#Harrison cowriting

[harrisonarchive]

Photo via Meet The Beatles For Real.

“When I walked in [to the studio], George gave me a great big smile, picked up his guitar, and started playing ‘Just One Look.’ I said, ‘Wow, you know my song!’ and he said, ‘I know everything you ever did.’” - Doris Troy, While My Guitar Gently Weeps: The Music of George Harrison

“I think [George] had been involved in soul music for years — he listened to it, he loved it, and that’s what made him want to do it. I wasn’t actually introducing him to the stuff, he already knew it. The Beatles as a whole listened to black music, a lot of their soul and feelings came from American music.” - Doris Troy, ibid

“George is the greatest as far as I’m concerned. As a musician he is fine and he’s already a good producer, but I think his real bag would be as a missionary or leader of people. He has a great heart and soul, a really beautiful person who is able to communicate peace and joy.” - Doris Troy, Record Mirror, January 1, 1972 (x)

More about Doris Troy's album and songs co-written with George in an older post.

#Doris Troy #George Harrison #Billy Preston #quote #quotes about George #Harrison productions #Harrison cowriting #1960s #George's jukebox feature #fits queue like a glove

[justinmoviereviews]

The Beatles

Rubber Soul - 1965

If you’re under the age of like, 65, and you tell me your favorite Beatles record is anything that came out before Revolver, I’m going to assume its either because you used to listen to the old stuff with your dad before he died, or you’re trying too hard to be hip. The early sixties stuff has no staying power, just like everything else from the early 60s. But the songwriting on the album after this one makes me think their fluff songs were just them doing their jobs. The jump between their early period and their late period is just too pronounced. Anyway, this one is very much their transitional record. It’s amazing they only needed one, but this is as far away from, I don’t know, “Love Me Do” as it is from Revolver. It’s fine. “Drive My Car” makes the case as well as anything else that the Beatles were the only serious band from their era that knew how to have fun, and “I’m Looking Through You” rocks pretty hard for a song from 1965. There was obviously something to this record, and they are the tightest band you will ever hear, but there are still a bit too many “ooh-la-las” for it to really be part of the pantheon.

Revolver - 1966

I surrender to this album. There’s some fat, for sure. I don’t think I’m a George Harrison fan. But the songwriting is undeniable. “And Your Bird Can Sing” is an example of how Paul could just pump out pop songs on deadline that were better than any of his competition. “She Said She Said,” which as far as I can tell is about a guy who doesn’t want his girl to get too deep on him, is probably my vote for John Lennon’s single best song. I don’t know that the Beatles get enough credit for their lyrics, but there’s warmth and wisdom to these songs. I think one of the reasons I’ve downgraded this band in my head is that they aren’t cool. For songs that rock I’ll go with the Rolling Stones every time. But the Beatles wrote pop songs, and they did it with more warmth, depth, and beauty than anyone else. I still think Sgt. Pepper is too mannered, and the White Album has too much nonsense on it, but they were a great band, and this is their best album.

Magical Mystery Tour - 1967

Well, this is just about the best Side Two you’ll find anywhere. “Baby, You’re a Rich Man” is one of the few songs on this record that is new to me but has easily earned a spot as one of my favorite Beatles songs. “All You Need is Love” is more profound, beautiful, and earned than any harder-cracked revelation anyone else was putting out. I don’t know what to say, they were obviously great. I’m going to use this opportunity to write down my thoughts on John Lennon. I think his ego got the better of him. By this point in his career he’d become a brilliant soundscaper, but he writes like a genius in his own time, and his lyrics are mostly meaningless. When he says “No one I think is in my tree/I mean it must be high or low” I suspect he knows that he means high, but really he’s just really fucked up on acid, right? He was a visionary and at his best he was deeper than his cowriter, but when I go back to Paul I’m always surprised by how subversive and hip he was—just right here, “Your Mother Should Know” is a great example—in addition to being the chief pop architect. And when I go back to John, I think by 1967 he’d started to get a little high on his own supply. He was a gifted enough artist that his songs were never bad, but let’s face it, he needed Paul as much as Paul needed him.

[antoniodatsch]

The Traveling Wilburys - Not Alone Anymore The Traveling Wilburys foi um supergrupo formado por George Harrison,Jeff Lynne,Roy Orbison,Bob Dylan e Tom Petty. O nascimento dos Traveling Wilburys foi um acidente feliz.o Departamento Internacional da Warner Bros Records tinha solicitado que George Harrison chegar a um B-side de "This Is Love", um single de seu álbum Cloud Nine.Na época, era costume de um casal Um lado com uma faixa nunca antes ouvida, dando o valor único de vendas extra. Este foi meados de 1988. Cloud Nine estava fora.George, junto com cowriter Jeff Lynne e seus amigos Bob Dylan,Tom Petty, e Roy Orbison, tinha saído no estúdio de Dylan. constituído por Bob Dylan , George Harrison , Jeff Lynne , Roy Orbison e Tom Petty , acompanhado pelo baterista Jim Keltner , A banda gravou dois álbuns em 1988 e 1990, embora Orbison morreu antes da segunda foi registrada.

[mrmichaelchadler]

Home Entertainment Consumer Guide: October 25, 2018

9 NEW TO BLU-RAY/DVD

"Ant-Man and the Wasp"

Quick, what's the most recent Marvel movie? It feels like a lot of people would say "Avengers: Infinity War" or maybe even "Black Panther," forgetting that there was a sequel to "Ant-Man" released this Summer. Marvel has become so dominant that even one of their successful, well-liked tentpole movies can be considered relatively minor. Having said that, "Ant-Man and the Wasp" mostly works. It's under two hours (unlike a lot of MCU movies) and provides a fun diversion. In fact, it's got an element that I wish more Marvel would copy in that it's practically a one-off, tied into the rest of the MCU for sure but also working with its own mythology and characters to satisfy viewers THIS TIME instead of merely planting seeds for the future. It also has one of the best ensembles in the standalone MCU, all the way down to scene-stealers like Michael Pena and David Dastmalchian. 

