Tag Archives: Hear Me Lord

TMBP Extra: Since he fell out of the womb

Over the years, we’ve celebrated the birthdays of Paul McCartney and John Lennon, looking back at the periods straddling the big days in 1968-1969. Today it’s George Harrison’s turn. It may be the 73rd anniversary of George Harrison’s birth today, or it may be the day after the 47th anniversary of his birth. With Liverpool under bombardment during World War II, keeping the records became confused that day in 1943. But February 25 is the day George celebrated, so it’ll be the day we mark, too.

1968, in India. That's actually a cake for Pattie Boyd, whose birthday was a three weeks after George's.

India, 1968. That’s actually a cake for Pattie Boyd, whose birthday was three weeks after George’s.

George’s 26th birthday came just a few weeks after the Beatles wrapped up the Get Back sessions at Twickenham and Savile Row. It capped a remarkable year in his life and career,  one that could fill a book, much less a blog post.

George’s 25th year began in India, less than 10 days after the Beatles arrived to study Transcendental Meditation under Maharishi Mahesh Yogi. Their retreat lasted nearly two months (for George, who outlasted the rest of the Beatles), transforming the four men, their music and Western culture along the way.

Starting in May and lasting throughout the summer, the Beatles recorded The Beatles. The double White Album, featuring a career-high four compositions, would be released before the winter. In between, George produced Jackie Lomax and saw the release of his solo LP Wonderwall, which was recorded late 1967 and early 1968. (It’s really great, and worth infinite listens).

With Winter 1968 came another transformative overseas trip, this time on the other side of the earth from India, to upstate New York, where George spent an intimate holiday with Bob Dylan and the Band, playing and writing songs. They were not laying the groundwork for the formation of the Traveling Wilburys about 20 years later, but it’s worth the dream.

That brings us to January 1969, and you can read all about it here and in posts to come. It’s worth noting, George brought Billy Preston into the Beatles’ circle, and then later would produce him for Apple.

What happened next? George had his tonsils out a week after the rooftop concert, and was laid up for about another week.

George breaks up with his tonsils, February 1969. Photo appears in his autobiography, I Me Mine.

George breaks up with his tonsils, February 1969. Photo appears in his autobiography, I Me Mine.

He joined the rest of the Beatles on February 22, 1969, to record the first 35 takes of “I Want You,” essentially beginning the Abbey Road sessions, and that about brings things up to his 26th birthday, on February 25, 1969.

Of course, that’s not it. What about the music? Check out this list of Harrisongs composed or at least worked on seriously between his 25th and 26th birthdays (listed alphabetically, with one obvious omission I’ll explain below): “All Things Must Pass,” “Badge” (with Eric Clapton), “Circles” (eventually released in 1992), “Dehradun,” “For You Blue,” “Hear Me Lord,” “I Me Mine,” “I’d Have You Anytime,” “Isn’t it a Pity,” “Long, Long, Long,” “Not Guilty” (left off the White Album, was released in 1979), “Nowhere to Go” (All Things Must Pass LP outtake written with Dylan), “Old Brown Shoe,” “Piggies,” “Savoy Truffle,” “Sour Milk Sea” (written for Jackie Lomax), “Wah-Wah,” “While My Guitar Gently Weeps,” “Window, Window” (another All Things Must pass outtake). And there’s probably others we don’t know the origins of that would fall in this timeframe too.

Not too shabby. As a bonus, he finally had his first song to appear on a Beatles single — “The Inner Light” was on the flip side of the “Lady Madonna” single, released while they were in India.

Oh, he bought a Moog, too. More about that later in 1969.

George had a really good year, artistically. It was an important one spiritually, too, and he was expanding his professional horizons and stockpiling compositions. In many ways, he shaped the Get Back sessions by walking out and resetting the parameters under which the group would perform live, plus he brought Billy into the fold. His relationship with Dylan, developed when he was in New York, was a critical moment in his career and his own window into how other artists could interact, and reflecting everything that was wrong with the Beatles. While he was still not quite yet afforded the same global respect given to Paul and John, the Beatles’ junior member’s time would come in 1969, thanks in large part to something.

Sorry, I missed the punctuation. That’s thanks in part to “Something.” 

