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{{Use dmy dates|date=June 2013}}
{{Use dmy dates|date=June 2013}}
{{Infobox song <!-- See Wikipedia:WikiProject_Songs -->
{{Infobox song <!-- See Wikipedia:WikiProject_Songs -->
| Name = The Day the World Gets 'Round
| Name =The Day the World Gets 'Round
| Cover = [[File:Living in the Material World LP side two US face label.jpg|195px]]
| Cover =[[File:Living in the Material World LP side two US face label.jpg|195px]]
| Caption = 1973 side two album face label
| Caption =1973 side two album face label
| Artist = [[George Harrison]]
| Artist =[[George Harrison]]
| Album = [[Living in the Material World]]
| Album =[[Living in the Material World]]
| Published = Material World Charitable Foundation (administered by [[Harrisongs|Harrisongs Ltd]])
| Published =Material World Charitable Foundation (administered by [[Harrisongs|Harrisongs Ltd]])
| Released = 30 May 1973 (US)<br>22 June 1973 (UK)
| Released =30 May 1973 (US)<br>22 June 1973 (UK)
| track_no = 10
| track_no =10
| Recorded =
| Recorded =
| Genre = [[Rock music|Rock]]
| Genre =[[Rock music|Rock]]
| Length = 2:53
| Length =2:53
| Writer = [[George Harrison]]
| Writer =[[George Harrison]]
| Label = [[Apple Records|Apple]]
| Label =[[Apple Records|Apple]]
| Producer = George Harrison
| Producer =George Harrison
| Tracks = {{Living in the Material World tracks}}
| Tracks ={{Living in the Material World tracks}}
}}
}}


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By early October 1971, [[bootleg recording]]s of the concerts were widely available in New York,<ref name="Badman p 50">Badman, p. 50.</ref> potentially denying funds to the starving, disease-afflicted refugees.<ref name="Doggett p 181" /> On 23 November, Harrison's exasperation with the situation saw him raging against Capitol president [[Bhaskar Menon]] during a late-night television interview with [[Dick Cavett]], and threatening to take the live album to a rival label.<ref>Badman, pp 55, 58.</ref><ref>[http://beatlechat.blogspot.com.au/2012/05/bip-bop-baby.html "Big Bop Baby"], Contra Band Music, 4 May 2012 (retrieved 17 March 2013).</ref> Rather than risk facing further negative publicity, Menon backed down,<ref name="Leng p 121" /> ceding much of the album's distribution rights to [[Columbia Records|Columbia/CBS]], whose contracted artist [[Bob Dylan]] had made a much-lauded comeback at the Concert for Bangladesh.<ref name="Spizer pp 241-42">Spizer, pp 241–42.</ref>
By early October 1971, [[bootleg recording]]s of the concerts were widely available in New York,<ref name="Badman p 50">Badman, p. 50.</ref> potentially denying funds to the starving, disease-afflicted refugees.<ref name="Doggett p 181" /> On 23 November, Harrison's exasperation with the situation saw him raging against Capitol president [[Bhaskar Menon]] during a late-night television interview with [[Dick Cavett]], and threatening to take the live album to a rival label.<ref>Badman, pp 55, 58.</ref><ref>[http://beatlechat.blogspot.com.au/2012/05/bip-bop-baby.html "Big Bop Baby"], Contra Band Music, 4 May 2012 (retrieved 17 March 2013).</ref> Rather than risk facing further negative publicity, Menon backed down,<ref name="Leng p 121" /> ceding much of the album's distribution rights to [[Columbia Records|Columbia/CBS]], whose contracted artist [[Bob Dylan]] had made a much-lauded comeback at the Concert for Bangladesh.<ref name="Spizer pp 241-42">Spizer, pp 241–42.</ref>


Further delaying the album's release until well into December 1971, wholesalers were dissatisfied with Apple's financial terms,<ref name="Doggett p 181">Doggett, p. 181.</ref> since these terms ensured that while the maximum amount of revenue would be raised for the cause, wholesalers and retailers could make little if any money on each copy shipped.<ref name="Spizer pp 241-42" /> Ignoring the spirit behind the release, some US retailers "engaged in shameless price gouging", author Peter Lavezzoli writes.<ref name="Lavezzoli p 193" />
Further delaying the album's release until well into December 1971, wholesalers were dissatisfied with Apple's financial terms,<ref name="Doggett p 181">Doggett, p. 181.</ref> since these terms ensured that while the maximum amount of revenue would be raised for the cause, wholesalers and retailers could make little if any money on each copy shipped.<ref name="Spizer pp 241-42" /><nowiki> Ignoring the spirit behind the release, some US retailers "engaged in shameless [[price gouging]]", author Peter Lavezzoli writes.</nowiki><ref name="Lavezzoli p 193" />


===Legal and taxation issues===
===Legal and taxation issues===
Of greater detriment to the project in the long term, business manager [[Allen Klein]] had neglected to register the concerts as [[UNICEF]] fundraising benefits before they had taken place.<ref name="IMM p 61">George Harrison, p. 61.</ref><ref name="Lavezzoli p 193">Lavezzoli, p. 193.</ref> As a result, the American and British tax departments were demanding a share of the proceeds from the live album and [[Saul Swimmer]]'s [[The Concert for Bangladesh (film)|concert film]],<ref name="Eds of RS p 43" /> despite Harrison's appeals that both governments make an exception in the case of this humanitarian disaster.<ref name="Badman p 50" /><ref name="Clayson pp 315-16">Clayson, pp 315–16.</ref> Until India's [[Indo-Pakistani War of 1971|defeat of the Pakistani army]] on 16 December, America continued to supply arms to the Bangladeshis' military oppressors<ref>Lavezzoli, pp 189, 194.</ref> – the [[Yahya Khan|General Yahya Khan]]-led "Pakistani [[Hitler]]s", as Harrison termed them.<ref name="IMM p 61" />
Of greater detriment to the project in the long term, business manager [[Allen Klein]] had neglected to register the concerts as [[UNICEF]] fundraising benefits before they had taken place.<ref name="IMM p 61">George Harrison, p. 61.</ref><ref name="Lavezzoli p 193">Lavezzoli, p. 193.</ref> As a result, the American and British tax departments were demanding a share of the proceeds from the live album and [[Saul Swimmer]]'s [[The Concert for Bangladesh (film)|concert film]],<ref name="Eds of RS p 43" /> despite Harrison's appeals that both governments make an exception in the case of this humanitarian disaster.<ref name="Badman p 50" /><ref name="Clayson pp 315-16">Clayson, pp 315–16.</ref> Until India's [[Indo-Pakistani War of 1971|defeat of the Pakistani army]] on 16 December, America continued to supply arms to the Bangladeshis' military oppressors<ref>Lavezzoli, pp 189, 194.</ref> – the [[Yahya Khan|General Yahya Khan]]-led "Pakistani [[Hitler]]s", as Harrison termed them.<ref name="IMM p 61" />


