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Living In A Material World Dvd

Written By Monday, July 11, 2022 Add Comment Edit

1973 studio album past George Harrison

Living in the Material World
LITMW album cover (clean).jpg
Studio album by

George Harrison
Released 30 May 1973 (1973-05-30)
Recorded
  • October1972 – March1973
  • Feb1971
Studio
  • Apple, London
  • FPSHOT, Oxfordshire
  • EMI, London
Genre
  • Rock
Length 43:55
Label Apple tree
Producer George Harrison
with Phil Spector on "Attempt Some, Buy Some"
George Harrison chronology
The Concert for Bangladesh
(1971) 		Living in the Textile World
(1973) 		Nighttime Horse
(1974)
Singles from Living in the Fabric World
  1. "Give Me Love (Requite Me Peace on Earth)"
    Released: vii May 1973 (U.s.a.); 25 May 1973 (Uk)

Living in the Material World is the fourth studio anthology by English musician George Harrison, released in 1973 on Apple Records. Every bit the follow-up to 1970's critically acclaimed All Things Must Laissez passer and his pioneering clemency project, the Concert for Bangladesh, it was among the most highly predictable releases of that yr. The anthology was certified gold by the Recording Industry Association of America ii days later on release, on its manner to becoming Harrison's second number ane album in the The states, and produced the international hitting "Give Me Dearest (Give Me Peace on Earth)". It also topped albums charts in Canada and Australia, and reached number 2 in Britain.

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 every bit a superstar, as well every bit for what many commentators consider to be the finest guitar and song performances of his career. In contrast with All Things Must Pass, Harrison scaled down the product for Fabric World, using a cadre group of musicians comprising Nicky Hopkins, Gary Wright, Klaus Voormann and Jim Keltner. Ringo Starr, John Barham and Indian classical musician Zakir Hussain were amongst the album's other contributors.

Upon release, Rolling Stone described it equally a "pop archetype", a work that "stands alone every bit an article of faith, miraculous in its radiance".[1] Most contemporary reviewers consider Living in the Material World to be a worthy successor to All Things Must Pass, even if it inevitably falls brusk of Harrison'south k opus. Author Simon Leng refers to the album every bit a "forgotten blockbuster", representing "the close of an age, the last offer of the Beatles' London era".[two] EMI reissued the album in 2006, in remastered form with bonus tracks, and released a palatial-edition CD/DVD set up that included pic clips of four songs.

Background [edit]

I wouldn't really care if no ane ever heard of me again. I simply want to play and make records and work on musical ideas.[3]

– Harrison to Tape Mirror in April 1972, during his year away from the public eye subsequently the Concert for Bangladesh

George Harrison'south 1971–72 humanitarian assistance project for the new nation of People's republic of bangladesh had left him an international hero,[4] [five] [6] but also exhausted and frustrated in his efforts to ensure that the money raised would find its fashion to those in need.[7] [8] Rather than record a follow-up to his acclaimed 1970 triple album, All Things Must Pass, Harrison put his solo career on hold for over a twelvemonth following the two Concert for Bangladesh shows,[9] [x] held at Madison Square Garden, New York, in August 1971.[11] In an interview with Disc and Music Echo magazine in December that year, 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 "nearly two or three hours" worth of new songs, calculation: "They were really incredible."[12] Hopkins suggested that work on Harrison'due south next solo album was to begin in January or February at his new home studio at Friar Park,[12] merely whatever such plan was undone by Harrison's commitment to the Bangladesh relief project.[13] [nb 1] While he establish time during the last few months of 1971 to produce singles for Ringo Starr and Apple Records protégés Lon & Derrek Van Eaton, and to help promote the Ravi Shankar documentary Raga,[18] [nineteen] Harrison'due south next project in the role of music producer was non until Baronial 1972, when Cilla Black recorded his composition "When Every Song Is Sung".[20]

Throughout this menstruation, Harrison'due south devotion to Hindu spirituality – especially to Krishna consciousness via his friendship with A.C. Bhaktivedanta Swami Prabhupada[21] – reached new heights.[22] [23] Equally Harrison admitted, his adherence to his spiritual path was not necessarily consistent.[24] [25] His married woman, Pattie Boyd, and their friend Chris O'Dell would joke that it was hard to tell whether he was dipping into his ever-present Japa Yoga prayer pocketbook or "the coke handbag".[26] This duality has been noted by Harrison biographers Simon Leng and Alan Clayson: on one hand, Harrison earned himself the nickname "His Lectureship" during his prolonged periods of fervid devotion;[27] on the other, he participated in bawdy London sessions for the likes of Bobby Keys' eponymous solo album and what Leng terms Harry Nilsson'south "thoroughly nasty" "Yous're Breakin' My Eye", both recorded in the first half of 1972.[19] [28] Similarly, Harrison's passion for loftier-functioning cars saw him lose his driving licence for the second time in a year later on crashing his Mercedes into a roundabout at ninety miles an hour, on 28 February, with Boyd in the passenger seat.[29] [30] [nb 2]

