading for the Light". [55] Like Madinger and Easter, Ian Inglis welcomes the "spontaneous fun" evident in this "impromptu" recording, compared with Harrison's more "solemn" 1973 album, and recognises the influence of both Basement Tapes -era Bob Dylan & the Band as well as Lonnie Donegan's mid-1950s brand of skiffle. [56] Inglis describes the song as Harrison's "playful and lighthearted tribute" to his and O'Dell's friendship and groups the track within a subcategory of Harrison compositions that "express his fondness" for family and friends. [57] Other examples include "Behind That Locked Door", written to Dylan; "Deep Blue", mourning the death of his mother; and "Unknown Delight", written shortly after the birth of his son, Dhani Harrison. [58]

Personnel

Related Research Articles

The discography of English singer-songwriter and former member of the Beatles, 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.

<span class="mw-page-title-main">Give Me Love (Give Me Peace on Earth)</span> 1973 single by George Harrison

"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.

<span class="mw-page-title-main">Ding Dong, Ding Dong</span> 1974 single by George Harrison

"Ding Dong, Ding Dong" is a song by English rock musician George Harrison, written as a New Year's Eve singalong and released in December 1974 on his album Dark Horse. It was the album's lead single in Britain and some other European countries, and the second single, after "Dark Horse", in North America. A large-scale production, the song incorporates aspects of Phil Spector's Wall of Sound technique, particularly his Christmas recordings from 1963. In addition, some Harrison biographers view "Ding Dong" as an attempt to emulate the success of two glam rock anthems from the 1973–74 holiday season: "Merry Xmas Everybody" by Slade, and Wizzard's "I Wish It Could Be Christmas Everyday". The song became only a minor hit in Britain and the United States, although it was a top-twenty hit elsewhere in the world.

"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.

"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.

"Be Here Now" is a song by English rock musician George Harrison from his 1973 album Living in the Material World. The recording features a sparse musical arrangement and recalls Harrison's work with the Beatles during 1966–1968, through its Indian-inspired mood and use of sitar drone. Part of Harrison's inspiration for the song was the popular 1971 book Be Here Now by spiritual teacher Ram Dass – specifically, a story discussing the author's change in identity from a Western academic to a guru in the Hindu faith. Some Harrison biographers interpret "Be Here Now" as a comment from him on the public's nostalgia for the past following the Beatles' break-up.

"I'd Have You Anytime" is a song written by George Harrison and Bob Dylan, released in 1970 as the opening track of Harrison's first post-Beatles solo album, All Things Must Pass. The pair wrote the song at Dylan's home in Bearsville, near Woodstock in upstate New York, in November 1968. Its creation occurred during a period when Harrison had outgrown his role in the Beatles and Dylan had withdrawn from the pressures of fame to raise a family. "I'd Have You Anytime" is recognised as a statement of friendship between the two musicians, whose meetings from 1964 onwards resulted in changes in musical direction for both Dylan and the Beatles. The song reflects the environment in which it was written, as Harrison's verses urge the shy and elusive Dylan to let down his guard, and the Dylan-composed choruses respond with a message of welcome.

<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">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.

<span class="mw-page-title-main">Māya Love</span> 1974 single by George Harrison

"Māya Love" is a song by English musician George Harrison, released on his 1974 album Dark Horse. The song originated as a slide guitar tune, to which Harrison later added lyrics relating to the illusory nature of love – maya being a Sanskrit term for "illusion", or "that which is not". Harrison's biographers consider the lyrical theme to be reflective of his failed marriage to Pattie Boyd, who left him for his friend Eric Clapton shortly before the words were written. Harrison recorded the song at his home, Friar Park, on the eve of his North American tour with Ravi Shankar, which took place in November and December 1974. The recording features Harrison's slide guitar extensively and contributions from four musicians who formed the nucleus of his tour band: Billy Preston, Tom Scott, Willie Weeks and Andy Newmark. Reviewers note the track as an example of its parent album's more diverse musical genres, namely funk and rhythm and blues, compared with the more traditional rock orientation of Harrison's earlier solo work.

"The Answer's at the End" is a song by English rock musician George Harrison, released in 1975 on his final album for Apple Records, Extra Texture . Part of the song lyrics came from a wall inscription at Harrison's nineteenth-century home, Friar Park, a legacy of the property's original owner, Sir Frank Crisp. This aphorism, beginning "Scan not a friend with a microscopic glass", had resonated with Harrison since he bought Friar Park in 1970, and it was a quote he often used when discussing his difficult relationship with his former Beatles bandmate Paul McCartney.

