Living in the Material World
|Living in the Material World|
|Studio album by George Harrison|
|Released||30 May 1973 (US)
22 June 1973 (UK)
|Recorded||October 1972–March 1973, February–March 1971
Apple Studio, London; FPSHOT, Oxfordshire; Abbey Road Studios, London
|Genre||Rock, folk rock, gospel|
|Producer||George Harrison with Phil Spector on "Try Some, Buy Some"|
|George Harrison chronology|
|Singles from Living in the Material World|
Living in the Material World is the fourth studio album by English musician George Harrison, released in 1973 on Apple Records. As the follow-up to 1970's acclaimed All Things Must Pass and his pioneering charity project, the Concert for Bangladesh, it was among the most highly anticipated releases of that year.
Living in the Material World was certified gold by the Recording Industry Association of America two days after release, on its way to becoming Harrison's second number 1 album in the United States, and produced the international hit "Give Me Love (Give Me Peace on Earth)". It also topped the charts in Canada and reached number 2 in the United Kingdom and in other countries around the world. Remastered in 2006, Living in the Material World is notable for the uncompromising lyrical content of its songs, reflecting Harrison's struggle for spiritual enlightenment against his status as a superstar, as well as for what are generally considered to be the finest guitar performances of his career. In contrast with All Things Must Pass, Harrison scaled down the production for Material World, using a core group of musicians comprising Nicky Hopkins, Gary Wright, Klaus Voormann and Jim Keltner. Ringo Starr, John Barham and Indian musician Zakir Hussain were among the album's other contributors.
On release, Rolling Stone magazine described it as a "pop classic", a work that "stands alone as an article of faith, miraculous in its radiance". Most contemporary reviewers consider Living in the Material World to be a worthy successor to All Things Must Pass, even if it inevitably falls short of Harrison's grand opus. Author Simon Leng refers to the album as a "forgotten blockbuster", representing "the close of an age, the last offering of the Beatles' London era".
- 1 Background
- 2 Content
- 3 Production
- 4 Release
- 5 Reception
- 6 Album artwork
- 7 Reissue
- 8 Track listing
- 9 Personnel
- 10 Charts
- 11 Notes
- 12 Citations
- 13 Sources
- 14 External links
The Bangladesh experience of 1971–72 had left George Harrison an international hero, but also exhausted and frustrated in his efforts to ensure that the money raised would find its way to those in need. Capitol Records' delaying tactics with the Concert for Bangladesh live album, transatlantic meetings with lawyers and various US and British government departments, and technical issues with the film footage from the Madison Square Garden shows conspired to keep his musical career on hold for over a year. While Harrison found time during the last few months of 1971 to produce singles for Ringo Starr ("Back Off Boogaloo") and Apple Records protégés Lon & Derrek Van Eaton ("Sweet Music"), and to help promote the Ravi Shankar documentary Raga, it was a long way from the attention he had afforded pre-Bangladesh projects such as Billy Preston's Apple albums and Badfinger's Straight Up. In an interview for Disc and Music Echo magazine that December, pianist Nicky Hopkins spoke of having just attended the New York sessions for John Lennon's "Happy Xmas (War Is Over)" single, where Harrison had played them "about two or three hours" worth of new songs, adding: "They were really incredible." Work on Harrison's next solo album was to begin in January or February, at his new, state-of-the-art studio at Friar Park, Hopkins suggested, but this plan was undone by the problems associated with the Bangladesh relief project.
In the meantime, and throughout 1972, Harrison's devotion to Hindu spirituality – particularly to Krishna consciousness via his friendship with A.C. Bhaktivedanta Swami Prabhupada – had grown to "unparalleled" heights. In August that year, with the Concert for Bangladesh documentary film having finally been released worldwide, he set off alone for a driving holiday in Europe, without wife Pattie Boyd, during which he chanted the Hare Krishna mantra nonstop for a whole day, he later claimed. Religious academic Joshua Greene, a Hare Krishna devotee, has described this trip as Harrison's "preparation" for recording the Living in the Material World album.