In August 1972, with the Concert for Bangladesh documentary film having finally been released worldwide, Harrison set off solitary for a driving holiday in Europe,[15] during which he chanted the Hare Krishna mantra nonstop for a whole solar day, he after claimed.[32] [33] Religious academic Joshua Greene, a Hare Krishna devotee, has described this trip every bit Harrison's "preparation" for recording the Living in the Material World album.[33] [nb 3]

Songs [edit]

Rather than revisit compositions left over from the All Things Must Laissez passer sessions, Harrison'south material for Living in the Material Earth was drawn from the 1971–72 period,[38] with the exception of "Try Some, Buy Some", which he wrote in 1970 and recorded with former Ronette Ronnie Spector in February 1971.[39] The songs reflected his spiritual devotion[twoscore] – in the example of "The Lord Loves the 1 (That Loves the Lord)", "Living in the Textile World", "Give Me Dearest (Give Me Peace on Earth)" and "Try Some, Purchase Some"[41] [42] – besides as his feelings earlier and after the Bangladesh benefit concerts, with "Miss O'Dell" and "The Day the Earth Gets 'Round".[43]

Both "The Lord Loves the One" and the album's championship track were directly inspired by Prabhupada'due south teachings.[44] [45] Greene writes of Harrison adapting a passage from the Bhagavad Gita into his lyrics for "Living in the Material World" and adds: "Some of the songs distilled spiritual concepts into phrases so elegant they resembled Vedic sutras: short codes that contain volumes of significant."[46] On "Give Me Love", Harrison blended the Hindu bhajan style (or devotional song) with Western gospel music, repeating the formula of his 1970–71 international hit "My Sweet Lord".[47] In his 1980 autobiography, I Me Mine, he describes the song every bit "a prayer and personal argument between me, the Lord, and whoever likes it".[48]

Whereas Harrison's Krishna devotionals on All Things Must Pass had been uplifting celebrations of organized religion,[49] his latest compositions betrayed a more austere quality,[50] partly as a result of the People's republic of bangladesh experience.[51] His musical arranger, John Barham, would later on suggest that a spiritual "crisis" might have been the crusade;[50] other observers have pointed to Harrison'due south failing spousal relationship to Boyd.[14] [52] [nb iv] Leng writes of his frame of mind at this time: "while George Harrison was bursting with musical confidence, Living in the Material Earth found him in roughly the aforementioned place that John Lennon was when he wrote 'Help!' – shocked past the rush of overwhelming success and badly wondering where it left him."[54]

All Things Must Laissez passer might be better, but those songs [on Living in the Cloth World] are incredible … Y'all can hear from the LP what his aim was; he definitely had a bulletin he wanted to go across.[l]

– Klaus Voormann, 2003

Other song themes addressed the Beatles' legacy,[55] either in direct references to the ring's history – in the example of "Living in the Material World" and "Sue Me, Sue You Blues"[56] [57] – or in Harrison'due south stated want to live in the present, free of his one-time identity, in the case of "The Light That Has Lighted the Earth", "Who Can See It" and "Be Here Now".[58] The lyrics to "Who Tin See It" reflect Harrison'due south disenchantment with his previous, junior status to erstwhile bandmates Lennon and Paul McCartney,[59] while "Sue Me, Sue Y'all Blues" was his comment on McCartney'southward 1971 Loftier Court activeness to dissolve the band as a business organisation entity.[sixty] In line with Prabhupada'south teachings, all such pursuits of fame, wealth or position meant zilch in Harrison's 1972 world-view.[61] Author Gary Tillery writes of Fabric World 's lyrical content: "The anthology expresses his impressions of the mundane and the spiritual worlds and the importance of ignoring the lures of the everyday earth and remaining focused on the eternal verities."[62] Even in seemingly conventional honey songs such as "That Is All" and "Don't Permit Me Wait Besides Long",[63] Harrison appeared to be addressing his deity equally much as whatever human partner.[64] Musically, the latter limerick reflects the influence of Brill Edifice songwriters of the early 1960s,[65] while Harrison sings of a beloved delivered "like it came from higher up".[55]

Harrison donated his copyright for nine of the 11 songs on Living in the Fabric Earth, together with the non-album B-side "Miss O'Dell",[66] to his Textile World Charitable Foundation.[67] [nb 5] The latter initiative was set up in reaction to the tax problems that had hindered his relief try for the Bangladeshi refugees,[68] [70] and ensured a perpetual stream of income, through ongoing publishing royalties, for dispersal to the charities of his option.[71]

Product [edit]

Phil was never there … I'd continue the roof at The Inn on the Park [hotel] in London and climb in his window yelling, "Come on! We're supposed to exist making a record." … [Then] he used to take eighteen cerise brandies before he could go himself downward to the studio.[72]

– Harrison discussing Phil Spector's early involvement on the album

After the g, Wall of Sound production of All Things Must Pass,[73] Harrison wanted a more understated audio this time around, to "liberate" the songs, as he later put information technology.[74] [75] He had intended to co-produce with Phil Spector as before,[76] although the latter's erratic behaviour and alcohol consumption[77] ensured that, in one case sessions were nether fashion in October 1972, Harrison was the projection's sole producer.[78] Spector received a credit for "Try Some, Buy Some", however,[79] since Harrison used the same 1971 recording, featuring musicians such equally Leon Russell, Jim Gordon, Pete Ham and Barham,[eighty] that they had fabricated for Ronnie Spector'due south abandoned solo anthology.[81]