Adding to Harrison's dismay, in February 1972,<ref>Badman, p. 67.</ref> ''[[New York (magazine)|New York]]'' magazine accused Klein's company, [[ABKCO]], of withholding part of the proceeds intended for Bangladesh.<ref name="Woffinden p 51">Woffinden, p. 51.</ref> The public remained supportive of Harrison, the [[A.J. Weberman]]-led Rock Liberation Front staging demonstrations outside both Capitol Records' and ABKCO's offices during this time.<ref name="Doggett p 188">Doggett, p. 188.</ref> In reply to a New Yorker's offer to start a petition to urge the [[United States Department of the Treasury|US Treasury]] to scrap its tax on the ''Concert for Bangladesh'' album, Harrison wrote: "Until the [politicians] become human, we must do our service to others without their help."<ref>Clayson, pp 316, 479.</ref>{{refn|group=nb|According to author Alan Clayson, "George – as the representative of common folk – contemplated riding roughshod over official interference by travelling personally to India", in order to ensure that the funds were dispersed correctly.<ref name="Clayson p 317" />}}
Adding to Harrison's dismay, in February 1972,<ref>Badman, p. 67.</ref> ''[[New York (magazine)|New York]]'' magazine accused Klein's company, [[ABKCO]], of withholding part of the proceeds intended for Bangladesh.<ref name="Woffinden p 51">Woffinden, p. 51.</ref> The public remained supportive of Harrison, the [[A.J. Weberman]]-led Rock Liberation Front staging demonstrations outside both Capitol Records' and ABKCO's offices during this time.<ref name="Doggett p 188">Doggett, p. 188.</ref> In reply to a New Yorker's offer to start a petition to urge the [[United States Department of the Treasury|US Treasury]] to scrap its tax on the ''Concert for Bangladesh'' album, Harrison wrote: "Until the [politicians] become human, we must do our service to others without their help."<ref>Clayson, pp 316, 479.</ref><ref group="nb">According to author Alan Clayson, "George – as the representative of common folk – contemplated riding roughshod over official interference by travelling personally to India", in order to ensure that the funds were dispersed correctly.<ref name="Clayson p 317" /></ref>


Harrison had lamented to a ''[[Melody Maker]]'' journalist in July 1971 that "the law and tax people make it not worthwhile doing anything decent".<ref name="Clayson pp 315-16" /> While ''[[Rolling Stone]]'' and other countercultural publications enthused about how the Bangladesh concerts proved that "the [[Utopia]]n spirit of the Sixties was still flickering", in the words of author [[Nicholas Schaffner]],<ref>Schaffner, p. 148.</ref> Harrison found himself addressing, in "The Day the World Gets 'Round", the corporate greed and governmental apathy he had encountered.<ref name="Leng p 135">Leng, p. 135.</ref><ref>Rodriguez, pp 51, 154.</ref> In line with his support for Planet Earth passports, as proposed by [[Swami Vishnudevananda]] – whereby "[one truth] underlies all nations, all cultures, all colours, all races, all religions"<ref>Olivia Harrison, pp 296–97.</ref> – Harrison believed that the solution to humanitarian disasters lay as much with wealthy Western nations as it did with the [[Third World|third-world]] countries where the civil wars and famines routinely occurred.<ref name="Leng p 135" /><ref name="Rodriguez p 154" /> "If everyone would wake-up and do even a little," he states in ''I, Me, Mine'', "there could be no misery in the world."<ref name="IMM p 226" />
Harrison had lamented to a ''[[Melody Maker]]'' journalist in July 1971 that "the law and tax people make it not worthwhile doing anything decent".<ref name="Clayson pp 315-16" /> While ''[[Rolling Stone]]'' and other countercultural publications enthused about how the Bangladesh concerts proved that "the [[Utopia]]n spirit of the Sixties was still flickering", in the words of author [[Nicholas Schaffner]],<ref>Schaffner, p. 148.</ref> Harrison found himself addressing, in "The Day the World Gets 'Round", the corporate greed and governmental apathy he had encountered.<ref name="Leng p 135">Leng, p. 135.</ref><ref>Rodriguez, pp 51, 154.</ref> In line with his support for Planet Earth passports, as proposed by [[Swami Vishnudevananda]] – whereby "[one truth] underlies all nations, all cultures, all colours, all races, all religions"<ref>Olivia Harrison, pp 296–97.</ref> – Harrison believed that the solution to humanitarian disasters lay as much with wealthy Western nations as it did with the [[Third World|third-world]] countries where the civil wars and famines routinely occurred.<ref name="Leng p 135" /><ref name="Rodriguez p 154" /> "If everyone would wake-up and do even a little," he states in ''I, Me, Mine'', "there could be no misery in the world."<ref name="IMM p 226" />


