@@blackfinjrblackfinjr3555 George plays Organ on "It's All Too Much". It is still a mystery as to who plays that Psychedelic Guitar. I personally believe it's Jimi Hendrix!
Yeah not sure about mentioning those five songs on the first Byrds album as being by Roger McGuinn and Gene Clark. Gene had five credits (2 co writes) and Roger McGuinn just had the two co-writes. Also, the lack of Gene songs on the album is more to do with management choices and the fact the'd had a huge hit with a Dylan cover, rather than lack of available songs on his part.
As much as I love the sound of an electric guitar, I think it was important for George’s artistic growth to try new things. It would be easy to compare him to other guitarists of the era and think he wasn’t as progressive but not when one considers his overall contributions as a musician. I really respect the fact that he didn’t follow the trends but instead became a pioneer of world music within a pop/rock context. He continued that growth by becoming a distinctive slide guitarist in his solo career and embracing the ukulele in his later years.
I absolutely agree. George was a fine guitar player. I think it’s important to think of him as an overall musician and songwriter, not just a guitarist.
My understanding from watching the Anthology is that the ukulele was always present at George's house and used quite frequently - it wasn't something they picked up. in later years.
I had the impression that George got equal lead singing status until the John and Paul thing reached critical mass. Ringo and George were equally important to what the Beatles were
just think... george's family did not have indoor plumbing... 15 or so years later he's writing a masterwork like living in the material world and that amazing song give me love (give me peace on earth). it's just mind blowing.
Lots of people still did not have indoor plumbing in '58. George bought his first car (a Ford Anglia) on HP in '62 tho', which is also pretty remarkable.
My grandparents were roughly contemporaneous with Harrison's parents. My grandmother refused to have a toilet in the house. She thought it was unhygienic.
... George wrote , Here comes the Sun , While my guitar gently Weeps , and Something ....these are not just great Beatle tunes ...to me they're several of the best songs ever written .
I agree 1,000% just listen to _All Things Must Pass_ ... Mind blowing songs! To me, still the best out of all the other _Beatles_ solo albums.. Back in 1970, when my older brother came home with this album, opened it up carefully put the album on the turntable and the needle hit the vinyl I was in awe! From " _I'd Have you Anytime"_ , to " _Hear Me Lord_ ".. I played the _Apple Jam_ a few times but, I was never into long instrumental jams. And for *Christmas* , I got my own copy of " _All Things Must Pass_ " Loved that poster that came with the album! 🚶🏽♀️🚶🏽♀️🚶🏽♀️🚶🏽♀️🌞 🎸
Take Clapton's guitar out of WMGGW and it's a fairly average song. Here Comes the Sun by any other artist would be considered good but not great. Something is of course 'world class' but 1 song in 40 years? Not great. He was an average songwriter and an average guitarist. The least talented of the Beatles
@@jeperstone listen to the acoustic WMGGW it's a beautiful song. here comes the sun is the highest downloaded beatles song so really re think your statement
Wow, that was thought provoking. You stated a few things that I never heard or considered. Excellent analysis. I don't think you mentioned 'Sour Milk Sea' in your presentation but you close out your video with it. Fantastic. It would have been great to have seen see Sour Milk produced and released on an official Beatles album. Love that song.
once again your analyses of George Harrison are inspiring as well as illuminating. And if I can say: exactly as I see it. Don't bother me is a greater song than most care to admit. It was that song that convinced me of the quality work of The Beatles. Harrison injected wisdom to the pop Beatles. Yes, I am a Harrison fan, have always since day one! Which is 1963! Again thank you for these videos.
George's lead guitar work on songs like Dear Prudence, Happiness Is a Warm Gun, Sexy Sadie, Everybody's Got Something to Hide is so fantastic, so minimalistic yet so perfectly conceived and played, that I really love him as a guitarist. It is strange thought how reticent he could be at times to let it rip. I guess his natural style is more measured and deliberate, while Paul was better at playing faster and more carefree, so he was the better choice to play certain solos.
Yeah, as I dig into George, it seems that he was a bit lazy during this period. An interesting thing he said during the Let It Be sessions was referring to the White Album as the "first album in some time I really asserted myself." So I don't know what he was thinking but he could have pushed for more and been more aggressive. Apparently that is not his style but that's why he has less representation instrumentally and composition-wise. Thanks for the comment!
What surprises me is that when George got comfortable with playing guitar. It was after The Beatles split-with his slide guitar which became his calling card through out the 1970's. I am trying to imagine what The Beatles would have been like with Georges slide guitar being more prominently placed in the mix.....
I dont think they (john or paul) would have tolerated it for more than a few songs. They were always looking for new sounds those two. I think it was really the main reason the broke up, they had done pretty much all they were going to do or wanted to do with each other.
You never know. Even though George was excellent playing the bottleneck Slide, there might times when Paul might say, Thats great slide George but can you play a regular guitar for this part? 😭
@@martifingers There is slide on two songs on Rubber Soul - Drive My Car and Run For Your Life - presumably George is playing slide on those. Also Strawberry Fields has some slide although it is used fleetingly.
@@snowfiresunwind Thanks! Yes there it is, in early mid period Beatles. I think a lot of the solo on Drive My Cars is fretted but the last few notes indeed sound like a slide. On RFYL it sounds to me almost like an effect rather than the way he used it post-Beatles. And isn't there an alternative version of Strawberry Field that has a very prominent slide part?
George's strength as a guitar player was his taste and creativity within a song. He never had the chops to be Hendrix or Clapton. That wasn't his thing. But his slide playing was exceptional. Soulful, musical and as good as any slide player I've ever heard.
Agreed. Though I would hardly compare Hendrix with Clapton... Who (IMHO) was always overated, both as a songwriter and guitarist and, all said and done, Harrison was still a better guitarist than Clapton.
I never skipped over within you and without you and inner light either. Even songs like blue jay and long long long. I love those cuts even though it wasn’t what I was necessary there for. For me it was a quick step in a different direction or dimension that I really appreciated then and now. It’s hard to explain, but I hope you understand. Again, thanks for all of this material.
You make some very valid points but it is also important to note that George’s Indian influences were completely accepted by John and Paul during the Rubber Soul, Revolver and Pepper Sessions. There would probably not be the excellent Indian Scale Guitar Solo by Paul in Taxman. Tomorrow Never Knows wouldn’t be the same without the Tanpura drone and single chord Indian trait. Don’t forget the Tanpura on Getting Better as well. That verse coupled with the Harmonies by John and Paul singing “I used to be cruel…” is one of the finest moments on Pepper. (IMHO) I guess that’s what Lennon meant when he said that they “went Indian” for a period. I would say that the Indian influences during that ‘65 through’67 period definitely expanded their palate. After that it was time for, as Macca said, “More Guitar”.
I really like the song 'Do You Want to Know a Secret' which George sang on what I think was The Beatles' best album 'Please, Please Me' ( released on the 22 March, 1963 ). I like the Billy J Kramer and the Dakotas' version too. 1963 is my favourite Beatles era. The likes of 'The White Album' are amazingly out there but the 'Please, Please Me' album sounds like what it is, a rock band playing onto tape rather than overdubs on later albums. And who was writing introspective songs like 'There's a Place' in 1962 other than John Lennon, but yet not overt or strange like later Beatles' tracks.
I took up the sitar because of George Harrison. The man who introduced sitar, and the sound of Indian music, to the western world, was George, not Ravi. George was a musician at heart, and the guitar was just his instrument. Music is born in the human mind and heart, and the instruments come after the fact. If he had been born in another place or time he would have played whatever instrument was laying around. A musician’s mission is to get the song out of his/her head and into the air...by any means available. I’m glad he followed his own muse. Walt Whitman said: “I am large, I contain multitudes.” Sounds like George. ✌️🍷🎩🎩🎩 Thanks for this insightful discussion, made my day.
If I had to choose my favorite Beatle it would be George, he was always cool and I like all his songs from “Rubber Soul” onwards. “If I needed someone” was inspired by The Byrds who started their thing being influenced by The Beatles. “Within you, without you” is along with Paul’s “Fixing a hole” are my favorites from Sgt Pepper. “The inner light” is brilliant and relatively unknown by the public which I think is a shame. George was great and in my view the equal of the others. He had to go through his sitar period and it was his thing. I saw an interview with him saying that when he visited Lennon in the late 70’s, Lennon had loads of Indian music and that Lennon grew into that music. George was a big influence within the group and no softie. I really enjoy your videos, Would you have any interest in doing some videos of The Byrds/Gene Clark? Their first 6 albums are all great and in my mind they the closest to being “The American Beatles”. Greetings to you from Sweden.
I love George but to compare him to Lennon/McCartney the most successful innovative songwriters of the generation with 180 songs written which shaped and drove the Beatles is kind of absurd.
@@MrThedonhead I think inarguably Lennon and McCartney were more prolific by far. And quality-wise their best songs were as good as Harrison's. But Harrison's were consistently excellent albeit fewer in number. But that's me. As Edward Mulholland says, to each their own.
I’m not sure I would agree that Rubber Soul was the Beatles 1st masterpiece. The British A Hard Days Night was a masterpiece. The peak of Beatlemania and arguably a peak for John Lennon who was creating magic with almost every song during this period.
Not taking anything away from your comments about how While My Guitar Gently Weeps might have been different if Harrison did the lead work....but....Clapton's work on that song is among the most beautiful rock guitar playing ever recorded. What he did is similar to what Paul and Ringo did all of the time - he created guitar parts that just work perfectly in the song. His fills during the verses and bridge, and especially his solos, are just haunting and gorgeous. In a lot of ways, they are defining moments for Clapton's studio work (the solo in Badge, and the dueling solos on Had to Cry Today are in that category too, as is the nylon string work on Can't Find My Way Home). I can't say Eric "made" the song, because that would take too much credit away from George and the rest of the "lads", but his contribution was one of the keys to how great the song turned out (IMHO).
I agree Clapton's contribution is mammoth, but passed on an opportunity for George to totally own that song! He could have pulled something off that may have been his signature solo. I know Clapton tried to make the soloing sound "Beatley" and he succeeded, but it would have been more Beatley if a Beatle had done it. The 3 Beatles could have traded licks like on The End. Anyway, we are left with a classic, so I'm satisfied. Thanks for the input, Steve.
@@popgoesthe60s52 i totally agree, i have felt like that for years that he should have made it his own , he was too self conscious playing it on the concert for bangla desh , Lennon always said he was too wound up to really let it go and so it proved. The truth is he was not a great lead guitarist and got left behind by others at that time , which may explain why he did not want to play live. he also played way too much slide guitar on his solo albums also stories of him spending days perfecting a two second lick during the seventies.
Great video 👍 Ravi was the one that told George he should go back to being a guitar hero plus at the same time George spent a night out in NY hanging out with Eric Clapton & Jimi Hendrix which solidified his decision
When George did bring his own songs to the table, these were nearly always top drawer-very few throwaways in his Beatles based catalogue, even Only A Northern Song has a certain mordant charm to it. His songwriting was usually far more personal and introspective than even John’s were.
George was a very good melodic writer for the guitar; in the early Lennon-McCartney tunes his solos played off the catchy melodies. But he wasn't a gifted improvisatory soloist. As he stated a number of times, he felt he'd been left behind by the great players who took off in the later sixties, and as a consequence switched to slide guitar, which he eventually made his own. And, needless, to say, in the Beatles he always had Paul breathing down his neck. Paul played many of the most distinctive lead parts, from "Another Girl" to "Taxman" and on.
Paul didnt "Breathe" down George's neck, whoever wrote the song directed the others after Revolver, the big conflict was when George wanted to "call and answer" each lyric on Hey Jude with Guitar to Pauls vocal. Paul didnt want that approach he wanted the song to build into an "anthemic" tempo. The next big row is filmed and recorded on Let it Be movie during Two of Us and calling that a big arguement is a bit of a joke after hearing and viewing it. George just was thin skinned and resented Paul and John, he just never said anything public about jOhn because as Paul found out the hard way, thats a losing effort against John "stiletto tongue" Lennon.
you don't need to be improvising to play rock and roll.... In the context of a song George Harrison is one of the greatest rock and roll guitarists ever..if you want to hear a guitarist improvise then listen to jazz
@@hammer44head I don't think it is just George being thin-skinned. Seeing the way both John and Paul can act, I think most anyone would get sick of some of that shit after a while. John and Paul both had the ability to act like an arrogant jerk when they wanted to.
@@stickman1742 - I'm am pretty positive after reading numerous quotes that George wasnt no pushover, he was pretty cocky his brothers both say. I read numerous quotes by George crapping all over Paul and Pauls music. They were like brothers love and hate and could be pretty vicious to one another.
@@hammer44head Paul resorted to having a left-handed guitar handy once four-track recording techniques were first available to them as early as Rubber Soul, to use at times that Harrison’s solos weren’t up to Paul’s liking, according to Normal Smith.
The lead on taxman is actually written by Paul and I think played by him as well on the album!!! That’s amazing. A great George song so Paul’s like hey swap me out and let me play lead ;)!!
Very interesting you mentioned something I did noticed for a long time, and that is George's role as a lead singer in the beginning of their career. And I've noticed this when listening to the Decca sessions where George sings as much lead as John and Paul. Literally equal sharing of the spotlight in that regard.
Yes, that stemmed from playing in clubs, the vocals would shift equally between them. First the song-writing gradually altered this out of Harrison's favor, next I believe when they stopped touring it adversely affected Harrison's role [or really the role of all members not named Paul were reduced].
I'd say George considered himself more a musician and less a guitarist, at least from '66 on. The more I learn about the details of the recordings, the more I get to know that some guitar solo was played by Paul or John and not by George (like on Taxman!). He was brave doing that. Not caring about competing with Hendrix and Clapton, with the responsibility of being in the biggest band in the world was a huge thing. I'm enjoying your beatles related videos! If you made a channel focused on the Beatles, no doubt it would get a lot more views.
George Martin said the guitar skill in "Till there Was You" was what interested him in The Beatles. George Harrison was admired by his contemporaries (Clapton, et al) He was perhaps the greatest slide player ever on hit records. From behind Paul and John, He's written classic pop songs
That's a great one. He recorded that when he was what...18, 19 yo? In 1963! The time when people had to cross the town to learn a single chord (what they actually did in the 50s)
You are right about Taxman and Paul on Taxman and Good Morning, Good morning. But the solo that is totally John is his song You Can't do That. John did the solo on get back maybe Paul gave it to John cause like john I hate get back. And John did the slide solo on for you blue but nothing else comes to my mind. Do you have Anything? You can't include the end all 3 played on that one. " Go Johnny! "
@@jackdemolay3545 the ones I recall right now: Get Back, For Your Blue, I Want You, The End (but it's a jam of him, Paul and George doing solos. The sequence is Paul->George->John in circles)
Good job on this one. I've watched several and this is my favorite in terms of content, style and tone. The subject or hook, Harrison putting down his guitar for two years is a good one too. Keep them coming and I'll keep watching.
Thank you for this video as I never realized how many songs were penned by George. I do not like his “Indian” songs; the sitar and whole groove feels dissonant and foreign to my ears. However as a person, I was greatly helped by their trips into Transcendental Meditation, led by George. In my late teens, 18, 19, I smoked marijuana daily and it really caused me to flounder. So, when the Beatles showed me the way, I followed. From that moment on, I went from nascent failure to grand success. I’d have never gotten the nerve to pursue and achieve the wonderful career I had. I won’t bore you with details but I made a positive impact on my world with certain of my adventures. Music soothes and saves my soul daily as I continue to compose I have a reason to live at 70.
I think George Harrison came to the fore as a Harmony Vocalist between 1965~1968. George's very cool "High Tenor" enhanced John and Paul's creations. Help! ~ George contributes some wonderful call and response Vocals! I'm Down HELP! Album ~ Another Girl You're Going To Lose That Girl ~ George's Harmony Vocal is really hip on this track. That Means A Lot ~ Outtake. RUBBER SOUL ~ Album Drive My Car You Won't See Me ~ I've always thought this song is too long! Nowhere Man The Word Paperback Writer Rain REVOLVER Album I'm Only Sleeping Here, There And Everywhere She Said She Said ~ My all~time favorite track on Revolver! George helped John arrange the song, plays Lead Guitar, Bass/Burns Nu Sonic, sings Harmony Vocal and call and response Vocal during the end to fade-out! Whew! Psychedelic Bliss In '66! And Your Bird Can Sing Doctor Robert Penny Lane SGT. PEPPER'S LONELY HEARTS CLUB BAND Sgt. Pepper's Lonely Hearts Club Band With A Little Help From My Friends Getting Better When I'm Sixty Four Quote by PAUL MCCARTNEY ~ "George wasn't very involved in that album. He just had one song. It's really the only time during the whole album, the main time I remember him turning up." Quote by GEOFF EMERICK ~ "A weak track [Only A Northern Song] we all winced at. George Martin simply said, 'I'm disappointed George didn't come up with something better." Quote by GEORGE HARRISON ~ "Sgt. Pepper was the one album where things were done slightly differently. A lot of time...we weren't allowed to play as a band so much. It became an assembly process ~ just little parts and then overdubbing. After [the India trip, September,1966], everything seemed like hard work. It was like doing something I didn't really want to do and I was losing interest in being "fab" at that point." In my opinion, Paul ruined "Only A Northern Song" with his grade school obnoxious Trumpet playing! All You Need Is Love MAGICAL MYSTERY TOUR E.P. ~ Your Mother Should Know Hello Goodbye Lady Madonna
The Beatles had an odd set up, as in terms of personality, Harrison and McCartney were back to front, as usually the bass player is "at the back with the drummer" while the lead guitarist is the star member of the live show, dominating the stage. This lack of "lead guitarist" personality comes out in his songs, which often are introspective and sensitive, and rarely "rock" with the lead guitar solos you'd expect from a song written by the lead guitarist. Arguably the best guitar solos he did on his own Beatles songs were on Something, a romantic ballad, and Here comes the Sun, on acoustic guitar, as Taxman's solo was by McCartney and WMGGW was by Clapton
THIS channel has rapidly become one of my Favorites! ......The Sitar era vs. Guitar is something I often Contemplate....While George was didling with the sitar, advancements in Guitar amplification and sound were moving forward at light speed. Distortion, Sustain and other sounds were being introduced everywhere. George was falling behind rock guitar and I think this is part of the insecurities George clearly had as a Guitar player. Paul never fell behind on the latest tech and was clearly the better lead guitar player by 69'. My question really is ,,,,did George EVER really want to be the "Lead" Guitar player? For those of us who fancy themselves "Lead" Guitar player we are usually Alpha' Hard Headed, Extroverts who have ego's the size of a 747, While George seemed to be shy and introverted .........What if? ...........PS as I saw on your vids. Paul was also well aware Live Sound had progressed light years in the couple years since they stopped touring......WHAT IF? WHAT if that live Concert was not on the Apple Roof but in Front of a live audience in a proper venue???? LOVE THIS CHANNEL!!!