A release date was planned for January or February 1973, with the album title rumoured to exist The Light That Has Lighted the World.[76] Within a month, the title was appear equally The Magic Is Here Again,[82] [83] with an erroneous report in Rolling Stone magazine challenge that Eric Clapton was co-producing and that the album was set for release on 20 Dec 1972.[78]

Recording [edit]

In another contrast with his 1970 triple anthology, Harrison engaged a small core group of musicians to support him on Living in the Material World.[84] [85] Gary Wright, who shared Harrison'southward spiritual preoccupations,[86] and Klaus Voormann returned, on keyboards and bass, respectively, and John Barham again provided orchestral arrangements.[78] They were joined by Jim Keltner, who had impressed at the 1971 Bangladesh concerts,[87] and Nicky Hopkins,[78] whose musical link to Harrison went back to the 1968 Jackie Lomax single "Sour Milk Sea".[85] Ringo Starr besides contributed to the album, when his burgeoning film career allowed,[88] and Jim Horn, another musician from the Concert for Bangladesh band, supplied horns and flutes.[78] The recording engineer was Phil McDonald, who had worked in the same role on All Things Must Laissez passer.[89]

Apple Studios, where Harrison recorded part of Living in the Material World

All the rhythm and atomic number 82 guitar parts were performed by Harrison alone[90] – the ex-Beatle stepping out from the "looming shadow" of Clapton for the start time, Leng has noted.[91] Near of the basic tracks were recorded with Harrison on acoustic guitar; only "Living in the Material Globe", "Who Can See It" and "That Is All" featured electrical rhythm parts, those for the latter two songs adopting the aforementioned Leslie-toned sound found on much of the Beatles' Abbey Road (1969).[59] [92] Ham and his Badfinger bandmate Tom Evans augmented the line-up on four and 11 October,[38] although their playing would not find its way onto the released album.[93]

The sessions took place partly at Apple tree Studios in London, but mostly at Harrison's dwelling studio, FPSHOT, according to Voormann.[78] [94] [nb 6] Apple tree Studios, together with its Savile Row, London W1 address, received a prominent credit on the Living in the Material World tape sleeve, equally a further sign of Harrison's championing of the Beatles-endemic recording facility.[94] [98] At the weekends during these autumn months, Hopkins recorded his own solo album, The Tin Man Was a Dreamer (1973), at Apple,[85] with contributions from Harrison, Voormann and Horn.[99] [100] Voormann has described the mood at the Friar Park sessions every bit "intimate, quiet, friendly" and in stark contrast to the sessions he, Harrison and Hopkins had attended at Lennon's abode in 1971, for the Imagine anthology.[96] Keltner recalls Harrison as having been focused and "at his peak physically" throughout the recording of Living in the Material World,[86] having given up smoking and taken to using Hindu prayer chaplet.[101]

The sessions connected until the end of Nov,[78] when Hopkins left for Jamaica to piece of work on the Rolling Stones' new anthology.[102] During this period, Harrison co-produced a new alive album for Shankar and Ali Akbar Khan for a January release on Apple Records,[103] the highly regarded In Concert 1972.[104] [nb 7]

Overdubbing and mixing [edit]

Subsequently hosting a visit past Bob Dylan and his wife Sara at Friar Park,[106] Harrison resumed work on the album in January 1973, at Apple tree.[107] "Sue Me, Sue You Blues", which he had originally given to Jesse Ed Davis to tape in 1971,[38] was taped at this point.[108] The lyrics' courtroom theme had a new relevance in early 1973,[109] as he, Lennon and Starr looked to sever all legal ties with manager Allen Klein, who had been the prime number cause for McCartney'due south earlier litigation.[110] [nb eight]

For the rest of January and through Feb, all-encompassing overdubs were carried out on the album'due south bones tracks[76] – comprising vocals, percussion, Harrison's slide guitar parts and Horn's contributions. "Living in the Cloth Earth" received significant attention during this last phase of the anthology production, with sitar, flute and Zakir Hussain's tabla being added to fill the song's two "spiritual sky" sections.[78] [nb 9] The resulting contrast between the main, Western rock portion and the Indian-mode centre eights emphasised Harrison'due south struggle between concrete-world temptations and his spiritual goals.[115] [116] The Indian instrumentation overdubbed on this track and "Be Here At present" also marked a rare return to the genre for Harrison,[117] recalling his piece of work with the Beatles over 1966–68 and his first solo anthology, Wonderwall Music (1968).[118]

Barham's orchestra and choir were the final items to be recorded, on "The Mean solar day the World Gets 'Round", "Who Tin can Run across It" and "That Is All",[119] in early March.[78] With production on the album completed, Harrison flew to Los Angeles for Beatles-related business meetings[120] and to begin work on Shankar and Starr'due south respective albums, Shankar Family & Friends (1974) and Ringo (1973).[54]

Album artwork [edit]