==Composition==
==Composition==
{{quote box|quote= Let's face it, the whole problem and how to solve it lies within the power of the governments and world leaders. They have resources, food, money and wealth enough for twice our world's population, yet they choose to squander it on weapons and other objects that destroy mankind. It seems to me to be a poor state of affairs when "pop stars" are required to set an example ...<ref name="IMM p 226" />|source= – George Harrison, 1979|width=20%|align=right|style=padding:8px;}}
{{quote box|quote=Let's face it, the whole problem and how to solve it lies within the power of the governments and world leaders. They have resources, food, money and wealth enough for twice our world's population, yet they choose to squander it on weapons and other objects that destroy mankind. It seems to me to be a poor state of affairs when "pop stars" are required to set an example ...<ref name="IMM p 226" />|source=– George Harrison, 1979|width=20%|align=right|style=padding:8px;}}
Author Robert Rodriguez describes "The Day the World Gets 'Round" as both "an expression of gratitude to all the good hearts that had contributed to the success [of the Bangladesh benefits]", and "a stinging indictment of those who possessed the power to make things better (i.e., governments), but instead ... turned their backs when it suited their ends to do so".<ref name="Rodriguez p 154">Rodriguez, p. 154.</ref> Harrison musical biographer Simon Leng notes also Harrison's dismay at how the [[Counterculture of the 1960s|1960s countercultural revolution]] had failed to influence the motivations of the music business – to the extent that the altruism behind the Concert for Bangladesh "was almost torpedoed by boardroom balance sheets".<ref>Leng, pp 121, 134–35.</ref>
Author Robert Rodriguez describes "The Day the World Gets 'Round" as both "an expression of gratitude to all the good hearts that had contributed to the success [of the Bangladesh benefits]", and "a stinging indictment of those who possessed the power to make things better (i.e., governments), but instead ... turned their backs when it suited their ends to do so".<ref name="Rodriguez p 154">Rodriguez, p. 154.</ref> Harrison musical biographer Simon Leng notes also Harrison's dismay at how the [[Counterculture of the 1960s|1960s countercultural revolution]] had failed to influence the motivations of the music business – to the extent that the altruism behind the Concert for Bangladesh "was almost torpedoed by boardroom balance sheets".<ref>Leng, pp 121, 134–35.</ref>


Line 72: Line 72:


==Material World Charitable Foundation==
==Material World Charitable Foundation==
{{quote box|quote= As soon as we can all have Planet Earth passports I'll be grateful, because I'm tired of being British or being white, or being a Christian or a Hindu. I don't have a philosophy, I just believe in the sap that runs throughout.<ref>Olivia Harrison, p. 297.</ref>|source= – Harrison's vision for a global community free of national and racial boundaries, UNICEF press conference, 1974|width=20%|align=right|style=padding:8px;}}
{{quote box|quote=As soon as we can all have Planet Earth passports I'll be grateful, because I'm tired of being British or being white, or being a Christian or a Hindu. I don't have a philosophy, I just believe in the sap that runs throughout.<ref>Olivia Harrison, p. 297.</ref>|source=– Harrison's vision for a global community free of national and racial boundaries, UNICEF press conference, 1974|width=20%|align=right|style=padding:8px;}}
On 26 April 1973, Harrison set up the Material World Charitable Foundation,<ref>Badman, p. 98.</ref> to which he donated the publishing royalties from "The Day the World Gets 'Round" and eight other songs on ''Living in the Material World''.<ref>Schaffner, p. 160.</ref><ref>Tillery, p. 162.</ref>{{refn|group=nb|The remaining songs on the album, "[[Sue Me, Sue You Blues]]" and "[[Try Some, Buy Some]]", had been given to other artists before Harrison came to record his own versions.<ref>Spizer, pp 254, 255.</ref> Publishing for these two compositions was already registered with Harrison's company [[Harrisongs]],<ref>George Harrison, p. 386.</ref> which served as administrator for the royalties from the nine songs assigned to the Material World Charitable Foundation.<ref>Booklet accompanying [[Living in the Material World#Reissue|''Living in the Material World'' reissue]] (EMI Records, 2006; produced by Dhani Harrison & Olivia Harrison).</ref>}} Part of the foundation's mission was to "encourage the exploration of alternative life views and philosophies" and "[support] established charitable organizations with consideration to those with special needs"<ref>Booklet accompanying ''Ravi Shankar–George Harrison Collaborations'' box set (Dark Horse Records, 2010; produced by Olivia Harrison), p. 32.</ref> – so allowing Harrison to donate money without encountering the problems that had hampered the Bangladesh aid project.<ref name="Gross/CircusRaves">Michael Gross, "George Harrison: How ''Dark Horse'' Whipped Up a Winning Tour", ''[[Circus (magazine)|Circus Raves]]'', March 1975; available at [http://www.rocksbackpages.com/article.html?ArticleID=20410 Rock's Back Pages] (''subscription required''; retrieved 5 June 2013).</ref><ref>Huntley, pp 89–90.</ref> In his 2009 book ''You Never Give Me Your Money'', Doggett writes that the foundation "continues to fund worthy causes to this day".<ref>Doggett, p. 207.</ref>{{refn|group=nb|Proceeds from the 2002 [[Concert for George]], held at London's [[Royal Albert Hall]] to commemorate Harrison on the one-year anniversary of his death, also went to the foundation for dispersal to appropriate charities.<ref>Booklet accompanying ''[[Concert for George (film)|Concert for George]]'' DVD, 2003 (directed by David Leland; produced by Ray Cooper, Olivia Harrison & Jon Kamen).</ref> In another example of Harrison's humanitarian legacy, the George Harrison Fund for UNICEF, set up in 2005 with the reissue of the ''Concert for Bangladesh'' album and film,<ref>''The Concert for Bangladesh Revisited''.</ref> raised over $1.2 million in 2011 for children in [[2011 East Africa drought|famine- and drought-stricken areas]] of the [[Horn of Africa]].<ref>[http://www.theconcertforbangladesh.com/news/post.php?s=2011-12-19-unicefs-month-of-giving-raises-more-than-usd-1-million "UNICEF's Month of Giving raises more than USD $1 million"], concertforbangladesh.com, 19 December 2011 (retrieved 5 June 2013).</ref>}}
On 26 April 1973, Harrison set up the Material World Charitable Foundation,<ref>Badman, p. 98.</ref> to which he donated the publishing royalties from "The Day the World Gets 'Round" and eight other songs on ''Living in the Material World''.<ref>Schaffner, p. 160.</ref><ref>Tillery, p. 162.</ref><ref group="nb">The remaining songs on the album, "[[Sue Me, Sue You Blues]]" and "[[Try Some, Buy Some]]", had been given to other artists before Harrison came to record his own versions.<ref>Spizer, pp 254, 255.</ref></ref> Part of the foundation's mission was to "encourage the exploration of alternative life views and philosophies" and "[support] established charitable organizations with consideration to those with special needs"<ref>Booklet accompanying ''Ravi Shankar–George Harrison Collaborations'' box set (Dark Horse Records, 2010; produced by Olivia Harrison), p. 32.</ref> – so allowing Harrison to donate money without encountering the problems that had hampered the Bangladesh aid project.<ref name="Gross/CircusRaves">Michael Gross, "George Harrison: How ''Dark Horse'' Whipped Up a Winning Tour", ''[[Circus (magazine)|Circus Raves]]'', March 1975; available at [http://www.rocksbackpages.com/article.html?ArticleID=20410 Rock's Back Pages] (''subscription required''; retrieved 5 June 2013).</ref><ref>Huntley, pp 89–90.</ref> In his 2009 book ''You Never Give Me Your Money'', Doggett writes that the foundation "continues to fund worthy causes to this day".<ref>Doggett, p. 207.</ref><ref group="nb">Proceeds from the 2002 [[Concert for George]], held at London's [[Royal Albert Hall]] to commemorate Harrison on the one-year anniversary of his death, also went to the foundation for dispersal to appropriate charities.<ref>Booklet accompanying ''[[Concert for George (film)|Concert for George]]'' DVD, 2003 (directed by David Leland; produced by Ray Cooper, Olivia Harrison & Jon Kamen).</ref></ref>