I really enjoy your channel. I'm an artist (poetry) and university professor. I enjoy the mix if information and commentary. I feel like I'm learning something and I know I'm having fun.
When I was younger I always wondered why George doesn't play more aggressively..But I realized what a guitar genius he is. Unrivaled on the acoustic and so melodic player on the electric guitar. Just listen to "Beautiful Girl" "Crackerbox Palace" "So Sad" or amazing slide solo on Belinda Carlisle song "Leave a Light On"
You know, this analysis of George’s missing guitar really opened my eyes about his relevant relationship and the importance of his role as a member of the Beatles. Never gave it much thought before since most focus were on the “ main two writers “. Thanks for this episode
I’m loving your videos. I’m so excited to watch the series. The whole family is looking forward to it!everyone from 17 year olds to 70 year olds will be watching!
Within You Without You might be my favorite Beatles song. I would loved to know how far George could have gone with more self confidence, more support from Martin and more space given on albums. Weird decisions had been took about his music, like not putting the perfectly fitting Northern Song on Pepper, or not putting the astonishing It's all too much on mmt. Indian music is seen as an acquired taste and we basically sees it as "exotic". But it isn't exotic per se. It's written with various emotions and intentions in mind like any music style. George wanted to put Indian music in the forefront so westerners could learn to hear it for what it is. I love the intention. I hope that the future holds a lot of merging different musical cultures, even though nowadays the music trend is heavily set up by the West and most east countries modern music comes from here. Really different music from what we are used too will first be considered Weird, but they aren't weird per se. One of my favorite albums ever is Rdha Krsna Temple, produced by Harrison, recording original Hare Krishna devotees, who are mastering their voices and their instruments beautifully. I will take the time to dive into Indian music one day, and I will only have Harrison to thank for the treasures I will surely discover
How did I miss this episode? If I Needed Someone and I Need you are two of George's best songs. I Need you has always been under rated. Too bad for George that Paul and John didn't act better towards him. I think things would have ended better.
Excellent discussion about George and his history with songwriting and guitar playing. You laid it all out there nicely! You filled in a lot of gaps for me. Take care Matt
You forgot "Don't Bother Me" from WITH THE BEATLES. THANK YOU for mentioning The Hollies. Also, I initially heard that Eric Clapton and George Harrison did a "swap" deal in the works. Notably that Eric played lead guitar on "While My Guitar Gently Weeps" and George played most all the guitar, except the solos, on Cream's "Badge." I guess I'd forgotten that, like Paul and John, George was a multi-instrumentalist too, and could play the six string bass / baritone guitar and rudimentary keyboards, as well as the sitar.
It takes a lot to comb through what most people assume they know, and a whole lot more to iron out the inaccuracies and dispel myths all in an entertaining format. Really a fan of your stuff, the debunking videos gave me a new view of a band that I was criticizing harshly at times without having the full picture. Thank you.
Been a pleasure to binge your channel. This topic has garnered little attention. I had a similar observation regarding George’s instruments, although some issues appeared to me to have dated back a tad earlier. Paul resorted to having a left-handed guitar handy once four-track recording techniques were first available to them as early as Rubber Soul, to use at times that Harrison’s solos weren’t up to Paul’s liking, according to Norman Smith. But your take remains consistent, as this was the first point of Harrison’s interest in the sitar as well. My take was different than yours, in that I guessed George was being steered by the direction of the band and was approaching songwriting in such a way to stay relevant as a contributor--to follow the band’s direction towards arrangements less dependent on lead guitar. It also seemed reasonable to me to think that being directed by McCartney on how to play solos within his arrangements could contribute to a “writer’s block” on that instrument, that seemed to haunt Harrison on/off for four years. The sitar was one thing no one could direct him on. My take stems from my personal observation that all three members other than Paul experienced a reduced role in the band after they stopped touring. But the old “George is a victim” narrative has taken hard hits, especially recently. This is why I find your take-that this was self-inflicted by George and possibly stemming directly from his time invested in the sitar-more fresh, and compelling. I’m interested in digging deeper. Is this a hunch based on the instrumentation of their catalog during that stretch? Or have you also read comments that lead you to this conclusion? George’s apparent “writer’s block” on the guitar makes the moment he snaps out of it on Abbey Road all the more impressive.
I haven't read anything with regard to this yet. I began analyzing George's contribution in an effort to make sense of the notion that his songs were "rejected." I don't buy the rejection angle and the more I investigated, the more I found George veering away from the pop/rock stylings of Pepper and Mystery Tour. You make a great point about not being able to be told about how to play sitar. But sitar was limiting when used in the Beatles and everyone knew it. There is an interesting quote from the Let It Be sessions (Jan. 3) where he say: "And also there’s so much to get out. there’s no one better to get it out with than us, for me anyway, really in my heart of hearts. It should be if you write a song, I should feel as though I wrote it. Verses… you know, ought to be involved in it as much. That was the good thing about the last album (the White Album). It was the only album so far I tried to get involved." He indeed snapped out of it on Abbey Road and on that searing solo on Let It Be. My short answer: George wasn't applying himself to the best of his abilities.
@@popgoesthe60s52 I can see why you don’t buy the rejection angle, and I’m partly on-board based on recent evidence, including your own. Harrison’s character was always the most white-washed by the media. That was one perk to NOT being Lennon or McCartney, ironically. It’s easy to limit the rejection angle as only pertaining to Harrison’s songs, primarily, based on how the media handles this narrative more than anything else. Harrison speaks in general terms on this topic. He avoids mentioning specifically what was rejected, and by whom-unless this information was relevant to his latest solo release. He says that it was hard to get anything through the Lennon/McCartney barrier. This claim would not be limited to L/M, but would also include the recording team, including the company. It has been heralded that the Beatles were true artists in that they controlled their product, and made the executive decisions. But would this really apply equally to all members? I have doubts. Clearly, the politics extended beyond the borders of the band members themselves. Harrison faced resistance to more than songs, but ideas in general. There is ample evidence from multiple unbiased sources of the team of engineers that Harrison was being used as a session musician, much to their astonishment. In other instances, George Martin didn’t share a taste for Harrison’s arrangements, and L/M didn’t protest on his behalf when Harrison’s role wasn’t strong enough to influence Martin, but Harrison felt theirs were. This angle justifies Harrison’s claim that he faced a force of resistance that didn’t apply to L/M, and it could give one the impression of being singled out, unsupported. But I agree the list of tracks rejected is not substantial, and probably only Ringo was immune to this rejection by the band or the company, so rejecting songs was not limited to Harrison. However, it was not the rejection of his songs that hit Harrison most often, but his ideas were rejected more frequently. McCartney regarded Harrison’s contribution to Things We Said Today to be an example of Harrison’s pivotal role in concepts beyond his own. But of course, Harrison was never offered credit. That may not have mattered much in ’64, but by ’69 so much had changed in that respect and for a long list of reasons. Harrison comments on this in One Day at a Time, that he only recently had felt the need to push his songs further [for financial reasons]. He mentions that he wouldn’t feel the need to do so if was credited more on other material. I am fascinated that you referenced that quote by Harrison. I interpreted it as Harrison looking to have an exchange of ideas between him and LM, regardless of the initial composer. In essence, he was interested in being more than a session musician, and in exchange would welcome their input on his songs. The line “no one better…than us” is an extended olive branch before proposing his request to be more involved in all songs. But of course, by ‘Us’ Harrison seeks to include himself as well. The request to “feel as though I wrote it” is not a tall order amongst them, he believed it was better for the band as a whole if each member felt a sense of ownership of all tracks produced. This was a far more functional democratic approach to manage each IDEA that went into a song, instead of songs themselves being a single idea that could be dictated by its initial composer, which was Lennon’s way of thinking democratically. That approach didn’t work for Harrison because he wasn’t comfortable treating L/M as HIS band, his group of session musicians on his songs. In addition, Harrison saw Lennon’s idea as justifying the continued use of him as a session guitarist on L/M tracks. Lennon’s trade-off would be to split the LPs equally. But if this leaves each composer to their own accord, the tracks might be evenly split, but not the quality of the output, because Lennon’s idea would favor the individual, benefitting more talented members, while exposing lesser talents. Additionally, this fails to address the resistance Harrison would inevitably face versus George Martin and the like. He had reason to distrust that his concepts would be executed fairly. Harrison’s approach can be defended as more functional for the group as a whole, and the LP as a whole-possibly more fan-friendly. It was better for business as a whole, the brand, and of course, Harrison and Starr would have much to gain because the rising tide would lift all ships. His defense would rest on the perception that L/M had nothing to lose at that point, their status was cemented. Harrison’s approach would also address Lennon’s issue with having to spend so much time and energy on McCartney’s tracks, as mentioned. A more collaborative formula would be more engaging and highly likely more efficient. Harrison could see a benefit that resulted in fewer clashes between members. Clearly, Harrison complained to Lennon about this prior to this meeting on the Tape, but his message was misinterpreted by Lennon, and so Lennon’s solution was misappropriated. We as fans always saw the Beatles as something greater than a sum of all parts, and this quote you referenced shows Harrison sharing that sentiment. The 4-4-4-2 LP would be a “joke” to Harrison’s perception of the brand-not for a selfish cause explicitly, while that was a perk. He figures that if it was going in that direction, he’d essentially be facing the same insecurity of solo artist but within the Beatles paradigm, and would make more money going fully in that direction with other musicians that he felt more comfortable working within that approach, and a producer of his own choice. Harrison was looking to return to that basic formula that provided him his opportunity on Things We Said Today and the like, but this time around with credit. He didn’t like that he needed to compose entire songs to provide income, and this was a business arrangement-that he existed outside L/M exclusively-constructed long before anyone was famous, so Harrison believed it was fair to request it be updated. At that point in Sept ’69, most members were anticipating a huge pay increase afforded them by the work of Klein. The context of Harrison’s comments on “The Tape” probably refer to his personal rejection of a break-up of the Lennon/McCartney label, but he wasn’t willing to make that strong statement. If Harrison had expressed his intentions fully, he would’ve preferred a Lennon/McCartney/Harrison/Starr label for all tracks, which was the other extreme to Lennon’s. This would be more consistent with his frame of mind, and interest in earning more equal shares. Harrison didn’t want an equal amount of songs. He wanted equal billing on all songs. He says [in One Day at a Time] if he was given credit on more material, he wouldn’t even push his own songs very much. But he felt he had to in order to pay his bills. Ironically, Lennon was thinking that he was being more ‘fair’. He was astonished how much money he’d made off of Yesterday, alone. But once Harrison remarked that his financial issues stem from the simple formula that he spends as much but makes much less, it would fall on deaf ears to anyone that would be sitting at a table with him, not just those guys. That was the nail in the coffin on his proposal, and the last example of another Harrison idea being rejected-again it was largely self-inflicted. Harrison made the mistake of using Lennon to represent his sentiments in that meeting our ears can soon witness on tape. What Lennon did instead-either subliminally or intentionally-was to blend Harrison’s concerns with his own, missing the point completely that Harrison was trying to make to him. This poor representation, poor communication, within a band that used to LIVE together on the road for years and bonded so thoroughly, is a most astonishing contrast to previous periods. This tape will expose that disappointing fact more, without a doubt. I’m eager to hear if you interpreted this in another way, I have much respect for your critical thinking.
@Andrew Adams Great points Andrew, it took a couple reads to fully digest. Great point about George prob ably only needing some kind of composers credit on songs. It hadn’t occurred to me that John Lennon’s 4-4-4-2 proposition was the opposite to what George wanted. A Lennon-McCartney-Harrison-Starr credit seems appropriate, would been fair, and would likely have fostered a team atmosphere that seemed lacking post Revolver. I wish George would have been direct and voiced some opinions, especially while Epstein was still around. Epstein’s early management efforts saw him hawking the band as all-around entertainers, meaning they played different styles of music and alternated lead vocalists. In 1962 George had as many lead vocals as John and Paul. This was agreed to by the band and probably gave George great hope that he would be an “equal member.” Unfortunately, the hits came quick and the dye was cast. One of the things discovered by Mark Lewisohn in All These Years that was surprising was a contractual agreement between Brian Epstein and Lennon/McCartney whereby Epstein, in addition to managing the Beatles, also managed Lennon/McCartney as song writers. This further separated George from full collaboration as a composer as the publishing took precedence. Since Epstein had a slice of the publishing, this really benefitted John, Paul, and Brian. Had George been able to contribute quality new songs in 1964 (which were needed as I contend there is filler on A Hard Day’s Night and out of place cover songs on Beatles For Sale), he may have had a bigger role as a song writer earlier in their history. His work in 1965 I think is very good, but I guess it was too late? Ultimately, as George has stated retrospectively, “I couldn’t be bothered to be the heavy and push my songs.” He could have asked for more help from the others on his songs as well and he may have shared credit. Lennon seemed the least interested in George’s songs and allowing Lennon to represent him in that late 1969 meeting was an error, as you suggest. I George ever had clout, it was at that moment. Here Comes The Sun and Something earned him the right to make some demands. They listened to him when he agreed to come back for Let It Be! With Lennon acting more unpredictable than ever and the Yoko element, maybe he just said, “fuck it.” This is a big topic and I plan to elaborate on this more when I tackle the video on Why the Beatles Broke Up. What a great comment, Andrew. This is what I want this channel to foster - thoughtful and in depth analysis.
@@popgoesthe60s52 Harrison did speak up for his publishing interests by setting up his own company, albeit after Epstein’s death. That had more to do with the timing of the contract with Northern Songs than anything to do with Epstein. I’d also argue that the publishing agreement with Northern Songs did not benefit Lennon, McCartney or Epstein. Things flew too quickly for Epstein, and so when recruiting help he was willing to exchange interest in the success in order to ensure competency. Some excuse him for not having any experience with managing artists. But he had a background in retail and still didn’t manage their merchandising well either, which was more inexcusable than how he managed their publishing. The losses caused him immense anxiety, and he was sensitive to start with. He countered these issues with drugs. It’s accepted that it was not suicide, but his death was very much self-inflicted either way. After Epstein’s death, shareholders were closely following the Beatles’ management decisions. In ’69, Lennon makes the mistake of publicly announcing they were going broke, and then Klein is announced soon afterward. Shareholders smelled blood in the water, and a massive sell-off followed. ATV cornered the market, forcing Lennon/McCartney to sell their shares. The fact the Beatles were managed by Epstein and Klein is an interesting topic altogether. One was too soft, one was too hard. One was blind-sighted by their success, one was blind-sighted by their split. Some speculate that Harrison may have earned as much from the Beatles catalog as Lennon or McCartney.
I am so grateful that George's status in the Beatles has risen over the last few decades. Prior to that I would tend to hear about John and Paul, but George has a level of achievement to any of his contemporaries in other bands from the 60s and 70s.
ThEres a Reason foR that. peoplE gEtting intRoducEd a new to the beatles just look at thE catelog as onE whole thing so when thEy look at the top 20 or so songs They see 4 or 5 o GeorgEs and think of him as an equal. They dont see 5 albums dominated by J&P before george started writing. Plus the covers George did are fantastic
It's Only A Northern Song is one of my all time fave Beatle songs. Great Psychedelia. It's All Too Much Right behind that, then The Inner Light, Blue Jay Way. He had a lot to offer I think.
Thank you! Really enjoyed the video. I think George got tired of taking the back seat behind John and Paul for so long. He wanted his own identity and prove he was just as capable.
George inner search helped his music grow outwardly and I agree his music kept improving until he finally he gets his due with something this song was so good both John and Paul said it was the best song on the album surprised you didn't mention that on the video. So George gets the recognition he deserved what would have been interesting is if they made another album how many of Georges songs are on the album. Georges song writing talent just came later and he learned under Lennon and McCartney how to craft a song. You could make a case that George was now writing at just as a high level as Paul and John.
You're right, I should've mentioned John and Paul's love for that song. One of the reasons I did a series of Albums That Never Were allowed me to add two more Beatle albums after Let It Be & Abbey, which gives George equal number of songs. By then, he was equal in songwriting ability.
