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25 de feb. de 2021 · 8. Long, Long, Long (1968) A dreamy lament which can be found languishing on side three of the Beatles White Album. Be sure to seek it out, as this is one of Harrison’s most affecting lyrical themes. Note the added effect at the close of the song – the sound of a wine bottle reverberating on top of an amp. 7.
Harrison released a new version, "My Sweet Lord 2000," when he reissued All Things Must Pass. During a flight from Los Angeles to New York in 1971, Harrison's plane was hit by lightning, causing severe turbulence. He recalled chanting the "hare krishna" mantra, which he credited with saving his life.
GEORGE: "Yeah, it was good, it was enjoyable. We'd get into doing harmonies and this and that. Beacause in the early days we were only working on four-track tapes. So what we'd do would be work out most of the basic track on one track, get all the balance and everything set, all the instruments,. Then we'd do all the vocals, or overdub.
29 de nov. de 2022 · True Love – George Harrison, Thirty Three & 1/3 (1976) True Love, Harrison’s shiny, happy 1976 cover of a 1956 Cole Porter tune, is a perfect snapshot of his mid-to late-Seventies slide playing and glassy Strat tone. Just check out his perfect intonation during his mini solos, which start at 1:18 and 1:33 .
George lived 31 years after the Beatle breakup. He spent 13 with them. He shouldn’t be judged by those 13 years. I’ve opened this conversation just so i can hear more about it, i just feel from everything i saw and read that he might’ve been the most difficult of the 4, but i don’t know everything about them you know.
19 de abr. de 1979 · If you retire or knock off the work, then there’s a while of feeling, “Wow, I should be doing something,” until you slowly mellow out and think, “Wow, this is good.
16 de abr. de 2019 · Lennon and Harrison bought ’61 Sonic Blue Strats in 1965. But Harrison painted his own in psychedelic colors in 1967, rechristening it “Rocky.” If George did borrow John’s Strat, crusty strings apparently weren’t a problem. The single-coil sheen of Harrison’s tone on the track contrasts effectively with Lennon’s grungy arpeggios.