Buy it here

Special Features Director's Intro by Peyton Reed  Making-of Featurettes: Back in the Ant Suit: Scott Lang A Suit of Her Own: The Wasp  Subatomic Super Heroes: Hank & Janet  Quantum Perspective: The VFX and Production Design of "Ant-Man and The Wasp"  Gag Reel and Outtakes  Deleted Scenes 

"Creepshow"

It's that wonderful time of year when Shout Factory's genre banner known as Scream Factory releases special editions of horror classics, complete with new transfers and special features. There are three such releases in this edition of the HECG, and, believe it or not, two of them are anthologies. One of the most famous such films of all time is this George A. Romero and Stephen King classic, which comes in a gorgeous box set with a booklet and a quote from Roger's review on the back. It's also LOADED with special features, including a new audio commentary, interviews, and a round table discussion, along with all of the imported archival features. "Creepshow" is an inconsistent but really fun movie. It's nice to see it get such a lavish treatment.

Buy it here 

Special Features BRAND NEW 4K REMASTER SOURCED FROM THE ORIGINAL CAMERA NEGATIVE, with color correction supervised and approved by director of photography Michael Gornick NEW Audio Commentary with director of photography Michael Gornick NEW Audio Commentary with composer/first assistant director John Harrison and construction co-ordinator Ed Fountain NEW Terror and the Three Rivers – a round table discussion on the making of CREEPSHOW with John Amplas, Tom Atkins, Tom Savini and Marty Schiff NEW The Comic Book Look – an interview with costume designer Barbara Anderson NEW Ripped From The Pages – an interview with animator Rick Catizone NEW The Colors of Creepshow – a look at the restoration of CREEPSHOW with director of photography Michael Gornick NEW Into The Mix – an interview with sound re-recordist Chris Jenkins NEW Mondo Macabre – A look at Mondo's various CREEPSHOW posters with Mondo Co-Founder Rob Jones and Mondo Gallery Events Planner Josh Curry NEW Collecting Creepshow – a look at some of the original props and collectibles from the film with collector Dave Burian Audio Commentary with Director George A. Romero and Special Make-Up Effects Creator Tom Savini Audio Interviews with director of photography Michael Gornick, actor John Amplas, property master Bruce Alan Miller, and make-up effects assistant Darryl Ferrucci Tom Savini's Behind-the-Scenes Footage Horror's Hallowed Grounds – a look at the original film locations hosted by Sean Clark Deleted Scenes Theatrical Trailers TV Spot Radio Spots Still Galleries – Posters, Lobby Cards and Movie Stills Still Galleries – Behind the Scenes photos Optional English SDH subtitles for the main feature

"Eighth Grade"

Bo Burnham's directorial debut is one of the most quietly beloved films of 2018, often appearing on lists of films from this year that you really should see before you do any year-end consideration. It really is something special, capturing what it's like to be an 8th grader in the '10s better than any film to date. Not only is Burnham's writing and directing surprisingly sensitive, he found something incredibly special in Elsie Fisher, who gives what is quite simply one of the best performances of the year. So many young actresses in movies "about teenage life" feel like they're making a statement instead of embodying a character but Fisher is always real, and inevitably heartbreaking. This is a wonderful movie. 

Buy it here 

Special Features Audio Commentary with Director Bo Burnham and Actress Elsie Fisher "You're Not Alone: Life in Eighth Grade" Featurette Music Video Deleted Scenes

"Hotel Transylvania 3"

I'm including this one for my kids and because the market is kind of dry right now for family films. Could you do worse than the latest Adam Sandler riff on the Universal monsters? Sure, but these movies started on low ground in terms of quality and have only sunk into the muck. Trust me, I've seen this one a bunch as my boys are somehow obsessed enough with this franchise for repeat viewing. Kudos, I guess, to Sony for timing this release for Halloween marathons for the little ones who can't quite do actual horror movies yet and before the superior "Teen Titans" and "Incredibles 2" hit the home market. 

Buy it here 

Special Features Three All New Scary-Oke Sing Alongs: Sing along to three Hotel Transylvania 3 inspired songs with your favorite characters! "Dennis Had a Giant Dog" – Sung by Dennis & Winnie "Monsters Like to Party Down" – Sung by Johnny "Oh These Wolf Pups" – Sung by Wanda Werewolf Plan Your Own Spook-tacular Sleepover: This feature will give you all details on how to make your own sleepover spook-tacular! From snacks to crafts to games and more, follow these steps to create a Hotel T sleep-over with your friends and family, the perfect setting to binge watch all 3 Hotel Transylvania movies. Vampire Make Over: Mavis and Drac Tutorial: Learn how to turn yourself into your favorite Hotel Transylvania 3 characters. Behind the Screams – The Voices of Hotel Transylvania 3: Step behind the "screams" with the returning stars and hilarious new cast to see how these characters are brought to life in the recording booth. Johnny's Home Movies (Franchise Recap): Johnny brings viewers up to speed on what's happened in the Hotel Transylvania franchise so far. "I See Love" Monster Dance Party Dance Along: Get up and get moving to this haunting monster mash. Drac's Zing-tastic Read Along: It's storytime with your favorite characters have a silly tale about Drac's search for a Zing! Read along or sit back and enjoy! Two Mini Movies (rated G): Two mini-features that will have you howling. Puppy Goodnight Mr. Foot

"House on Haunted Hill"

William Malone's remake of the Vincent Price classic is a mixed bag, to be kind. The 1999 launching pad for Joel Silver's Dark Castle production banner, this gory flick has some great moments, including a brilliant set-up that allows Geoffrey Rush and Famke Janssen to wonderfully chew some scenery. For about an hour, this twisted tale actually kind of works. They just forgot to write a coherent ending. Just fall asleep or turn it off before that point and you'll be happier.

