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Living in the Material World

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AMG AllMusic Guide: Pop Albums:

Living in the Material World

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  • Artist: George Harrison
  • Rating: StarStarStarStar
  • Release Date: May 30, 1973
  • Total Time: 43:42
  • Genre: Rock

Review

How does an instant multimillion-selling album become an underrated minor masterpiece? George Harrison's follow-up to the triple-disc All Things Must Pass (which had been comprised of an immense backlog of great songs that he'd built up across the last years of his time with the Beatles), Living in the Material World was necessarily a letdown for fans and critics, appearing as it did two-and-a-half-years after its predecessor without that earlier album's outsized songbag from which to draw. And it does seem like Harrison narrowed his sights and his vision for this record, which has neither the bold musical expansiveness nor the overwhelming confidence of its predecessor. And while there are still some beautiful and delightfully lyrical, charming moments throughout, few of the melodies are as instantly memorable and compelling as those of most of the songs on the earlier record, and some of the most serious songs here, such as "The Light That Has Lighted the World," seem weighed down with their own sense of purpose, in ways that All Things Must Pass mostly (but not entirely) avoided. What Living in the Material World does show off far better than the earlier record, however, is Harrison's guitar work -- unlike the prior album, with its outsized contingent of musicians including Eric Clapton and Dave Mason on guitars, he's the only axeman on Material World, and it does represent his solo playing and songwriting at something of a peak. Most notable are his blues stylings and slide playing, glimpsed on some of the later Beatles sessions but often overlooked by fans.

"Don't Let Me Wait Too Long" is driven by a delectable acoustic rhythm guitar and has a great beat. The title track isn't great, but it does benefit from a tight, hard, band sound, and "The Lord Loves the One (That Loves the Lord)," despite its title, is the high point of the record, a fast, rollicking, funky, bluesy jewel with a priceless guitar break (maybe the best of Harrison's solo career) that should have been at the heart of any of Harrison's concert set. Vocally, Harrison was always an acquired taste, and he isn't as self-consciously pretty or restrained here, but it is an honest performance, and his singing soars magnificently in his heartfelt performance on "The Day the World Gets Round," a song that resembles "Beware of Darkness" and also, curiously enough, "Across the Universe." Perhaps a less serious title would have represented the album better, but nobody was looking for self-effacement from any ex-Beatle except Ringo (who's also here, natch) in those days. Even in the summer of 1973, after years of war and strife and disillusionment, some of us were still sort of looking -- to borrow a phrase from a Lennon-McCartney song -- or hoping to get from them something like "the word" that would make us free. And George, God love him, had the temerity to actually oblige, to the extent of painting a few signs here and there suggesting where he'd found it and where we might, all with some great playing and some laughs. And it wasn't all serious -- there are pointed moments of humor throughout, especially on the title song; and "Sue Me, Sue You Blues" was a follow-up to Beatles-era tracks such as "Only a Northern Song," dealing with the internal workings and business side of his lingering involvement with the group, in this case the multiple, overlapping, sometimes rotating lawsuits that attended the breakup of their organization. And one track, "Try Some, Buy Some," which he'd given away to Ronnie Spector at the time, actually dated back to the All Things Must Pass sessions. ~ Bruce Eder, Rovi

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Wikipedia on Answers.com:

Living in the Material World

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For the documentary film by Martin Scorsese, see George Harrison: Living in the Material World.
Living in the Material World
Studio album by George Harrison
Released 30 May 1973 (US)
22 June 1973 (UK)
Recorded October 1972–February 1973, February 1971
FPSHOT, Oxfordshire; Apple Studio, London; Abbey Road Studios, London
Genre Rock
Length 43:55
Label Apple
Producer George Harrison, Phil Spector
George Harrison chronology
The Concert for Bangladesh
(1971)		 Living in the Material World
(1973)		 Dark Horse
(1974)
Singles from Living in the Material World
  1. "Give Me Love (Give Me Peace on Earth)"
    Released: 7 May 1973 (US); 25 May 1973 (UK)

Living in the Material World is a studio album by George Harrison, released in 1973 on the Apple Records label. As the follow-up to 1970's acclaimed All Things Must Pass and his mammoth charity project, The Concert for Bangladesh, Living in the Material World was among the most highly anticipated releases of the year.[1][2][3]

The album was Harrison's second (and final) chart-topping album in the United States and spawned the international hit "Give Me Love (Give Me Peace on Earth)". Remastered in 2006, Living in the Material World is notable for the uncompromising spiritual content of its songs, as well as for what are generally considered to be the finest guitar performances of Harrison's career.