As he had done with All Things Must Pass and The Concert for Bangladesh, Harrison entrusted the album'southward art pattern to Tom Wilkes,[121] and the latter's new business partner, Craig Baun.[122] [123] The gatefold and lyric insert sleeves for Living in the Material World were much commented-on at the time of release, Stephen Holden of Rolling Stone describing the record as "beautifully-packaged with symbolic hand-print covers and the dedication, 'All Glories to Sri Krsna'",[ane] while author Nicholas Schaffner also admired the "color representations of the Hindu scriptures",[82] in the form of a painting from a Prabhupada-published edition of the Bhagavad Gita.[74] [124] Reproduced on the lyric insert canvas (on the back of which was a red Om symbol with yellow surround), this painting features Krishna with Arjuna, the legendary archer and warrior, in a chariot, being pulled past the enchanted vii-headed horse Uchchaihshravas.[121] With the album arriving at the acme of the glam or glitter rock musical trend,[125] Clayson writes of this image: "a British teenager might have still dug the gear worn by Krishna in his chariot … Androgynous in beaded kaftan, jewelled fez and peacock feather, and strikingly pretty, the Supreme Personality of Godhead was not unlike some of the new breed of theatrical British chartbusters."[126]

For the album's striking front-comprehend prototype, Wilkes used a Kirlian photograph of Harrison's manus property a Hindu medallion.[127] The photo was taken at UCLA's parapsychology department, as was the shot used on the dorsum cover, where Harrison instead holds three Us coins: a couple of quarters and a silver dollar.[121]

The gatefold'southward inner left console, opposite the album's product credits, showed Harrison and his boyfriend musicians – Starr, Horn, Voormann, Hopkins, Keltner and Wright – at a long tabular array, laden with food and wine.[121] [128] A deliberate parody of da Vinci's The Last Supper,[129] the picture was taken in California at the mock-Tudor home of entertainment lawyer Abe Somer, by Hollywood glamour photographer Ken Marcus.[121] [nb 10] As with the Usa coinage used on the dorsum cover, diverse details in the photograph stand for what Harrison termed the "gross" aspects[130] of life in the material globe.[121] Clayson has speculated about the symbolism and subconscious letters within the photo: whether the nurse with a pram, prepare back from and to the left of the tabular array, was a reference to Boyd's inability to conceive a child; and the empty, afar wheelchair in memory of Harrison'southward late mother.[128] Theologian Dale Allison observes the anti-Catholic sentiment within this inner-gatefold photo, following on from Harrison's lyrics to his 1970 vocal "Awaiting on Y'all All".[129] Harrison is dressed every bit a priest, all in black, sporting an Former West six-shooter – "a slam at the perceived materialism and violence of the Roman church", Allison writes.[129]

On the back cover, underneath the 2d hand-print design, text provides details of the fictitious Jim Keltner Fan Club,[131] 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 give thanks-you lot to the popular drummer (Starr would repeat the gesture on his album after in the year), every bit well as a light-hearted dig – in its use of "wing" symbols, like those in Wings' logo – at McCartney, who had recently launched a fan club for his new ring.[121] [131]

Release [edit]

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.[131] [132] Schaffner recorded in his book The Beatles Forever: "For a while there ... album charts were reminiscent of the golden age of Beatlemania."[133] Preceding Harrison's long-awaited release was the acoustic single "Give Me Love (Give Me Peace on Globe)",[134] which became his 2nd number 1 hit in the Usa.[135] This was accompanied by a billboard and print advertizement campaign,[136] [137] including a iii-panel poster combining the album'southward front end and back covers, and an Apple tree publicity photo showing Harrison, now free of the heavy beard familiar from the All Things Must Pass–Concert for Bangladesh era,[138] with his hand outstretched, mirroring Wilkes' album cover paradigm.[133] [139]

Living in the Cloth World was issued on 30 May 1973 in America (with Apple tree catalogue number SMAS 3410) and on 22 June in Great britain (equally Apple PAS 10006).[140] Information technology enjoyed immediate commercial success,[141] entering the Billboard Top LPs & Tape chart at number eleven and hit number ane in its second week, on 23 June, demoting Wings' album in the process.[142] Material Globe spent five weeks atop the US charts, having been awarded a gold disc past the RIAA selling more than 500,000 copies within two days of release.[143] [144] Despite high sales initially, its follow-on success was express past what Leng terms the "anomalous" decision to abolish the release of a second US single, "Don't Allow Me Wait Besides Long".[145]

In the UK, the album peaked at number two, held from the summit position by the soundtrack to Starr's picture show That'll Exist the Day.[146] Material World too topped albums charts in Australia[147] and Canada.[148] In January 1975, the Canadian Recording Industry Association announced that it had been certified as a aureate album.[149] [nb 11]

With Living in the Material World, Harrison accomplished the Billboard double for a second time when "Requite Me Love" hitting the top position during the album's stay at number 1[74] – the only one of his former bandmates to accept done it even once existence McCartney, with the recent "My Beloved" and Red Rose Speedway.[144] [151] Harrison carried out no supporting promotion for Material World; "pre-recorded tapes" were issued to BBC Radio 1 and played repeatedly on the prove Radio One Gild, simply his only public appearance in Britain was to accompany Prabhupada on a religious procession through central London, on 8 July.[152] Co-ordinate to author Nib Harry, the album sold over iii one thousand thousand copies worldwide.[153]

Critical reception [edit]

Contemporary reviews [edit]