As George said on the Dick Cavett show in 1971, he only talks when he has something to say and by '66, guitar wise, I think he felt he had run out of things to say . He had been saying around then that he had become disenchanted with he's guitar sound, then take into account that by summer 1966 guitar playing had been taken in a new direction by the likes of Hendrix ,Beck and Clapton and it just was wasn't he's style. I still love the sound he had '63-65 it fitted perfectly with the songs they were doing and that style was a good representation of he's influences thus far. As Eric Clapton said Harrison was “clearly an innovator” as he was “taking certain elements of R&B, rock and rockabilly and creating something unique”. Page and Beck also rated him saying his solos were little songs within a song. but I think he lost confidence in that he couldn't compete with the new guys and so opted to forge a new path for himself with the Sitar The Beatles didn't suffer as the sitar gave them another colour to their palette and Paul stepped up and did a great job with the solos in Taxman, Fixing a hole, Good morning Good morning, It's all too much & Helter Skelter showing a surprising talent for the angular and askew. In late '68 when George hangs with Dylan and The Band he is present at the birth of a new musical genre, knowing he will never achieve Ravi Shankers level on the Sitar and encouraged by Robbie Robertson's style which he had more in common with than Eric's (who also took stock at this point) in that the guitar supported the song. He came back to the guitar with renewed vigour which showed in his songs output and quality proving that the guitar was his first instrument The time on the sitar wasn't wasted as when Delaney Bramlett inspired him to take up the slide later that year, he melded his knowledge of Indian scales, pitch etc with his tasteful, expressive touch to create a truly signature style.
Thank you for the very insightful comment, Simon. I think you are correct in that he tried to forge a new path, but like the Carl Perkins style of 63-65, the sitar would also become passe, which is probably why we don't hear it anywhere on the White Album. I wish George's peers pushed him more because he could've competed with any of those guys in his own unique way. We still him pull back yet again during the Let It Be / Get Back sessions as well. I also appreciate your mention on how the Indian scales aided his slide playing.
@@popgoesthe60s52 I think he started an attempt towards a new sound when he got the Gibson SG in '66 as up to then other than the 'Rocky' strat all the other electric guitars he played were hollow bodied thinlines. Maybe he realised the change had to come from his hands not the instrument. And yes you would of thought Eric would have given him more support as they were close or was the fact he was a 'Beatle' put him beyond seeming to need help? If only he found the slide style earlier
I'll be honest I wasn't keen on George's sitar playing because it's an instrument that takes a lot of time to become musically fluent in....I love " is first Indian tune on revolver ...is it ' luv u too ".... brilliant. I think if I needed someone is a bona fide classic .
Excellent observations in these videos. Points of view I’ve never considered. I’ll say that a George guitar part is almost instantly recognizable. For any guitar player, to have ones own style is extremely challenging. He did it early on.
George seemed the most in tune with psychedelic music. Even though they all had their fair shares of musical experimentation, George's contributions during their Pepper/MMT era are so much more in line with what Psychedelic Rock ended up being. Blue Jay Way and All Too Much are easily up there with Walrus. Also don't forget he wrote an "experimental" soundtrack during the same time, then followed with a proto-electronic record!
First of all, I love your videos. From what I read, George was starting to have a backlog of songs by 1966. "Isn't It a Pity" was one song (John didn't like it). Some think "How Do You Tell Someone" (Played once during GB/LIB sessions) was written in 65-66. As for his guitar, he may have been writing songs on keyboard(organ) from 67-68, but he was still playing guitar. He did those incredible guitar parts in "I'm Only Sleeping" and "Tomorrow Never Knows" and the duel with John on "And Your Bird Can Sing". Plus George did the solo on "All You Need is Love" and Hey Bulldog". though I think it was John on "It's All Too Much".
Yeah, I confess to skipping over Within You Without You many times, beginning when the album came out and I was 13 years old. I thought the song really put the brakes on that album. Favorite George Harrison songs with the Beatles: Don’t Bother Me Think For Yourself Taxman Savoy Truffle Long, Long, Long Here Comes the Sun I Me Mine For You Blue
I also used to skip Within you or Without you when I first bought this album as a teenager thinking at the time it was a weak and out of place kind of song, and Now its one of my top favorite tracks on Sgt Pepper-And Now at the present time its When Im sixty four that to me is the weak track that doesnt work for me anymore on Sgt Pepper.
@@erniefernandez1927 A Day in the Life, Getting Better, Good Morning Good Morning, Lovely Rita, Being for the Benefit of Mr. Kite and Fixing a Hole are standouts on Pepper. But Revolver was a better, more consistent album over all.
Harrison brought in Clapton because he needed backup to deal with Lennon and McCartney at the time. When he came in with Clapton he was truly in charge and eventually got the song done, where as a session or two earlier the band struggled with it and almost nixed the song from the White album
If you'd consider what George was dealing with at the time - Paul actually got away with putting crap like "Wild Honey Pie" on the white album, and John with "Revolution #9", he had every right to bring Eric in and have his contribution recognized. It is also a SIN that "Not Guiity" was never released on the White Album or any other Beatle record until 1995!
Matt, You've really hit on something. Here's a quote by George Harrison regarding his September,1966 trip to India. Quote by GEORGE HARRISON ~"The urge to be something more than a mere Beatle provoked me to come to India [September,1966]. By learning to play the Sitar, I can give Beatle fans a little more." When The Beatles returned to the studio, George's contribution to "Strawberry Fields Forever" was the Guitar chord picking at the beginning and plays the Psychedelic Swarmandal. On "Penny Lane" George contributed only a Harmony Vocal. On "Pepper" Harrison . Iplays Sitar on "Within You Without You". I believe the rest of the Guitar work, what little there is of it, was played by Paul McCartney. Quote by PAUL MCCARTNEY ~ "George wasn't very involved in that album. He just had one song. It's really the only time, during the whole album, the main time I remember him turning up." George finally played Guitar on "Hello Goodbye" in late '67 and on "Lady Madonna" and "Hey Bulldog" in early '68. It's still one of the biggest Beatles mysteries!, who played Guitar on "It's All Too Much"? George was rather cagey and only said that he played the Hammond B3 Organ. I've always believed it was Jimi Hendrix since there's so much feedback. The Guitar work is reminiscent of Hendrix's "The Stars That Play With Laughing Sam's Dice" which was released as the "B" Side to "Burning Of The Midnight Lamp" in '67.
That is so strange that George was AWOL for Pepper. Why the poor work ethic? Coming out of Revolver, I would think he'd be motivated but I guess not. Thank Raul fo the deep comment!
@@popgoesthe60s52 Matt, I believe the September,1966 trip to India made a very strong impact on George. The Indian music, culture and religion really influenced him into dropping the Guitar and changing musical direction for a period of time. Quote by GEORGE HARRISON ~ "Sgt. Pepper was the one album where things were done slightly differently. A lot of time...we weren't allowed to play as a band so much. It became an assembly process - just little parts and then overdubbing. After [the India trip] [September,1966], everything else seemed like hard work. It was a job, like doing something I didn't really want to do and I was losing interest in being "fab" at that point."
I am not going to get this quote right, but after the last US live show Harrison said that now he was no longer a Beatle, and that playing 1400 live shows was more than enough. After a rush to finish the Revolver album, the Beatles were out on the road and dealing with two MAJOR headaches: the Yesterday & Today butcher cover and then Lennon's comment about the popularity of the Beatles versus Christianity. And there was also McCartney's quote about the way blacks were treated in the US. Harrison was fed up = for the moment at least. As Giles Martin pointed out, only people who like each other would take a vacation together, and go to India. I'd bet that the death of Brian Epstein made all four Beatles do a rethink. It did end the four being together in India.
When talking about George Harrison's songwriting contributions, there are a few other factors to take into account: 1. Lennon & McCartney sneakily organised a publishing deal just for the two of them rather than including George 2. George was an enormous contributor to Lennon & McCartney songs in terms of the occasion lyric but certainly in the arrangements and final sound... for instance the 'Fiddler on the Roof' feel to We Can Work It Out was all George ... BUT, he doesn't get the credit for any of that critically or financially. In many was I wish he's pushed harder for his own songs as they were ALWAYS innovative and interesting.
Wow,, our thoughts on George’s songs with The Beatles is basically 99% identical! “If I Needed Someone” is probably my favorite song he wrote for them, and I love all his Beatles songs, including the ones that get ignored or written off, like “I Need You” and “You Like Me Too Much.” More rockin in his solo career would been awesome, things like “Taxman”, and “I Want To Tell You.” I too wish the mix on “Northern Song “ was better. Same thing with “It’s All Too Much.” WMGGW” rather than bringing an outside musician. I think I actually prefer the oft-bootlegged solo acoustic version from’68. Thank you, Matt!
George DID bring Eric in on that song because The Beatles were not producing in studio. They were bickering and no showing. George did the same thing with Billy Preston during the let it be sessions.
Agree. Also there is a pattern of each guy setting aside his primary instrument for certain of his own songs. I think it's a workload thing- IE, focusing on the song, vocal and arrangement and intentionally letting others do things. Like Paul didn't play bass on Hey Jude. George letting Clapton play lead on WMGGW. It would be a lot more work and time to do all key parts yourself. Notice how much stronger John and Paul's backup vocals are on many of the mid period George and Ringo songs- the capacity to focus on a narrower front.
Harrison wrote "While My Guitar Gently Weeps" as an exercise in randomness inspired by the Chinese . The song conveys his dismay at the world's unrealized potential for universal love, which he refers to as "the love there that's sleeping". The recording was one of several collaborations between Harrison and Clapton during the late 1960s and was followed by the pair co-writing the song "Badge" for Clapton's group Cream. "While My Guitar Gently Weeps" 136th on its list of "The 500 Greatest Songs of All Time", seventh on the "100 Greatest Guitar Songs of All Time", and at number 10 on its list of "The Beatles 100 Greatest Songs". Clapton's performance was ranked 42nd in 's 2008 list of the "100 Greatest Guitar Solos". Harrison and Clapton often performed the song together live, during which they shared the lead guitar role over the closing section.
Your overall analysis shows us that his band mates were indeed supportive of George in any direction he wanted to go in ..this is contrary to popular myth...also that his guitar playing did languish during the Indian period..so he was very insecure about his guitar playing..so he brings in Eric to solo.
hi Mtt. Awesome podcast. Great insight and research. My family had the blue album 1967-1970 and I noticed George had 4 songs. This was around 1974 when i listened to this album but was looking for Yesterday and found it on the Red album 1966-70. But no George songs. Why? Then I bought rubber soul and saw Taxman and wondered why it was not on the Red album. Maybe on the re release ?
I just discovered your channel and I have to say - bravo! You bring a really nice, unbiased, fresh point of view to the Beatles discussion. I am a life-long Beatles fan and my opinion is that while George was a great guitarist he wasn't as technically good as other musicians exploding on the rock scene in 68-69 (my opinion). Folks like Jimmy Page of Led Zeppelin, Pete Townshend of The Who, Eric Clapton, and of course let's not forget Jimi Hendrix. The Beatles did not live in a vacuum. They were aware of all of these musicians, attended their concerts, etc. Down the hall at Abbey Road the Pink Floyd was recording their first album - Piper At the Gates of Dawn. The Beatles sat in on their sessions and vice versa. My own speculation is that perhaps George felt a little intimidated by these other guitarists. Maybe he felt like his skills weren't developing enough compared to these other guitarists and the fans wouldn't like his playing anymore. Add in the fact that John's and Paul's guitar skills were rapidly advancing as well. Maybe this is why he invited Eric Clapton to play the solo on While My Guitar. I would love to hear your perspective on this!
I think George tried to side step his perceived lack of skill by picking up the sitar. When he did come back to the guitar he did great solos. He didn't need to be Clapton or Hendrix, just himself, so I think it's just his personality. Not that he wasted time with sitar, but its not like he was going to master that instrument. Mastering his instrument within the framework of the Beatles was the place he would get the most protection and space to do interesting things and he squandered it. I just don't think he applied himself and he wasn't bringing his best to the band. His solo career really lacks interesting guitar leads or arrangements, preferring to see himself as a song writer first, which I think was a mistake. I would have loved for him to conceive an instrumental album, since he hung out with some great players (some average players as well). His solo career seldom rocked so I think that is an indicator of what was inside of him: easy listening music. Thanks for tuning in, Peter.
Nicely done, great research. You know the Taxman guitar solo was written and played by Paul. When Clapton did Taxman with George Eric did his own ignoring Paul! Which I feel Was The right thing to do showcasing George!
Very nice thoughts. I did wonder myself, why George‘s guitar was missing that much during this phase of The Beatles. Your explanation makes sense. I am not sure however, that George would have been skilled enough do some similar soli on While my guitar gently weeps though. It also seems too me, that during the White Album recordings, George did not much influence on guitar sounds. The White Album is very heavy on guitars, but it is mostly because of Paul or John‘s intentions. Also George seems to prefer quieter songs from this phase on, when I compare his songs to the likes of Helter Skelter or Except Me And My Monkey. On another note: I am always astounded, how often the band members performed on instruments that is usually played by another member, like Paul performing guitar parts often. Sometimes I wonder, how this came to be. (It is logical for the live version of Two Of Us, but why on studio recordings?)
The Beatles only picked the instruments they’re typically known for out of necessity. Paul was always more of a guitarist/pianist but opted to play bass live because none of the others would step up. Ringo’s the only one who consistently stuck to one instrument and I think that was a factor in their decision to stop touring. They wanted more freedom to create intricate songs without having to constantly think about how to translate it into a 4 person, 4 instrument live performance
@@wspann1967 Yes! This is why I observe a reduced role in the band for all 3 members not named Paul once they stopped touring. He was the most musically versatile, and also developed the strongest working relationships with the studio engineers. These are the reasons I believe he benefitted the most from not needing to tour anymore. Ironically, I think he was not as strongly averse to touring as Lennon or Harrison were.
One thing that sometimes people (including myself) forget is that when we discuss the Beatles and their relationships with each other and the frictions etc etc is that these guys were in their twenties when all that happened...I can only speak for myself but i know that when i was in my 20s I could be quite self centered or just not that aware of other peoples' feelings or wants etc etc - not to mention still trying to figure out who i was much less who everyone else was....I can only guess what doing that normal 20s trip would be like if you were in the beatles' position...but i know i would cringe if all of what i did in my 20s was micro analyzed not only when i was in my 20s but even 50 years later - can you imagine? How those 4 guys handled it as well as they did astounds me to this day. I am 57 years old and when i listen to a beatles interview or when they were solo - when they were 25 or 33 or whatever - I still feel like i am the kid listening to someone older than me haha...(ps Great job on these shows !)
IN THE BEGINNING by THE BEATLES FEATURING TONY SHERIDAN. Capital/Apple records need to release that album on CAPITAL/APPLE and all the VEE JAY ALBUMS needs to be released on CAPITOL/APPLE
Revolver i mean and I saw Taxman. I thought Only A Northern Song maybe was not strong enough for Pepper also, but I love that song. Some critics put it down . I loved it too when I heard it on Yellow Submarine.
Northern Song is the coolest song about class consiousness . It"s All Too Much" is a song I like to play for the youngsters who think they've heard everything
You know Northern Songs was the publishing company? As far as I know, Harrison wrote it as a joke based on his frustration with the terms of the publishing deal Dick James tied them to.
@@FiremanSam60 Yes, I think that is so, but as with any art (and especially that of The Beatles) part of the power was in conjuring multiple reading into possibility. Thus Taxman can be seen as a rich grumpy (young) man complaining about a socialist government but can also be read as a lament for the materialism we all fall victim to.
If you look at what George’s peers were doing with the guitar ( via the blues boom ) in this period, it’s bound to have some effect on a player. Even the great Mick Ronson gave up guitar for a while because he thought everybody played better than him. Luckily under the protection of the Beatles , George could continue on his own musical path with the help of the best guitar he’d ever played.
Hey Matt, Great insights as usual (you’ve got us quite spoiled!). No points of disagreement! I would only volunteer my humble opinion that “It’s All Too Much,” is the BEST song on “Yellow Submarine!” A quick anecdote with a sort of peripheral connection. In the mid 1980’s I took my 3 year old daughter to see Yellow Submarine in a theatre. About a quarter of the way into the movie, she insisted that we had to leave, because “The colors are so SAD!” Keep up the good! Best regards always, - Glenn C. B. Jones
Your daughter's comment is really interesting! I've always found the animation disturbing and have never warmed to it. I am also a big fan of It's All Too Much and thought it would have fit better on Magical Mystery Tour. I appreciate the support, Glenn - thank you!
I'm glad he returned to the guitar, since, I think his guitar playing is the glue that holds Abbey Road together. It's interesting to note that he did briefly use the sitar at the end of When We Was Fab.
Old Brown Shoe has a pretty good Harrison solo and, though some debate who played it, he does a nice one on Hey Bulldog also. Geoff Emerick says it was George. In any case I never felt George's guitar playing ever fell off as a result of studying sitar. If anything it got better in my view anyway.
Yes - excellent solo on Old Brown Shoe, though I've never heard of any debate as to who played it. His work on Abbey is clearly superb. I don't believe his guitar playing fell off, quality-wise. I just wish he had utilized guitar more in those 1967-68 years. Thanks for the comment!
@@popgoesthe60s52 If you have Hendrix and Clapton(not to mention Beck/Green,et al) waiving the rules,it's possible Harrison felt too much pressure to measure up,coming from a band where there was NO extended soloing and time tended to be measured in three minute bursts.after '66 it was a different school of playing and George was steeped in Jazz (Wes Montgomery) and country( he was no stranger to people like Carl Perkins/Cliff Gallup).Blues entered his vocabulary with Clapton's friendship, it would seem.