The first event sponsored by the Material World Charitable Foundation was [[Ravi Shankar's Music Festival from India]],<ref>[http://www.georgeharrison.com/mwf/main.html "Material World Charitable Foundation" > About], georgeharrison.com (retrieved 2 June 2013).</ref> in September–October 1974.<ref>Madinger & Easter, p. 442.</ref> Following these European concerts, Harrison and Shankar co-headlined a 45-date North American tour,<ref>Madinger & Easter, pp 442, 446.</ref> many shows of which were benefits for charitable causes<ref>Schaffner, p. 176.</ref> such as community hospital programs and a disaster fund for victims of the 1973 [[Famines in Ethiopia|Ethiopian famine]].<ref>Clayson, p. 334.</ref><ref>Steven Rosen, [http://www.rocksbackpages.com/Library/Article/george-harrison "George Harrison"], Rock's Back Pages, 2008 (''subscription required''; retrieved 10 June 2013).</ref> During the tour's stopover in [[Washington, D.C.|Washington, DC]], on 13 December, Harrison visited the [[White House]] and asked [[Gerald Ford|US President Gerald Ford]] to intercede in the ongoing [[Inland Revenue Service|IRS]] audit that was still holding the Bangladesh fund's US proceeds in [[escrow]].<ref>Lavezzoli, p. 196.</ref>{{refn|group=nb|The British Government, whose [[HM Treasury|Treasury]] representative had insisted in 1971 that Britain needed the tax revenue as much as Bangladesh,<ref name="Badman p 50" /><ref name="Doggett p 181" /> received a personal cheque from Harrison for £1 million in July 1973.<ref>Tillery, pp 100, 162.</ref> With this payment, the issue of UK tax liability was "considered closed", according to Rodriguez.<ref>Rodriguez, p. 51.</ref>}}
The first event sponsored by the Material World Charitable Foundation was [[Ravi Shankar's Music Festival from India]],<ref>[http://www.georgeharrison.com/mwf/main.html "Material World Charitable Foundation" > About], georgeharrison.com (retrieved 2 June 2013).</ref> in September–October 1974.<ref>Madinger & Easter, p. 442.</ref> Following these European concerts, Harrison and Shankar co-headlined a 45-date North American tour,<ref>Madinger & Easter, pp 442, 446.</ref> many shows of which were benefits for charitable causes<ref>Schaffner, p. 176.</ref> such as community hospital programs and a disaster fund for victims of the 1973 [[Famines in Ethiopia|Ethiopian famine]].<ref>Clayson, p. 334.</ref><ref>Steven Rosen, [http://www.rocksbackpages.com/Library/Article/george-harrison "George Harrison"], Rock's Back Pages, 2008 (''subscription required''; retrieved 10 June 2013).</ref> During the tour's stopover in [[Washington, D.C.|Washington, DC]], on 13 December, Harrison visited the [[White House]] and asked [[Gerald Ford|US President Gerald Ford]] to intercede in the ongoing [[Inland Revenue Service|IRS]] audit that was still holding the Bangladesh fund's US proceeds in [[escrow]].<ref>Lavezzoli, p. 196.</ref><ref group="nb">The British Government, whose [[HM Treasury|Treasury]] representative had insisted in 1971 that Britain needed the tax revenue as much as Bangladesh,<ref name="Badman p 50" /><ref name="Doggett p 181" /> received a personal cheque from Harrison for £1 million in July 1973.<ref>Tillery, pp 100, 162.</ref></ref>


==Release and reception==
==Release and reception==

Revision as of 02:46, 15 June 2013

"The Day the World Gets 'Round"
Song

"The Day the World Gets 'Round" is a song by English musician George Harrison, released on his 1973 album Living in the Material World. Harrison was inspired to write the song following the successful Concert for Bangladesh shows, which were held in New York on 1 August 1971 to raise awareness of the disasters occurring in the country formerly known as East Pakistan. The lyrics reflect his disappointment that such a humanitarian aid project was necessary, given the abundance of resources available across the planet, and his belief that if all individuals were more spiritually aware, there would be no suffering in the world. Adding to Harrison's frustrations while writing the song, the aid project became embroiled in financial problems, as commercial concerns and government tax departments failed to embrace the goodwill inherent in the venture.

After being sidetracked by these issues for over a year, Harrison recorded "The Day the World Gets 'Round" between October 1972 and March 1973. The recording features an orchestral arrangement by John Barham and a similarly well-regarded vocal performance from Harrison, as well as musical contributions from Nicky Hopkins, Klaus Voormann, Ringo Starr and Jim Keltner. Reviewers have described the composition variously as a protest song, a devotional prayer and a naive statement. As with all the new songs released on Living in the Material World, Harrison donated his publishing royalties from the track to the Material World Charitable Foundation, an organisation he set up to avoid the business and tax issues that had hindered his Bangladesh relief effort. The song typifies Harrison's ideal for a world unencumbered by national, religious or cultural delineation. In 2009, Voormann and Yusuf Islam covered "The Day the World Gets 'Round" and released it as a single to benefit children in war-torn Gaza.