The songs that Harrison had assembled by this point reflected both his spiritual devotion – in "The Lord Loves the One (That Loves the Lord)", "Living in the Material World", "Give Me Love (Give Me Peace on Earth)" and "Try Some, Buy Some" – as well as his feelings before and after the Bangladesh benefit concerts, in "Miss O'Dell" and "The Day the World Gets 'Round". But whereas many of his Krishna devotionals on All Things Must Pass had been filled with "the sweet satisfactions of faith", Harrison's latest offerings betrayed a stern, "austere" quality, perhaps as a result of the Bangladesh experience. His musical arranger, John Barham, would later suggest that a spiritual "crisis" might have been the cause; other observers have pointed to his failing marriage to Boyd.[nb 1] Musical biographer Simon Leng has written of Harrison's frame of mind at this time: "Living in the Material World found him in roughly the same place that John Lennon was when he wrote 'Help!' – shocked by the rush of overwhelming success and desperately wondering where it left him."
As Harrison admitted, his adherence to his spiritual goals was not necessarily consistent; Boyd and Chris O'Dell, a friend of the couple, would joke that it was hard to tell whether he was dipping into his ever-present prayer bag or "the coke bag". The same duality has been noted by Harrison's biographers: on one hand, he earned himself the nickname "His Lectureship" during his prolonged periods of fervid devotion; on the other, he would participate in bawdy London sessions for the likes of Bobby Keys' eponymous solo album and Harry Nilsson's "thoroughly nasty" "You're Breakin' My Heart", both recorded in the first half of 1972. Similarly, Harrison's passion for high-performance cars saw him lose his driver's licence for the second time in a year after crashing his Mercedes into a roundabout at 90 miles an hour, on 28 February, with Boyd in the passenger seat. Of the two of them, his wife suffered the most serious injuries, her recovery from which, author Alan Clayson has noted, Harrison saw fit to assist by "pounding on a drum-kit that he'd set up in the next room" at Friar Park.
Other song themes addressed the Beatles' legacy, either in direct references to the band's history – in the case of "Living in the Material World" and "Sue Me, Sue You Blues" – or in Harrison's stated desire to live in the present, free of his former identity, in the case of "The Light That Has Lighted the World", "Who Can See It" and "Be Here Now". The lyrics to "Who Can See It" reflect Harrison's disenchantment with his previous, junior status to former bandmates Lennon and McCartney. In line with Prabhupada's teachings, all such pursuits of fame, wealth or position meant nothing in Harrison's 1972 world-view; "The Lord doesn't manifest through ego", as he put it in his 1980 autobiography, I, Me, Mine. Even in a song as apparently entrenched in pop convention as "Don't Let Me Wait Too Long", love was delivered "like it came from above".
As acclaimed as All Things Must Pass' "Wagnerian" production had been, Harrison was keen to find a more understated sound this time around, to "liberate" the songs. Phil Spector was slated to co-produce again, although his "erratic attendance" ensured that, once sessions were under way in October 1972, Harrison had decided to be the project's sole producer.[nb 2] A release date was planned for January or February 1973, with the album title rumoured to be The Light That Has Lighted the World. Within a month, the title would be announced as The Magic Is Here Again, with a report in Rolling Stone magazine claiming that Eric Clapton was co-producing and that the album was set for release on 20 December 1972.
In another contrast with his 1970 triple set, Harrison engaged a small core group of musicians to support him. Gary Wright and Klaus Voormann returned, on keyboards and bass, respectively, and John Barham again provided orchestral arrangements. They were joined by Jim Keltner, who had impressed at the Madison Square Garden concerts, and Nicky Hopkins, whose musical link to Harrison went back to the 1968 Jackie Lomax Apple single "Sour Milk Sea". Ringo Starr also contributed to the album, when his burgeoning film career allowed, and Jim Horn, another Bangladesh recruit, supplied horns and flutes. In addition, Badfinger's Pete Ham and Tom Evans are said to have augmented the basic line-up on 4 and 11 October, although their playing would not find its way onto the released album.
All the rhythm and lead guitar parts were performed by Harrison alone – the ex-Beatle stepping out from the "looming shadow" of Clapton for the first time, Simon Leng has noted. Most of the backing tracks were recorded with Harrison on acoustic guitar; only "Living in the Material World", "Who Can See It" and "That Is All" featured electric rhythm parts, those for the latter two songs adopting the same Leslie-toned sound found throughout the Beatles' Abbey Road (1969).