Buy it here 

Special Features BRAND NEW 2K REMASTER from the original film elements NEW interview with director William Malone NEW interview with composer Don Davis NEW Interview with visual effects supervisor Robert Skotak Never-Before-Seen storyboards, concept art and behind-the-scenes photos courtesy of visual effects producer Paul Taglianetti Audio Commentary with director William Malone A Tale of Two Houses – vintage featurette Behind the Visual FX – vintage featurette Deleted Scenes Theatrical Trailer TV Spots Movie Stills and Poster Gallery Optional English SDH subtitles for the main feature

"Shampoo" (Criterion)

The best Criterion release of the month is this classic that always crosses my mind when I think about films that caught performers at their most charismatic. You know what I mean. Some movies find stars at exactly the moment it needed to find them. There's an element of this in the current success of "A Star is Born," which wouldn't work the same without Bradley Cooper and Lady Gaga being exactly where they are in their careers in 2018. Same goes for Warren Beatty and Goldie Hawn in 1975's "Shampoo" (along with Julie Christie and Lee Grant, for that matter.) One of Hal Ashby's best films comes with a great 4K transfer but a relatively, for Criterion, slight collection of special features. The new conversation between Mark Harris and Frank Rich is excellent, however.

Buy it here 

Special Features New 4K digital restoration, with uncompressed monaural soundtrack on the Blu-ray Alternate 5.1 surround soundtrack, presented in DTS-HD Master Audio on the Blu-ray New conversation between critics Mark Harris and Frank Rich Excerpt from a 1998 appearance by producer, cowriter, and actor Warren Beatty on The South Bank Show PLUS: An essay by Rich

"Skyscraper"

Did we get a bit too much of The Rock in too short a period of time? For a period of time there, it looked like Dwayne Johnson may be the biggest star in the world. (And he may still be). With the success of the "Furious" movies and the phenomenon that was "Jumanji: Welcome to the Jungle," he entered 2018 on a high, but both of his films this year, "Rampage" and "Skyscraper," were domestic disappointments. (Both did much better overseas.) Perhaps worse than their box office fates, they just weren't very good. This one is particularly dispiriting, coming off like the bland "Die Hard" retreads we got so often in the '90s. Come on, Dwayne. If you're gonna be our #1 star than we need you to pass on junk like this.

Buy it here

Special Features Deleted Scenes with Commentary by Director Rawson Marshall Thurber – Go behind the scenes with Dwayne Johnson and the rest of the cast of Skyscraper. Extended Scenes with Commentary by Director Rawson Marshall Thurber Dwayne Johnson: Embodying a Hero – Go behind the scenes to see what it took for Dwayne Johnson to bring the intense character of Will Sawyer to life. Inspiration – Meet real life amputee and motivational speaker Jeff Glasbrenner, the inspiration for Dwayne Johnson's role of Will Sawyer. See how Jeff's consultations helped inform Dwayne's character from day one. Opposing Forces – There's no holding back as the women of Skyscraper get in on the action. Now, see first-hand what it took for Neve Campbell and Hannah Quinlivan to be fight ready. Friends No More – When Dwayne Johnson and Pablo Schreiber met face to face, they immediately knew what they were up against. Witness first-hand the making of the intense apartment fight between two former on-screen friends, Will and Ben. Kids in Action – In Skyscraper everyone gets in on the action, even the Sawyer children. Go on set with Noah Cottrell and McKenna Roberts to discover the moves behind their stunts. Pineapple Pitch – Hear first-hand from Dwayne Johnson how writer/director Rawson Marshall Thurber pitched him the idea of Skyscraper. It may be a little fruitier than you think. Feature Commentary by Director Rawson Marshall Thurber

"Sorry to Bother You"

The closer we get to the end of the year, the more I think Boots Riley's debut is one of its best films. It's certainly one of its most unforgettable. I've already written about the film twice (Sundance and theatrical) so I don't have much more to say, but let me throw in with my other Gotham Awards committee members who nominated Lakeith Stanfield for his fantastic work here, giving an incredibly physical and committed performance. So much of "Sorry to Bother You" feels like "Boots Movie" but it wouldn't work at all without someone so completely on the same page as the film's creator as Stanfield, who has quietly become one of the most interesting actors of his generation. I hope he continues to do challenging, fascinating work such as what he delivers here. 

Buy it here 

Special Features Beautiful Clutter with Director Boots Riley Audio Commentary with Director Boots Riley Gallery The Cast of Sorry to Bother You The Art of the White Voice

"Trick 'r Treat"

Horror is still the only genre that can truly produce word-of-mouth, home market hits, such as this anthology flick that never even played in movie theaters. Anywhere. And yet it became an instant hit when it was released on DVD in late 2009. So much so that Scream Factory has given it one of their most lavish Halloween season Collector's Edition treatments. It's a fantastic release for what's a really solid flick, a clear child of "Creepshow" with smart writing and direction. Hopefully it will spur enough interest to get the long-delayed sequel finally off the ground. 

