Courtesy of YouTube (user: djroget), George Harrison’s “Cockamamie Business.”
"Initially name-checking some key points in his career (Ed Sullivan, the Marquee Club, etc.) and music business friends like Bad Company, Harrison parodies his own marital tribulations. as previously described in darker times on ‘Simply Shady.’ He quickly shifts gear into ‘Run of the Mill’ mood, reflecting on the imbalance between resources and demand, but, well buried in nearly six minutes of word games and in-jokes, George Harrison sums up his life: ‘Didn’t want to be a star, wanted just to play guitar.’"
- While My Guitar Gently Weeps: The Music of George Harrison by Simon Leng
Scan - backstage in 1963
Photos: Terence Spencer
Drawing of George Harrison by Klaus Voormann
Source: Genesis Publications microsite for the limited edition book Hamburg Days by Astrid Kirchherr and Klaus Voormann
ckeavenyuk asks: Have you any tips to budding songwiters? Do you, as John apparantly advised you stick at it until you have finished it.
george_harrison_live: Try and write some melodies. And some words that mean something.
george_harrison_live: It is true that if you are on a roll, then it’s best to finish it in one go.
george_harrison_live: That’s what Johnny said."
George Harrison - “If Not For You” [Acetate Version]
A Bob Dylan song recorded by George for his first solo album, All Things Must Pass.
"[T]he final All Things Must Pass version is a gleaming pop creation. The sound is seductive, soft and light, with multiple guitars and George’s sweet vocals floating on a sea of soothing slide guitars (drummer Alan White has stated that one of the rhythm guitars on the track is John Lennon). The song is organized into firm sections, with a stronger emphasis on melody and instrumental embellishments. It’s obvious that, with his version of ‘If Not For You,’ Harrison was aiming for aural pleasure. He certainly succeeds." - From While My Guitar Gently Weeps: The Music of George Harrison by Simon Leng
Gill: “We used to curse The Beatles sometimes under our breath whenever it was too cold or they ignored us, and that night it was particularly cold and we were particularly miffed. It was 6am and me and Carol Bedford, who was a big George fan, Lucy, Cathy and Margo were all outside Abbey Road. Mal Evans had been looking out the through the letter box every so often. He opened the door and said, ‘Come inside girls, George wants to see you.’ We wondered what we’d done. We were ushered into the control room of Studio 3 and George said, ‘Sit down, I’ve got something to play you.’ He was very nervous, pacing up and down. He put this track on and we all went gooey, it was the first time any of The Beatles had actually acknowledged the Scruffs by name publicly. He told us it was going to be on the album then slipped away in typical George fashion. We all just looked at each other, it was unbelievable. We were so moved we went home in a daze that morning and made him a giant wreath of flowers. When we gave it to him he said, ‘Well you have your own magazine, your own office on the steps, so why not your own song?’
Wendy: “It was like he had seen it all, understood how we felt and, most of all knew that we weren’t just sad stupid types”
Wendy Sutcliffe and Gill Pritchard (as told to Cliff Jones)
“We’re waiting for The Beatles”
Mojo, October 1996
Though I know I say this a lot, I’d just like to extend a great, big thank you to each and every one of you lovely people for stopping by this blog. Thank you also to those who have sent in such incredibly kind and sweet comments - it’s really unexpected and greatly appreciated.
thateventuality has been online for nearly four years now, and only ever began as a way to pay tribute to George on the internet… a personal collective of scans (aka there are too many fantastic photos in books and magazines), images, quotes and music of/about/by an extraordinary individual and artist. Again, I’ve said this before, but I had no concept of followers and the like when I first joined Tumblr, and certainly never expected any. So I’m constantly taken aback by followers, and although it’s bewildering (and far too much praise for this blog), I truly appreciate all of you. It’s so fantastic to meet so many other fans of this incredible person, of this incredible band. Thank you for… well, for remembering and loving George, really. For remembering and loving all of The Beatles. Their music has continued to endure not only because of its brilliance and innovation, but because they and their music have the ability to touch generation after generation, to touch our lives and hearts, and to give us love, joy, hope.
Before I awkwardly ramble on any longer than I already have (sorry!), thank you so much again to all of you. Please feel free to drop me a line any time, my ask box is always open. :) (Also, if you’re on Twitter, give me a shout if you’d like: @cheerdown83. I don’t tweet too much, and it’s 99% George/Beatles when I do…).
Thank you… and as ever, thank you from the bottom of my heart to those Liverpudlians who mean the world to many of us, myself included!
- Andrea | thateventuality
Scan - George Harrison and Maurice Milbourne, former head gardener, Friar Park, from George’s camera
Scanned from Living in the Material World
Scan - George, on the phone (again)
Photo: The Beatles Book
That’s good - I like that. I think individual love is just a little of universal love. The ultimate love, the universal love or love of God, is a basic goal. Each one of us must manifest our individual love, manifest the divinity which is in us. All individual love between one person loving another or loving this that or the other, is all small parts or small examples of that one universal love. It’s all God, I mean if you can handle the word ‘God.’
Ultimately the love can become so big that we can love the whole of creation instead of ‘I love this but I don’t like that.’ Singing to the Lord or an individual is, in way, the same. I’ve done that consciously in some songs."