Contents

Background

The Bangladesh experience of 1971–72 had left George Harrison an international hero,[4][5][6] but exhausted and frustrated in his efforts to ensure that the money raised would find its way to those in need.[7] Capitol Records’ delaying tactics with the Concert for Bangladesh live album,[8] transatlantic meetings with lawyers and various US and British government departments, and technical issues with the film footage from the Madison Square Garden shows[9][10] conspired to keep his musical career on hold for over a year.[2] While he did find time during the last few months of 1971 to produce singles for Ringo Starr (“Back Off Boogaloo”) and Apple proteges Lon & Derrek Van Eaton (“Sweet Music”) and to help promote the Ravi Shankar documentary Raga,[11] it was a far cry from the attention he’d been able to lavish on pre-Bangladesh projects such as Billy Preston's Apple albums and Badfinger’s Straight Up.[12]

In the meantime, and throughout the following year, Harrison's devotion to Hindu spirituality − particularly to Krishna consciousness via his friendship with A.C. Bhaktivedanta Swami Prabhupada − had grown to “unparaleled” heights.[13] In August 1972, he set off alone for a driving holiday in Europe, without wife Pattie Boyd,[9] during which, he later claimed, he chanted the Hare Krishna mantra nonstop for days.

The songs he had assembled by this point reflected both his spiritual devotion − in the Prabhupada-inspired “Living in the Material World”[14] and “The Lord Loves the One (That Loves the Lord)”, and in “Give Me Love (Give Me Peace on Earth)” and “Try Some, Buy Some”[15][16] − as well as his feelings before and after the Bangladesh benefit concerts, in “Miss O’Dell” and “The Day the World Gets 'Round”.[17] But whereas many of his Krishna devotionals on All Things Must Pass had been filled with “the sweet satisfactions of faith”,[18] Harrison’s latest offerings betrayed a stern, “austere” quality,[19] perhaps as a result of the Bangladesh experience. His musical arranger, John Barham, would later suggest that a spiritual "crisis" might have been the cause;[19] other observers have pointed to his failing marriage to Boyd.[20][8] (Harrison himself gave 1972 as the year he started writing “So Sad”, a track dealing with the end of their relationship.[21]) Nor was his adherence to his spiritual goals necessarily consistent − Boyd and Chris O'Dell, a good friend of the couple, would joke that it was often hard to tell whether he was dipping into his ever-present prayer bag or "the coke bag".[22] The same duality has been noted by Harrison's biographers: one one hand, he earned himself the affectionate nickname "His Lectureship" during his prolonged periods of fervid devotion;[23] on the other, he'd participate in bawdy London sessions for the likes of Bobby Keys' eponymous solo album and Harry Nilsson's "thoroughly nasty" "You're Breakin' My Heart", both recorded in the first half of '72.[2][24]

Other song themes addressed the Beatles legacy,[25] either in direct references to the band’s history − in the case of “Living in the Material World” and “Sue Me, Sue You Blues” − or in Harrison’s stated desire to live in the present, free of his former identity (‘The Light That Has Lighted the World”, “Who Can See It” and “Be Here Now”).[26] The lyrics to “Who Can See It”, especially, appear to reflect his disenchantment with his previous, junior status to former bandmates Lennon and McCartney:[27] “I’ve been held up, I’ve been run down / I can see quite clearly now through those past years / When I played towing the line.” True to Swami Prabhupada's teachings, all such pursuits of fame, wealth or position meant nothing in Harrison's 1972 world-view[28] − "The Lord doesn't manifest through ego," as he later put it in I Me Mine.[29]

Production

Apple Records 1973 publicity photo for George Harrison's Living in the Material World album.
This file is a candidate for speedy deletion. It may be deleted after Monday, 30 April 2012.