Buy it here 

Special Features BRAND NEW 2K REMASTER OF THE FILM supervised and approved by director Michael Dougherty NEW Tales of Folklore & Fright: Creating Trick 'r Treat – including interviews with writer/director Michael Dougherty, conceptual artist Breehn Burns, and storyboard artist Simeon Wilkins. NEW Tales of Mischief & Mayhem: Filming Trick 'r Treat – in-depth interview with Michael Dougherty on the making of the film NEW Sounds of Shock & Superstition: Scoring Trick 'r Treat – including interviews with Michael Dougherty and composer Douglas Pipes NEW Tales of Dread and Despair: Releasing Trick 'r Treat – a look at the release and fandom with Michael Dougherty and writer Rob Galluzzo Season's Greetings – NEW 2K scan of the original 16mm elements – a short film by Michael Dougherty with optional commentary by Dougherty NEW Storyboard and Conceptual Artwork Gallery NEW Behind the Scenes Still Gallery NEW Monster Mash – a story from the TRICK 'R TREAT graphic novel NEW FEARnet.com Shorts Audio Commentary with director Michael Dougherty Trick 'R Treat: The Lore and Legends of Halloween featurette Deleted and Alternate Scenes with optional commentary by director Michael Dougherty School Bus FX Comparison Theatrical Trailer Optional English SDH subtitles for the main feature

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[njawaidofficial]

Robert Lopez Just Made History AGAIN By Becoming A Double EGOT And He's Just Getting Warmed Up

https://styleveryday.com/2018/03/06/robert-lopez-just-made-history-again-by-becoming-a-double-egot-and-hes-just-getting-warmed-up/

Robert Lopez Just Made History AGAIN By Becoming A Double EGOT And He's Just Getting Warmed Up

He’s the only person with at least two of each of the four major awards.

Songwriter Robert Lopez won his second Oscar last night, alongside his wife and writing partner, Kristen Anderson-Lopez. This makes him the first person in history to have won at least TWO each of an Emmy, Grammy, Oscar, and Tony — a DOUBLE EGOT!

The duo won the award for Best Original Song for “Remember Me” from the movie Coco.

Kevin Winter / Getty Images

While becoming the first double EGOT is a huge deal, this is not the first time Robert Lopez has made history with his impressive awards collection, so let’s break it down.

Kevork Djansezian / Getty Images

In 2014, he won his first Oscar for cowriting the song “Let It Go” from Frozen, making him the youngest person to complete an EGOT at the age of 39.

If THAT wasn’t enough, he also made history by taking the least time to win all four awards — just 10 years!

Joe Klamar / AFP / Getty Images

Are you still with me? Because here’s where it gets really exciting: Not only does Lopez have two of each award, he actually has THREE Grammys and THREE Tony Awards!

His three Grammy Awards include Best Musical Theater Album (Book of Mormon), Best Compilation Soundtrack for Visual Media (Frozen), and Best Song Written for Visual Media (“Let It Go”).

Frazer Harrison / Getty Images

Here he is after winning his second and third Tony Awards, alongside his Book of Mormon cowriters, Matt Stone and Trey Parker.

He won his first Tony for Best Original Score for Avenue Q, and he received two Tonys for his work on Book of Mormon — Best Original Score and Best Book of a Musical.

Jason Kempin / Getty Images

At this rate, the Filipino-American songwriter could be on track to be a triple freaking EGOT! Did I mention he’s only 43 years old?

ABC

[summerpopsong-blog]

Sarantos Above The Clouds

Pop Songs That Will Make Your Car Audio Burst With Life

309 tracks were recorded by the Beatles in their fairly limited job. Of these 237 were unique compositions. I think it is interesting to see the development of these songwriting throughout their career, for the psychodelic sounds of the late 60s from their' Team' stylings. Therefore with a lot of songs that are good to select from it's more or less impossible to select a " top 5 " and I'm sure that everyone has their particular favourites. Nevertheless, here's at finding the five greatest Beatles tunes that mean essentially the most to me my attempt:

1) 'Strawberry Fields Forever': This one was formerly created for Sgt Pepperis Lonely Hearts Club Band but was instead released in 1967 like a Double-A area with McCartney's 'Penny Lane'. It's a sentimental song about where Lennon used to play like a child. Psychedelic and dreamlike the saving seems a world away from their tracks of five years before.

2) 'Here Comes Sunlight': It'd be difficult to disregard the songwriting talents of George Harrison in a 'five finest Beatles tracks' list. Prepared in the yard in May of 1969 of Eric Clapton, after one of the longest winters of the 60s, the song is perhaps an escape from George's frustrations with all the music organization during the time.

4) 'I Wish To Keep Your Hand': Some Gems fans during the time used to scoff as of this one, but there is no questioning that like a pop song it is simply excellent. This 1 was a Lennon cowrite that is complete and it was the Sarantos Above The Clouds very first track the Beatles saved over a four track recording unit. Innocent in message, this song essentially sets a system for pop music construction. The melody's curve is interesting which is therefore memorable!

3) 'All My Warm': I could have harvested the complete Using The Beatles cd if room permitted. This one was extremely it had been never released being a single and prepared solely by McCartney. It is primarily a Page Song, similar to 'P.S. I Enjoy You' and was apparently one among Lennon's favorite McCartney efforts.

5) 'Till There Is You': I know this 1 was not compiled by the Beatles but it's one of my favourite tunes so I couldn't keep it down. Authored by Meredith Wilson in 1957 for his play The Audio Man, the Beatles included their saving on With All The Beatles. This is the Broadway track the Beatles recorded however it provides An insight into how their strategy that is songwriting was developed by them.

There is a pop-song derived from place music which can be typically understood to be an audio. It is frequently pushed towards the youth plus it consists with peculiar technologies but of reasonably brief, simple songs. It is meant to motivate attendees to dance with the audio or it employs beats, percussions or rhythms which can be dance-focused.