The sessions took place partly at Apple Studio in London, but mostly at Harrison's home studio, FPSHOT, according to Voormann.[nb 3] Apple Studio, together with its Savile Row, London W1 address, would receive a prominent credit on the Living in the Material World record sleeve, as a further sign of Harrison's championing of the Beatles-owned recording facility. At the weekends during these autumn months, Hopkins recorded his own solo album, The Tin Man Was a Dreamer, at Apple, with contributions from Harrison, Voormann and Horn.
The Material World sessions continued into December, at which point Hopkins left for Jamaica to work on the Rolling Stones' new album. That same month, Harrison revisited the song "Sue Me, Sue You Blues", originally given to Jesse Ed Davis in 1971, and he also co-produced a new live album for Shankar and Ali Akbar Khan, the highly regarded In Concert 1972. Harrison produced a preliminary session for his and Starr's co-written song "Photograph" sometime before Christmas.
Recording resumed in January, at Apple, at which point it was clear that an early 1973 release date was impossible. For the rest of January and through February, extensive overdubs were carried out – comprising vocals, percussion, Harrison's slide guitar parts and Horn's contributions. "Living in the Material World" received significant attention during this last phase of the album production, with sitar, flute and Zakir Hussein's tabla being added to fill the song's two "spiritual sky" sections. As revealed on the Living in the Alternate World bootleg, these sections had been left empty originally, awaiting the requisite musical colouring. Barham's orchestra and choir were the final items to be recorded, on "The Day the World Gets 'Round", "Who Can See It" and "That Is All", in early March. With production on the album completed, Harrison decamped to Los Angeles for Beatles-related business meetings and to begin work on Shankar and Starr's respective albums, Shankar Family & Friends and Ringo.
Due to the extended recording period, Living in the Material World was issued at the end of a busy Apple release schedule, with April and May 1973 having already been set aside for the Beatles compilations 1962–1966 and 1967–1970 and for Paul McCartney & Wings' second album, Red Rose Speedway. Nicholas Schaffner recorded in his book The Beatles Forever: "For a while there ... album charts were reminiscent of the golden age of Beatlemania." Preceding Harrison's long-awaited release was the radio-friendly acoustic single "Give Me Love (Give Me Peace on Earth)", his second number 1 hit in the United States. This was accompanied by a billboard and print advertising campaign, including a three-panel poster combining the album's front and back covers, and an Apple publicity photo showing Harrison, now free of the heavy beard familiar from the All Things Must Pass–Concert for Bangladesh era, with his hand outstretched, mirroring Tom Wilkes' album cover image.
Living in the Material World was issued on 30 May 1973 in America (with Apple catalogue number SMAS 3410) and on 22 June in Britain (as Apple PAS 10006). It enjoyed immediate commercial success, entering the Billboard 200 at number 11 and hitting number 1 in its second week, on 23 June, demoting Wings' album in the process. Material World spent five weeks atop the US charts, having been awarded a gold disc by the RIAA within two days of release, for advance orders. In the UK, the album peaked at number 2, held from the top position by the soundtrack to Starr's movie That'll Be the Day.
Despite such brisk initial sales, its follow-on success was disappointing, limited by what Leng terms the "anomalous" decision to cancel the release of a second US single, "Don't Let Me Wait Too Long". Nevertheless, with Living in the Material World, Harrison achieved the Billboard double for a second time when "Give Me Love" hit the top spot during the album's stay at number 1 – the only one of his former bandmates to have done it even once being McCartney, with the recent "My Love" and Red Rose Speedway. Another factor behind the album's comparatively early slide down the US and UK listings was Harrison's failure to carry out any supporting promotion; "pre-recorded tapes" were issued to BBC Radio 1 and played repeatedly on the show Radio One Club, but his only public appearance in Britain was to accompany Prabhupada on a religious procession through central London, on 8 July.
|Rolling Stone||(extremely favourable)|
Among the expectant music critics, Stephen Holden of Rolling Stone began his highly favourable album review with an enthusiastic "At last it's here". He hailed the new Harrison set as a "pop classic", a "profoundly seductive record", and well worth the two-and-a-half-year wait. "Happily, the album is not just a commercial event," he wrote, "it is the most concise, universally conceived work by a former Beatle since John Lennon/Plastic Ono Band."