Leng describes Living the Cloth World every bit "one of the most keenly anticipated discs of the decade" and its unveiling "a major event".[154] Among expectant music critics, Stephen Holden began his highly favourable[115] [155] review in Rolling Rock with the words "At last information technology's hither", before hailing the new Harrison album as a "pop classic" and a "profoundly seductive tape".[ane] "Happily, the anthology is not merely a commercial event," he wrote, "information technology is the most concise, universally conceived work by a former Beatle since John Lennon/Plastic Ono Band."[i] Billboard magazine noted the twin themes constitute throughout the anthology – "the Beatles and their mish-mash" versus a "spiritual undercoat" – and described Harrison'due south vocals equally "beginning-charge per unit".[156]

Living in the Material World is a profoundly seductive tape. Harrison's rapt dedication infuses his musicality and so completely that the album stands alone every bit an commodity of religion, miraculous in its radiance.[i]

– Stephen Holden in Rolling Stone, June 1973

2 weeks ahead of the UK release date, Melody Maker published a total-folio "exclusive preview" of Material Earth by its New York correspondent, Michael Watts.[157] The latter wrote that "the almost strikingly immediate impression left by the anthology" concerned its lyrics, which, although "solemn and pious" at times, were "more than interesting" thematically than those on All Things Must Pass, such that Material World was "every bit personal, in its ain way, equally anything that Lennon has washed".[158] While describing the pared-down production as "practiced creative judgement in view of the nature of the lyrics", Watts concluded: "Harrison has always struck me before as simply a writer of very classy pop songs; now he stands as something more an entertainer. Now he'south existence honest."[158]

While Holden had opined that, of all the four Beatles, Harrison had inherited "the most precious" legacy – namely, "the spiritual aura that the group accumulated, commencement with the White Album"[1] – other reviewers objected to the overt religiosity of Living in the Material World.[159] [160] This was particularly so in Britain,[86] [128] where past summer 1973, author Bob Woffinden later wrote, "the Beatle bubble had undoubtedly flare-up" and for each of the former bandmates, his individual "pedestal" was now "an exposed, rather than a comfortable, place to be".[161]

Information technology's also breathtakingly unoriginal and – lyrically at least – turgid, repetitive and and then damn holy I could scream.[162]

– Tony Tyler, reviewing the anthology for NME

In the NME, Tony Tyler began his review by stating that he had long idolised Harrison equally "the finest packaged object since frozen pizza", just he had changed his opinion dramatically in recent years; afterward the "dire, ennui-making" All Things Must Laissez passer, Tyler continued, "the unworthiness of my heretical thoughts smote home around the time of the Bangla Desh concerts."[163] Tyler dismissed Material Earth with the description: "[It'due south] pleasant, competent, vaguely slow and inoffensive. It'south also breathtakingly unoriginal and – lyrically at to the lowest degree – turgid, repetitive and then damn holy I could scream."[163] The reviewer concluded: "I have no incertitude whatever it'll sell like hot tracts and that George'll donate all the profits to starving Bengalis and make me feel like the cynical heel I undoubtedly am."[162] [163] Robert Christgau was likewise unimpressed in Creem, giving the record a "C" class and writing that "Harrison sings as if he's doing sitar impressions".[164] In their 1975 book The Beatles: An Illustrated Record, Tyler and co-author Roy Carr bemoaned Harrison's "didactically imposing said Holy Memoirs upon innocent record-collectors" and alleged the anthology's spiritual theme "almost as offensive in its ain way" as Lennon and Yoko Ono'due south political radicalism on Some Time in New York City (1972).[165]

They feel threatened when you talk about something that isn't just "be-bop-a-lula". And if y'all say the words "God" or "Lord", it makes some people's hair roll.[128]

– Harrison to Melody Maker in September 1971, pre-empting criticism of his lyrics on Material Globe [159]

Writing in the countdown outcome of the Australian publication Ear for Music, Anthony O'Grady remarked on the album's religiosity: "frequently the music is a more truthful guide to the sense of the lyrics than the words themselves. Harrison is not a great wordsmith but he is a superb musician. Everything flows, everything interweaves. His melodies are so superb they take care of everything."[166] Like Holden, Nicholas Schaffner approved of the vocalizer's gesture in donating his publishing royalties to the Textile Earth Charitable Foundation and praised the album's "exquisite musical underpinnings".[82] Although the "transcendent dogma" was not e'er to his gustation, 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".[167]

Aside from the album's lyrical themes, its production and musicianship were widely praised, Schaffner noting: "Surely Phil Spector never had a more attentive student."[67] Carr and Tyler lauded Harrison's "superb and achieved slide-guitar breaks",[165] and the solos on "Give Me Beloved", "The Lord Loves the One", "The Light That Has Lighted the World" and "Living in the Material Globe" have each been identified as exemplary and amid the finest of Harrison'southward career.[90] [91] [168] [169] In his book The Beatles Apart (1981), Woffinden wrote: "Those who carped at the lyrics, or at Harrison himself, missed a bang-up deal of the music, much of which was exceptionally fine."[79] Woffinden described the anthology as "a very good i", Harrison's "only error" being that he had waited so long before following upward his successes over 1970–71.[170]