As acclaimed as All Things Must Pass' "Wagnerian" production had been,[30] Harrison was keen to find a more understated sound this time around, to "liberate" the songs.[31][32] Phil Spector was slated to co-produce again,[33] although his "erratic attendance" ensured that, once sessions were under way in October 1972, Harrison had decided to be the project's sole producer.[34] (Spector would receive a credit for "Try Some, Buy Some", however, recorded in February '71 as part of Ronnie Spector's intended solo album.) A release date was planned for January or February, with the album title rumoured to be The Light That Has Lighted the World.[33] Within a month, though, the title would be announced as The Magic Is Here Again,[1] with a report in Rolling Stone magazine claiming that Eric Clapton was co-producing and that the album was set for release on 20 December.[34]

In another contrast with his 1970 triple set, Harrison engaged a small core group of musicians to support him.[35][36] Gary Wright and Klaus Voormann returned, on keyboards and bass, respectively, and John Barham would again provide orchestral arrangements.[34] They were joined by Jim Keltner, who had impressed at the Madison Square Garden concerts, and pianist Nicky Hopkins,[34] whose musical link to Harrison went back to the 1968 Jackie Lomax single, "Sour Milk Sea". Ringo Starr would also contribute to the album, when his burgeoning film career allowed, and Jim Horn, another Bangladesh recruit, supplied horns and flutes.[34] In addition, Badfinger's Pete Ham and Tom Evans are said to have augmented the basic line-up on 4 and 11 October, although their playing would not find its way onto the released album.[37]

In fact, all the rhythm and lead guitar parts would be the work of Harrison alone[38] − the ex-Beatle stepping out from the "looming" shadow of Clapton for the first time.[39] Most of the backing tracks were recorded with Harrison on acoustic guitar; only "Living in the Material World", "Who Can See It" and "That Is All" featured electric rhythm parts, those for the latter two songs adopting the same Leslie-toned sound found throughout The Beatles’ Abbey Road.[27]

The sessions took place partly at Apple Studio in London, but mostly at Harrison's new state-of-the-art facility at Friar Park, according to Voormann.[40] (The German vividly recalls recording his standup bass part for "Be Here Now" in a toilet there,[41] and footage included in Martin Scorsese's 2011 Harrison documentary shows the musicians playing at Friar Park.) Apple Studio, together with its Savile Row, London W1 address, would receive a prominent credit on the Living in the Material World record sleeve, though − a further sign of Harrison's championing of the Beatles-owned recording venue.[42][40] At the weekends during these autumn months, Hopkins' own solo album, The Tin Man Was a Dreamer, was recorded there at Apple,[36] with contributions from Harrison, Voormann and Horn.[43][44]

The Living in the Material World sessions continued into December, at which point Hopkins left for Jamaica to work on The Rolling Stones' new album.[45] It was during this month that Harrison apparently rediscovered the song "Sue Me, Sue You Blues",[46] originally given to Jesse Ed Davis in 1971, and he also co-produced a new live album for Ravi Shankar and Ali Akbar Khan, the highly regarded In Concert 1972.[47]

Recording sessions resumed in January, at Apple, at which point it was clear that an early '73 release date was impossible.[33] For most of January and into February, extensive overdubs were carried out − comprising vocals, percussion, Harrison's famed slide guitar parts, Jim Horn's contributions, and orchestral and choral arrangements from Barham.

In this way, Nicholas Schaffner would write in 1977, "George devised a luxuriant rock devotional designed to transform his fans' stereo equipment into a temple."[1]

Release

Due to the extended recording sessions, Living in the Material World was issued at the end of a busy Apple release schedule, 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.[48] As Schaffner recorded in The Beatles Forever: "For a while there ... album charts were reminiscent of the golden age of Beatlemania."[49]

Preceded by its uplifting acoustic single, "Give Me Love (Give Me Peace on Earth)" − Harrison's second US number 1 − Living in the Material World was finally issued on 30 May in America (as Apple SMAS 3410) and on 22 June in Britain (Apple PAS 10006).[50] As expected, it enjoyed immediate commercial success, entering the Billboard 200 at number 11 and hitting number 1 in its second week, on 23 June (knocking off the Wings album in the process).[51] Harrison's album spent five weeks atop the US charts, having been awarded a gold disc by the RIAA within a day of release, for advance orders.[52][53] In the UK, Living in the Material World peaked at number 2, held from the top position by the soundtrack for Starr's movie That'll Be the Day.[54]