Like Holden, Village Voice contributor Nicholas Schaffner approved of the singer's gesture in donating publishing royalties to the recently launched Material World Charitable Foundation and praised the album's "exquisite musical underpinnings". Even if the "transcendent dogma" was not always to his taste, Schaffner recognised that in Living in the Material World, Harrison had "devised a luxuriant rock devotional designed to transform his fans' stereo equipment into a temple". Billboard magazine noted the twin themes found throughout the album – "the Beatles and their mish-mash" versus a "spiritual undercoat" – and described Harrison's vocals as "first-rate".
Among those critics who did not agree with Holden's assessment that, of all the four Beatles, Harrison had inherited "the most precious" legacy – namely, "the spiritual aura that the group accumulated, beginning with the White Album" – the reaction was less euphoric than that afforded All Things Must Pass in 1970–71. Some, particularly in Britain, took exception to what they viewed as "preachy overtones", at best, or "a relentlously pious nature", as the more extreme detractors saw it. "So damn holy I could scream" was the conclusion of the NME's album reviewer. That publication's pairing of Roy Carr and Tony Tyler were equally dismissive two years later in The Beatles: An Illustrated Record, bemoaning Harrison's habit of "didactically imposing said Holy Memoirs upon innocent record-collectors" and declaring the album's spiritual theme "almost as offensive in its own way" as Lennon and Ono's Some Time in New York City (1972). Other writers similarly "turned up their noses", as if to prove a point Harrison had made in a Melody Maker interview some time before: "They feel threatened when you talk about something that isn't just 'be-bop-a-lula'. And if you say the words 'God'... or 'Lord', it makes some people's hair curl."
Aside from the album's lyrical themes, its production and musicianship were widely praised, Schaffner noting: "Surely Phil Spector never had a more attentive pupil." Carr and Tyler lauded Harrison's "superb and accomplished slide-guitar breaks", and the solos on "Give Me Love", "The Lord Loves the One", "The Light That Has Lighted the World" and "Living in the Material World" have each been identified as exemplary and among the finest of Harrison's career.
In the decades since its release, Living in the Material World has continued to divide album reviewers and music commentators. Writing in 2002, Greg Kot of Rolling Stone found the album "drearily monochromatic" compared to its predecessor, and to PopMatters' Zeth Lundy, it suffers from "a more anonymous tract" next to the "cathedral-grade significance" of All Things Must Pass. John Metzger of Music Box, refers to Harrison's Living in the Material World as "the most underrated and overlooked album of his career"; it "coalesces around its songs", Metzger writes, "and the Zen-like beauty that emanates from Harrison's hymns to a higher power inevitably becomes subtly affecting."
Among Harrison's biographers, the 1973 album is consistently viewed in a favourable light. Unimpressed with the "aimless jamming" and "looser abundance" of All Things Must Pass, Alan Clayson approves of Material World's "self-production criterion closer to the style of George Martin". Within the more restrained surroundings, Clayson continues, Harrison was able to lay a claim to the title "king of rock 'n' roll slide guitar" as well as display perhaps his "most magnificent [vocal] performance on record" on the Roy Orbison-style "Who Can See It". Robert Rodriguez also approves of a production aesthetic that frees Harrison's songs from the "tyranny" of Spector's Wall of Sound, allowing instruments to "sparkle" and "breathing space" for his melodies.
Another biographer, Gary Tillery, considers Material World a "fine companion piece" to the 1970 triple album. Simon Leng has named Living in the Material World as his personal favourite of all of Harrison's solo albums. In his musical biography While My Guitar Gently Weeps, Leng refers to the album as a "forgotten blockbuster" due to its standing having been somewhat lost amid rock-music revisionism since the early 1970s. To Leng, with its combination of a defiant "protest" song in "The Day the World Gets 'Round", the anti-stardom "The Lord Loves the One" and "perfect pop confections" in "Give Me Love" and "Don't Let Me Wait Too Long", Material World was the last album to capture the same clear-sighted, utopian spirit that characterised the 1960s.