Retrospective cess [edit]

Professional ratings
Review scores
Source Rating
AllMusic [90]
Blender [171]
Classic Rock viii/ten[172]
Mojo [173]
The Music Box [174]
MusicHound Rock 3.5/five[175]
Music Story [176]
OndaRock 7/10[177]
PopMatters [178]
The Rolling Stone Anthology Guide [179]

In the decades post-obit its release, Living in the Material Earth gained a reputation equally "a forgotten blockbuster" – a term used by Simon Leng[22] and echoed past commentators such every bit Robert Rodriguez[180] and AllMusic's Bruce Eder.[90] The latter describes Harrison'due south 1973 album every bit "an underrated pocket-size masterpiece" that "represent[s] his solo playing and songwriting at something of a peak".[ninety] John Metzger of The Music Box refers to Textile World every bit "the most underrated and overlooked album of [Harrison]'s career", adding that it "coalesces around its songs … and the Zen-like dazzler that emanates from Harrison's hymns to a higher ability inevitably becomes subtly affecting."[174]

Writing in Rolling Stone in 2002, Greg Kot constitute the album "drearily monochromatic" compared to its predecessor,[181] and to PopMatters ' Zeth Lundy, it suffers from "a more than anonymous tract" adjacent to the "cathedral-form significance" of All Things Must Laissez passer.[178] Reviewing Harrison'southward solo career for Goldmine magazine in 2002, Dave Thompson considered the 1973 album to be the equal of All Things Must Pass, reasoning: "While history insists that Living in the Material World could not help merely be eclipsed by its gargantuan forebear, with the ii albums in the CD role player and the 'shuffle' office mixing them up, it'due south difficult to play favourites."[182]

In his review of the 2006 remastered release, for Q magazine, Tom Doyle praised the album'southward ballads, such equally "The Light That Has Lighted the World" and "Be Here Now", and suggested that "the distance of time helps to reveal its varied charms".[183] Mojo 'south Mat Snowfall wrote of "this long overdue reissue" existence "worth it lone for four wonderful songs", including "Don't Allow Me Wait As well Long" and "The Mean solar day the World Gets 'Round", and concluded: "The rest is Hari Georgeson at his nearly preachy, but information technology's never less than musical and oft light on its feet."[173] In another 2006 review, for the Vintage Rock website, Shawn Perry wrote of Material Globe existence "more than restrained and firsthand without the wall of sound whitewash of its predecessor, but its menstruum and elegance are unmistakable". Perry admired Harrison'south slide guitar playing and rated the album an "underrated, classic record".[184] Writing for Uncut in 2008, David Cavanagh described Material World equally "a bit full-on, faith-wise" but "the album to play if you desire musicianship at its best".[185]

Living in the Cloth World was listed every bit the fifth best Beatles solo album by Paste in 2012.[186] In their similar lists, Ultimate Classic Rock ranks it at number 7[187] and The Independent at number 6.[188]

2014 appraisal and legacy [edit]

Reviewing the 2014 reissue, Blogcritics' Chaz Lipp writes that "this chart-topping classic is, in terms of production, arguably preferable to its predecessor", adding: "The sinewy 'Sue Me, Sue You Dejection,' galloping title track, and soaring 'Don't Permit Me Expect As well Long' rank right alongside Harrison's best work."[189] Alex Franquelli of PopMatters refers to it as "a worthy successor" to All Things Must Pass and an album that "raises the bar of social awareness that had only been touched on lightly in the previous release". Franquelli concludes: "It is a work that enjoys a more elaborate dynamic evolution, where layers are kept together by Harrison's clever work backside the mixing desk."[190] In another 2014 review, for Classic Rock, Paul Trynka writes: "All these years on, information technology'southward his about overtly spiritual album that sparkles today … The well-known songs, such every bit 'Sue Me, Sue Y'all Blues' (dedicated to the rapacious Allen Klein), stand up well, merely it's the more than restrained tracks – 'Don't Allow Me Look Too Long', 'Who Tin See It' – that entrance: gorgeous pop songs, all the more than forceful for their restraint." Trynka goes on to describe "Exist Here Now" as the album's "towering achievement" and "a masterpiece".[191] [192]

Among Beatles biographers, Alan Clayson approves of Material World 'due south "cocky-production criterion closer to the style of George Martin", after the "looser abundance" of All Things Must Pass.[193] Inside the more restrained environment, Clayson adds, Harrison laid merits to the title "male monarch of stone 'n' roll slide guitar", in addition to giving perhaps his "nigh magnificent [vocal] performance on record" on "Who Tin can Come across It".[168] Rodriguez also approves of a production artful that allows instruments to "sparkle" and "breathing space" for his melodies, and rates Harrison's guitar playing as "stellar" throughout.[194] Peter Lavezzoli describes the album equally "a soulful collection of songs that feature some of Harrison'southward finest singing, peculiarly the gorgeous Roy Orbison-esque ballad 'Who Tin See It'".[160]