Inside the making-of a song within this category, a pop songwriter must be able to bring to the tune but being informed not to put too much selection in variety. If your song had a framework, A-B-C-D, with each letter addressing a person part while in the tune, that understanding should be got by the crowd since the song continues. However the song must have the crowd's interest and obtain him connected.

The objective of songwriting will be to produce attendees get hooked towards the music as much as possible in a span of three or four units. A pop-song fundamentally wants understanding,range, and undoubtedly, a catch.

The critical things written down a pop song to remember are chord progression beat, defeat and beat, type and type, strategy, "hook", lyrics, tune sections, layout, and size. These would be the common strings which make a song successful.

The typical design for a pop song which is line - chorus -passage - chorus - fill - A or chorus - T - A - N - H - W. Despite the fact that the repeating areas A and B increases the audience's ease of the song, the addition of C section presents variety towards the song. The construction is extremely helpful since it hasbeen check-established by many wonderful place celebrities like King and Jackson. Because the lyrics remain precisely the same every time, the catch is carried the singer.Other varieties of pop song buildings are sing a certain area:

A - A - T - A - T - D - W

A - W - H - A - B - H - D - H (line - prechorus - chorus - line - prechorus -chorus - fill - chorus)

A - W - A - B - D - A - N

Using in writing pop tunes, techniques and the abilities, you ought to remember that the framework alone doesn't produce a tune common. The audience has to get addicted through the chorus area for the track.

[harrisonarchive]

Ringo Starr and George Harrison in 1961 (photo © Ringo Starr/National Portrait Gallery), and onstage at the Prince’s Trust Concert on 5 June 1987 (photo by Lynn Hilton/Mail On Sunday/Shutterstock).

Happy birthday, Ringo!

“You’re on holiday with [George] and every morning he’d say, ‘Oh, come and see the trees.’ ‘Okay, yeah.’ And then the next day, ‘Oh, come and see the trees.’ ‘Yeah, okay.’ And then, ‘Come and see…’ ‘I’ve seen your bloody trees!’” - Ringo Starr, Concert for George microsite

“[At a private reception] Starr was perusing the lyrics to one of the previously unpublished songs included in the new volume [I Me Mine - The Extended Edition], one that name-checked him, ‘Hey Ringo.’ After smiling at a rhyme about ‘my guitar sounds so bare/when your drums aren’t there,’ the 75-year-old drummer became choked with emotion by the next line: ‘Hey Ringo, there’s one thing that I’ve not said/I’ll play guitar with you till I drop dead.’ ‘I’m sorry,’ he said, his eyes misting and turning back toward his wife, actress Barbara Bach.” - Los Angeles Times, 24 February 2017

"I loved George, George loved me." - Ringo Starr, Concert for George, 29 November 2002

"This next song is called It Don't Come Easy. I wrote this song with the one and only George Harrison." - Ringo Starr, VH1 Storytellers, 1998

"So George taught me C, which was so damn hard. That’s how ['Photograph'] started. I love the sentiment of Photograph. When we did The Concert For George, I told the audience that Photograph now has a different meaning just because of the fact that George has left." - Ringo Starr, liner notes, Photograph: The Very Best of Ringo Starr

"['Never Without You'] is all about George. The song is still very poignant for me, and I tried not to do it on the last tour, but I had to do it because it’s a beautiful song and expresses what I felt for the man. […] He had just gone and I wanted to express my love for him." - ibid

“Ringo’s got the best back beat I’ve ever heard.” - George Harrison, press conference, October 1974

"George presented him recently with a special, leather-bound volume, which said on the cover, ‘Ringo Starr: greatest drummer on earth.’ Inside, all the pages were blank. ‘George told me to start writing, to fill it up.’" - The Beatles: The Authorized Biography, 1985 postscript

“I remember years ago Ringo saying to me he’d love to have a Number 1. And I said, What for? You are the Number 1. It doesn’t matter about the record.” - George Harrison, Q, 1988 (x)

#Ringo Starr #George Harrison #quote #quotes about George #quotes by George #George and Ringo #1960s #1980s #Happy Birthday Ringo! #Harrison cowriting #fits queue like a glove

[harrisonarchive]

Bob Dylan and George Harrison, Woodstock, November 1968; photo by Jill Krementz.

“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. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with all his kids around, and we were just playing. It was near Thanksgiving. […] I was saying to him, ‘You write incredible lyrics,’ and he was saying, ‘How do you write those tunes?’ So I was just showing him chords like crazy. Chords, because he tended just to play a lot of basic chords and move a capo up and down. And I was saying, ‘Come on, write me some words,’ and he was scribbling words down. And it just killed me because he’d been doing all these sensational lyrics. And he wrote, ‘All I have is yours/ All you see is mine/ And I’m glad to hold you in my arms/ I’d have you anytime.’ The idea of Dylan writing something, like, so very simple.” - George Harrison, Crawdaddy, February 1977

“I happened to be invited to Woodstock by The Band. I spent some days with Bob and I s’pose we just got round to picking up guitars and we were just, you know, he was saying, Hey what about those, show me some of them chords, those weird chords. And that’s how that came about. It’s like a strange chord, really, it’s called G major 7th, and it’s got all these major 7th chords [chuckles], so, you know, we just kind of turned it into a song [I’d Have You Anytime]. It’s really nice.” - George Harrison, interview, 15 February 2001

Q: “Was it a big decision to start the album with the song you wrote with Dylan, ‘I'd Have You Anytime’?” George Harrison: “It probably was, because it goes, ‘Let me in here...’ [laughs]. It just seemed like a good thing to do; it was a nice track, I liked that. And maybe subconsciously I needed a bit of support. I had Eric [Clapton] playing the solo, and Bob had helped write it, so it could have been something to do with that." - Billboard, 8 January 2001 (x)

