#George harrison albums on you tube full#
Produced with full Wall of Sound splendor by Phil Spector, it was a wall into which George’s beautiful guitar work was woven, which distinguishes it. George chose “I’d Have You Anytime” as the opening song on his first solo album, All Things Must Pass, the magnificently expansive triple album of miracle songs, almost all of which were written when he was in The Beatles. And I was saying, “Come on, write me some words,” and he was scribbling words down.Īnd it just killed me because he’d been doing all these sensational lyrics. Chords, because he tended just to play a lot of basic chords and move a capo up and down. So I was just showing him chords like crazy. I was saying to him, “You write incredible lyrics.” And he was saying, “How do you write those tunes?” You know, he’d always been so hard… I thought a lot of people are not going to like this, but I think it’s fantastic because Bob has obviously had the experience. He sang for me, “Love is all you need/ Makes the world go ’round/ Love and only love can’t be denied/ No matter what you think about it/ You’re not going to be able to live without it/ Take a tip from one who’s tried.’ Īnd I thought, isn’t it great, because I know people are going to think, ‘Shit, what’s Dylan doing?’ But as far as I was concerned, it was great for him to realize his own peace, and it meant something. So I was thinking that there is a way out of it all, really, in the end. And yet, to find him later very nervous and with no confidence.īut the thing that he said on Blonde On Blonde about what price you have to pay to get out of going through all these things twice– “Oh mama, can this really be the end?” George & Bob in Woodstock, 1968. I felt somehow very close to him or something, you know, because he was so great, so heavy and so observant about everything. He sang me that song and he was, like, very nervous and shy and he said, ‘What do you think about this song?’ And I’d felt very strongly about Bob when I’d been in India years before– the only record I took with me along with all my Indian records was Blonde On Blonde. It was really a nice time with all his kids around, and we were just playing.
He hardly said a word for a couple of days.Īnyway, we finally got the guitars out and it loosened things up a bit. It’s great to have a tune, and I liked that song, ‘I’d Have You Anytime’ because of Bob Dylan.I was with Bob and he’d gone through his broken neck period and was being very quiet, and he didn’t have much confidence anyhow– that’s the feeling I got with him in Woodstock. I remember having those people in the studio and thinking, ‘God, these songs are so fruity! I can’t think of which song to do.’ Slowly I realized, ‘We can do this one,’ and I’d play it to them and they’d say, ‘Wow, yeah! Great song!’ And I’d say, ‘Really? Do you really like it?’ I realized that it was okay… that they were sick of playing all that other stuff. Having this whole thing with The Beatles had left me really paranoid. I liked the first song that was on the album, “I’d Have You Anytime,’ and particularly the recording of it, because Derek and the Dominoes played on most of the tracks and it was a really nice experience making that album– because I was really a bit paranoid, musically. I liked different songs for different reasons. That distinction comes across in the following answer, offered in response to a question about the “explosion of songs” on All Things Must Pass:, and if “My Sweet Lord” was his favorite. as were many of the others, but from a collaboration with Bob Dylan. Of all the songs on All Things Must Pass, it represented something singular to George, as it wasn’t written within the frustrating and often hurtful fold of The Beatles. In an interview with Crawdaddy magazine in 1977, George spoke in detail about this time with Bob, the origins of the song, and its meaning in his life. This is when Dylan and George wrote “I’d Have You Anytime.” It was November 20, 1968, four years beyond their initial meeting. It was one of the most peaceful and productive periods of his life, off the road, reflective, recovering his full artistic powers and writing a whole new kind of song. It’s there he wrote a lot of new songs and recorded demos of them – which became The Basement Tapes – with the Band in their house Big Pink. He’d then recite a line or two of these sacred verses, like a believer reciting a Gospel passage.Īfter Dylan’s motorcycle accident in 1968, Bob moved with his family to Woodstock.
Any interview with George in his last decade almost always includes quotations from songs by “the man,” as George referred to him. But of all of them, it was George who became a close, lifelong friend.
All of The Beatles were fans of Dylan, even before they met in 1964.
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