Despite such brisk initial sales, however, its follow-on success was somewhat disappointing, limited no doubt by the "anomalous" decision to cancel the release of a second US single, "Don't Let Me Wait Too Long".[40] Nevertheless, with Living in the Material World, Harrison achieved the prestigious Billboard double for a second time when "Give Me Love" hit the top spot during the album's stay at number 1[31] − the only one of his former bandmates to have done it even once being McCartney, with the recent "My Love" and Red Rose Speedway.[55][53] Another factor behind the album's comparatively early slide down US and UK albums listings was Harrison's failure to carry out any supporting promotion: "pre-recorded tapes" were issued to BBC Radio 1 and played repeatedly on the show Radio One Club, but his only public appearance in Britain was to accompany A.C. Bhaktivedanta Swami Prabhupada on a religious procession through central London, on 8 July.[56]

The album is thought to have sold 3 million copies worldwide.[57]

Reception

Professional ratings
Review scores
Source Rating
Allmusic 4/5 stars[38]
Blender (magazine) 4/5 stars link
PopMatters 6/10 stars[58]
Rolling Stone (favourable)[59]
MusicHound 3.5/5 stars[60]
Robert Christgau C[61]

Among the expectant music critics, Stephen Holden of Rolling Stone began his highly favourable album review with an enthusiastic "At last it's here ..."[62] He hailed the new Harrison set as a "pop classic" and well worth the two-and-a-half year wait: "Happily, the album is not just a commercial event," he wrote, "it is the most concise, universally conceived work by a former Beatle since John Lennon/Plastic Ono Band."[62] Like Holden, Schaffner approved of the singer's gesture in donating most of his publishing royalties to the recently launched Material World Charitable Foundation and praised the "exquisite musical underpinnings", even if the "transcendent dogma" was not always to his taste.[63]

Generally though, and particularly in Britain,[64] the critical reaction was less euphoric than that which had greeted All Things Must Pass.[65] More sombre in tone, Living in the Material World was distinguished by Harrison's philosophical and religious ruminations, making it clear he was in distress with the state of the world and where it was headed. Subsequently, the feeling in some quarters was that Harrison had lost much of the enormous momentum he'd had going for him since The Beatles' break-up three years before.

Most contemporary reviewers now consider Living in the Material World to be a worthy successor to All Things Must Pass,[66] even if it inevitably falls short of that grand opus. Harrison's guitar playing is almost universally acclaimed.[38][39][67]

Author Simon Leng refers to it as a "forgotten blockbuster" and the last album to capture the same confident spirit that had so characterised the 1960s.[68] Allmusic's Bruce Eder likewise welcomes Living in the Material World's bold idealism: "Even in the summer of 1973, after years of war and strife and disillusionment, some of us were still sort of looking − to borrow a phrase from a Lennon-McCartney song − or hoping to get from them something like "the word" that would make us free. And George, God love him, had the temerity to actually oblige ..."[38]

Cover artwork

Inner sleeve artwork for George Harrison's Living in the Material World album, taken from the Bhagavad Gita.

As he'd done with both All Things Must Pass and The Concert for Bangladesh, Harrison entrusted the album's art design to Tom Wilkes, and the latter's partner, Craig Baun.[69][70] The resulting gatefold and inner sleeves were much commented-on at the time of release, Holden of Rolling Stone describing the record as "beautifully-packaged with symbolic hand-print covers and the dedication, 'All Glories to Sri Krsna'",[62] while Village Voice contributor Nicholas Schaffner likewise admired the "color representations of the Hindu scriptures",[1] in the form of Krishna's chariot, taken from the Bhagavad Gita.[31] The striking cover image was a Kirlian photograph of Harrison's hand holding a Hindu medallion.[66]

The inner gatefold spread showed Harrison and his fellow musicians − Starr, Horn, Voormann, Hopkins, Keltner and Wright (actually producer Richard Perry, with Wright's face superimposed later) − at a long table, laden with food and wine. The picture was taken in California by Hollywood glamour photographer Ken Marcus,[70] presumably around the time that Harrison was working on Starr's new album and Ravi Shankar's Shankar Family & Friends. Decades later, author Alan Clayson would speculate about the symbolism and hidden messages within the photo: whether the feast was meant to replicate da Vinci's The Last Supper; whether the nurse with a pram, set back from and to the left of the table, was a reference to wife Pattie's inability to conceive a child; and the empty, distant wheelchair in memory of Harrison's late mother.[64]