On a solo set that he identifies as representing Harrison's guitar playing and songwriting "at something of a peak", Allmusic's Bruce Eder likewise welcomes Material World's bold idealism. "Even in the summer of 1973, after years of war and strife and disillusionment," Eder writes, "some of us were still sort of looking – to borrow a phrase from a Lennon–McCartney song – or hoping to get from them something like 'the word' that would make us free. And George, God love him, had the temerity to actually oblige ..."
As he had done with All Things Must Pass and The Concert for Bangladesh, Harrison entrusted the album's art design to Tom Wilkes, and the latter's partner, Craig Baun. The gatefold and lyric insert sleeves for Living in the Material World were much commented-on at the time of release, Stephen Holden describing the record as "beautifully-packaged with symbolic hand-print covers and the dedication, 'All Glories to Sri Krsna'", while Schaffner likewise admired the "color representations of the Hindu scriptures", in the form of a painting from a Prabhupada-published edition of the Bhagavad Gita. Reproduced on the lyric insert sheet (on the back of which was a red Om symbol with yellow surround, on a black background), this painting features Krishna with Arjuna, the legendary archer and warrior, in a chariot, being pulled by the enchanted seven-headed horse Uchchaihshravas.
For the album's striking front-cover image, Wilkes used a Kirlian photograph of Harrison's hand holding a Hindu medallion. The photo was taken at UCLA's parapsychology department, as was the shot used on the back cover, where Harrison instead holds three US coins: a couple of quarters and a silver dollar.
The gatefold's inner left panel, opposite the album's production credits, showed Harrison and his fellow musicians – Starr, Horn, Voormann, Hopkins, Keltner and Wright (in fact, entertainment lawyer Abe Somers, with Gary Wright's face superimposed later) – at a long table, laden with food and wine. A deliberate parody of da Vinci's The Last Supper, the picture was taken at Somers' mock-Tudor home by Hollywood glamour photographer Ken Marcus. As with the US coinage used on the back cover, various details in the photo represent what Harrison termed the "gross" aspects of life in the material world. Clayson has speculated about the symbolism and hidden messages within the photo: whether the nurse with a pram, set back from and to the left of the table, was a reference to Boyd's inability to conceive a child; and the empty, distant wheelchair in memory of Harrison's late mother. Theologian Dale Allison observes the anti-Catholic sentiment within this inner-gatefold photo, following on from Harrison's lyrics to his 1970 song "Awaiting on You All". Harrison is dressed as a priest, all in black, sporting an Old West six-shooter – "a slam at the perceived materialism and violence of the Roman church", Allison writes.
On the back cover, underneath the second hand-print design, text provides details of the fictitious Jim Keltner Fan Club, information on which was available by sending a "stamped undressed elephant" – for: self-addressed envelope – to a Los Angeles postal address. This detail was an affectionate thank-you to the popular drummer (Starr would repeat the gesture on his album later in the year), as well as a light-hearted dig – in its use of "wing" symbols, like those in Wings' logo – at Paul McCartney, who had recently launched a fan club for his new band.
While solo works by Lennon, McCartney and Starr had all been remastered as part of concentrated repackaging campaigns during the 1990s and early 21st century, Harrison's Living in the Material World was "neglected over the years", author Bruce Spizer has noted, an "unfortunate" situation considering the quality of its songs. On 26 September 2006, a year after the re-release of The Concert for Bangladesh, the album was reissued on CD, limited-edition LP and in a deluxe CD/DVD package by Capitol Records and EMI. The remastered Material World featured two additional tracks, neither of which had previously been available on an album: "Deep Blue" and "Miss O'Dell", popular B-sides, respectively, to the 1971 non-album single "Bangla Desh" and "Give Me Love (Give Me Peace on Earth)". The CD/DVD package contains a 40-page full colour booklet that includes extra photos from the inner-gatefold shoot (taken by Mal Evans and Barry Feinstein), liner notes by Kevin Howlett, and Harrison's handwritten lyrics and comments on the songs, reproduced from I, Me, Mine.
The DVD compiles rare performance footage of "Give Me Love" from Harrison's 1991 Japanese tour with Eric Clapton, behind-the-scenes film clips shot during the 1972–73 album sessions, and previously unreleased versions of "Miss O'Dell" and "Sue Me, Sue You Blues" set to archival film clips.