“You know, they say in this life, you have to perfect one human relationship in order to really love God. You practice loving God by loving another human, and by giving unconditional love. George’s most important relationships were really conducted through their music and their lyrics. I mean, George... ‘I’d Have You Anytime,’ the song that George and Bob wrote together. ‘Let me in here, I know I’ve been here, let me into your heart.’ He was talking directly to Bob because he’d seen Bob, and then he’d seen Bob another time and he didn’t seem as open. And so, that was his way of saying, ‘Let me in here. Let me into your heart.’ And he was very unabashed, and romantic about it, in a sense. You know, I found that he was very... he had these love relationships with his friends. He loved them.” - Olivia Harrison, Living In The Material World

“Ringo always used to say George was the most social ‘recluse’ he knew. If you came to the house, there would always be people there. If he walked in the room now, he would make you smile. He had a great presence, and he was an uplifting person. He could be grumpy too, but he didn’t like people around him to be unhappy. He liked everyone to be having a good time. Otherwise it was a waste of life. People say life is too short and it is.” - Olivia Harrison, The Independent, 19 October 2005 (x)

#George Harrison #quote #quotes by George #quotes about George #Harrison songwriting #Harrison cowriting #Harrisongs #Bob Dylan #George and Bob Dylan #George and Olivia #All Things Must Pass #I'd Have You Anytime #fits queue like a glove

[harrisonarchive]

George Harrison and Ringo Starr working on “Octopus’s Garden” in the studio, January 1969. Photo by Mal Evans or Tony Bramwell, for The Beatles Book monthly.

A look at some Harrison-Starkey musical collaborations.

“This next song is called ‘It Don’t Come Easy.’ I wrote this song with the one and only George Harrison.” - Ringo Starr, VH1 Storytellers (1998)

“So George taught me C, which was so damn hard. That’s how [‘Photograph’] started. I love the sentiment of ‘Photograph.’ When we did The Concert For George, I told the audience that ‘Photograph’ now has a different meaning just because of the fact that George has left.” - Ringo Starr, liner notes, Photograph: The Very Best of Ringo Starr (2007)

"George wrote that one. I was watching a lot of TV then [1981], as he writes in one of the lyrics in the song. Also I was probably going insane too. George thought this song would be good for me. It’s a song I knew he’d never do. So it gave George some freedom and it was a bit looser than something that he would do for himself." - ibid

“When Ringo asked [George]… to compose guitar music for a new song, ‘King of Broken Hearts,’ George put his own heart into it. One reviewer would later describe his beautiful slide-guitar work as ‘sharing a little of his soul… [a] moving musical statement [that] spoke of the musician’s inner peace.’ George sent the tape off by mail. Ringo took the package to his recording studio and sat with his hands behind his head, listening to an unexpected poetry of notes. 'You’re killing me, George,' he mumbled. 'You’ve got me crying, you bugger.’” - Here Comes The Sun: The Spiritual and Musical Journey of George Harrison (2006)

Ringo Starr: "'Never Without You,' the tribute track to George - or the love track. I don't really like the tribute - you know, the word 'tribute.' It's just to let George know we loved him." [...] Q: "You mentioned 'Never Without You.' That's the next song we're going to hear from Ringo Rama. You said, not a tribute. What did you say?" RS: "It's just with love." Q: "With love for George." RS: "Yeah. [...] [The 2002 Concert for George] helped with the closure, I felt, that we all sort of... we had this focus of the show, but we could hang out with each other and, you know, deal with the loss of George, who, you know, I still miss." Q" "The song 'Never Without You' didn't really start out purely about George, did it?" RS: "Well, it started out just as a band. And then I thought, wow, this would be great, after the first verse, that we were brothers through it all. It just became natural that it was about the Beatles, in a way. And, of course, George had just left us then. It was like four months after he died. And so then I thought, oh, that would be great. I can say this about George. Then, oh, well, I can say this about John. Oh, and I can say this about Harry Nilsson. And so it just got too cluttered and too crazy. So I had to stop everything and say, 'Now, where are we going? Okay. This is just for George. And that way, I - you know, I could use some of his lines in the song itself, never - you know, 'within you, without you' is his line. Sometimes you just go mad and you've got to stop and look at what you do and then you do it right. And I think the song says everything that I ever want to say." Q: "Why was it so easy for you to write with George on classics like 'It Don't Come Easy' and 'Photograph' so soon after the Beatles split?" RS: "Well, you know, George was my good friend. And I was very good at two verses and a chorus. And then I would take it over to George's and he'd finish 'Photograph.' And he finished 'It Don't Come Easy.' And also, you know, I'm not the best guitarist in the world. I have to admit that. I might be a great drummer, but I'm not the best guitarist. And so he would put in all these chords that made me sound like a genius and tie the song up. [...] So George was always great. We always had a lot of fun in the studio, you know." - Ringo Rama Radio Hour, 25 March 2003

“['Never Without You’] is all about George. The song is still very poignant for me, and I tried not to do it on the last tour, but I had to do it because it’s a beautiful song and expresses what I felt for the man. […] He had just gone and I wanted to express my love for him.” - Ringo Starr, liner notes, Photograph: The Very Best of Ringo Starr (2007) (x)

#George Harrison #Ringo Starr #Harrison cowriting #George and Ringo #quote #quotes about George #Octopus's Garden #It Don't Come Easy #Photograph #Wrack My Brain #never without you #et al #fits queue like a glove

[harrisonarchive]

George Harrison, Friar Park, 1978; photo by Mike Salisbury.