@@maxcuthbert100 you're exactly right. It was such a competitive musical landscape, I don't know how any guitarist on the scene wouldn't be intimidated.
@@popgoesthe60s52 I think E A is talking about Hey Bulldog (ie debate as to who played the solo). I agree with you and others: I don't think his guitar playing fell off at all (though he is quoted as saying as much himself in interviews). Re:feeling intimidated, he WAS best friends with Eric Clapton and on more than one occasion jammed with both him and Jimi Hendrix. I don't think someone who felt intimidated would have been confident enough to jam with those two!
If there had been another Beatle album, I'm pretty sure All Things Must Pass, Wah-Wah, What Is Life, and maybe Isn't It a Pity would've been included. Perhaps John and Paul would've objected to My Sweet Lord, or perhaps they would've told George to change a chord or two so it wouldn't sound so much like He's So Fine, and then they would've included it. John would've probably contributed Jealous Guy (or Child of Nature or whatever he called it in those days), Isolation, Love, Look at Me, and perhaps Oh Yoko. Paul would've included Another Day, Maybe I'm Amazed, Teddy Boy, and maybe The Lovely Linda. Ringo definitely would've participated with It Don't Come Easy. All those songs and others from their solo careers sound pretty Beatley to me. It would've been fantastic.
"Cry For A Shadow", yes, first Beatles released recording. But additionally, the first original song they ever recorded (as The Quarrymen) was "In Spite Of All The Danger" by Harrison/McCartney. They recorded this and "That'll Be The Day".... just 4 months after Buddy Holly played in Liverpool...which none of them saw!
Okay, , , but no words about the 2 biggies - Here Comes The Sun and Something, , , not to mention Old Brown Shoe. Apart from that there must have been a LOT of titles piling up over the years. You don't just walk out of a band and deliver the All Things Must Pass-catalogue by a snap of the fingers. I think Harrison was suppressed, shy and sometimes proud too. There's a limit to how many times an artist (and sensitive soul) wants to be turned down.
Some of his songs had to have been suppressed because Lennon/McCartney weren't going to give up their slots and money that goes with it. Harrison wasn't as prolific, but he still had good songs that should've been on Beatles' albums that he used later. And if he had a songwriting partner and more support from the others including Martin, I'm sure his output would have been better. For the percentage he was given, I think his songs were on par with Lennon and McCartney. Too bad we didn't get to see more out of it. Tough when there are 3 really good songwriters in one group.
@@stickman1742 Harrison became one brilliant writer, but never had the same level of singing voice. That fact plays in too. All in all everything is OK. We got the big wave with All Things Must Pass - some sort of poetic justice came true. He couldn't have asked for a better way to establish his position as a solo artist.
@@stickman1742 It's so much more simple than that. Songs like "All Things Must Pass" and "Isn't It A Pity" are nice but really not Beatles like at all. They don't fit whatsoever. Draggy and often morose, and I know many people love them, but I feel like they are OK tracks that belong right where they are....not on a Beatles album. The simple "What is Life" fits the most, where it would have been like "Savoy Truffle" on the White Album or something. After the "ATMP" LP there was very little I can see anyone making an argument for to be on a Beatles album.
I tend to agree. I'm not convinced Lennon & McCartney passed up on great songs. They worked like maniacs on All Things Must Pass and Not Guilty and Harrison imself wasn't satisfied. Isn't It A Pity I could have seen as a Beatles' song - written in 1966, I think it anticipates later Beatle song form with the see saw chord intro, and the long play out, but I can see why others think it's a bit dirge like.
@@FiremanSam60 I follow oceantracks when he says ATMP and Pity aren't real Beatles-tracks. To low-gear 'hippiesq' but then again in the later phase anything could happen. The 2 might have worked on the White Album, but Pity would have been too laid back for Revolver - dirge-like as you say. Lennon saw things clear there. What an important song (or pair of songs) it turned out to be though.
Matt, another intriguing video that shows you are thinking outside the box. Coincidentally, I listened to one song 'Sourmilk Sea,' on TH-cam before watching the next video in line -which turned out to be this one. I was worried, disbelieving actually, that you were not going to mention it. And then, sure enough, it is played as the outro. While I like George's voice, I think the song needs a stronger voice, and I have loved jackie Lomax's singing since I bought the single. I am currently listening to Kenneth Womack's "Sound Pictures:The Life of George Martin 1966 - 2016" (interesting book, ABYSMAL narration), and Womack, via Martin and Emerick, makes it sound like the Beatles were more interested in what was best for each track more than each Beatle staying in his lane. Womack also quotes Martin admitting that he spent less time on Harrison tracks than he should have. But,at the time, martin thought that harrison responded better to pressure from Martin than letting Harrison take his time. So McCartney did the solo on Taxman. So what? It is one of my favorite Beatles tunes, as is 'It's All Too Much,' and every time that I hear I am floored. The first time that I heard it, I knew that the Beatles were going to do the impossible and make a better album than "Rubber Soul. And are the albums on the shelf a subtle reminder of guitar rock? I recognize 5 Ventures albums ("Knock Me Out" always knocked me out as I love 'Slaughter on Tenth Avenue'), but are the labums that are 3rd and 6th from the left? Did I say great work?
Hey Wylie! Thank you for that review of Womack's book. I haven't read it and have been put off by some of his appearances on podcasts... I'll get around to it eventually. That Ventures lp sixth from left is a 1968 British pressing called "The Ventures" and the other is Running Strong. They re-released stuff with different covers so much that it's hard to keep up!
@@popgoesthe60s52 Matt, based on your output, I am not sure that it is really worth it to read the Womack book. Not being as much a Beatlephile as you plainly are, I found a lot of the information new and fascinating (and as I said the Audible narrator's attempt at British accents is woeful). I also recently finished Robert Rodriguez's book on Revolver which attempts to put Revolver in the context of what was going on at the time. Rodriguez points out that the Beatles kept an almost envious eye on the Beach Boys (and Pet Sounds). Thus Pet Sounds is an 'important' album in the history of rock and roll. (And so was the Sex Pistols Never Mind the Bollocks, which is probably why it was rated so high in 2003.) The Rodriguez book is shorter, but both Rodriguez and Womack take a lot of time to point out all the studio tricks invented to make Revolver (like ADT - automatic double tracking, varispeed, the use of the Leslie to enhance vocals). I am sure that you have a lot of ideas for future programs, but may I suggest one on the making of Revolver, and how the new studio tricks changed recording for years to come. And speaking of books, I still have the Unterberger books, and a 'friend' finally returned my autographed copy of Peter Asher's "Beatles A to Zed." And have taken up too much of your time?
And I meant to add: thanks for the Ventures info. The display prompted me to find the CD I have of a local show (made by a friend who mixed live shows) by the Ventures on 11/6/81. Over 40 years ago ?!
@@wyliesmith4244 I started reading Rodriguez's book last fall and I have to get back to it. My intuition tells me the the Pet Sounds comparisons and inspirations are overstated but I will eventually review revolver. I ju🙂st shot my review of the Beatles Second Album so I seem to be going chronologically. I should have some things to say about Revolver when I get there
2 years ago David Crosby in one of the interviews said that among the 4 Beatles he wants to collaborate with was George Harrison. I am quite surprised he said that because it was George who turned down CSN when they auditioned for Apple.
Paul did the Pepper guitar and the work on Good Morning Good Morning too, I believe. He found his legs during the Get Back sessions and Abbey Road though.
@@graniterhythm53 - that would be a matter of personal taste - i think all of Geroges compositions from 68 on are every bit as good as Lennon/McCartney, except for Savoy Truffle which i've never been a big fan of.
Look at the Hollies 'Stop, Stop Stop' (For Certain Because') which was an actual album from '66. They wrote the lot. 'Bus Stop' was merely a US compilation.
But "Stop Stop Stop" was the first album wrote all the songs - or even half of them. The US album reflected what the Hollies recorded. And I LOVE the Hollies ,especially the various sounds that Tony Hicks created, and Bobby Elliott's drumming elevated the Hollies from a mere pop.
@@KariKauree But since the topic is George's Missing Guitar, I thought Matt would have mentioned that fact, but he didn't. There are probably quite a few casual fans out there who assume it was George playing that awesome solo.
In line with your observations regarding Harrison’s disappearing guitar during this period, ‘Something’ was also initially composed on the piano. And it was composed originally for the White Album, but Harrison found ‘Piggies’ an easier track to complete in time for that LP. ‘Something’ needed more time to develop. You will also find it interesting that Harrison explains that ‘Here Comes the Sun’ was composed on guitar because that’s the instrument he had available to him, at Clapton’s house, when the tune came to him. But the fact he eventually used a capo on the 7th fret, coupled with the sequence of time signature changes, it’s evident that the sitar was the sound he had in mind-which is also relevant to your point. But the originality of the tune and song structure is owed to his skills with the sitar, so that time invested was not a lost cause-a counter-argument to your point that the time invested in the sitar might've cost him in any way. The guitarists you listed were all based out of the blues. The blues were probably never more popular before or since the exact period on which you focus this video. In contrast, Harrison almost never played the blues. Nor did the Beatles play that style, even throughout the height of that genre’s popularity, and that was by design [rare exceptions]. Had Harrison stuck devotedly to guitar throughout this time, he wouldn’t have made any more of an impact stylistically in that crowd than he did with his sitar really. Harrison wasn't motivated by a willingness to compete, either. His guitar work throughout 1969, including Abbey Road's side B medley, is on par with his contemporaries. It makes the idea that he would struggle so much with 'While My Guitar Gently Weeps' the previous summer all the more perplexing. It’s been pointed out that Brian Jones took to the sitar so quickly because he was already an advanced slide-guitarist. It’s interesting that Harrison developed that style later in his career, so almost an opposite effect. He may have not returned to the instrument, as you point out, but its impact on him never left. Also, I observe that his melodic guitar style from early on served him well on the sitar. Imagine spending some time with Dylan and the Band in ’68, then returning to record with Lennon and McCartney immediately afterward. Great company. But Harrison clearly expanded his songwriting following that time with Dylan. Lennon was too little help, McCartney was too much. Dylan managed to be just right, apparently.
Hey Andrew! • It never occurred to me that the musicality of Here Comes the Sun would be related to the sitar! • The only blues guy mentioned by Harrison (and every other Brit guitarist) was Big Bill Broonzy. I wish George was more competitive as he certainly could have competed on his own terms. I still love his crunching Let It Be solo. • I can see some of the similarities between slide and sitar and quite frankly, George didn’t take his slide playing very far until the Brainwashed era. The new intro with slide on My Sweet Lord (2000) is a particular favorite of mine. • I think the Dylan exposure is notable, but its effect on George was more as a song writer than guitarist. The composing of the song I’d Have You Anytime came quickly and George seemed to completely take the bull by the horns on that one. So Dylan seemed to be open to his ideas. Thanks for the well thought out comments!
Amongst famous musicians and guitarists, George has never been underrated. People should just stop thinking of music as a competition, with all that "Harrison was no Hendrix" going on. Every musician worth of the name has something that makes him/her unique: Clapton was no Hendrix because he was Clapton, as Bloomfield was Bloomfield, and so on. I've studied George's style for years, and he was one of the most versatile guitarist of his era. Never flamboyant, always spot on and melodic; he isn't known as an improviser because there was no need to improvise on the records he was playing on, simple, but it doesn't necessarily mean he could't. And, to all the people who don't belleve in George's own abilities, and talk about Clapton playing on Something or Paul playing on Old Brown Shoe etc.: please, don't try to rewrite history. Try and have a listen to George's playing on the coda of While my Guitar Gently Weeps live in Hiroshima with Clapton, or on Thumbin a Ride by Jackie Lomax.
Holy crap! I've been watching George's live performances of WMGGW obsessively these last few months but had been skipping over the Hiroshima video. What a great outro from George! As a point of interest, if you watch (well, listen to) the 1974 LA performance he blows Robben Ford out of the water on the outro. That's probably not fair. There's just no chemistry there - not like he had with Clapton. Incredible. Anyway, great comment and thank you for the pointers to WMGGW live and Thumbin' a Ride!
And this continues as Eric is brought in again on the All things sessions to do the heavy lifting...but after the Summer at Big Pink his real style emerges as we hear the melodic slide playing emerge.
Additionally, George later said that he kind of felt that he was “behind” his guitar player colleagues, feeling a bit shy about his own playing. But he then developed a unique slide guitar playing style.
I liked George’s quirkiness-Old Brown Shoe and Savoie Truffle, among others-but I didn’t get into the Indian stuff, although I loved the sitar on Norwegian Wood. I’ve always wondered why he didn’t partner with Lennon or McCartney on songs. While he produced a lot of good songs, he wasn’t consistent throughout his career. You mention some fallow stretches when he was in the Beatles, and after the ‘70s he wasn’t much of a force. You’re point is well-taken-good songwriter who happened to be in the same band as one of the best songwriting duos of all-time. Good video.
Money. Lennon & McCartney were already splitting their royalties in half with their Northern Songs publishing company. They didn't want to divide it a third, or even split royalties with Harrison if they individually collaborated with him
In the recent 'Get Back' documentary, George can be heard to say that those January 1969 sessions are the most he's played guitar in a long time. This happens once they've moved operations to Apple Studio and George seems more positive now that he's loosening up his fingers.
He bought in Clapton because he'd been trying to do lead guitar for the song for a week (lotsa backwards stuff) and could not come up with anything to convince himself it would be up to scratch. Getting the others to behave well was the icing on the cake.
@@popgoesthe60s52 More than a weeks' worth, the man said. It was threatening to drive him nuts and he had Clapton in his mini,on the way up to London - who was reluctant to help out at first.Clapton later disclosed there were, 'the most cruel confrontations happening within the band at that time' . Many people speculated it was also Clapton on 'Something' (tell me it doesn't sound like him!) , so the influence did rub off, in a positive way.....
@@maxcuthbert100 Yes! I haven't heard anyone else bring it up but, I've also speculated that it's Clapton playing the 3rd guitar on the Carry That Weight solos. I sure have never heard George play with such conviction elsewhere (w/ all due respect).
There's a George interview with Dick Cavett where he says he couldn't get as many songs as Lennon and McCartney. He says that this wasn't explicit but, in practical terms, that was how it worked. He said that it would take ages to put out all of his songs.
Great video! But I do wish you had talked at least a little about ‘I Want To Tell You’. Probably my favorite pre-psychedelic George song. But I realize it’s not very guitar heavy.
It's All Too Much is greatly underrated. Not only one of George's best but a highlight from the Beatles catalog.
Agree. It’s just fantastic!
@@blackfinjrblackfinjr3555 George plays Organ on "It's All Too Much".
It is still a mystery as to who plays that Psychedelic Guitar.
I personally believe it's Jimi Hendrix!
The point of comparing the number of George's songs to other contemporary writers was solid, great thought.
Yeah not sure about mentioning those five songs on the first Byrds album as being by Roger McGuinn and Gene Clark. Gene had five credits (2 co writes) and Roger McGuinn just had the two co-writes. Also, the lack of Gene songs on the album is more to do with management choices and the fact the'd had a huge hit with a Dylan cover, rather than lack of available songs on his part.
And how much more prolific might Harrison have been if either John or Paul had condescended to take him on as his main collaborator?!
@@will2741 p⁰
Totally agree with you James Smith…
As much as I love the sound of an electric guitar, I think it was important for George’s artistic growth to try new things. It would be easy to compare him to other guitarists of the era and think he wasn’t as progressive but not when one considers his overall contributions as a musician. I really respect the fact that he didn’t follow the trends but instead became a pioneer of world music within a pop/rock context. He continued that growth by becoming a distinctive slide guitarist in his solo career and embracing the ukulele in his later years.
I absolutely agree. George was a fine guitar player. I think it’s important to think of him as an overall musician and songwriter, not just a guitarist.
I also forgot to mention that it was he who introduced the Beatles to the Moog Synthesizer.
Right on, bro. 🎩
My understanding from watching the Anthology is that the ukulele was always present at George's house and used quite frequently - it wasn't something they picked up. in later years.
I had the impression that George got equal lead singing status until the John and Paul thing reached critical mass. Ringo and George were equally important to what the Beatles were
just think... george's family did not have indoor plumbing... 15 or so years later he's writing a masterwork like living in the material world and that amazing song give me love (give me peace on earth). it's just mind blowing.
Yes, their evolution was phenomenol.
Lots of people still did not have indoor plumbing in '58. George bought his first car (a Ford Anglia) on HP in '62 tho', which is also pretty remarkable.
My grandparents were roughly contemporaneous with Harrison's parents. My grandmother refused to have a toilet in the house. She thought it was unhygienic.
... George wrote , Here comes the Sun , While my guitar gently Weeps , and Something ....these are not just great Beatle tunes ...to me they're several of the best songs ever written .
I agree 1,000% just listen to _All Things Must Pass_ ... Mind blowing songs! To me, still the best out of all the other _Beatles_ solo albums..
Back in 1970, when my older brother came home with this album, opened it up carefully put the album on the turntable and the needle hit the vinyl
I was in awe! From " _I'd Have you Anytime"_ , to " _Hear Me Lord_ ".. I played the _Apple Jam_ a few times but, I was never into long instrumental jams.