Background

In his 1980 autobiography, I, Me, Mine, George Harrison describes the period following the two Concert for Bangladesh shows as a "very emotional" one.[1] The concerts took place at Madison Square Garden, New York, on 1 August 1971, as the first part of his fundraising program for the 8–10 million refugees of the Bangladesh Liberation War.[2] The generosity of those who had helped make the event such a success, together with the response it engendered from the general public,[3] encouraged Harrison to feel "very positive about certain things".[1] At the same time, the fact that it had fallen to musicians such as himself and concert instigator Ravi Shankar to address the issue left Harrison "slightly enraged", given the wealth of resources available to governments around the globe.[1] Author Gary Tillery writes that, through the humanitarianism inherent in the venture, Harrison had "changed the perception" of rock musicians, "making it clear they could be good world citizens too",[4] while music critic Mikal Gilmore has noted of Harrison's "cautious yet optimistic and tender" worldview: "[it] stood in stark contrast to the ugly dissolution of the Beatles and the defeated idealism that then characterised so much of rock & roll culture."[5] The day after the Madison Square Garden concerts, Harrison began writing the song "The Day the World Gets 'Round",[1] having stayed in New York to work with producer Phil Spector on the proposed live album of the event.[6][7]

The Concert for Bangladesh album release

Main article: The Concert for Bangladesh (album)
Close-up of Tom Wilkes's cover for The Concert for Bangladesh

Harrison found frustration in this next phase of the Bangladesh project, as the various record companies associated with the concerts' performers attempted to profit from the forthcoming release.[8][9] Chief among these was the Beatles' US distributor, Capitol Records, who delayed issuing the album,[10] in the hope of negotiating a royalty rate to cover what they perceived as high distribution costs for the boxed three-record set.[8][4] Harrison was resolute that Capitol should absorb the costs, just as the Beatles' Apple record label had already paid for the album's lavish packaging and full-colour booklet.[11][12] For the album cover, designer Tom Wilkes used a confronting cover image showing a naked child beside an empty food bowl,[13] in an effort to bring home to record-buyers the Bangladeshis' desperate plight.[14] Like the performers, the concert sound and lighting crews, and the various post-production engineers, Wilkes offered his services for free,[15] in keeping with Harrison's hope that, in Tillery's words, "Every penny of income – from the gate receipts to the profits from an album and a film – would go toward alleviating the suffering."[16]

By early October 1971, bootleg recordings of the concerts were widely available in New York,[17] potentially denying funds to the starving, disease-afflicted refugees.[18] On 23 November, Harrison's exasperation with the situation saw him raging against Capitol president Bhaskar Menon during a late-night television interview with Dick Cavett, and threatening to take the live album to a rival label.[19][20] Rather than risk facing further negative publicity, Menon backed down,[12] ceding much of the album's distribution rights to Columbia/CBS, whose contracted artist Bob Dylan had made a much-lauded comeback at the Concert for Bangladesh.[21]

Further delaying the album's release until well into December 1971, wholesalers were dissatisfied with Apple's financial terms,[18] since these terms ensured that while the maximum amount of revenue would be raised for the cause, wholesalers and retailers could make little if any money on each copy shipped.[21] Ignoring the spirit behind the release, some US retailers "engaged in shameless [[price gouging]]", author Peter Lavezzoli writes.[22]

Legal and taxation issues

Of greater detriment to the project in the long term, business manager Allen Klein had neglected to register the concerts as UNICEF fundraising benefits before they had taken place.[23][22] As a result, the American and British tax departments were demanding a share of the proceeds from the live album and Saul Swimmer's concert film,[8] despite Harrison's appeals that both governments make an exception in the case of this humanitarian disaster.[17][24] Until India's defeat of the Pakistani army on 16 December, America continued to supply arms to the Bangladeshis' military oppressors[25] – the General Yahya Khan-led "Pakistani Hitlers", as Harrison termed them.[23]

Adding to Harrison's dismay, in February 1972,[26] New York magazine accused Klein's company, ABKCO, of withholding part of the proceeds intended for Bangladesh.[27] The public remained supportive of Harrison, the A.J. Weberman-led Rock Liberation Front staging demonstrations outside both Capitol Records' and ABKCO's offices during this time.[28] In reply to a New Yorker's offer to start a petition to urge the US Treasury to scrap its tax on the Concert for Bangladesh album, Harrison wrote: "Until the [politicians] become human, we must do our service to others without their help."[29]Cite error: A <ref> tag is missing the closing </ref> (see the help page).

Harrison had lamented to a Melody Maker journalist in July 1971 that "the law and tax people make it not worthwhile doing anything decent".[24] While Rolling Stone and other countercultural publications enthused about how the Bangladesh concerts proved that "the Utopian spirit of the Sixties was still flickering", in the words of author Nicholas Schaffner,[30] Harrison found himself addressing, in "The Day the World Gets 'Round", the corporate greed and governmental apathy he had encountered.[31][32] In line with his support for Planet Earth passports, as proposed by Swami Vishnudevananda – whereby "[one truth] underlies all nations, all cultures, all colours, all races, all religions"[33] – Harrison believed that the solution to humanitarian disasters lay as much with wealthy Western nations as it did with the third-world countries where the civil wars and famines routinely occurred.[31][34] "If everyone would wake-up and do even a little," he states in I, Me, Mine, "there could be no misery in the world."[1]

Composition

Let's face it, the whole problem and how to solve it lies within the power of the governments and world leaders. They have resources, food, money and wealth enough for twice our world's population, yet they choose to squander it on weapons and other objects that destroy mankind. It seems to me to be a poor state of affairs when "pop stars" are required to set an example ...[1]

– George Harrison, 1979

Author Robert Rodriguez describes "The Day the World Gets 'Round" as both "an expression of gratitude to all the good hearts that had contributed to the success [of the Bangladesh benefits]", and "a stinging indictment of those who possessed the power to make things better (i.e., governments), but instead ... turned their backs when it suited their ends to do so".[34] Harrison musical biographer Simon Leng notes also Harrison's dismay at how the 1960s countercultural revolution had failed to influence the motivations of the music business – to the extent that the altruism behind the Concert for Bangladesh "was almost torpedoed by boardroom balance sheets".[35]

A slow-paced ballad, the song's opening verse reflects Harrison's optimism and idealism, on the one hand:[36][37]

The day the world gets 'round
To understanding where it is
Using all it's found
To help each other, hand in hand.