All songs written by George Harrison.
- "Give Me Love (Give Me Peace on Earth)" – 3:36
- "Sue Me, Sue You Blues" – 4:48
- "The Light That Has Lighted the World" – 3:31
- "Don't Let Me Wait Too Long" – 2:57
- "Who Can See It" – 3:52
- "Living in the Material World" – 5:31
- "The Lord Loves the One (That Loves the Lord)" – 4:34
- "Be Here Now" – 4:09
- "Try Some, Buy Some" – 4:08
- "The Day the World Gets 'Round" – 2:53
- "That Is All" – 3:43
- "Give Me Love (Give Me Peace on Earth)" (recorded live at Tokyo Dome on 15 December 1991)
- PCM Stereo
- Dolby Digital 5.1
- DTS 5.1
- "Miss O'Dell" (alternative version)
- "Sue Me, Sue You Blues" (acoustic demo version)
- "Living in the Material World"
- George Harrison – vocals, electric and acoustic guitars, dobro, sitar, backing vocals; harmonica (2006 reissue only)
- Nicky Hopkins – piano, electric piano
- Gary Wright – organ, harmonium, electric piano, harpsichord
- Klaus Voormann – bass, standup bass, tenor saxophone
- Jim Keltner – drums, percussion
- Ringo Starr – drums, percussion
- Jim Horn – saxophones, flute, horn arrangement
- Zakir Hussain – tabla
- John Barham – orchestral and choral arrangements
- Leon Russell – piano (on "Try Some, Buy Some")
- Jim Gordon – drums, tambourine (on "Try Some, Buy Some")
- Pete Ham – acoustic guitar (on "Try Some, Buy Some")
Chart positions (reissue)
- Harrison himself gave 1972 as the year he started writing "So Sad", a track dealing with the end of their relationship, later released on his Dark Horse album.
- Spector would receive a credit for "Try Some, Buy Some", however, recorded in early 1971 as part of Ronnie Spector's intended solo album.
- The German bassist vividly recalls recording his part for "Be Here Now" in a toilet there, and footage included in Martin Scorsese's 2011 Harrison documentary shows the musicians playing at Friar Park.
- Stephen Holden, "George Harrison, Living in the Material World" album review, Rolling Stone, 19 July 1973 (retrieved 31 March 2012).
- Spizer, p. 254.
- Tillery, p. 112.
- Leng, pp. 124, 140.
- Schaffner, pp. 147, 159.
- Leng, p. 121.
- Tillery, p. 100.
- George Harrison, p. 220.
- The Editors of Rolling Stone, p. 43.
- Badman, p. 79.
- George Harrison, pp. 60–61.
- Leng, p. 123.
- Badman, pp. 54–56.
- Leng, pp. 110–11.
- Andrew Tyler, "Nicky Hopkins", Disc and Music Echo, 4 December 1971; available at Rock's Back Pages (subscription required; retrieved 30 August 2012).
- Leng, pp. 123–24.
- Leng, p. 124.
- Clayson, p. 248.
- Greene, p. 194.
- George Harrison, pp. 246, 254, 258.
- Tillery, pp. 111–12.
- "Meditation: Chant and Be Happy − The Power of Mantra Meditation by His Divine Grace A.C. Bhaktivedanta Swami Prabhupada". Harekrishna.com (retrieved 19 September 2011).
- George Harrison, pp. 226, 248.
- Anthony DeCurtis, "Album Review: George Harrison All Things Must Pass", Rolling Stone, 12 October 2000 (retrieved 7 May 2013).
- Leng, p. 137.
- Huntley, pp. 91–92.
- George Harrison, p. 240.
- Leng, p. 138.
- O'Dell, p. 188.
- Clayson, p. 330.
- Clayson, pp. 293, 325.
- Badman, pp. 67–68.
- Tillery, pp 118–19.
- Clayson, p. 320.
- Clayson, p. 322.
- MacDonald, p. 326.
- Leng, pp. 126–28, 129–30, 131, 133.
- Leng, p. 129.
- Leng, p. 131.
- Harrison, p. 254.