There are lots of dumb ways to spend a birthday in your 20s, but recording a few demos at EMI Studios on Abbey Road isn’t one of them.  February 25, 1969, saw George cut solo acoustic versions of “Old Brown Shoe” (first debuted during the Get Back sessions) and “All Things Must Pass” (from 1968, and rehearsed extensively in January 1969). The final song he worked on that day was “Something”, the seeds of which were planted in 1969, but he hadn’t completed as late as the final days leading to the rooftop concert on January 30, 1969.

You can find takes of all three songs on Anthology 3.

The commercial and critical success of the Abbey Road release of “Something” (finally, his first A-side) — earning high praise, finally, from Lennon and McCartney — plus the LP’s “Here Comes the Sun,” changed how George Harrison, Songwriter, was viewed. The time and efforts he spent between his birthdays in 1968 and 1969 propelled him to that point.

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Jan. 6: Hear me

It’s the definition of insane: Doing the same thing over and over again and expecting a different result. God bless George Harrison, but at times during his tenure with the Beatles I think he was insane. (It’s likely I’m an insane blogger, who feels like he’s writing the same post about George over and over again).

To wit:  Every album session, George throws a  number of songs at the wall (the wall also goes by the names of “John” and “Paul”), sees a couple stick for whatever the current record is and reintroduces a couple of the losers along with some new songs again some other time. Repeat until going solo.

Jan. 6 saw a pair of fresh George tunes,  “For You Blue” (which stuck) and “Hear Me Lord” (which did not). Neither was given any significant time. And “Hear Me Lord” wasn’t to be heard again in these sessions or even in  a Beatles context, far as I can tell. Perhaps he finally figured out he was going insane.

Or maybe there was divine intervention.

“Well, I wrote a gospel song over the weekend, lads,” George says in a lull.

“According to St. Who?,” Ringo blithely asks.

“According to the Lord,” George replies. “Hear me Lord, how I corner you,” to laughter.  (At least that last bit sounded like that, it’s almost indecipherable).

A second of silence was followed with Michael Lindsay-Hogg going right into business, suggesting the band discuss the live show soon. George first touches on “High School Confidential,” then  he plays and sings along to “I’ve Got a Feeling” before pivoting right into his new song.

You could hear it in the clip — George is playing background music.  As he played, Paul, Ringo and Michael Lindsay-Hogg discussed “the new Bonzo’s record,” — presumably The Doughnut in Granny’s Greenhouse, which had come out in November, a few weeks earlier.

Soon, the strumming ended and conversation returned to the Cream discussion.

While Paul and Michael continue to chat about some equipment issues, George resumes on his guitar, now debuting “For You Blue,” an eventual survivor on the Let it Be LP. Again, it’s background music.

George cuts himself off to raise a question about Magic Alex‘s latest studio work and attempts at soundproofing the studio after Ringo asks, “Has Alex created his waves yet?” And after a bit of crosstalk about Alex and his “waves,” Paul sings along to George’s early take of “For Your Blue.”

“Those soundproof walls of silence, are ringing in my ears…”

Soon enough, the band — fully ready to play, finally, as John takes to the organ — cuts away, weaving into oldies, improvisations and rehearsing newer songs (topics ripe for subsequent posts).

Nearly an hour and a half  after he first strummed it (on the tapes), George returns to “Hear Me Lord.” Again, it’s primarily a quiet soundtrack to other discussions, among them one in which we finally hear  another George  — Martin —  a figure so absent from the Let it Be tale, here showing up for the first significant time on tape.

Ringo plays a bit of a beat, and John makes a terrible attempt at following along on guitar.

It’s more of the same after extensive rehearsals of “Two of Us” and “Don’t Let Me Down,” among others. Again, it’s just a quick taste before they moved on.

Indifference isn’t strong enough a term for how the song is met. I suppose George could have pressed it a little further as an option.

And that was it for the song. No more rehearsals during the Get Back sessions. If it was brought up during the “Abbey Road” recordings, there’s no record of  it I’ve seen. And we wouldn’t hear it again until we get to the last song on Side 4 of the All Things Must Pass LP, released nearly a year after George first brought it to the Beatles.

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