"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.

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

"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".

<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. ↑ O'Dell, pp. 15, 17.
  2. ↑ Philip Norman, dust-jacket quote in O'Dell.
  3. ↑ O'Dell, pp. 54–56, 74–77, 155.
  4. ↑ O'Dell, p. 214.
  5. ↑ O'Dell, pp. 188, 233.
  6. ↑ O'Dell, pp. 161, 162, 185, 188, 193, 214.
  7. ↑ O'Dell, pp. 156, 172–73, 196–98, 257–66, 302, 305–06.
  8. ↑ O'Dell, pp. 182–83.
  9. ↑ Leng, p. 123.
  10. ↑ Castleman & Podrazik, p. 101.
  11. 1 2 3 4 Harrison, p. 248.
  12. ↑ Lavezzoli, p. 187.
  13. ↑ Leng, p. 111.
  14. 1 2 O'Dell, p. 189.
  15. ↑ Len Comaratta, "Dusting 'Em Off: George Harrison and Friends – The Concert For Bangladesh", Consequence of Sound, 29 December 2012 (archived version retrieved 15 August 2014).
  16. ↑ Clayson, p. 317.
  17. ↑ Leng, p. 113.
  18. 1 2 Harrison, p. 220.
  19. ↑ O'Dell, pp. 186–88.
  20. 1 2 3 4 5 6 Leng, p. 136.
  21. ↑ O'Dell, p. 186.
  22. ↑ O'Dell, p. 191.
  23. ↑ Wyman, p. 398.
  24. 1 2 O'Dell, p. 234.
  25. ↑ Schaffner, p. 159.
  26. 1 2 3 Madinger & Easter, p. 442.
  27. ↑ Inglis, pp. 43, 44.
  28. ↑ Badman, p. 83.
  29. ↑ Leng, pp. 94, 136.
  30. ↑ Sounes, p. 272.
  31. ↑ Heylin, pp. 342–44.
  32. ↑ Inglis, p. 43.
  33. 1 2 Spizer, p. 250.
  34. 1 2 Huntley, p. 95.
  35. ↑ Clayson, p. 322.
  36. ↑ Rodriguez, p. 81.
  37. ↑ Spizer, pp. 158, 256.
  38. ↑ Badman, p. 99.
  39. ↑ Castleman & Podrazik, p. 125.
  40. 1 2 Madinger & Easter, p. 440.
  41. ↑ Schaffner, p. 160.
  42. ↑ Harrison, p. 385.
  43. ↑ Badman, p. 98.
  44. ↑ Book accompanying Collaborations box set by Ravi Shankar and George Harrison (Dark Horse Records, 2010; produced by Olivia Harrison; package design by Drew Lorimer & Olivia Harrison), p. 32.
  45. ↑ Clayson, pp. 315–16.
  46. ↑ Michael Gross, "George Harrison: How Dark Horse Whipped Up a Winning Tour", CIrcus Raves , March 1975; available at Rock's Backpages (subscription required).
  47. ↑ "At the Starting Gate", Contra Band Music, 21 August 2012 (retrieved 22 October 2013).
  48. ↑ "George Harrison Living in the Material World (Bonus Tracks)" > Tracks, AllMusic (retrieved 4 June 2013).
  49. ↑ Mat Snow, "George Harrison Living in the Material World", Mojo , November 2006, p. 124.
  50. ↑ John Metzger, "George Harrison Living in the Material World", The Music Box, vol. 13 (11), November 2006 (retrieved 4 June 2013).
  51. ↑ Kory Grow, "George Harrison's First Six Studio Albums to Get Lavish Reissues" Archived 23 October 2017 at the Wayback Machine , rollingstone.com, 2 September 2014 (retrieved 4 October 2014).
  52. ↑ Joe Marchese, "Give Me Love: George Harrison’s 'Apple Years' Are Collected On New Box Set", The Second Disc, 2 September 2014 (retrieved 4 October 2014).
  53. ↑ Bruce Eder, "George Harrison Living in the Material World (Bonus Tracks/DVD)", AllMusic (retrieved 4 October 2014).
  54. ↑ Shawn Perry, "George Harrison, Living In The Material World – CD Review", vintagerock.com, October 2006 (retrieved 29 November 2014).
  55. ↑ Allison, p. 116.
  56. ↑ Inglis, p. 44.
  57. ↑ Inglis, pp. 43, 141.
  58. ↑ Inglis, pp. 26–27, 33–34, 82, 141.

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.