Leng has named Living in the Material World equally his personal favourite of all of Harrison's solo albums.[195] According to Leng, with its combination of a defiant "protest" vocal in "The Twenty-four hours the World Gets 'Round", the anti-stardom "The Lord Loves the One", and "perfect popular confections" in "Give Me Beloved" and "Don't Permit Me Look Too Long", Living in the Cloth World was the final album to capture the same articulate-sighted, utopian spirit that characterised the 1960s.[196] Eder likewise welcomes Fabric World 's bold idealism, maxim: "Even in the summer of 1973, after years of war and strife and disillusionment, some of usa were yet sort of looking – to borrow a phrase from a Lennon–McCartney vocal – or hoping to get from them something like 'the word' that would make us free. And George, God dear him, had the temerity to actually oblige ..."[90]

Reissues [edit]

2006 [edit]

While solo works by Lennon, McCartney and Starr had all been remastered as function of repackaging campaigns during the 1990s and early on 21st century, Harrison's Living in the Cloth Globe was "neglected over the years", writer Bruce Spizer wrote in 2005, an "unfortunate" situation considering the quality of its songs.[78] On 25 September 2006, EMI reissued the album in the UK, on CD and in a deluxe CD/DVD package,[197] with Capitol Records' US release following the adjacent 24-hour interval.[198] The remastered Material Earth featured ii additional tracks,[199] neither of which had previously been bachelor on an album:[200] "Deep Blue" and "Miss O'Dell", popular B-sides, respectively, to the 1971 not-album unmarried "Bangla Desh" and "Give Me Dearest (Give Me Peace on World)".[178] The CD/DVD edition independent a 40-page total colour booklet[197] that included extra photos from the inner-gatefold shoot (taken past 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.[201]

The DVD featured a concert performance of "Requite Me Dear", recorded during Harrison'due south 1991 Japanese tour with Eric Clapton,[198] and previously unreleased versions of "Miss O'Dell" and "Sue Me, Sue Y'all Dejection" set to a slideshow of archival motion picture.[197] The concluding selection consisted of the anthology's title track playing over 1973 footage[197] of the LP being audio-tested and packaged prior to shipment.[174] While Zeth Lundy found that the deluxe edition "bestows lavish attending upon a record that may not exactly deserve information technology", with the DVD "an unnecessary bonus",[178] Shawn Perry considered the supplementary disc to be possibly the "pièce de résistance" of the 2006 reissue, and concluded: "this parcel is a beautiful tribute to the late and smashing guitarist any Beatles and Harrison fan will cherish."[184]

2014 [edit]

Living in the Material Globe was remastered again for inclusion in the Harrison box set The Apple Years 1968–75, issued in September 2014.[202] Besides available as a separate CD, the reissue reproduces Howlett's 2006 essay and adds "Bangla Desh" as a third bonus track, after "Deep Blueish" and "Miss O'Dell".[203] In his preview of the 2014 reissues, for Rolling Stone, David Fricke pairs Textile World with All Things Must Pass equally representing "the heart of the [box] set".[204] Disc eight of The Apple tree Years includes the iv items featured on the 2006 deluxe edition DVD.[203]

Track listing [edit]

All songs written by George Harrison.

Original release [edit]

Side one

  1. "Give Me Love (Give Me Peace on Earth)" – three:36
  2. "Sue Me, Sue You lot Dejection" – 4:48
  3. "The Light That Has Lighted the World" – 3:31
  4. "Don't Permit Me Wait Too Long" – 2:57
  5. "Who Can See Information technology" – 3:52
  6. "Living in the Fabric World" – 5:31

Side two

  1. "The Lord Loves the Ane (That Loves the Lord)" – iv:34
  2. "Exist Here Now" – iv:09
  3. "Effort Some, Buy Some" – iv:08
  4. "The Day the Globe Gets 'Round" – ii:53
  5. "That Is All" – iii:43

2006 remaster [edit]

Tracks 1–11 as per the original release, with the following bonus tracks:

  2. "Deep Blue" – 3:47
  3. "Miss O'Dell" – 2:33

Deluxe edition DVD

  1. "Give Me Love (Give Me Peace on World)" (recorded live at Tokyo Dome on 15 December 1991)
  2. "Miss O'Dell" (alternative version)
  3. "Sue Me, Sue Y'all Dejection" (acoustic demo version)
  4. "Living in the Material World"

2014 remaster [edit]

Tracks 1–11 equally per the original release, with the following bonus tracks:

  2. "Deep Bluish" – 3:47
  3. "Miss O'Dell" – two:33
  4. "Bangla Desh" – three:57

Personnel [edit]

  • George Harrison – lead and backing vocals, electric and audio-visual guitars, dobro, sitar
  • Nicky Hopkins – piano, electric piano
  • Gary Wright – organ, harmonium, electric piano, harpsichord
  • Klaus Voormann – bass guitar, 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 "Endeavour Some, Purchase Some")
  • Jim Gordon – drums, tambourine (on "Endeavour Some, Buy Some")
  • Pete Ham – acoustic guitar (on "Attempt Some, Purchase Some")

Charts [edit]

Weekly charts [edit]

Year-end charts [edit]

Chart (1973) Position
Australian Albums Chart[221] 24
Dutch Albums Nautical chart[222] 39
French Albums Chart[223] 16
Usa Billboard Year-Finish[224] [225] 43

Certifications [edit]

Region Certification Certified units/sales
Commonwealth of australia (ARIA)[226] Gold 35,000^
Canada (Music Canada)[149] Gold 50,000^
U.s.a. (RIAA)[227] Gold 500,000^

^ Shipments figures based on certification alone.