"‘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

“I like the sentiment of that, but it’s a bit obvious as a tune.” - George Harrison, Rolling Stone, 19 April 1979

“Pray, give up, and it all recedes away from you. [...] It’s really that in its simplest form, I’d say it’s just positive versus negative. If you apply positive thought, even down to something like, if you say to me, ‘Hey, can you make me some coffee?’ If I think, ‘Sure,’ that energy is there to do it. But if I think, ‘Aw, God, can’t you get it yourself?’ It drains you, the negative thought. And it’s that simple. If you think, ‘Oh God, I’ve got no… what can I do, my life’s a misery’ and all that. As you’re thinking that you’re actually putting fuel onto that negative, draining aspect. Whereas - and this is hard, I’m not saying I can do it - but it’s something that when you realize it you can at least try and correct yourself all the time. So when you make an effort to do something… just like today, I could’ve easily stayed in bed and not come to do this interview [chuckles]. You know, ring ring: ‘Hey Jim, I’m sorry, I had a late night, see ya next time.’ But instead, I thought, ‘No, I can do it, I’ll get up, I can do it.’ It’s just that simple. So get up you have all your needs, give up and it all recedes away from you.” - George Harrison, KMET, June 1979 (x)

#George Harrison #quote #quotes by George #Harrison songwriting #Harrisongs #Harrison cowriting #If You Believe #George Harrison album #Friar Park #1978 #1970s #fits queue like a glove

[harrisonarchive]

The Beatles backstage at the Morecambe and Wise Show, December 1963. Photo © ITV/Shutterstock.

“It was an option to include George in the songwriting team. John and I had really talked about it. I remember walking up past Woolton Church with John one morning and going over the question: ‘Without wanting to be too mean to George, should three of us write or would it be better to keep it simple?’ We decided we’d just keep to two of us.” - Paul McCartney, The Beatles Anthology (2000)

“Me, George and John originally had a little set-up with just the three of us on three guitars. That was our first kinda little incarnation.” - Paul McCartney, MOJO extended interview, November 2011

“One thing about writing on my own is that I don’t have to get anybody’s approval for what I do. I can just sit there working on a song until it’s the way I like it and then get it down. I think I’d have a great problem if I tried to write with somebody because, unlike John and Paul, I haven’t been used to it.” - George Harrison, Record Mirror, 1972

“Writing on my own became the only way I could do it, because I started like that. Consequently, over the years, I never really wrote with anyone else and I became a bit isolated. I suppose I was a bit paranoid because I didn’t have any experience of what it was like, writing with other people. It’s a tricky thing. What’s acceptable to one person may not be acceptable to another. You have to trust each other.” - George Harrison, The Beatles Anthology (2000) (x)

(See Harrison co-writing and The Traveling Wilburys for more about George's eventual co-writing with fellow artists like Preston, Troy, Dylan, Petty, and more.)

#The Beatles #George Harrison #quote #quotes about George #quotes by George #Paul McCartney #John Lennon #Ringo Starr #Harrison songwriting #Harrisongs #George and Paul #George and John #George and Ringo #Harrison cowriting #fits queue like a glove

[harrisonarchive]

Onstage at the Top Ten Club, Spring 1961; photo by Jürgen Vollmer.

“In Spite Of All The Danger” (McCartney-Harrison) -

“It says on the label that it was me and George but I think it was actually written by me, and George played the guitar solo! We were mates and nobody was into copyrights and publishing, nobody understood — we actually used to think when we came down to London that songs belonged to everyone. I’ve said this a few times but it’s true, we really thought they just were in the air, and that you couldn’t actually own one. So you can imagine the publishers saw us coming! ‘Welcome boys, sit down. That’s what you think, is it?’ So that’s what we used to do in those days — and because George did the solo we figured that he ‘wrote’ the solo.” - Paul McCartney, The Complete Beatles Recording Sessions (1988)

“Cry For A Shadow” (Harrison-Lennon) —

“I did actually write one number, if you can call it ‘writing.’ It was in Hamburg just about the time the Shadows’ ‘Apache’ came out. Somebody asked John and myself how the tune went, and we tried to demonstrate. The result wasn’t a bit like ‘Apache,’ but we liked it and we used it in the act for a while. We even called it ‘Cry For A Shadow’!” - George Harrison, NME, 16 August 1963

“[John] gave me a few a few good pointers and I did actually do some writing with him later on. I was at his house one day — this is the mid-Sixties — and he was struggling with some tunes. He had loads of bits, maybe three songs, that were unfinished, and I made suggestions and helped him to work them together so that they became one finished song, ‘She Said, She Said.’ The middle part of that record is a different song: ‘She said, “I know what it’s like to be dead,” and I said, “Oh, no, no, you’re wrong…”’ Then it goes into the other one, ‘When I was a boy…’ That was a real weld. So I did things like that. I would also play him, on occasion, songs I hadn’t completed. I played him a tune one day, and he said, ‘Oh, well, that’s not bad.’ He didn’t do anything at the time, but I noticed in the next song he wrote that he’d nicked the chords from it!” - George Harrison, The Beatles Anthology (2000) (x)

#George Harrison #quote #quotes about George #quotes by George #Harrison cowriting #Harrisongs #George and Paul #Paul McCartney #george and john #john lennon #The Beatles #1960s #fits queue like a glove

[harrisonarchive]

George Harrison, Billy Preston, Doris Troy, and Madeline Bell in the studio, That’s The Way God Planned It sessions, 1969. Photos courtesy of the official George social media platforms, © Harrison Family and Vy Higginsen.