And for *Christmas* , I got my own copy of " _All Things Must Pass_ " Loved that poster that came with the album! 🚶🏽♀️🚶🏽♀️🚶🏽♀️🚶🏽♀️🌞 🎸
@Ronaldo Laquidara yes it was
Take Clapton's guitar out of WMGGW and it's a fairly average song. Here Comes the Sun by any other artist would be considered good but not great. Something is of course 'world class' but 1 song in 40 years? Not great. He was an average songwriter and an average guitarist. The least talented of the Beatles
@@jeperstone listen to the acoustic WMGGW it's a beautiful song. here comes the sun is the highest downloaded beatles song so really re think your statement
@@jeperstone
"What the FUCK have YOU DONE?"
-Ian MacKaye
Excellent comparison of George to his contemporaries with regards to the number of song being written.
Wow, that was thought provoking. You stated a few things that I never heard or considered. Excellent analysis. I don't think you mentioned 'Sour Milk Sea' in your presentation but you close out your video with it. Fantastic. It would have been great to have seen see Sour Milk produced and released on an official Beatles album. Love that song.
Thank you, Gilbert. I have a full band version of that song that I included on my _Albums That Never Were_ podcast here: bit.ly/3kE33ML
once again your analyses of George Harrison are inspiring as well as illuminating. And if I can say: exactly as I see it. Don't bother me is a greater song than most care to admit. It was that song that convinced me of the quality work of The Beatles. Harrison injected wisdom to the pop Beatles. Yes, I am a Harrison fan, have always since day one! Which is 1963! Again thank you for these videos.
Yes I too love the song "Don't bother me". I wonder George didn't like that song that much.
George's lead guitar work on songs like Dear Prudence, Happiness Is a Warm Gun, Sexy Sadie, Everybody's Got Something to Hide is so fantastic, so minimalistic yet so perfectly conceived and played, that I really love him as a guitarist. It is strange thought how reticent he could be at times to let it rip. I guess his natural style is more measured and deliberate, while Paul was better at playing faster and more carefree, so he was the better choice to play certain solos.
Yeah, as I dig into George, it seems that he was a bit lazy during this period. An interesting thing he said during the Let It Be sessions was referring to the White Album as the "first album in some time I really asserted myself." So I don't know what he was thinking but he could have pushed for more and been more aggressive. Apparently that is not his style but that's why he has less representation instrumentally and composition-wise. Thanks for the comment!
What surprises me is that when George got comfortable with playing guitar. It was after The Beatles split-with his slide guitar which became his calling card through out the 1970's. I am trying to imagine what The Beatles would have been like with Georges slide guitar being more prominently placed in the mix.....
Did he ever play slide on a Beatles recording?
I dont think they (john or paul) would have tolerated it for more than a few songs. They were always looking for new sounds those two. I think it was really the main reason the broke up, they had done pretty much all they were going to do or wanted to do with each other.
You never know. Even though George was excellent playing the bottleneck Slide, there might times when Paul might say, Thats great slide George but can you play
a regular guitar for this part? 😭
@@martifingers There is slide on two songs on Rubber Soul - Drive My Car and Run For Your Life - presumably George is playing slide on those. Also Strawberry Fields has some slide although it is used fleetingly.
@@snowfiresunwind Thanks! Yes there it is, in early mid period Beatles.
I think a lot of the solo on Drive My Cars is fretted but the last few notes indeed sound like a slide. On RFYL it sounds to me almost like an effect rather than the way he used it post-Beatles. And isn't there an alternative version of Strawberry Field that has a very prominent slide part?
George's strength as a guitar player was his taste and creativity within a song. He never had the chops to be Hendrix or Clapton. That wasn't his thing.
But his slide playing was exceptional. Soulful, musical and as good as any slide player I've ever heard.
Agreed. Though I would hardly compare Hendrix with Clapton... Who (IMHO) was always overated, both as a songwriter and guitarist and, all said and done, Harrison was still a better guitarist than Clapton.
I never skipped over within you and without you and inner light either. Even songs like blue jay and long long long. I love those cuts even though it wasn’t what I was necessary there for. For me it was a quick step in a different direction or dimension that I really appreciated then and now. It’s hard to explain, but I hope you understand. Again, thanks for all of this material.
Thanks for the comment, Steve.
You make some very valid points but it is also important to note that George’s Indian influences were completely accepted by John and Paul during the Rubber Soul, Revolver and Pepper Sessions. There would probably not be the excellent Indian Scale Guitar Solo by Paul in Taxman. Tomorrow Never Knows wouldn’t be the same without the Tanpura drone and single chord Indian trait. Don’t forget the Tanpura on Getting Better as well. That verse coupled with the Harmonies by John and Paul singing “I used to be cruel…” is one of the finest moments on Pepper. (IMHO) I guess that’s what Lennon meant when he said that they “went Indian” for a period. I would say that the Indian influences during that ‘65 through’67 period definitely expanded their palate. After that it was time for, as Macca said, “More Guitar”.
I really like the song 'Do You Want to Know a Secret' which George sang on what I think was The Beatles' best album 'Please, Please Me' ( released on the 22 March, 1963 ). I like the Billy J Kramer and the Dakotas' version too. 1963 is my favourite Beatles era. The likes of 'The White Album' are amazingly out there but the 'Please, Please Me' album sounds like what it is, a rock band playing onto tape rather than overdubs on later albums. And who was writing introspective songs like 'There's a Place' in 1962 other than John Lennon, but yet not overt or strange like later Beatles' tracks.
@@user-oh7iv3ij5x
Thanks Ste C.
unbelievable guitar playing.. just incredible tasteful licks...
I took up the sitar because of George Harrison. The man who introduced sitar, and the sound of Indian music, to the western world, was George, not Ravi. George was a musician at heart, and the guitar was just his instrument. Music is born in the human mind and heart, and the instruments come after the fact. If he had been born in another place or time he would have played whatever instrument was laying around. A musician’s mission is to get the song out of his/her head and into the air...by any means available. I’m glad he followed his own muse. Walt Whitman said: “I am large, I contain multitudes.” Sounds like George. ✌️🍷🎩🎩🎩 Thanks for this insightful discussion, made my day.
Very good point about _who_ introduced the sitar to the west. I was also interested in it because of George. Thanks for the comment.
If I had to choose my favorite Beatle it would be George, he was always cool and I like all his songs from “Rubber Soul” onwards. “If I needed someone” was inspired by The Byrds who started their thing being influenced by The Beatles. “Within you, without you” is along with Paul’s “Fixing a hole” are my favorites from Sgt Pepper.
“The inner light” is brilliant and relatively unknown by the public which I think is a shame. George was great and in my view the equal of the others. He had to go through his sitar period and it was his thing. I saw an interview with him saying that when he visited Lennon in the late 70’s, Lennon had loads of Indian music and that Lennon grew into that music. George was a big influence within the group and no softie.
I really enjoy your videos, Would you have any interest in doing some videos of The Byrds/Gene Clark? Their first 6 albums are all great and in my mind they the closest to being “The American Beatles”.
Greetings to you from Sweden.
I love George but to compare him to Lennon/McCartney the most successful innovative songwriters of the generation with 180 songs written which shaped and drove the Beatles is kind of absurd.
@@MrThedonhead
Each to their own
I strongly support your request for videos on The Byrds.
@@MrThedonhead I think inarguably Lennon and McCartney were more prolific by far. And quality-wise their best songs were as good as Harrison's. But Harrison's were consistently excellent albeit fewer in number. But that's me. As Edward Mulholland says, to each their own.
I’m not sure I would agree that Rubber Soul was the Beatles 1st masterpiece. The British A Hard Days Night was a masterpiece. The peak of Beatlemania and arguably a peak for John Lennon who was creating magic with almost every song during this period.
I think the early Beatles in general is somewhat overlooked in favor of the post Revolver stuff.
@@chelmsfordroad50 I agree. The pre-Sgt. Pepper era is still my favorite era of the Beatles.
@@mannyruiz1954 Yes , they had life and fun
any one a masterpiece?... i prefer to say their catalog of songswere a complete catalog of masterpieces.
Not taking anything away from your comments about how While My Guitar Gently Weeps might have been different if Harrison did the lead work....but....Clapton's work on that song is among the most beautiful rock guitar playing ever recorded. What he did is similar to what Paul and Ringo did all of the time - he created guitar parts that just work perfectly in the song. His fills during the verses and bridge, and especially his solos, are just haunting and gorgeous. In a lot of ways, they are defining moments for Clapton's studio work (the solo in Badge, and the dueling solos on Had to Cry Today are in that category too, as is the nylon string work on Can't Find My Way Home). I can't say Eric "made" the song, because that would take too much credit away from George and the rest of the "lads", but his contribution was one of the keys to how great the song turned out (IMHO).
I agree Clapton's contribution is mammoth, but passed on an opportunity for George to totally own that song! He could have pulled something off that may have been his signature solo. I know Clapton tried to make the soloing sound "Beatley" and he succeeded, but it would have been more Beatley if a Beatle had done it. The 3 Beatles could have traded licks like on The End. Anyway, we are left with a classic, so I'm satisfied. Thanks for the input, Steve.
@@popgoesthe60s52 i totally agree, i have felt like that for years that he should have made it his own , he was too self conscious playing it on the concert for bangla desh , Lennon always said he was too wound up to really let it go and so it proved. The truth is he was not a great lead guitarist and got left behind by others at that time , which may explain why he did not want to play live. he also played way too much slide guitar on his solo albums also stories of him spending days perfecting a two second lick during the seventies.
@Mark Schultz I'll have to check out the version by the Main Squeeze. Thanks for the recommendation.
Great video 👍 Ravi was the one that told George he should go back to being a guitar hero plus at the same time George spent a night out in NY hanging out with Eric Clapton & Jimi Hendrix which solidified his decision
forget about being aguitar hero ( whatever that is)... It's about being a guitarist..
Was that Ravi’s way of saying “You’re not exactly breathing down my neck on the sitar, George.”
When George did bring his own songs to the table, these were nearly always top drawer-very few throwaways in his Beatles based catalogue, even Only A Northern Song has a certain mordant charm to it. His songwriting was usually far more personal and introspective than even John’s were.
George was a very good melodic writer for the guitar; in the early Lennon-McCartney tunes his solos played off the catchy melodies. But he wasn't a gifted improvisatory soloist. As he stated a number of times, he felt he'd been left behind by the great players who took off in the later sixties, and as a consequence switched to slide guitar, which he eventually made his own. And, needless, to say, in the Beatles he always had Paul breathing down his neck. Paul played many of the most distinctive lead parts, from "Another Girl" to "Taxman" and on.
Paul didnt "Breathe" down George's neck, whoever wrote the song directed the others after Revolver, the big conflict was when George wanted to "call and answer" each lyric on Hey Jude with Guitar to Pauls vocal. Paul didnt want that approach he wanted the song to build into an "anthemic" tempo. The next big row is filmed and recorded on Let it Be movie during Two of Us and calling that a big arguement is a bit of a joke after hearing and viewing it. George just was thin skinned and resented Paul and John, he just never said anything public about jOhn because as Paul found out the hard way, thats a losing effort against John "stiletto tongue" Lennon.
you don't need to be improvising to play rock and roll.... In the context of a song George Harrison is one of the greatest rock and roll guitarists ever..if you want to hear a guitarist improvise then listen to jazz
@@hammer44head I don't think it is just George being thin-skinned. Seeing the way both John and Paul can act, I think most anyone would get sick of some of that shit after a while. John and Paul both had the ability to act like an arrogant jerk when they wanted to.
@@stickman1742 - I'm am pretty positive after reading numerous quotes that George wasnt no pushover, he was pretty cocky his brothers both say. I read numerous quotes by George crapping all over Paul and Pauls music. They were like brothers love and hate and could be pretty vicious to one another.
@@hammer44head Paul resorted to having a left-handed guitar handy once four-track recording techniques were first available to them as early as Rubber Soul, to use at times that Harrison’s solos weren’t up to Paul’s liking, according to Normal Smith.
The lead on taxman is actually written by Paul and I think played by him as well on the album!!! That’s amazing. A great George song so Paul’s like hey swap me out and let me play lead ;)!!
Very interesting you mentioned something I did noticed for a long time, and that is George's role as a lead singer in the beginning of their career. And I've noticed this when listening to the Decca sessions where George sings as much lead as John and Paul. Literally equal sharing of the spotlight in that regard.
Yes, that stemmed from playing in clubs, the vocals would shift equally between them. First the song-writing gradually altered this out of Harrison's favor, next I believe when they stopped touring it adversely affected Harrison's role [or really the role of all members not named Paul were reduced].
I'd say George considered himself more a musician and less a guitarist, at least from '66 on. The more I learn about the details of the recordings, the more I get to know that some guitar solo was played by Paul or John and not by George (like on Taxman!). He was brave doing that. Not caring about competing with Hendrix and Clapton, with the responsibility of being in the biggest band in the world was a huge thing.
I'm enjoying your beatles related videos! If you made a channel focused on the Beatles, no doubt it would get a lot more views.
George Martin said the guitar skill in "Till there Was You" was what interested him in The Beatles. George Harrison was admired by his contemporaries (Clapton, et al) He was perhaps the greatest slide player ever on hit records. From behind Paul and John, He's written classic pop songs
That's a great one. He recorded that when he was what...18, 19 yo? In 1963! The time when people had to cross the town to learn a single chord (what they actually did in the 50s)
All things must pass masterpiece album
You are right about Taxman and Paul on Taxman and Good Morning, Good morning.
But the solo that is totally John is his song You Can't do That.
John did the solo on get back maybe Paul gave it to John cause like john I hate get back.
And John did the slide solo on for you blue but nothing else comes to my mind.
Do you have Anything? You can't include the end all 3 played on that one.
" Go Johnny! "
@@jackdemolay3545 the ones I recall right now: Get Back, For Your Blue, I Want You, The End (but it's a jam of him, Paul and George doing solos. The sequence is Paul->George->John in circles)
Good job on this one. I've watched several and this is my favorite in terms of content, style and tone. The subject or hook, Harrison putting down his guitar for two years is a good one too. Keep them coming and I'll keep watching.
Thank you for this video as I never realized how many songs were penned by George. I do not like his “Indian” songs; the sitar and whole groove feels dissonant and foreign to my ears. However as a person, I was greatly helped by their trips into Transcendental Meditation, led by George. In my late teens, 18, 19, I smoked marijuana daily and it really caused me to flounder. So, when the Beatles showed me the way, I followed. From that moment on, I went from nascent failure to grand success. I’d have never gotten the nerve to pursue and achieve the wonderful career I had. I won’t bore you with details but I made a positive impact on my world with certain of my adventures. Music soothes and saves my soul daily as I continue to compose I have a reason to live at 70.
Joni Mitchell called music "a love language." Thank you for sharing, Robert.
I think George Harrison came to the fore as a Harmony Vocalist between 1965~1968.
George's very cool "High Tenor" enhanced John and Paul's creations.
Help! ~ George contributes some wonderful call and response Vocals!
I'm Down
HELP! Album ~
Another Girl
You're Going To Lose That Girl ~ George's Harmony Vocal is really hip on this track.
That Means A Lot ~ Outtake.
RUBBER SOUL ~ Album
Drive My Car
You Won't See Me ~
I've always thought this song is too long!
Nowhere Man
The Word
Paperback Writer
Rain
REVOLVER Album
I'm Only Sleeping
Here, There And Everywhere
She Said She Said ~ My all~time favorite track on Revolver!
George helped John arrange the song, plays Lead Guitar, Bass/Burns Nu Sonic, sings Harmony Vocal and call and response Vocal during the end to fade-out! Whew!
Psychedelic Bliss In '66!
And Your Bird Can Sing
Doctor Robert
Penny Lane
SGT. PEPPER'S LONELY HEARTS CLUB BAND
Sgt. Pepper's Lonely Hearts Club Band
With A Little Help From My Friends
Getting Better
When I'm Sixty Four
Quote by PAUL MCCARTNEY ~ "George wasn't very involved in that album.
He just had one song. It's really the only time during the whole album, the main time I remember him turning up."
Quote by GEOFF EMERICK ~ "A weak track [Only A Northern Song] we all winced at.
George Martin simply said, 'I'm disappointed George didn't come up with something better."
Quote by GEORGE HARRISON ~ "Sgt. Pepper was the one album where things were done slightly differently.
A lot of time...we weren't allowed to play as a band so much. It became an assembly process ~ just little parts and then overdubbing.
After [the India trip, September,1966], everything seemed like hard work. It was like doing something I didn't really want to do and I was losing interest in being "fab" at that point."
In my opinion, Paul ruined "Only A Northern Song" with his grade school obnoxious Trumpet playing!
All You Need Is Love
MAGICAL MYSTERY TOUR E.P. ~
Your Mother Should Know
Hello Goodbye
Lady Madonna
George’s vocal on All my lovin !
And of course, the 3 part harmony of Because
The Beatles had an odd set up, as in terms of personality, Harrison and McCartney were back to front, as usually the bass player is "at the back with the drummer" while the lead guitarist is the star member of the live show, dominating the stage. This lack of "lead guitarist" personality comes out in his songs, which often are introspective and sensitive, and rarely "rock" with the lead guitar solos you'd expect from a song written by the lead guitarist. Arguably the best guitar solos he did on his own Beatles songs were on Something, a romantic ballad, and Here comes the Sun, on acoustic guitar, as Taxman's solo was by McCartney and WMGGW was by Clapton
Savoy Truffle, Old Brown Shoe?