His frustration is evident from verse two, where, in what Leng terms a "knee-jerk reaction" to the politics behind the Bangladesh crisis,[38] Harrison sings of a world "Losing so much ground / Killing each other, hand in hand".[39]

In the song's middle eight, Harrison identifies the absence of humility as the root of humankind's problems, Leng suggests:[31]

If you're the destructive kind
Now I'm working from day to day
As I don't want to be like you.
I look for the pure of heart
And the ones who have made a start
But Lord, there are just a few
Who bow before you ...

These lines have led to conflicting interpretations among Harrison biographers regarding a supposedly superior attitude on the singer's part. Ian Inglis writes of "an increasingly familiar elitism in his apparent perception of himself", adding: "When [Harrison] sings of 'the pure of heart' and tells the Lord that 'there are just a few who bow before you,' the implied conclusion is that he counts himself among their number."[40] While acknowledging the ambiguity of this message, Leng writes: "This could be taken as Harrison's statement of his own spiritual superiority, or it might be his metaphor for a rejection of conceit. If ego-driven politicians and self-serving military leaders were able to bow before anything, even a 'concept' like God, the world would be a better place. 'The Day the World Gets 'Round' laments human nature and calls for a little humility."[31]

Dale Allison, a Christian theologian, views these lyrics as a song-wide message where Harrison "mourns how few are working for a better world and paying homage to God".[41] Allison refutes the idea of any elitism or superiority in Harrison's compositions, suggesting: "George nowhere claims to have arrived [at his spiritual goal]; he is rather always a pilgrim, always on the road. In the words of 'The Day the World Gets 'Round,' he is one of those who has 'made a start,' nothing more."[42]

The same three biographers comment on the comparisons between Harrison and Dylan that were encouraged by this and other Harrison songs from 1971–73,[43][44][37] during a period when, author Peter Doggett writes, the ex-Beatle was "arguably music's most influential figure".[45] Leng views Harrison's call for humility in "The Day the World Gets 'Round" as "identical to the thrust" of Dylan's "Masters of War",[31] a protest song written about the 1962–63 Cold War arms race.[46] Inglis suggests that whereas Dylan adopts the more analytical approach of an observer in his politically themed songs, Harrison "appears as a campaigner who is there to convert"; his words duly carry "a suggestion of self-satisfaction", Inglis opines, while also remarking on the "overall pessimism" of "The Day the World Gets 'Round".[47] Allison contrasts the song with "Slow Train Coming", a lyrically uncompromising Dylan composition reflecting the American singer's late-1970s conversion to born-again Christianity, and cites "The Day the World Gets 'Round" as an example of how Harrison's worldview instead "entails a happy ending".[37]

Recording

Speaking in February 1977,[48] Harrison told BBC Radio's Anne Nightingale that the whole Bangladesh relief project took "two years solid" of his life.[24] Doggett describes 1972 as a year of "recuperation and retreat" for the ex-Beatle, punctuated by meetings "to determine which department of which government was now stalling the funds so desperately needed in the newly independent nation".[49] Harrison received UNICEF's "Child Is the Father of Man" award in New York on 5 June 1972 and then oversaw the delayed British release of the Concert for Bangladesh film on 27 July,[50] after which he was able to dedicate himself to working on a new solo album,[51] the much-anticipated follow-up to his 1970 triple set, All Things Must Pass.[52]

Sessions for Living in the Material World took place at Apple Studio in central London and at Harrison's Friar Park studio, FPSHOT,[53] beginning in October 1972.[54] Despite his original intention to co-produce with Phil Spector, as before, Harrison was sole producer throughout the sessions,[55] with Phil McDonald again serving as recording engineer.[54] While Harrison succeeded in paring down the album's production after the excesses of All Things Must Pass,[56] commentators observe that he incorporated aspects of Spector's signature Wall of Sound on this and other songs on Material World, through the use of orchestral strings and brass, a choir and multiple drummers.[57][58]

On the basic track for "The Day the World Gets 'Round", Harrison used the same rhythm section that had supported him at the Concert for Bangladesh – bassist Klaus Voormann and drummers Ringo Starr and Jim Keltner – along with keyboard players Nicky Hopkins and Gary Wright.[59] The latter's contribution, on harmonium, is prominent on the take available unofficially on Living in the Alternate World, a bootleg compilation containing pre-overdubbed versions of the officially released songs, but was subsequently superseded by John Barham's orchestral arrangements.[60]

As an example of a more subtle production style compared with Spector's,[61] Harrison "gave the tunes breathing space, allowing the instruments to sparkle", Rodriguez writes.[62] His chiming acoustic-guitar harmonics sound out alone during the occasions when the words "The day the world gets 'round" are sung, joined at the end each time by low notes on cello and Hopkins' piano.[61] The recording also features a two-note musical pedal point before line 3 of the verses, as at the start of his All Thing Must Pass track "Isn't It a Pity"[63] and as employed in John Lennon's Beatles song "Across the Universe", providing a musical hook that has led some reviewers to point out the similarity between "The Day the World Gets 'Round" and those earlier songs.[64][65] Harrison's vocals and Barham's extensive contributions were added to the basic track during the first two months of 1973,[66] with mixing on the album being completed by the start of March, shortly before the Concert for Bangladesh won the Grammy Award for best album of 1972.[67]

Material World Charitable Foundation

As soon as we can all have Planet Earth passports I'll be grateful, because I'm tired of being British or being white, or being a Christian or a Hindu. I don't have a philosophy, I just believe in the sap that runs throughout.[68]

– Harrison's vision for a global community free of national and racial boundaries, UNICEF press conference, 1974

