1. meetthebeatlesforreal:

    George Harrison leaving India.  October 22, 1966


  2. thateventuality:

    George Harrison - “If You Believe” - George Harrison

    If You Believe - written with Gary Wright in England on New Year’s Day 1978. He said ‘Here’s a bit I’ve got, I don’t know if you can make anything of it!’ He played it to me and we made it into this song that night. I wrote the words to the verses later in Hawaii, and edited it down after the recording.” - George Harrison, I Me Mine

    "Pray, give up and it all recedes away from you. Lord Buckley did a thing called ‘God’s Own Drunk’, and he was talking about love. ‘Love is like a beautiful garden. When you use it, it spreads. But when you don’t, it recedes,’ and it’s true. It’s reallly that in its simplest form, positive versus negative. If you apply positive thoughts, that energy is there. But if you apply negative thoughts, that energy drains you, and it is that simple. If you think, ‘Oh, God, what can I do? Life’s a misery,’ and you’re thinking that, you’re actually putting fuel onto that negative, draining aspect. When you realise it, you can at least try and correct yourself all the time. And when you make an effort, get up, you have all your needs. Give up and it all recedes away from you." - George Harrison


  3. History of “YOU LIKE ME TOO MUCH”:

    America got its second taste of George Harrison’s songwriting ability with this track from the Capitol album “Beatles VI.” This is not to say that this was the second song he ever wrote. His first attempt at songwriting resulted in “Don’t Bother Me,” which landed on the multi-million selling US album “Meet The Beatles!,” but his second attempt got only as far as a demo recorded on June 3rd. 1964 entitled “You Know What To Do.” (This eventually was released on “Anthology 1.”) George then introduced a newer composition to the group during the first recording session for the album “Help!" entitled "I Need You.” It was two days later, once that song was completed in the studio, that George brought “You Like Me Too Much” into EMI Studio Two to record with The Beatles.

    Both “I Need You" and "You Like Me Too Much" were offered as contenders to be included in their second motion picture, but director Richard Lester chose only one, which was “I Need You.” That being the case, “You Like Me Too Much” was left on the back-burner with the intention of including it on side two of the British soundtrack album. Before that happened, though, Capitol Records in the US wanted more songs to fill a proposed album they were planning on releasing that they eventually called “Beatles VI.” Since EMI knew “You Like Me Too Much” wouldn’t be in the film, they sent a copy of both the stereo and mono mix of the song to Capitol. Therefore, American audiences were privileged to be the first to hear this rollicking George Harrison composition.

    Read More

    (Source: harrisonstories)


  4. "Like most people, I’ve got memories that go back to when I was a teenager, like when George Harrison and I used to go to the local dance and neither of us would ever dare to ask a girl to dance until the last waltz. It was then that we thought, ‘Oh God, we’ve wasted all our money when all we came here for was to touch a girl. We’ve got to do it. Okay, let’s waltz, come on.’ We were always too shy but we’d always try and grab someone for that last dance. But most times we’d get refused. We never really got into ballroom dancing but that was where you went if you wanted to dance. We’d go to The Locarno or The Grafton, all the big ballrooms. And with The Beatles, the ballroom circuit was a big circuit. We did a lot of ballrooms in our early career before we gravitated to the theatres. The song ‘Ballroom Dancing’ was just little images you have as a kid, flying carpets, playing Davy Crockett, going down the Nile in a china cup, all these childhood images mixed up with this ballroom. It’s just a lot of little images involved in growing up."
    — Paul McCartney on the story behind his song Ballroom Dancing, 1982

    (Source: thateventuality)

  5. thateventuality:

    "[Don Foresta’s daughter] Giulie with George Harrison during a visit to his home in Henley on Thames." - Don Foresta

    Photo: Don Foresta [x]

    "He’s one of the few morally good people that rock ‘n’ roll has produced. He’s one of the few people who have turned their attention into goodness and being good, and he’s extremely generous and he backs and supports all sorts of people that you’ll never, ever hear of. He’s a wonderful bloke. He’s simply interested in goodness and spiritual values and whatever is of worth and merit in the world. And he does a lot of things, which are good, which are certainly missed out by the Mary Whitehouse form of Christianity that passes for Christianity in this part of the world…