THIS channel has rapidly become one of my Favorites! ......The Sitar era vs. Guitar is something I often Contemplate....While George was didling with the sitar, advancements in Guitar amplification and sound were moving forward at light speed. Distortion, Sustain and other sounds were being introduced everywhere. George was falling behind rock guitar and I think this is part of the insecurities George clearly had as a Guitar player. Paul never fell behind on the latest tech and was clearly the better lead guitar player by 69'. My question really is ,,,,did George EVER really want to be the "Lead" Guitar player? For those of us who fancy themselves "Lead" Guitar player we are usually Alpha' Hard Headed, Extroverts who have ego's the size of a 747, While George seemed to be shy and introverted .........What if? ...........PS as I saw on your vids. Paul was also well aware Live Sound had progressed light years in the couple years since they stopped touring......WHAT IF? WHAT if that live Concert was not on the Apple Roof but in Front of a live audience in a proper venue???? LOVE THIS CHANNEL!!!
Thanks for the warm comment, Abner!
I really enjoy your channel. I'm an artist (poetry) and university professor. I enjoy the mix if information and commentary. I feel like I'm learning something and I know I'm having fun.
Thank you, Mateus. Plenty more to come!
When I was younger I always wondered why George doesn't play more aggressively..But I realized what a guitar genius he is. Unrivaled on the acoustic and so melodic player on the electric guitar. Just listen to "Beautiful Girl" "Crackerbox Palace" "So Sad" or amazing slide solo on Belinda Carlisle song "Leave a Light On"
My fave solo of his is on Pure Smokey. I wish he had concentrated more on his guitar in the 70s!
You know, this analysis of George’s missing guitar really opened my eyes about his relevant relationship and the importance of his role as a member of the Beatles. Never gave it much thought before since most focus were on the “ main two writers “. Thanks for this episode
You're welcome, Dave. Thank you for the comment.
@@popgoesthe60s52 you’re the best man!
I’m loving your videos. I’m so excited to watch the series. The whole family is looking forward to it!everyone from 17 year olds to 70 year olds will be watching!
Thank you, Janice! I'll be glued to the tube with the family as well.
Love George Harrison's songs. Thank you for the nice vid.
Within You Without You might be my favorite Beatles song. I would loved to know how far George could have gone with more self confidence, more support from Martin and more space given on albums. Weird decisions had been took about his music, like not putting the perfectly fitting Northern Song on Pepper, or not putting the astonishing It's all too much on mmt. Indian music is seen as an acquired taste and we basically sees it as "exotic". But it isn't exotic per se. It's written with various emotions and intentions in mind like any music style. George wanted to put Indian music in the forefront so westerners could learn to hear it for what it is. I love the intention. I hope that the future holds a lot of merging different musical cultures, even though nowadays the music trend is heavily set up by the West and most east countries modern music comes from here. Really different music from what we are used too will first be considered Weird, but they aren't weird per se. One of my favorite albums ever is Rdha Krsna Temple, produced by Harrison, recording original Hare Krishna devotees, who are mastering their voices and their instruments beautifully. I will take the time to dive into Indian music one day, and I will only have Harrison to thank for the treasures I will surely discover
How did I miss this episode? If I Needed Someone and I Need you are two of George's best songs. I Need you has always been under rated. Too bad for George that Paul and John didn't act better towards him. I think things would have ended better.
Excellent discussion about George and his history with songwriting and guitar playing. You laid it all out there nicely! You filled in a lot of gaps for me. Take care Matt
You forgot "Don't Bother Me" from WITH THE BEATLES. THANK YOU for mentioning The Hollies. Also, I initially heard that Eric Clapton and George Harrison did a "swap" deal in the works. Notably that Eric played lead guitar on "While My Guitar Gently Weeps" and George played most all the guitar, except the solos, on Cream's "Badge." I guess I'd forgotten that, like Paul and John, George was a multi-instrumentalist too, and could play the six string bass / baritone guitar and rudimentary keyboards, as well as the sitar.
Don't Bother Me was ,mentioned in this video where George said he 'wanted to see if he could write a song'.
I wish I would have had a brother or friend like you to have these kinds of conversations with while all this was going on.
It takes a lot to comb through what most people assume they know, and a whole lot more to iron out the inaccuracies and dispel myths all in an entertaining format. Really a fan of your stuff, the debunking videos gave me a new view of a band that I was criticizing harshly at times without having the full picture. Thank you.
I was in the same boat you were in. Thank you for tuning in - more to come.
Great show. You’re one of the main reasons I love TH-cam. Thank you.
Thanks Jimmy - more to come.
Been a pleasure to binge your channel. This topic has garnered little attention.
I had a similar observation regarding George’s instruments, although some issues appeared to me to have dated back a tad earlier. Paul resorted to having a left-handed guitar handy once four-track recording techniques were first available to them as early as Rubber Soul, to use at times that Harrison’s solos weren’t up to Paul’s liking, according to Norman Smith. But your take remains consistent, as this was the first point of Harrison’s interest in the sitar as well.
My take was different than yours, in that I guessed George was being steered by the direction of the band and was approaching songwriting in such a way to stay relevant as a contributor--to follow the band’s direction towards arrangements less dependent on lead guitar. It also seemed reasonable to me to think that being directed by McCartney on how to play solos within his arrangements could contribute to a “writer’s block” on that instrument, that seemed to haunt Harrison on/off for four years. The sitar was one thing no one could direct him on.
My take stems from my personal observation that all three members other than Paul experienced a reduced role in the band after they stopped touring.
But the old “George is a victim” narrative has taken hard hits, especially recently. This is why I find your take-that this was self-inflicted by George and possibly stemming directly from his time invested in the sitar-more fresh, and compelling. I’m interested in digging deeper.
Is this a hunch based on the instrumentation of their catalog during that stretch? Or have you also read comments that lead you to this conclusion?
George’s apparent “writer’s block” on the guitar makes the moment he snaps out of it on Abbey Road all the more impressive.
I haven't read anything with regard to this yet. I began analyzing George's contribution in an effort to make sense of the notion that his songs were "rejected." I don't buy the rejection angle and the more I investigated, the more I found George veering away from the pop/rock stylings of Pepper and Mystery Tour. You make a great point about not being able to be told about how to play sitar. But sitar was limiting when used in the Beatles and everyone knew it.
There is an interesting quote from the Let It Be sessions (Jan. 3) where he say: "And also there’s so much to get out. there’s no one better to get it out with than us, for me anyway, really in my heart of hearts. It should be if you write a song, I should feel as though I wrote it. Verses… you know, ought to be involved in it as much. That was the good thing about the last album (the White Album). It was the only album so far I tried to get involved."
He indeed snapped out of it on Abbey Road and on that searing solo on Let It Be. My short answer: George wasn't applying himself to the best of his abilities.
@@popgoesthe60s52 I can see why you don’t buy the rejection angle, and I’m partly on-board based on recent evidence, including your own. Harrison’s character was always the most white-washed by the media. That was one perk to NOT being Lennon or McCartney, ironically.
It’s easy to limit the rejection angle as only pertaining to Harrison’s songs, primarily, based on how the media handles this narrative more than anything else.
Harrison speaks in general terms on this topic. He avoids mentioning specifically what was rejected, and by whom-unless this information was relevant to his latest solo release. He says that it was hard to get anything through the Lennon/McCartney barrier. This claim would not be limited to L/M, but would also include the recording team, including the company.
It has been heralded that the Beatles were true artists in that they controlled their product, and made the executive decisions. But would this really apply equally to all members? I have doubts. Clearly, the politics extended beyond the borders of the band members themselves.
Harrison faced resistance to more than songs, but ideas in general. There is ample evidence from multiple unbiased sources of the team of engineers that Harrison was being used as a session musician, much to their astonishment. In other instances, George Martin didn’t share a taste for Harrison’s arrangements, and L/M didn’t protest on his behalf when Harrison’s role wasn’t strong enough to influence Martin, but Harrison felt theirs were.
This angle justifies Harrison’s claim that he faced a force of resistance that didn’t apply to L/M, and it could give one the impression of being singled out, unsupported. But I agree the list of tracks rejected is not substantial, and probably only Ringo was immune to this rejection by the band or the company, so rejecting songs was not limited to Harrison. However, it was not the rejection of his songs that hit Harrison most often, but his ideas were rejected more frequently.
McCartney regarded Harrison’s contribution to Things We Said Today to be an example of Harrison’s pivotal role in concepts beyond his own. But of course, Harrison was never offered credit. That may not have mattered much in ’64, but by ’69 so much had changed in that respect and for a long list of reasons. Harrison comments on this in One Day at a Time, that he only recently had felt the need to push his songs further [for financial reasons]. He mentions that he wouldn’t feel the need to do so if was credited more on other material.
I am fascinated that you referenced that quote by Harrison. I interpreted it as Harrison looking to have an exchange of ideas between him and LM, regardless of the initial composer. In essence, he was interested in being more than a session musician, and in exchange would welcome their input on his songs. The line “no one better…than us” is an extended olive branch before proposing his request to be more involved in all songs. But of course, by ‘Us’ Harrison seeks to include himself as well. The request to “feel as though I wrote it” is not a tall order amongst them, he believed it was better for the band as a whole if each member felt a sense of ownership of all tracks produced.
This was a far more functional democratic approach to manage each IDEA that went into a song, instead of songs themselves being a single idea that could be dictated by its initial composer, which was Lennon’s way of thinking democratically. That approach didn’t work for Harrison because he wasn’t comfortable treating L/M as HIS band, his group of session musicians on his songs. In addition, Harrison saw Lennon’s idea as justifying the continued use of him as a session guitarist on L/M tracks.
Lennon’s trade-off would be to split the LPs equally. But if this leaves each composer to their own accord, the tracks might be evenly split, but not the quality of the output, because Lennon’s idea would favor the individual, benefitting more talented members, while exposing lesser talents. Additionally, this fails to address the resistance Harrison would inevitably face versus George Martin and the like. He had reason to distrust that his concepts would be executed fairly.
Harrison’s approach can be defended as more functional for the group as a whole, and the LP as a whole-possibly more fan-friendly. It was better for business as a whole, the brand, and of course, Harrison and Starr would have much to gain because the rising tide would lift all ships. His defense would rest on the perception that L/M had nothing to lose at that point, their status was cemented.
Harrison’s approach would also address Lennon’s issue with having to spend so much time and energy on McCartney’s tracks, as mentioned. A more collaborative formula would be more engaging and highly likely more efficient. Harrison could see a benefit that resulted in fewer clashes between members. Clearly, Harrison complained to Lennon about this prior to this meeting on the Tape, but his message was misinterpreted by Lennon, and so Lennon’s solution was misappropriated.
We as fans always saw the Beatles as something greater than a sum of all parts, and this quote you referenced shows Harrison sharing that sentiment. The 4-4-4-2 LP would be a “joke” to Harrison’s perception of the brand-not for a selfish cause explicitly, while that was a perk. He figures that if it was going in that direction, he’d essentially be facing the same insecurity of solo artist but within the Beatles paradigm, and would make more money going fully in that direction with other musicians that he felt more comfortable working within that approach, and a producer of his own choice.
Harrison was looking to return to that basic formula that provided him his opportunity on Things We Said Today and the like, but this time around with credit. He didn’t like that he needed to compose entire songs to provide income, and this was a business arrangement-that he existed outside L/M exclusively-constructed long before anyone was famous, so Harrison believed it was fair to request it be updated.
At that point in Sept ’69, most members were anticipating a huge pay increase afforded them by the work of Klein. The context of Harrison’s comments on “The Tape” probably refer to his personal rejection of a break-up of the Lennon/McCartney label, but he wasn’t willing to make that strong statement.
If Harrison had expressed his intentions fully, he would’ve preferred a Lennon/McCartney/Harrison/Starr label for all tracks, which was the other extreme to Lennon’s. This would be more consistent with his frame of mind, and interest in earning more equal shares.
Harrison didn’t want an equal amount of songs. He wanted equal billing on all songs. He says [in One Day at a Time] if he was given credit on more material, he wouldn’t even push his own songs very much. But he felt he had to in order to pay his bills.
Ironically, Lennon was thinking that he was being more ‘fair’. He was astonished how much money he’d made off of Yesterday, alone.
But once Harrison remarked that his financial issues stem from the simple formula that he spends as much but makes much less, it would fall on deaf ears to anyone that would be sitting at a table with him, not just those guys. That was the nail in the coffin on his proposal, and the last example of another Harrison idea being rejected-again it was largely self-inflicted.
Harrison made the mistake of using Lennon to represent his sentiments in that meeting our ears can soon witness on tape. What Lennon did instead-either subliminally or intentionally-was to blend Harrison’s concerns with his own, missing the point completely that Harrison was trying to make to him.
This poor representation, poor communication, within a band that used to LIVE together on the road for years and bonded so thoroughly, is a most astonishing contrast to previous periods. This tape will expose that disappointing fact more, without a doubt.
I’m eager to hear if you interpreted this in another way, I have much respect for your critical thinking.
@Andrew Adams Great points Andrew, it took a couple reads to fully digest.
Great point about George prob ably only needing some kind of composers credit on songs. It hadn’t occurred to me that John Lennon’s 4-4-4-2 proposition was the opposite to what George wanted. A Lennon-McCartney-Harrison-Starr credit seems appropriate, would been fair, and would likely have fostered a team atmosphere that seemed lacking post Revolver.
I wish George would have been direct and voiced some opinions, especially while Epstein was still around. Epstein’s early management efforts saw him hawking the band as all-around entertainers, meaning they played different styles of music and alternated lead vocalists. In 1962 George had as many lead vocals as John and Paul. This was agreed to by the band and probably gave George great hope that he would be an “equal member.” Unfortunately, the hits came quick and the dye was cast.
One of the things discovered by Mark Lewisohn in All These Years that was surprising was a contractual agreement between Brian Epstein and Lennon/McCartney whereby Epstein, in addition to managing the Beatles, also managed Lennon/McCartney as song writers. This further separated George from full collaboration as a composer as the publishing took precedence. Since Epstein had a slice of the publishing, this really benefitted John, Paul, and Brian.
Had George been able to contribute quality new songs in 1964 (which were needed as I contend there is filler on A Hard Day’s Night and out of place cover songs on Beatles For Sale), he may have had a bigger role as a song writer earlier in their history. His work in 1965 I think is very good, but I guess it was too late?
Ultimately, as George has stated retrospectively, “I couldn’t be bothered to be the heavy and push my songs.” He could have asked for more help from the others on his songs as well and he may have shared credit. Lennon seemed the least interested in George’s songs and allowing Lennon to represent him in that late 1969 meeting was an error, as you suggest. I George ever had clout, it was at that moment. Here Comes The Sun and Something earned him the right to make some demands. They listened to him when he agreed to come back for Let It Be! With Lennon acting more unpredictable than ever and the Yoko element, maybe he just said, “fuck it.”
This is a big topic and I plan to elaborate on this more when I tackle the video on Why the Beatles Broke Up. What a great comment, Andrew. This is what I want this channel to foster - thoughtful and in depth analysis.
@@popgoesthe60s52 Harrison did speak up for his publishing interests by setting up his own company, albeit after Epstein’s death. That had more to do with the timing of the contract with Northern Songs than anything to do with Epstein.
I’d also argue that the publishing agreement with Northern Songs did not benefit Lennon, McCartney or Epstein. Things flew too quickly for Epstein, and so when recruiting help he was willing to exchange interest in the success in order to ensure competency. Some excuse him for not having any experience with managing artists. But he had a background in retail and still didn’t manage their merchandising well either, which was more inexcusable than how he managed their publishing.
The losses caused him immense anxiety, and he was sensitive to start with. He countered these issues with drugs. It’s accepted that it was not suicide, but his death was very much self-inflicted either way.
After Epstein’s death, shareholders were closely following the Beatles’ management decisions. In ’69, Lennon makes the mistake of publicly announcing they were going broke, and then Klein is announced soon afterward. Shareholders smelled blood in the water, and a massive sell-off followed. ATV cornered the market, forcing Lennon/McCartney to sell their shares.
The fact the Beatles were managed by Epstein and Klein is an interesting topic altogether. One was too soft, one was too hard. One was blind-sighted by their success, one was blind-sighted by their split.
Some speculate that Harrison may have earned as much from the Beatles catalog as Lennon or McCartney.
I am so grateful that George's status in the Beatles has risen over the last few decades. Prior to that I would tend to hear about John and Paul, but George has a level of achievement to any of his contemporaries in other bands from the 60s and 70s.
ThEres a Reason foR that. peoplE gEtting intRoducEd a new to the beatles just look at thE catelog as onE whole thing so when thEy look at the top 20 or so songs They see 4 or 5 o GeorgEs and think of him as an equal. They dont see 5 albums dominated by J&P before george started writing. Plus the covers George did are fantastic
It's Only A Northern Song is one of my all time fave Beatle songs. Great Psychedelia. It's All Too Much Right behind that, then The Inner Light, Blue Jay Way. He had a lot to offer I think.
Thank you! Really enjoyed the video. I think George got tired of taking the back seat behind John and Paul for so long. He wanted his own identity and prove he was just as capable.
George inner search helped his music grow outwardly and I agree his music kept improving until he finally he gets his due with something this song was so good both John and Paul said it was the best song on the album surprised you didn't mention that on the video. So George gets the recognition he deserved what would have been interesting is if they made another album how many of Georges songs are on the album. Georges song writing talent just came later and he learned under Lennon and McCartney how to craft a song. You could make a case that George was now writing at just as a high level as Paul and John.
You're right, I should've mentioned John and Paul's love for that song. One of the reasons I did a series of Albums That Never Were allowed me to add two more Beatle albums after Let It Be & Abbey, which gives George equal number of songs. By then, he was equal in songwriting ability.
As George said on the Dick Cavett show in 1971, he only talks when he has something to say
and by '66, guitar wise, I think he felt he had run out of things to say
.