On the back cover, underneath a second hand-print design, text provides details of the fictitious Jim Keltner Fan Club, information on which was available by sending a "stamped undressed elephant" − for: self-addressed envelope − to a Hollywood (since changed to Santa Monica) address.[71] This detail was meant as an affectionate thank-you to the popular drummer (Starr would repeat the gesture on his album later in the year), as well as a dig perhaps − in its use of "wing" symbols, like those in Wings' logo[71] − at Paul McCartney, who had recently launched a fan club for his new band.

Reissue

On 26 September 2006, Living in the Material World was reissued on CD, limited edition LP and in a deluxe CD/DVD package by Capitol Records and EMI. The remastered album features two additional tracks, the B-side "Deep Blue" from the 1971 single "Bangla Desh", and "Miss O'Dell", the B-side to "Give Me Love (Give Me Peace on Earth)".

The DVD rounds up rare performance footage of "Give Me Love" from Harrison's 1991 Japanese tour with Eric Clapton, behind-the-scenes film clips shot during the 1972−73 sessions for "Living in the Material World" and previously unreleased versions of "Miss O'Dell" and "Sue Me, Sue You Blues" set to archival film clips.[72]

Track listing

All songs written by George Harrison.

Original release

Side one

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

Side two

  1. "The Lord Loves the One (That Loves the Lord)" – 4:34
  2. "Be Here Now" – 4:09
  3. "Try Some, Buy Some" – 4:08
  4. "The Day the World Gets 'Round" – 2:53
  5. "That Is All" – 3:43

2006 remaster

Bonus tracks

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

Bonus DVD

  • "Give Me Love (Give Me Peace on Earth)" (recorded live at Tokyo Dome on 15 December 1991)
    • Audio:
      • PCM Stereo
      • Dolby Digital 5.1
      • DTS 5.1
  • "Miss O'Dell" (alternative version)
  • "Sue Me, Sue You Blues" (acoustic demo version)
  • "Living in the Material World"

Personnel

Charts

Chart positions

Chart (1973) Position
Australian Kent Music Report Albums Chart[73] 2
Belgium Albums Chart[74] 2
Canadian RPM Albums Chart[75] 1
Dutch Mega Albums Chart[76] 5
French SNEP Albums Chart [77] 10
Italian Albums Chart[78] 4
Japanese Oricon LP Chart[79] 9
Norwegian VG-lista Albums Chart[80] 4
Spanish Albums Chart[81] 8
Swedish Albums Chart[74] 2
UK Albums Chart [82] 2
United States Billboard Pop Albums[83] 1
West German Media Control Albums Chart [84] 20

Chart positions (reissue)

Chart (2006) Position
Japanese Oricon Albums Chart[85] 33
U.S. Billboard Catalog Albums[86] 36

Year-end charts

Chart (1973) Position
Australian Albums Chart[73] 24
French Albums Chart[87] 16
Italian Albums Chart[78] 34
U.S. Billboard Top Pop Albums[88] 43