    When he heard, for example, that another friend, Barry Sheene, was trying to raise £150,000 sponsorship to race Formula One cars, George promptly offered to pay £150,000 for a Barry not to do it, because he was worried about the risk to Barry’s life. On another occasion, George heard that it was the birthday of Dot Mitchell, then the landlady at The Row Barge, his local public house [in Henley-on-Thames]. He called her to one side and, teasingly, told her to hold out her hand and close her eyes. Then, he dropped three perfect, impossibly valuable rubies into her hand. ‘Have a nice birthday,’ he told her.” - Eric Idle on George Harrison, 1978

  6. gettinziggywithit:

    "Love from George Harrison"

    D I M P L E S 

  7. meetthebeatlesforreal:

    Photo by Bob Bonis

    Backstage in Detroit—August 13, 1966

    Tagged #bob bonis #1966

  8. "Beware of Darkness was written at home in England during a period when I had some of my friends from the Radha Krishna temple staying: ‘Watch out for Maya’. I like the melody - it’s sort of strange. The lyrics are self-explanatory.” - George Harrison, I Me Mine

    "Even though overt Indian elements in George Harrison’s music temporarily faded with "It’s All Too Much," his exposure to the music had expanded his harmonic sensibility to the point where he could create a complex and highly original melody like "Beware of Darkness." It ranges from a G major pedal through a thorny shift to G-sharp minor that simply should not work in harmonic terms. It’s the musical equivalent of counting, ‘one, two, six…’ The musical twists and turns make this an ethereal highlight of All Things Must Pass, a curious enigma that has our hero conjuring dreams and shadows, warning about the same “Within You Without You” ‘wall of illusion.’

    The music takes George on a walk down dimly lit streets in the dead of night. He is still immersed in the ‘them’ and ‘us’ finger-pointing of the counterculture, hence his concerns about “greedy leaders” out to corrupt the innocent souls who might have bought All Things Must Pass. In one of the stranger examples of reverse anthropomorphism, Harrison likens people to ‘Weeping Atlas Cedars,’ evergreens whose natural inclination is to head for the light. Only the negative earthly influences distract them from this natural quest. Harrison’s mistrust of politicians and businessmen was in keeping with what was a virtual article of faith in the 1960s and 1970s. It’s something he never lost.

    A highly original song that sets a course between an almost chromatic harmonic sense and a straightforward rock middle eight, “Beware of Darkness” is one of the thematic keys to All Things Must Pass. It draws together Harrison’s caution to himself not to become distracted by the illusion (‘maya’) of the rock life and a more generalized despair at the corruption that often follows political power. Ultimately, though, it frames his desperate desire not to end his days as another soft-shoe shuffler, just another ‘unconscious sufferer.’”

    - Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison

    (Source: harrisonstories)


  9. Since people seem to be enjoying these articles, I’ll post all the ones for George’s songs. :) There’s also articles about the Lennon/McCartney and Ringo songs at the link if anyone is interested!

    History of “I NEED YOU”:

    Proudly, despite being new at songwriting, George Harrison was able to offer two new compositions for consideration of being included in The Beatles second motion picture, which was eventually to be titled “Help!” With eleven songs being submitted for inclusion in the film, and seven spots open, the odds were quite good that George would achieve getting at least one of his songs on the big screen.

    And that’s exactly what happened. Director Richard Lester chose songs that he thought would work in the film and George’s “I Need You” proved suitable. As he had done in their first movie “A Hard Day’s Night,” Lester decided that a vocal contribution from George would show a degree of equality within the abilities of the group. “I’m Happy Just To Dance With You” showed off his vocal talents in the previous film, but this was a Lennon/McCartney composition.  This time around, both of his offerings were his own compositions, “You Like Me Too Much” being the other song.

    Proof of how proud he was at having an original composition in the film is in the closing credits. During The Beatles goofy vocal rendition of “The Barber Of Seville,” George verbally reads the credit to his song, “’I Need You’ by George Harrison” when those words appear in print. Being only the second original song to have been officially recorded by The Beatles, George Harrison had every good reason to be proud.

    Read More

    (Source: harrisonstories)

  10. thateventuality:

    George Harrison backstage (with Eric Clapton and Delaney and Bonnie) and on stage, Birmingham Town Hall, 3 December 1969. Copyright Mirrorpix.

    "It’s just the idea of going to the show as part of the audience and then the next minute grabbing my guitar and going with the flow. It’s just the thrill of doing something." - George Harrison, NME, 20 December 1969