He had been saying around then that he had become disenchanted with he's guitar sound, then take into account that by summer 1966
guitar playing had been taken in a new direction
by the likes of Hendrix ,Beck and Clapton and it just was wasn't he's style.
I still love the sound he had '63-65 it fitted perfectly with the songs they were doing and that style was a good representation
of he's influences thus far.
As Eric Clapton said
Harrison was “clearly an innovator” as he was “taking certain elements of R&B, rock and rockabilly and creating something unique”.
Page and Beck also rated him saying his solos were little songs within a song.
but I think he lost confidence in that he couldn't compete with the new guys and so opted to forge a new path for himself with the Sitar
The Beatles didn't suffer as the sitar gave them another colour to their palette and Paul stepped up and did a great job with the solos
in Taxman, Fixing a hole, Good morning Good morning, It's all too much & Helter Skelter
showing a surprising talent for the angular and askew.
In late '68 when George hangs with Dylan and The Band he is present at the birth of a new musical genre,
knowing he will never achieve Ravi Shankers level on the Sitar and encouraged by Robbie Robertson's style which he had more in common with
than Eric's (who also took stock at this point) in that the guitar supported the song.
He came back to the guitar with renewed vigour which showed in his songs output and quality proving that the guitar was his first instrument
The time on the sitar wasn't wasted as when Delaney Bramlett inspired him to take up the slide later that year, he melded his knowledge of
Indian scales, pitch etc with his tasteful, expressive touch to create a truly signature style.
Thank you for the very insightful comment, Simon. I think you are correct in that he tried to forge a new path, but like the Carl Perkins style of 63-65, the sitar would also become passe, which is probably why we don't hear it anywhere on the White Album. I wish George's peers pushed him more because he could've competed with any of those guys in his own unique way. We still him pull back yet again during the Let It Be / Get Back sessions as well. I also appreciate your mention on how the Indian scales aided his slide playing.
@@popgoesthe60s52 I think he started an attempt towards a new sound when he got the Gibson SG in '66 as up to then other than the 'Rocky' strat all the other electric guitars he played were hollow bodied thinlines.
Maybe he realised the change had to come from his hands not the instrument.
And yes you would of thought Eric would have given him more support as they were close or was the fact he was a 'Beatle' put him beyond seeming to need help?
If only he found the slide style earlier
I'll be honest I wasn't keen on George's sitar playing because it's an instrument that takes a lot of time to become musically fluent in....I love " is first Indian tune on revolver ...is it ' luv u too ".... brilliant.
I think if I needed someone is a bona fide classic .
Excellent observations in these videos. Points of view I’ve never considered. I’ll say that a George guitar part is almost instantly recognizable. For any guitar player, to have ones own style is extremely challenging. He did it early on.
Agreed - the solos on Something, Let It Be, and Nowhere Man are as good as any from the decade by any guitar player. Thanks for the comment!
George seemed the most in tune with psychedelic music. Even though they all had their fair shares of musical experimentation, George's contributions during their Pepper/MMT era are so much more in line with what Psychedelic Rock ended up being. Blue Jay Way and All Too Much are easily up there with Walrus. Also don't forget he wrote an "experimental" soundtrack during the same time, then followed with a proto-electronic record!
Always liked "Sour Milk Sea". "Savoy Truffle" was my favorite Harrison song.
Good and thoughtful review of George guitar contributions to the Beatles. Nor did he play the solo on Taxman. It was Paul's lead guitar solo.
First of all, I love your videos.
From what I read, George was starting to have a backlog of songs by 1966. "Isn't It a Pity" was one song (John didn't like it). Some think "How Do You Tell Someone" (Played once during GB/LIB sessions) was written in 65-66. As for his guitar, he may have been writing songs on keyboard(organ) from 67-68, but he was still playing guitar. He did those incredible guitar parts in "I'm Only Sleeping" and "Tomorrow Never Knows" and the duel with John on "And Your Bird Can Sing". Plus George did the solo on "All You Need is Love" and Hey Bulldog". though I think it was John on "It's All Too Much".
Thank you, Steven. Yes, thankfully George didn't abandon the guitar completely!
Yeah, I confess to skipping over Within You Without You many times, beginning when the album came out and I was 13 years old. I thought the song really put the brakes on that album.
Favorite George Harrison songs with the Beatles:
Don’t Bother Me
Think For Yourself
Taxman
Savoy Truffle
Long, Long, Long
Here Comes the Sun
I Me Mine
For You Blue
Long Long Long always got me. In fact, all my favorite songs for each member is on that same album.
I also used to skip Within you or Without you when I first bought this album as a teenager thinking at the time it was a weak and out of place kind of song, and Now its one of my top favorite tracks on Sgt Pepper-And Now at the present time its When Im sixty four that to me is the weak track that doesnt work for me anymore on Sgt Pepper.
@@erniefernandez1927 A Day in the Life, Getting Better, Good Morning Good Morning, Lovely Rita, Being for the Benefit of Mr. Kite and Fixing a Hole are standouts on Pepper. But Revolver was a better, more consistent album over all.
@@CBrolley Totally agree.
Harrison brought in Clapton because he needed backup to deal with Lennon and McCartney at the time. When he came in with Clapton he was truly in charge and eventually got the song done, where as a session or two earlier the band struggled with it and almost nixed the song from the White album
If you'd consider what George was dealing with at the time - Paul actually got away with putting crap like "Wild Honey Pie" on the white album, and John with "Revolution #9", he had every right to bring Eric in and have his contribution recognized. It is also a SIN that "Not Guiity" was never released on the White Album or any other Beatle record until 1995!
Matt, You've really hit on something.
Here's a quote by George Harrison regarding his September,1966 trip to India.
Quote by GEORGE HARRISON ~"The urge to be something more than a mere Beatle provoked me to come to India [September,1966].
By learning to play the Sitar, I can give Beatle fans a little more."
When The Beatles returned to the studio, George's contribution to "Strawberry Fields Forever" was the Guitar chord picking at the beginning and plays the Psychedelic Swarmandal.
On "Penny Lane" George contributed only a Harmony Vocal.
On "Pepper" Harrison .
Iplays Sitar on "Within You Without You".
I believe the rest of the Guitar work, what little there is of it, was played by Paul McCartney.
Quote by PAUL MCCARTNEY ~ "George wasn't very involved in that album. He just had one song.
It's really the only time, during the whole album, the main time I remember him turning up."
George finally played Guitar on "Hello Goodbye" in late '67 and on "Lady Madonna" and "Hey Bulldog" in early '68.
It's still one of the biggest Beatles mysteries!, who played Guitar on "It's All Too Much"?
George was rather cagey and only said that he played the Hammond B3 Organ.
I've always believed it was Jimi Hendrix since there's so much feedback.
The Guitar work is reminiscent of Hendrix's "The Stars That Play With Laughing Sam's Dice" which was released as the "B" Side to "Burning Of The Midnight Lamp" in '67.
That is so strange that George was AWOL for Pepper. Why the poor work ethic? Coming out of Revolver, I would think he'd be motivated but I guess not. Thank Raul fo the deep comment!
@@popgoesthe60s52
Matt, I believe the September,1966 trip to India made a very strong impact on George.
The Indian music, culture and religion really influenced him into dropping the Guitar and changing musical direction for a period of time.
Quote by GEORGE HARRISON ~ "Sgt. Pepper was the one album where things were done slightly differently.
A lot of time...we weren't allowed to play as a band so much. It became an assembly process - just little parts and then overdubbing.
After [the India trip] [September,1966], everything else seemed like hard work.
It was a job, like doing something I didn't really want to do and I was losing interest in being "fab" at that point."
I am not going to get this quote right, but after the last US live show Harrison said that now he was no longer a Beatle, and that playing 1400 live shows was more than enough. After a rush to finish the Revolver album, the Beatles were out on the road and dealing with two MAJOR headaches: the Yesterday & Today butcher cover and then Lennon's comment about the popularity of the Beatles versus Christianity. And there was also McCartney's quote about the way blacks were treated in the US. Harrison was fed up = for the moment at least. As Giles Martin pointed out, only people who like each other would take a vacation together, and go to India. I'd bet that the death of Brian Epstein made all four Beatles do a rethink. It did end the four being together in India.
When talking about George Harrison's songwriting contributions, there are a few other factors to take into account:
1. Lennon & McCartney sneakily organised a publishing deal just for the two of them rather than including George
2. George was an enormous contributor to Lennon & McCartney songs in terms of the occasion lyric but certainly in the arrangements and final sound... for instance the 'Fiddler on the Roof' feel to We Can Work It Out was all George ...
BUT, he doesn't get the credit for any of that critically or financially.
In many was I wish he's pushed harder for his own songs as they were ALWAYS innovative and interesting.
Wow,, our thoughts on George’s songs with The Beatles is basically 99% identical! “If I Needed Someone” is probably my favorite song he wrote for them, and I love all his Beatles songs, including the ones that get ignored or written off, like “I Need You” and “You Like Me Too Much.” More rockin in his solo career would been awesome, things like “Taxman”, and “I Want To Tell You.” I too wish the mix on “Northern Song “ was better. Same thing with “It’s All Too Much.” WMGGW” rather than bringing an outside musician. I think I actually prefer the oft-bootlegged solo acoustic version from’68. Thank you, Matt!
Thank you for watching, Davian!
Great point about George bringing in Clapton on While My Guitar... It would have been great to hear what George would have done...
George DID bring Eric in on that song because The Beatles were not producing in studio. They were bickering and no showing. George did the same thing with Billy Preston during the let it be sessions.
Agree. Also there is a pattern of each guy setting aside his primary instrument for certain of his own songs. I think it's a workload thing- IE, focusing on the song, vocal and arrangement and intentionally letting others do things. Like Paul didn't play bass on Hey Jude. George letting Clapton play lead on WMGGW. It would be a lot more work and time to do all key parts yourself. Notice how much stronger John and Paul's backup vocals are on many of the mid period George and Ringo songs- the capacity to focus on a narrower front.
Harrison wrote "While My Guitar Gently Weeps" as an exercise in randomness inspired by the Chinese . The song conveys his dismay at the world's unrealized potential for universal love, which he refers to as "the love there that's sleeping". The recording was one of several collaborations between Harrison and Clapton during the late 1960s and was followed by the pair co-writing the song "Badge" for Clapton's group Cream. "While My Guitar Gently Weeps" 136th on its list of "The 500 Greatest Songs of All Time", seventh on the "100 Greatest Guitar Songs of All Time", and at number 10 on its list of "The Beatles 100 Greatest Songs". Clapton's performance was ranked 42nd in 's 2008 list of the "100 Greatest Guitar Solos". Harrison and Clapton often performed the song together live, during which they shared the lead guitar role over the closing section.
en.wikipedia.org/wiki/While_My_Guitar_Gently_Weeps
Good thought provoking video Matt nicely done...sorry I am late to the party!
Welcome, John! I've been a watcher of your channel for quite some time, and I really like your content. Thank you for saying, hello!
Your overall analysis shows us that his band mates were indeed supportive of George in any direction he wanted to go in ..this is contrary to popular myth...also that his guitar playing did languish during the Indian period..so he was very insecure about his guitar playing..so he brings in Eric to solo.
Yes George took a very odd turn, which worked in many ways but may have hindered his musical growth with the other 3. Thanks for the comment!
hi Mtt. Awesome podcast. Great insight and research. My family had the blue album 1967-1970 and I noticed George had 4 songs. This was around 1974 when i listened to this album but was looking for Yesterday and found it on the Red album 1966-70. But no George songs. Why? Then I bought rubber soul and saw Taxman and wondered why it was not on the Red album. Maybe on the re release ?
Listen to Fixing a hole for some very neat subtle lead guitar.
I just discovered your channel and I have to say - bravo! You bring a really nice, unbiased, fresh point of view to the Beatles discussion. I am a life-long Beatles fan and my opinion is that while George was a great guitarist he wasn't as technically good as other musicians exploding on the rock scene in 68-69 (my opinion). Folks like Jimmy Page of Led Zeppelin, Pete Townshend of The Who, Eric Clapton, and of course let's not forget Jimi Hendrix. The Beatles did not live in a vacuum. They were aware of all of these musicians, attended their concerts, etc. Down the hall at Abbey Road the Pink Floyd was recording their first album - Piper At the Gates of Dawn. The Beatles sat in on their sessions and vice versa. My own speculation is that perhaps George felt a little intimidated by these other guitarists. Maybe he felt like his skills weren't developing enough compared to these other guitarists and the fans wouldn't like his playing anymore. Add in the fact that John's and Paul's guitar skills were rapidly advancing as well. Maybe this is why he invited Eric Clapton to play the solo on While My Guitar. I would love to hear your perspective on this!
I think George tried to side step his perceived lack of skill by picking up the sitar. When he did come back to the guitar he did great solos. He didn't need to be Clapton or Hendrix, just himself, so I think it's just his personality. Not that he wasted time with sitar, but its not like he was going to master that instrument. Mastering his instrument within the framework of the Beatles was the place he would get the most protection and space to do interesting things and he squandered it. I just don't think he applied himself and he wasn't bringing his best to the band. His solo career really lacks interesting guitar leads or arrangements, preferring to see himself as a song writer first, which I think was a mistake. I would have loved for him to conceive an instrumental album, since he hung out with some great players (some average players as well). His solo career seldom rocked so I think that is an indicator of what was inside of him: easy listening music. Thanks for tuning in, Peter.
Nicely done, great research.
You know the Taxman guitar solo was written and played by Paul.
When Clapton did Taxman with George Eric did his own ignoring Paul!
Which I feel Was The right thing to do showcasing George!
Very nice thoughts. I did wonder myself, why George‘s guitar was missing that much during this phase of The Beatles. Your explanation makes sense.
I am not sure however, that George would have been skilled enough do some similar soli on While my guitar gently weeps though. It also seems too me, that during the White Album recordings, George did not much influence on guitar sounds. The White Album is very heavy on guitars, but it is mostly because of Paul or John‘s intentions. Also George seems to prefer quieter songs from this phase on, when I compare his songs to the likes of Helter Skelter or Except Me And My Monkey.
On another note: I am always astounded, how often the band members performed on instruments that is usually played by another member, like Paul performing guitar parts often. Sometimes I wonder, how this came to be. (It is logical for the live version of Two Of Us, but why on studio recordings?)
The Beatles only picked the instruments they’re typically known for out of necessity. Paul was always more of a guitarist/pianist but opted to play bass live because none of the others would step up. Ringo’s the only one who consistently stuck to one instrument and I think that was a factor in their decision to stop touring. They wanted more freedom to create intricate songs without having to constantly think about how to translate it into a 4 person, 4 instrument live performance
@@wspann1967 Yes! This is why I observe a reduced role in the band for all 3 members not named Paul once they stopped touring. He was the most musically versatile, and also developed the strongest working relationships with the studio engineers. These are the reasons I believe he benefitted the most from not needing to tour anymore. Ironically, I think he was not as strongly averse to touring as Lennon or Harrison were.
One thing that sometimes people (including myself) forget is that when we discuss the Beatles and their relationships with each other and the frictions etc etc is that these guys were in their twenties when all that happened...I can only speak for myself but i know that when i was in my 20s I could be quite self centered or just not that aware of other peoples' feelings or wants etc etc - not to mention still trying to figure out who i was much less who everyone else was....I can only guess what doing that normal 20s trip would be like if you were in the beatles' position...but i know i would cringe if all of what i did in my 20s was micro analyzed not only when i was in my 20s but even 50 years later - can you imagine? How those 4 guys handled it as well as they did astounds me to this day. I am 57 years old and when i listen to a beatles interview or when they were solo - when they were 25 or 33 or whatever - I still feel like i am the kid listening to someone older than me haha...(ps Great job on these shows !)
Yeah, those guys really crammed a lot of life into those 20-something minds! Thanks for the comment, Julian.
IN THE BEGINNING by THE BEATLES FEATURING TONY SHERIDAN. Capital/Apple records need to release that album on CAPITAL/APPLE and all the VEE JAY ALBUMS needs to be released on CAPITOL/APPLE
Revolver i mean and I saw Taxman. I thought Only A Northern Song maybe was not strong enough for Pepper also, but I love that song. Some critics put it down . I loved it too when I heard it on Yellow Submarine.
Fabulous recounting of musical history.
Dig the Ventures records in the background especially ‘In Space’‼️
Northern Song is the coolest song about class consiousness . It"s All Too Much" is a song I like to play for the youngsters who think they've heard everything
You know Northern Songs was the publishing company? As far as I know, Harrison wrote it as a joke based on his frustration with the terms of the publishing deal Dick James tied them to.
@@FiremanSam60 Yes, I think that is so, but as with any art (and especially that of The Beatles) part of the power was in conjuring multiple reading into possibility. Thus Taxman can be seen as a rich grumpy (young) man complaining about a socialist government but can also be read as a lament for the materialism we all fall victim to.
If you look at what George’s peers were doing with the guitar ( via the blues boom ) in this period, it’s bound to have some effect on a player.
Even the great Mick Ronson gave up guitar for a while because he thought everybody played better than him. Luckily under the protection of
the Beatles , George could continue on his own musical path with the help of the best guitar he’d ever played.
Hey Matt,
Great insights as usual (you’ve got us quite spoiled!). No points of disagreement! I would only volunteer my humble opinion that “It’s All Too Much,” is the BEST song on “Yellow Submarine!”
A quick anecdote with a sort of peripheral connection. In the mid 1980’s I took my 3 year old daughter to see Yellow Submarine in a theatre. About a quarter of the way into the movie, she insisted that we had to leave, because “The colors are so SAD!”