On 26 April 1973, Harrison set up the Material World Charitable Foundation,[69] to which he donated the publishing royalties from "The Day the World Gets 'Round" and eight other songs on Living in the Material World.[70][71]Cite error: A <ref> tag is missing the closing </ref> (see the help page).</ref> Part of the foundation's mission was to "encourage the exploration of alternative life views and philosophies" and "[support] established charitable organizations with consideration to those with special needs"[72] – so allowing Harrison to donate money without encountering the problems that had hampered the Bangladesh aid project.[73][74] In his 2009 book You Never Give Me Your Money, Doggett writes that the foundation "continues to fund worthy causes to this day".[75]Cite error: A <ref> tag is missing the closing </ref> (see the help page).</ref>

The first event sponsored by the Material World Charitable Foundation was Ravi Shankar's Music Festival from India,[76] in September–October 1974.[77] Following these European concerts, Harrison and Shankar co-headlined a 45-date North American tour,[78] many shows of which were benefits for charitable causes[79] such as community hospital programs and a disaster fund for victims of the 1973 Ethiopian famine.[80][81] During the tour's stopover in Washington, DC, on 13 December, Harrison visited the White House and asked US President Gerald Ford to intercede in the ongoing IRS audit that was still holding the Bangladesh fund's US proceeds in escrow.[82]Cite error: A <ref> tag is missing the closing </ref> (see the help page).</ref>

Release and reception

Apple Records released Living in the Material World in late May 1973,[83] with "The Day the World Gets 'Round" appearing as the penultimate track.[84] The album was a commercial success,[85] topping America's Billboard 200 chart for five weeks, thus ensuring the Material World Charitable Foundation a considerable injection of funds.[86] The release reflected Harrison's continued belief in the power of music to instigate change in the world,[87] an ideal that distinguished Material World as the last of "rock's grand statements", Simon Leng suggests, and "the final fading of the 1960s dream into middle-age contentment and fiscal luxury".[88] In his highly favourable review for Rolling Stone magazine,[89] Stephen Holden described the album as "inspirationally, opulently, romantic" and referred to "The Day the World Gets 'Round" as a "devotional prayer" that, combined with the album-closing "That Is All", left the listener "suspended in ethereality".[64] Decades later, Bruce Eder of Allmusic was likewise impressed, writing that Harrison's singing "soars magnificently in his heartfelt performance".[90]

While Holden admired Harrison's lyrics for imparting "an extraordinary sincerity that transcends questions of craftsmanship",[64] other reviewers bristled at the supposedly preachy tone of songs such as "The Day the World Gets 'Round".[91] In doing so, NME critic Bob Woffinden wrote in 1981, these detractors missed the "exceptionally fine" music.[58] In his 1996 biography on the ex-Beatle, Alan Clayson praised Harrison's vocal performance on a song that "smouldered from the angered question of why a mere pop star rather than a governing body was obliged to pinpoint iniquities", adding that "never had his pipes been so adept" as on Material World, yet he founded the lyrics "naïve".[92] To Greg Kot, writing in Rolling Stone's posthumous tribute to Harrison, "The Day the World Gets 'Round" aspires to a "hymn-like calm" yet never reaches the "transcendent heights" of All Things Must Pass.[93]

In Leng's opinion, the track is "a classic 1960s protest song" – Harrison's reaction to the failure of that decade's social revolution to create any meaningful, permanent change.[59] While comparing the song to Dylan's "epoch-making 'Masters of War'", Leng notes that the "political essence" of "The Day the World Gets 'Round" is often overlooked due to the lyrics' "framework of spiritual redemption".[31] Dale Allison similarly labels it "a passionate protest song of deep disillusionment", reflecting "the broken utopian dreams of the 1960s".[94] Allison groups "The Day the World Gets 'Round" with "Bangla Desh" and "Far East Man" as obvious examples of Harrison's "humanitarian impulse, his concern for the world and its people".[95]

Elliot Huntley views the song as a "strong candidate" for the album's best track, thanks to its "stunning structure and melody twists".[96] Barham's orchestration complements the message "perfectly", according to Huntley, who praises also the middle eight, where Harrison "lets rip with his vocals".[96] Less impressed with the composition, Inglis acknowledges the importance of Barham's contribution – the latter's ascending string arrangement being "the most startling facet" of the song musically.[65] Robert Rodriguez describes the track as an "earnest counterpart" to Lennon's song "Imagine".[34]

Yusuf & Klaus's version

Artwork for 2009 single by Yusuf & Klaus

An avowed fan of the Living in the Material World album,[38] and a vocal proponent of Harrison's humanitarian legacy,[97][98] Klaus Voormann had played bass on hundreds of sessions for big-name artists during the late 1960s and throughout the 1970s before recording his first solo album in 2008.[99][100] Titled A Sideman's Journey, it included cover versions of Harrison's "The Day the World Gets 'Round" and "All Things Must Pass",[101] both recorded in London with singer Yusuf Islam and credited to Yusuf & Klaus.[34] Other musicians on the recording include Luke Potashnick and Cassiano De Sa (guitars), Nikolaj Torp (keyboards) and Kristoffer Soone (drums).[102] In January 2009, Voormann issued the song as an advance single from the album,[34] with proceeds being donated to the United Nations Relief and Works Agency (UNRWA) and Save the Children.[103] To serve as artwork for the release, Voormann incorporated part of his Grammy Award-winning design for the Beatles' Revolver album (1966), combining the image of Harrison from that album cover with a similar-styled drawing of Islam and a 1966-era photo of himself.[104]

In a press release to announce the single, and echoing Harrison's thoughts and hopes from four decades before, Yusuf Islam wrote of "The Day the World Gets 'Round": "This song represents for me the great spirit of George Harrison. I hope this song will help remind people of the immense legacy of love, peace and happiness we can share when we get round to looking at mankind's futile wars and prejudices, and start to change our foolish ways."[103]