“On her [apartment] walls [Troy] mounts photos of people she loves and digs: her boy friend, George, Billy, Marsha Hunt and Gloria Howerd, and, dominating the entire room, a huge photo-poster of the late Dr. Martin Luther King.” - Blues & Soul, 27 February-12 March 1970

“When I walked in [to the studio], George gave me a great big smile, picked up his guitar, and started playing ‘Just One Look.’ I said, ‘Wow, you know my song!’ and he said, ‘I know everything you ever did.’” - Doris Troy, While My Guitar Gently Weeps: The Music of George Harrison

“I think [George] had been involved in soul music for years — he listened to it, he loved it, and that’s what made him want to do it. I wasn’t actually introducing him to the stuff, he already knew it. The Beatles as a whole listened to black music, a lot of their soul and feelings came from American music.” - Doris Troy, ibid

“George is the greatest as far as I’m concerned. As a musician he is fine and he’s already a good producer, but I think his real bag would be as a missionary or leader of people. He has a great heart and soul, a really beautiful person who is able to communicate peace and joy.” - Doris Troy, Record Mirror, 1 January 1972

“I remember another session for George Harrison and Billy Preston at Abbey Road. At that time none of the Beatles could go out in the daytime, they always had to record at night. It was Billy on keys and tambourine and everything, me and Doris Troy were doing backing vocals, with Eric Clapton on guitar, Ginger Baker on drums, and Klaus Voorman[n] on bass. We would start at midnight and finish around 4 AM or 5 AM, just so that George could get home before the masses got up to go to work.” - Madeline Bell, Red Bull Music Academy, 27 August 2019 (x)

"[George] was like a perfectionist. He wanted every note to be exactly right.” - Doris Troy, Unknown Legends of Rock ‘n’ Roll

“Billy [Preston] is a great guy, and ‪George Harrison‬ is a doll. George and I worked together on Billy’s album, and if you listen closely you can hear ‪Doris Troy‬ singing away in the background. Just like the good old days at Atlantic.” - Doris Troy, Blues & Soul, 27 February - 12 March 1970

“[George] was into his spiritual life — that was who he was, he wasn’t a partying person. He always appeared to be really cool and really calm, he never cursed nobody. He was just a good guy — the child was serious. [...] ‪George was beautiful, his soul was beautiful, and his mind was beautiful. His attitude was beautiful, he was just a beautiful, he was a beautiful guy, he was one of a kind. There’s not many people like George, I’m telling you, and I’ve met a lot of people over the years. The man was one of a kind.” - Doris Troy, While My Guitar Gently Weeps: The Music of George Harrison (x)

Doris Troy‬’s eponymous album, released by Apple Records in 1970, featured several songs Troy co-wrote with George (“Ain't That Cute” & “Give Me Back My Dynamite”), and co-wrote with George, Ringo and ‪Stephen Stills‬ (“Gonna Get My Baby Back” & “You Give Me Joy Joy”), and the traditional song “Jacob's Ladder,” arranged by George and Doris. “Ain’t That Cute” was also produced by George.

#George Harrison #quote #quotes about George #Doris Troy #Billy Preston #Madeline Bell #1960s #1969 #Harrison guest appearances #Harrison cowriting #Harrison production #George and Billy Preston #George and Doris Troy #fits queue like a glove

[harrisonarchive]

Writing "Here Comes The Moon" in Maui, February 1978; photo 1 © Harrison Family (?), photo 2 © Mary DeVitto.

“Sunsets in Hawaii were marvellous with the whales jumping up and down in the ocean: fantastic. Everything was so wonderful and then one evening I turned round and the full moon was coming up as the sun was going down - all this and here comes the moon! Too much.“ - George Harrison, I Me Mine

“The two musicians [George and Stevie Nicks] were having fun coming up with lyrics together in Hana. ‘We were writing a sort of parody of “Here Comes the Sun,” but we were writing “Here Comes the Moon,”’ [Nicks] continues. ‘Longhi was saying, “you guys are writing about the moon instead of the sun,” and I said, that's because by then we were all such night birds.’” - fleetwoodmacnews, 10 August 2012

“George loved the tropics and was always happiest there. He was inspired and wrote several songs during those days - ‘Dark Sweet Lady,’ ‘Soft Hearted Hana’ and 'Here Comes the Moon’, the lyrics of which are dated 25/2, his birthday.” - Olivia Harrison in the introduction to the 2002 edition of I Me Mine

“It was in Hana. The big moon rising from behind this sort of rock island. Big pink-blue sky and a big full moon rising. And he thought, you know, I don’t know why I haven’t written this one. He really was a sun and moon man, you know, he was quite into the planets, they inspired him, and the moon inspired him.“ - Olivia Harrison, NPR, March 2004

“I love that, it's beautiful. It just happened to be one of those evening where the full moon was rising and it was over a beautiful bay.” - Olivia Harrison. Billboard, 3 April 2017 (x)

"We spent some time just hanging out, and not really writing, but like pretending, trying. I got to spend like two days with a bunch of people, and him in Hawaii once." - Stevie Nicks, Far Out Magazine, 2021 (x)

“The photo was taken by my best friend, Mary [DeVitto]. She had given me a copy of it a long time ago, and I had it made into an 8 x 10 and put in a little frame. When I go on the road it goes right on my makeup mirror, so before I go on stage, whether it’s with Fleetwood Mac or me in my solo career, the three of us are looking back at me and that has been my inspiration every single night. There’s lots of nights where you kind of go, I wish I didn’t have to go on stage tonight, I’m tired, I don’t feel like doing it, and I look at George Harrison and look at Longhi and look at me and I go, well, you just have to, because it’s important, it’s important to make people happy, so get out of your chair, put on your boots and go out there and do your thing.” - Fleetwood Mac News, 10 August 2012 (x)

#George Harrison #quote #quotes by George #quotes about George #Harrison songwriting #Harrisongs #George Harrison album #George and Olivia #olivia harrison #stevie nicks #Harrison cowriting #sort of anyway #1978 #1970s #Here Comes The Moon #fits queue like a glove