Keep up the good! Best regards always,
- Glenn C. B. Jones
Your daughter's comment is really interesting! I've always found the animation disturbing and have never warmed to it. I am also a big fan of It's All Too Much and thought it would have fit better on Magical Mystery Tour. I appreciate the support, Glenn - thank you!
0:53 Cry For a Shadow is credited to Harrison/Lennon
I'm glad he returned to the guitar, since, I think his guitar playing is the glue that holds Abbey Road together. It's interesting to note that he did briefly use the sitar at the end of When We Was Fab.
Old Brown Shoe has a pretty good Harrison solo and, though some debate who played it, he does a nice one on Hey Bulldog also. Geoff Emerick says it was George. In any case I never felt George's guitar playing ever fell off as a result of studying sitar. If anything it got better in my view anyway.
Yes - excellent solo on Old Brown Shoe, though I've never heard of any debate as to who played it. His work on Abbey is clearly superb. I don't believe his guitar playing fell off, quality-wise. I just wish he had utilized guitar more in those 1967-68 years. Thanks for the comment!
@@popgoesthe60s52 If you have Hendrix and Clapton(not to mention Beck/Green,et al) waiving the rules,it's possible Harrison felt too much pressure to measure up,coming from a band where there was NO extended soloing and time tended to be measured in three minute bursts.after '66 it was a different school of playing and George was steeped in Jazz (Wes Montgomery) and country( he was no stranger to people like Carl Perkins/Cliff Gallup).Blues entered his vocabulary with Clapton's friendship, it would seem.
@@maxcuthbert100 you're exactly right. It was such a competitive musical landscape, I don't know how any guitarist on the scene wouldn't be intimidated.
@@popgoesthe60s52 Practice......a lot !
@@popgoesthe60s52 I think E A is talking about Hey Bulldog (ie debate as to who played the solo). I agree with you and others: I don't think his guitar playing fell off at all (though he is quoted as saying as much himself in interviews). Re:feeling intimidated, he WAS best friends with Eric Clapton and on more than one occasion jammed with both him and Jimi Hendrix. I don't think someone who felt intimidated would have been confident enough to jam with those two!
If there had been another Beatle album, I'm pretty sure All Things Must Pass, Wah-Wah, What Is Life, and maybe Isn't It a Pity would've been included. Perhaps John and Paul would've objected to My Sweet Lord, or perhaps they would've told George to change a chord or two so it wouldn't sound so much like He's So Fine, and then they would've included it. John would've probably contributed Jealous Guy (or Child of Nature or whatever he called it in those days), Isolation, Love, Look at Me, and perhaps Oh Yoko. Paul would've included Another Day, Maybe I'm Amazed, Teddy Boy, and maybe The Lovely Linda. Ringo definitely would've participated with It Don't Come Easy. All those songs and others from their solo careers sound pretty Beatley to me. It would've been fantastic.
"Cry For A Shadow", yes, first Beatles released recording. But additionally, the first original song they ever recorded (as The Quarrymen) was "In Spite Of All The Danger" by Harrison/McCartney. They recorded this and "That'll Be The Day".... just 4 months after Buddy Holly played in Liverpool...which none of them saw!
Ironically it was Ravi who talked George into getting back into the guitar. Ravi told him, "You must find your roots."
Okay, , , but no words about the 2 biggies - Here Comes The Sun and Something, , , not to mention Old Brown Shoe.
Apart from that there must have been a LOT of titles piling up over the years. You don't just walk out of a band and deliver the All Things Must Pass-catalogue by a snap of the fingers. I think Harrison was suppressed, shy and sometimes proud too. There's a limit to how many times an artist (and sensitive soul) wants to be turned down.
Some of his songs had to have been suppressed because Lennon/McCartney weren't going to give up their slots and money that goes with it. Harrison wasn't as prolific, but he still had good songs that should've been on Beatles' albums that he used later. And if he had a songwriting partner and more support from the others including Martin, I'm sure his output would have been better. For the percentage he was given, I think his songs were on par with Lennon and McCartney. Too bad we didn't get to see more out of it. Tough when there are 3 really good songwriters in one group.
@@stickman1742 Harrison became one brilliant writer, but never had the same level of singing voice. That fact plays in too.
All in all everything is OK. We got the big wave with All Things Must Pass - some sort of poetic justice came true. He couldn't have asked for a better way to establish his position as a solo artist.
@@stickman1742 It's so much more simple than that. Songs like "All Things Must Pass" and "Isn't It A Pity" are nice but really not Beatles like at all. They don't fit whatsoever. Draggy and often morose, and I know many people love them, but I feel like they are OK tracks that belong right where they are....not on a Beatles album. The simple "What is Life" fits the most, where it would have been like "Savoy Truffle" on the White Album or something. After the "ATMP" LP there was very little I can see anyone making an argument for to be on a Beatles album.
I tend to agree. I'm not convinced Lennon & McCartney passed up on great songs. They worked like maniacs on All Things Must Pass and Not Guilty and Harrison imself wasn't satisfied. Isn't It A Pity I could have seen as a Beatles' song - written in 1966, I think it anticipates later Beatle song form with the see saw chord intro, and the long play out, but I can see why others think it's a bit dirge like.
@@FiremanSam60 I follow oceantracks when he says ATMP and Pity aren't real Beatles-tracks. To low-gear 'hippiesq' but then again in the later phase anything could happen. The 2 might have worked on the White Album, but Pity would have been too laid back for Revolver - dirge-like as you say. Lennon saw things clear there.
What an important song (or pair of songs) it turned out to be though.
Good point you got about the amount of songs. 🙏
Matt, another intriguing video that shows you are thinking outside the box. Coincidentally, I listened to one song 'Sourmilk Sea,' on TH-cam before watching the next video in line -which turned out to be this one. I was worried, disbelieving actually, that you were not going to mention it. And then, sure enough, it is played as the outro. While I like George's voice, I think the song needs a stronger voice, and I have loved jackie Lomax's singing since I bought the single.
I am currently listening to Kenneth Womack's "Sound Pictures:The Life of George Martin 1966 - 2016" (interesting book, ABYSMAL narration), and Womack, via Martin and Emerick, makes it sound like the Beatles were more interested in what was best for each track more than each Beatle staying in his lane. Womack also quotes Martin admitting that he spent less time on Harrison tracks than he should have. But,at the time, martin thought that harrison responded better to pressure from Martin than letting Harrison take his time. So McCartney did the solo on Taxman. So what? It is one of my favorite Beatles tunes, as is 'It's All Too Much,' and every time that I hear I am floored. The first time that I heard it, I knew that the Beatles were going to do the impossible and make a better album than "Rubber Soul.
And are the albums on the shelf a subtle reminder of guitar rock? I recognize 5 Ventures albums ("Knock Me Out" always knocked me out as I love 'Slaughter on Tenth Avenue'), but are the labums that are 3rd and 6th from the left?
Did I say great work?
Hey Wylie! Thank you for that review of Womack's book. I haven't read it and have been put off by some of his appearances on podcasts... I'll get around to it eventually. That Ventures lp sixth from left is a 1968 British pressing called "The Ventures" and the other is Running Strong. They re-released stuff with different covers so much that it's hard to keep up!
@@popgoesthe60s52 Matt, based on your output, I am not sure that it is really worth it to read the Womack book. Not being as much a Beatlephile as you plainly are, I found a lot of the information new and fascinating (and as I said the Audible narrator's attempt at British accents is woeful). I also recently finished Robert Rodriguez's book on Revolver which attempts to put Revolver in the context of what was going on at the time. Rodriguez points out that the Beatles kept an almost envious eye on the Beach Boys (and Pet Sounds). Thus Pet Sounds is an 'important' album in the history of rock and roll. (And so was the Sex Pistols Never Mind the Bollocks, which is probably why it was rated so high in 2003.)
The Rodriguez book is shorter, but both Rodriguez and Womack take a lot of time to point out all the studio tricks invented to make Revolver (like ADT - automatic double tracking, varispeed, the use of the Leslie to enhance vocals). I am sure that you have a lot of ideas for future programs, but may I suggest one on the making of Revolver, and how the new studio tricks changed recording for years to come.
And speaking of books, I still have the Unterberger books, and a 'friend' finally returned my autographed copy of Peter Asher's "Beatles A to Zed." And have taken up too much of your time?
And I meant to add: thanks for the Ventures info. The display prompted me to find the CD I have of a local show (made by a friend who mixed live shows) by the Ventures on 11/6/81. Over 40 years ago ?!
@@wyliesmith4244 I started reading Rodriguez's book last fall and I have to get back to it. My intuition tells me the the Pet Sounds comparisons and inspirations are overstated but I will eventually review revolver. I ju🙂st shot my review of the Beatles Second Album so I seem to be going chronologically. I should have some things to say about Revolver when I get there
2 years ago David Crosby in one of the interviews said that among the 4 Beatles he wants to collaborate with was George Harrison. I am quite surprised he said that because it was George who turned down CSN when they auditioned for Apple.
Paul did the Pepper guitar and the work on Good Morning Good Morning too, I believe. He found his legs during the Get Back sessions and Abbey Road though.
Paul also played the guitar solo on Taxman.
I'd say the White ALbum 1968 was George really grew and hitting his stride as a writer, from then on he was on par with both John and Paul.
@@hammer44head Not really, though his Beatle songs are good not one on the albums can be considered greater than Lennon or McCartney.
@@graniterhythm53 - that would be a matter of personal taste - i think all of Geroges compositions from 68 on are every bit as good as Lennon/McCartney, except for Savoy Truffle which i've never been a big fan of.
Who played Hey Bulldog guitar solo?
Look at the Hollies 'Stop, Stop Stop' (For Certain Because') which was an actual album from '66. They wrote the lot. 'Bus Stop' was merely a US compilation.
But "Stop Stop Stop" was the first album wrote all the songs - or even half of them. The US album reflected what the Hollies recorded. And I LOVE the Hollies ,especially the various sounds that Tony Hicks created, and Bobby Elliott's drumming elevated the Hollies from a mere pop.
@@wyliesmith4244 They were a great band, especially during the Graham Nash years.
@@grahampaulkendrick7845 My thoughts exactly.
Paul played the guitar solo on Taxman
I thought every serious fan would know that by now
@@KariKauree Me too!
@@KariKauree But since the topic is George's Missing Guitar, I thought Matt would have mentioned that fact, but he didn't. There are probably quite a few casual fans out there who assume it was George playing that awesome solo.
@@duffbaker9554 Yeah that's what I meant, I thought Matt would know and mention that :)
@@KariKauree Now I see. :-) I'm assuming he knows but he just forgot to mention it. However, I'd be really surprised if he didn't know.
In line with your observations regarding Harrison’s disappearing guitar during this period, ‘Something’ was also initially composed on the piano. And it was composed originally for the White Album, but Harrison found ‘Piggies’ an easier track to complete in time for that LP. ‘Something’ needed more time to develop.
You will also find it interesting that Harrison explains that ‘Here Comes the Sun’ was composed on guitar because that’s the instrument he had available to him, at Clapton’s house, when the tune came to him. But the fact he eventually used a capo on the 7th fret, coupled with the sequence of time signature changes, it’s evident that the sitar was the sound he had in mind-which is also relevant to your point. But the originality of the tune and song structure is owed to his skills with the sitar, so that time invested was not a lost cause-a counter-argument to your point that the time invested in the sitar might've cost him in any way.
The guitarists you listed were all based out of the blues. The blues were probably never more popular before or since the exact period on which you focus this video. In contrast, Harrison almost never played the blues. Nor did the Beatles play that style, even throughout the height of that genre’s popularity, and that was by design [rare exceptions]. Had Harrison stuck devotedly to guitar throughout this time, he wouldn’t have made any more of an impact stylistically in that crowd than he did with his sitar really. Harrison wasn't motivated by a willingness to compete, either.
His guitar work throughout 1969, including Abbey Road's side B medley, is on par with his contemporaries. It makes the idea that he would struggle so much with 'While My Guitar Gently Weeps' the previous summer all the more perplexing.
It’s been pointed out that Brian Jones took to the sitar so quickly because he was already an advanced slide-guitarist. It’s interesting that Harrison developed that style later in his career, so almost an opposite effect. He may have not returned to the instrument, as you point out, but its impact on him never left. Also, I observe that his melodic guitar style from early on served him well on the sitar.
Imagine spending some time with Dylan and the Band in ’68, then returning to record with Lennon and McCartney immediately afterward. Great company. But Harrison clearly expanded his songwriting following that time with Dylan. Lennon was too little help, McCartney was too much. Dylan managed to be just right, apparently.
Hey Andrew!
• It never occurred to me that the musicality of Here Comes the Sun would be related to the sitar!
• The only blues guy mentioned by Harrison (and every other Brit guitarist) was Big Bill Broonzy. I wish George was more competitive as he certainly could have competed on his own terms. I still love his crunching Let It Be solo.
• I can see some of the similarities between slide and sitar and quite frankly, George didn’t take his slide playing very far until the Brainwashed era. The new intro with slide on My Sweet Lord (2000) is a particular favorite of mine.
• I think the Dylan exposure is notable, but its effect on George was more as a song writer than guitarist. The composing of the song I’d Have You Anytime came quickly and George seemed to completely take the bull by the horns on that one. So Dylan seemed to be open to his ideas.
Thanks for the well thought out comments!
Amongst famous musicians and guitarists, George has never been underrated. People should just stop thinking of music as a competition, with all that "Harrison was no Hendrix" going on. Every musician worth of the name has something that makes him/her unique: Clapton was no Hendrix because he was Clapton, as Bloomfield was Bloomfield, and so on. I've studied George's style for years, and he was one of the most versatile guitarist of his era. Never flamboyant, always spot on and melodic; he isn't known as an improviser because there was no need to improvise on the records he was playing on, simple, but it doesn't necessarily mean he could't. And, to all the people who don't belleve in George's own abilities, and talk about Clapton playing on Something or Paul playing on Old Brown Shoe etc.: please, don't try to rewrite history. Try and have a listen to George's playing on the coda of While my Guitar Gently Weeps live in Hiroshima with Clapton, or on Thumbin a Ride by Jackie Lomax.
Holy crap! I've been watching George's live performances of WMGGW obsessively these last few months but had been skipping over the Hiroshima video. What a great outro from George! As a point of interest, if you watch (well, listen to) the 1974 LA performance he blows Robben Ford out of the water on the outro. That's probably not fair. There's just no chemistry there - not like he had with Clapton. Incredible.
Anyway, great comment and thank you for the pointers to WMGGW live and Thumbin' a Ride!
And this continues as Eric is brought in again on the All things sessions to do the heavy lifting...but after the Summer at Big Pink his real style emerges as we hear the melodic slide playing emerge.
Blue Jay Way is a great song!
I enjoy your videos a lot. Cheers from Mexico!
Additionally, George later said that he kind of felt that he was “behind” his guitar player colleagues, feeling a bit shy about his own playing. But he then developed a unique slide guitar playing style.
I liked George’s quirkiness-Old Brown Shoe and Savoie Truffle, among others-but I didn’t get into the Indian stuff, although I loved the sitar on Norwegian Wood. I’ve always wondered why he didn’t partner with Lennon or McCartney on songs. While he produced a lot of good songs, he wasn’t consistent throughout his career. You mention some fallow stretches when he was in the Beatles, and after the ‘70s he wasn’t much of a force. You’re point is well-taken-good songwriter who happened to be in the same band as one of the best songwriting duos of all-time. Good video.
Money. Lennon & McCartney were already splitting their royalties in half with their Northern Songs publishing company. They didn't want to divide it a third, or even split royalties with Harrison if they individually collaborated with him
In the recent 'Get Back' documentary, George can be heard to say that those January 1969 sessions are the most he's played guitar in a long time. This happens once they've moved operations to Apple Studio and George seems more positive now that he's loosening up his fingers.
Yes, I thought that was an interesting quote. Just goes to show how not rehearsing so much has gotten them a bit rusty.
He bought in Clapton because he'd been trying to do lead guitar for the song for a week (lotsa backwards stuff) and could not come up with anything to convince himself it would be up to scratch. Getting the others to behave well was the icing on the cake.
I didn’t know he had tried different guitar parts! Thanks for the input.
@@popgoesthe60s52 More than a weeks' worth, the man said. It was threatening to drive him nuts and he had Clapton in his mini,on the way up to London - who was reluctant to help out at first.Clapton later disclosed there were, 'the most cruel confrontations happening within the band at that time' . Many people speculated it was also Clapton on 'Something' (tell me it doesn't sound like him!) , so the influence did rub off, in a positive way.....
@@maxcuthbert100 Yes! I haven't heard anyone else bring it up but, I've also speculated that it's Clapton playing the 3rd guitar on the Carry That Weight solos. I sure have never heard George play with such conviction elsewhere (w/ all due respect).
@@moegreen77 I suspect Clapton was busy around this time.....maybe it WAS George ?
There's a George interview with Dick Cavett where he says he couldn't get as many songs as Lennon and McCartney. He says that this wasn't explicit but, in practical terms, that was how it worked. He said that it would take ages to put out all of his songs.
George Martin obviously never got over that insult about his tie upon meeting George.
He never forgave him...
Haha! Funny… But I don’t think George Martin was actually insulted
Great video! But I do wish you had talked at least a little about ‘I Want To Tell You’. Probably my favorite pre-psychedelic George song. But I realize it’s not very guitar heavy.
It actually has some nice guitar work in it, I like the riff. Thanks for the comment.