Personnel

Notes

Citations

  1. ^ a b c d e f George Harrison, p. 226.
  2. ^ Lavezzoli, p. 187.
  3. ^ Clayson, p. 317.
  4. ^ a b Tillery, p. 100.
  5. ^ The Editors of Rolling Stone, p. 40.
  6. ^ Badman, p. 45.
  7. ^ Spizer, p. 241.
  8. ^ a b c The Editors of Rolling Stone, p. 43.
  9. ^ Clayson, pp 314–15.
  10. ^ Greene, p. 193.
  11. ^ Badman, p. 58.
  12. ^ a b Leng, p. 121.
  13. ^ Spizer, p. 245.
  14. ^ Tom Wilkes interview, in The Concert for Bangladesh Revisited.
  15. ^ Matt Hurwitz, "Interview with Tom Wilkes", Goldmine, 12 November 2004.
  16. ^ Tillery, p. 96.
  17. ^ a b Badman, p. 50.
  18. ^ a b Doggett, p. 181.
  19. ^ Badman, pp 55, 58.
  20. ^ "Big Bop Baby", Contra Band Music, 4 May 2012 (retrieved 17 March 2013).
  21. ^ a b Spizer, pp 241–42.
  22. ^ a b Lavezzoli, p. 193.
  23. ^ a b George Harrison, p. 61.
  24. ^ a b c Clayson, pp 315–16.
  25. ^ Lavezzoli, pp 189, 194.
  26. ^ Badman, p. 67.
  27. ^ Woffinden, p. 51.
  28. ^ Doggett, p. 188.
  29. ^ Clayson, pp 316, 479.
  30. ^ Schaffner, p. 148.
  31. ^ a b c d e f Leng, p. 135.
  32. ^ Rodriguez, pp 51, 154.
  33. ^ Olivia Harrison, pp 296–97.
  34. ^ a b c d e Rodriguez, p. 154.
  35. ^ Leng, pp 121, 134–35.
  36. ^ Spizer, p. 255.
  37. ^ a b c Allison, p. 37.
  38. ^ a b Leng, p. 137.
  39. ^ George Harrison, p. 225.
  40. ^ Inglis, p. 42.
  41. ^ Allison, p. 140.
  42. ^ Allison, p. 22.
  43. ^ Inglis, pp 42, 44.
  44. ^ Leng, pp 126, 134–35.
  45. ^ Doggett, p. 175.
  46. ^ Sounes, p. 131.
  47. ^ Inglis, pp 42–43.
  48. ^ Badman, p. 203.
  49. ^ Doggett, p. 192.
  50. ^ Badman, pp 74, 79.
  51. ^ Greene, p. 194.
  52. ^ Rodriguez, p. 137.
  53. ^ Leng, p. 124.
  54. ^ a b Spizer, p. 254.
  55. ^ Huntley, p. 88.
  56. ^ The Editors of Rolling Stone, p. 180.
  57. ^ Schaffner, pp 159–60.
  58. ^ a b Woffinden, p. 71.
  59. ^ a b Leng, p. 134.
  60. ^ Madinger & Easter, pp 439–41.
  61. ^ a b Clayson, p. 323.
  62. ^ Rodriguez, p. 156.
  63. ^ Leng, p. 86.
  64. ^ a b c Stephen Holden, "George Harrison, Living in the Material World" album review, Rolling Stone, 19 July 1973 (retrieved 13 June 2013).
  65. ^ a b Inglis, p. 43.
  66. ^ Badman, p. 89.
  67. ^ Madinger & Easter, pp 440, 501.
  68. ^ Olivia Harrison, p. 297.
  69. ^ Badman, p. 98.
  70. ^ Schaffner, p. 160.
  71. ^ Tillery, p. 162.
  72. ^ Booklet accompanying Ravi Shankar–George Harrison Collaborations box set (Dark Horse Records, 2010; produced by Olivia Harrison), p. 32.
  73. ^ Michael Gross, "George Harrison: How Dark Horse Whipped Up a Winning Tour", Circus Raves, March 1975; available at Rock's Back Pages (subscription required; retrieved 5 June 2013).
  74. ^ Huntley, pp 89–90.
  75. ^ Doggett, p. 207.
  76. ^ "Material World Charitable Foundation" > About, georgeharrison.com (retrieved 2 June 2013).
  77. ^ Madinger & Easter, p. 442.
  78. ^ Madinger & Easter, pp 442, 446.
  79. ^ Schaffner, p. 176.
  80. ^ Clayson, p. 334.
  81. ^ Steven Rosen, "George Harrison", Rock's Back Pages, 2008 (subscription required; retrieved 10 June 2013).
  82. ^ Lavezzoli, p. 196.
  83. ^ Castleman & Podrazik, p. 125.
  84. ^ Spizer, p. 253.
  85. ^ Madinger & Easter, p. 439.
  86. ^ Castleman & Podrazik, p. 364.
  87. ^ Schaffner, p. 159.
  88. ^ Leng, p. 141.
  89. ^ Huntley, pp 95, 112.
  90. ^ Bruce Eder, "George Harrison Living in the Material World", Allmusic (retrieved 13 June 2013).
  91. ^ The Editors of Rolling Stone, p. 44.
  92. ^ Clayson, pp 317, 324.
  93. ^ The Editors of Rolling Stone, p. 188.
  94. ^ Allison, pp 70, 140.
  95. ^ Allison, pp 69–70.
  96. ^ a b Huntley, p. 94.
  97. ^ James Sullivan, "George Harrison's Concert for Bangladesh Featured Drug Trouble for Eric Clapton, Stage Fright for Bob Dylan", spinner.com, 1 August 2011 (retrieved 12 June 2013).
  98. ^ Klaus Voormann interview, in George Harrison: Living in the Material World DVD, 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).
  99. ^ Rodriguez, pp 84, 86.
  100. ^ "Artist: Klaus Voormann", Allmusic (retrieved 2 June 2013).
  101. ^ "Klaus Voormann A Sideman's Journey", Allmusic (retrieved 2 June 2013).
  102. ^ News: "Klaus joins Yusuf on songs for charity", yusufislam.com, 13 January 2009 (retrieved 2 June 2013).
  103. ^ a b News: "Single ready for release" , yusufislam.com, 23 January 2009 (retrieved 2 June 2013).
  104. ^ Rodriguez, pp 85, 154.

Sources

  • 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).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8-595).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-3).
  • The Concert for Bangladesh Revisited with George Harrison and Friends DVD, Apple Corps, 2005 (directed by Claire Ferguson; produced by Olivia Harrison, Jonathan Clyde & Jo Human).
  • Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; ISBN 978-0-06-177418-8).
  • The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • 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).
  • 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).
  • 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, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Howard Sounes, Down the Highway: The Life of Bob Dylan, Doubleday (London, 2001; ISBN 0385-601255).
  • 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).
  • Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ISBN 0-906071-89-5).

External links

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