- Inglis, pp 39–40.
- Schaffner, p. 142.
- Kevin Howlett, booklet accompanying Living in the Material World reissue (EMI Records, 2006; produced by Dhani & Olivia Harrison).
- The Editors of Rolling Stone, p. 180.
- Badman, p. 83.
- Badman, p. 25.
- Schaffner, p. 159.
- Clayson, p. 323.
- Leng, p. 125.
- Lavezzoli, p. 200.
- Madinger & Easter, p. 439.
- Rodriguez, p. 260.
- Bruce Eder, "George Harrison Living in the Material World", Allmusic (retrieved 19 April 2012).
- Leng, p. 132.
- MacDonald, p. 321.
- Leng, p. 126.
- Leng, p. 133.
- George Harrison: Living in the Material World DVD, 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).
- Badman, p. 50.
- Baron Wolman, Rocks Off: The Nicky Hopkins Website (retrieved 13 February 2012).
- Castleman & Podrazik, p. 207.
- Wyman, p. 415.
- Badman, p. 84.
- Ken Hunt, "Review: Ravi Shankar Ali Akbar Khan, In Concert 1972", Gramophone, June 1997, p. 116.
- Rodriguez, p. 35.
- Badman, p. 89.
- Leng, p. 130.
- Leng, pp. 129, 134–35.
- Badman, p. 91.
- Madinger & Easter, p. 440.
- Badman, pp. 94–95, 98.
- Schaffner, p. 158.
- Spizer, p. 249.
- George Harrison, plate XXXIII, p. 389.
- Olivia Harrison, pp. 308–09.
- Spizer, pp. 255–56.
- Carr & Tyler, p. 106.
- Castleman & Podrazik, p. 125.
- Castleman & Podrazik, p. 364.
- Castleman & Podrazik, pp. 332, 364.
- Badman, p. 103.
- "Search: 07/07/1973" > Albums, Official Charts Company (retrieved 28 October 2013).
- Leng, p. 128.
- Castleman & Podrazik, pp. 353–54, 364.
- Badman, pp. 102, 104.
- Harry, pp. 235, 291.
- "Top Album Picks: Pop", Billboard, 9 June 1973, p. 54 (retrieved 28 November 2012).
- Blender album review: "George Harrison Living in the Material World (reissue)", Blender, November 2006 (issue 54).
- Robert Christgau, "George Harrison > Consumer Guide Reviews". Robert Christgau (retrieved 30 April 2007).
- John Metzger, "George Harrison Living in the Material World album review", Music Box, vol. 13 (11), November 2006 (retrieved 28 October 2013).
- Graff & Durcholz, p. 529.
- Zeth Lundy, "George Harrison: Living in the Material World". PopMatters, 8 November 2006 (retrieved 27 June 2012).
- Schaffner, pp. 159, 160.
- Billboard album review: George Harrison Living in the Material World, Billboard, 9 June 1973; quoted in The Super Seventies "Classic 500", George Harrison – Living in the Material World (retrieved 9 July 2012).
- The Editors of Rolling Stone, p. 44.
- Clayson, p. 324.
- Carr & Tyler, p. 107.
- Leng, p. 140.
- Schaffner, p. 160.
- Clayson, pp. 323–24.
- Huntley, pp. 90–91.
- The Editors of Rolling Stone, p. 188.
- Clayson, pp. 302, 323.
- Rodriguez, p. 156.
- Rip Rense, "The Rip Post Interview with Simon Leng", The Rip Post, 2006 (archived version retrieved 26 October 2013).
- Leng, pp. 126, 129, 131–32, 141.
- Spizer, p. 256.
- Pierre Perrone, "Tom Wilkes: Graphic designer responsible for many celebrated album covers", The Independent online, 15 July 2009 (retrieved 31 March 2012).
- Booklet accompanying Living in the Material World reissue (EMI Records, 2006; produced by Dhani & Olivia Harrison).
- Lavezzoli, p. 194.
- Graham Calkin's Beatles Pages, "Living in the Material World", 2006 (retrieved 22 May 2012).
- Allison, p. 42.
- George Harrison, p. 258.