Notes [edit]

  1. ^ Amid activities that drained much of his inventiveness from September 1971 through to late 1972, Harrison was embroiled in negotiations with Capitol Records over the Concert for People's republic of bangladesh live album,[14] technical issues with the disappointing footage from the New York shows,[15] [16] and transatlantic meetings with lawyers and diverse U.s. and British government departments.[17]
  2. ^ Of the two of them, his married woman suffered the about serious injuries,[29] [xxx] her recovery from which, Clayson has noted, Harrison saw fit to assist past "pounding on a drum-kit that he'd set up upwardly in the adjacent room" at Friar Park.[31]
  3. ^ Further aligning himself with the Hare Krishna movement, in early 1973,[34] Harrison purchased Piggott's Manor[35] in Hertfordshire for the growing number of Great britain-based devotees.[36] Renamed Bhaktivedanta Estate, the property remains ISKCON's master centre for study and worship in Britain.[37]
  4. ^ Harrison himself gave 1972 as the year he started writing "So Distressing", a track dealing with the end of their relationship, later released on his Dark Horse album.[53]
  5. ^ The remaining songs were "Try Some, Purchase Some" and "Sue Me, Sue Yous Blues",[68] both of which were 1971 copyrights that had already been assigned to their composer's publishing company, Harrisongs.[69]
  6. ^ The High german bassist vividly recalls recording his part for "Be Hither Now" in a toilet in that location,[95] [96] and footage included in Martin Scorsese's 2011 Harrison documentary shows the musicians playing at Friar Park.[97]
  7. ^ In addition, Harrison produced an early version of his and Starr's co-limerick "Photo" sometime before Christmas.[105]
  8. ^ While he shared Lennon and Starr's general disillusion with their manager,[111] Harrison was especially aggrieved at Klein's handling of the Bangladesh relief effort.[112] Klein had neglected to annals the 1971 concerts as clemency fundraisers beforehand, resulting in the assistance project being denied revenue enhancement-exempt status.[113]
  9. ^ As revealed on the Living in the Alternating Earth homemade, these sections had been taped with minimal instrumentation, awaiting the requisite musical colouring.[114]
  10. ^ Somer in fact took Wright's place in the shot, later on which Wilkes superimposed a motion-picture show of the musician'southward face.[121]
  11. ^ Capitol Canada executives presented Harrison with the award, forth with a CRIA platinum disc for All Things Must Pass, in Toronto in Dec 1974, presently before he performed at the urban center'southward Maple Leafage Gardens.[150]

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  223. ^ "Les Albums (CD) de 1973 par InfoDisc" (in French). Archived from the original (PHP) on 27 October 2012. infodisc.fr (retrieved 13 Apr 2014).
  224. ^ "Billboard 1970'southward Album Top fifty (Part 1) > 1973" Archived 6 March 2012 at the Wayback Machine, vii December 2007 (retrieved thirteen Apr 2014).
  225. ^ "Top Pop Albums of 1973" Archived 4 December 2012 at archive.today, billboard.biz (retrieved 11 February 2012).
  226. ^ "From the Music Capitals of the World – Melbourne", Billboard, 17 November 1973, p. 56 (retrieved 17 February 2022).
  227. ^ "Artist: George Harrison / Title: Living in the Textile Earth", RIAA Gold & Platinum Database (retrieved 12 May 2021).

Sources [edit]

  • Dale C. Allison Jr., The Love At that place That'due south 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-Upwards 1970–2001, Motorbus Printing (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-viii).
  • David Cavanagh, "George Harrison: The Dark Horse", Uncut, Baronial 2008, pp. 36–48.
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN 1-86074-489-three).
  • 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-ix).
  • Gary Graff & Daniel Durchholz (eds), MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999; ISBN 1-57859-061-ii).
  • 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-nine).
  • 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 one-55071-197-0).
  • Chris Ingham, The Rough Guide to the Beatles (2nd edn), Rough Guides/Penguin (London, 2006; ISBN 978-1-84836-525-4).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-three).
  • 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-v).
  • Ian MacDonald, Revolution in the Caput: The Beatles' Records and the Sixties, Pimlico (London, 1998; ISBN 0-7126-6697-4).
  • Fleck Madinger & Mark Easter, Viii Arms to Concur 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 Difficult 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-one-4165-9093-4).
  • Robert Rodriguez, Fab 4 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).
  • Mat Snow, "George Harrison: Tranquility Storm", Mojo, November 2014, pp. 66–73.
  • Howard Sounes, Down the Highway: The Life of Bob Dylan, Doubleday (London, 2001; ISBN 0-385-60125-5).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-v-nine).
  • Gary Tillery, Working Form 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).
  • Bill Wyman, Rolling with the Stones, Dorling Kindersley (London, 2002; ISBN 0-7513-4646-2).

External links [edit]

  • Living in the Material Earth at Discogs (list of releases)
  • Living in the Material World microsite (2006)

Source: https://en.wikipedia.org/wiki/Living_in_the_Material_World

Posted by: gravesbuyince.blogspot.com

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