- "Billboard Bits: George Harrison, Family Values, Antony", Billboard.com, 21 June 2006 (link) (retrieved 27 June 2012).
- David Kent, Australian Chart Book 1970–1992, Australian Chart Book (St Ives, NSW, 1993 . ISBN 0-646-11917-6. Missing or empty
- Billboard – 18 August 1973. Billboard.com (retrieved 12 February 2012).
- Library and Archives Canada. (retrieved 11 February 2012).
- "George Harrison – Living in the Material World" (ASP) (in Dutch). MegaCharts/dutchcharts.nl (retrieved 11 February 2012).
- InfoDisc: Tous les Albums classés par Artiste > Choisir un Artiste dans la Liste (in French), infodisc.fr (retrieved 13 February 2013).
- "Hit Parade Italia – Gli album più venduti del 1973" (in Italian). hitparadeitalia.it (retrieved 11 February 2012).
- a-ビートルズ "Yamachan Land (Archives of the Japanese record charts) > Albums Chart Daijiten > The Beatles" (in Japanese). 30 December 2007 (retrieved 11 February 2012).
- "George Harrison – Living in the Material World" (ASP). norwegiancharts.com (retrieved 11 February 2012).
- Billboard – 24 November 1973. (retrieved 12 February 2012).
- Swedish Charts 1972–1975/Kvällstoppen – Listresultaten vecka för vecka > Juli 1973 > 17 & 24 Juli (in Swedish), hitsallertijden.nl (retrieved 13 February 2013).
- "Artist: George Harrison" > Albums, Official Charts Company (retrieved 28 October 2013).
- George Harrison > Living in the Material World > Charts & Awards > Billboard Albums Allmusic (retrieved 12 September 2011).
- Album – George Harrison, Living in the Material World, Media Control/charts.de (retrieved 3 January 2013).
- ジョージ・ハリスン-リリース-ORICON STYLE-ミュージック "Highest position and charting weeks of Living in the Material World (reissue) by George Harrison". oricon.co.jp (in Japanese). Oricon Style (retrieved 11 February 2012).
- "Catalog Albums – Billboard.com". Billboard.com (retrieved 11 February 2012).
- "Les Albums (CD) de 1973 par InfoDisc" (PHP) (in French). infodisc.fr (retrieved 11 February 2012).
- "Top Pop Albums of 1973". billboard.biz (retrieved 11 February 2012).
- "American album certifications – George Harrison – Living in the Material World". Recording Industry Association of America. Retrieved 11 February 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
- Dale C. Allison Jr., The Love There That's Sleeping: The Art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ISBN 978-0-8264-1917-0).
- Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ISBN 0-7119-8307-0).
- Roy Carr & Tony Tyler, The Beatles: An Illustrated Record, Trewin Copplestone Publishing (London, 1978; ISBN 0-450-04170-0).
- Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
- Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-3).
- The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
- Gary Graff & Daniel Durcholz (eds), MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999; ISBN 1-57859-061-2).
- Joshua M. Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN 978-0-470-12780-3).
- George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; ISBN 0-8118-3793-9).
- Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ISBN 978-1-4197-0220-4).
- Bill Harry, The George Harrison Encyclopedia, Virgin Books (London, 2003; ISBN 978-0-7535-0822-0).
- Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
- Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3).
- Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ISBN 0-8264-2819-3).
- Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5).
- Ian MacDonald, Revolution in the Head: The Beatles' Records and the Sixties, Pimlico (London, 1998; ISBN 0-7126-6697-4).
- Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
- Chris O'Dell with Katherine Ketcham, Miss O'Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved, Touchstone (New York, NY, 2009; ISBN 978-1-4165-9093-4).
- Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years 1970–1980, Hal Leonard (Milwaukee, WI, 2010; ISBN 978-0-87930-968-8).
- Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
- Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
- Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-5).
- Bill Wyman, Rolling with the Stones, Dorling Kindersley (London, 2002; ISBN 0-7513-4646-2).
The Dark Side of the Moon
by Pink Floyd
|Canadian RPM Top 100 number-one album
23 June – 28 July 1973
The Dark Side of the Moon
by Pink Floyd
Red Rose Speedway
by Paul McCartney & Wings
|Billboard 200 number-one album
23 June – 27 July 1973
Chicago VI by Chicago