Certifications

Region Certification
United States (RIAA)[89] Gold

References

  1. ^ a b c d Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978), p. 159.
  2. ^ a b c Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 123.
  3. ^ Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005), p. 249.
  4. ^ Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978), pp 147, 159.
  5. ^ Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 121.
  6. ^ Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011), p. 100.
  7. ^ George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002), p. 220.
  8. ^ a b The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002), p. 43.
  9. ^ a b Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), p. 79.
  10. ^ George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002), pp 60−61.
  11. ^ Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), pp 54−56.
  12. ^ Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), pp 110−11.
  13. ^ Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 124.
  14. ^ "Meditation: Chant and Be Happy - The Power of Mantra Meditation by His Divine Grace A.C. Bhaktivedanta Swami Prabhupada". Harekrishna.com. http://harekrishna.com/col/books/YM/cbh/. Retrieved 2011-09-19. 
  15. ^ George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002), pp 246, 254, 258.
  16. ^ Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011), pp 111−12.
  17. ^ George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002), pp 226, 248.
  18. ^ DeCurtis, Anthony (12 October 2000). "Album Review: George Harrison All Things Must Pass". Rolling stone. Archived from the original on 14 August 2006. http://web.archive.org/web/20060814002619/http://www.rollingstone.com/artists/georgeharrison/albums/album/205260/review/6067390/all_things_must_pass. Retrieved 1 April 2012. 
  19. ^ a b Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 137.
  20. ^ Elliot J. Huntley, Mystical One: George Harrison: After the Break-up of the Beatles, Guernica Editions (2004; isbn 9781550711974), pp 91−92.
  21. ^ George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002), p. 240.
  22. ^ 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), p. 188.
  23. ^ Alan Clayson, George Harrison, Sanctuary (London, 2003), p. 330.
  24. ^ Alan Clayson, George Harrison, Sanctuary (London, 2003), p. 293.
  25. ^ Alan Clayson, George Harrison, Sanctuary (London, 2003), p. 322.
  26. ^ Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), pp 126−28, 129−30, 131, 133.
  27. ^ a b Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 129.
  28. ^ Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 131.
  29. ^ George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002), p. 254.
  30. ^ Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978), p. 142.
  31. ^ a b c Keith Howlett, booklet accompanying Living in the Material World reissue (EMI Records, 2006; produced by Dhani & Olivia Harrison).
  32. ^ The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002), p. 180.
  33. ^ a b c Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), p. 83.
  34. ^ a b c d e Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005), p. 254.
  35. ^ Alan Clayson, George Harrison, Sanctuary (London, 2003), p. 323.
  36. ^ a b Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 125.
  37. ^ Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Compendium, 44.1 Productions (Chesterfield, MO, 2000, isbn 0-615-11724-4), p. 439.
  38. ^ a b c d Bruce Eder, "George Harrison Living in the Material World", Allmusic review (retrieved 19 April 2012).
  39. ^ a b Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 132.
  40. ^ a b c Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 126.
  41. ^ Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006), p. 133.
  42. ^ Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), p. 50.
  43. ^ Baron Wolman, Rocks Off: The Nicky Hopkins Website, http://rocksoff.org/nicky-solo.htm (retrieved 13 February 2012).
  44. ^ Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography, 1961−1975, Ballantine Books (New York, NY, 1976), p. 207.
  45. ^ Bill Wyman, Rolling with the Stones, Dorling Kindersley (London, 2002), p. 415.
  46. ^ Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), p. 84.
  47. ^ Ken Hunt, "Review: Ravi Shankar Ali Akbar Khan, In Concert 1972", Gramophone, June 1997, p. 116 (http://www.gramophone.net/Issue/Page/June%201997/116/824254/; retrieved 14 February 2012).
  48. ^ Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), pp 94−95, 98.
  49. ^ Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978), p. 158.
  50. ^ Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961−1975, Ballantine Books (New York, NY, 1976), p. 125.
  51. ^ Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961−1975, Ballantine Books (New York, NY, 1976), p. 364.
  52. ^ Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961−1975, Ballantine Books (New York, NY, 1976), p. 332, 364.
  53. ^ a b Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), p. 103.
  54. ^ Chart Stats, “Albums Chart − 07/07/1973”, http://chartarchive.org/c/albums/1973-07-07 (retrieved 4 May 2012).
  55. ^ Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961−1975, Ballantine Books (New York, NY, 1976), pp 353−54, 364.
  56. ^ Keith Badham, The Beatles Diary Volume 2: After the Break-Up 1970−2001, Omnibus Press (London, 2002), pp 102, 104.
  57. ^ Bill Harry, The George Harrison Encyclopedia, Virgin Books (London, 2003), pp 235, 291.
  58. ^ Lundy, Zeth (8 November 2006). "Review: Living in the Material World". PopMatters. http://www.popmatters.com/pm/review/george-harrison-living-in-the-material-world/. Retrieved 7 November 2009. 
  59. ^ Holden, Steve (19 July 1973). "Review: Living in the Material World". Rolling Stone. http://www.rollingstone.com/music/albumreviews/living-in-the-material-world-19730719. Retrieved 7 November 2009. 
  60. ^ Gary Graff & Daniel Durcholz, MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999), p. 529.
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External links

Preceded by
The Dark Side of the Moon
by Pink Floyd		 Canadian RPM Top 100 number-one album
23 June – 28 July, 1973		 Succeeded by
The Dark Side of the Moon
by Pink Floyd
Preceded by
Red Rose Speedway
by Paul McCartney & Wings		 Billboard 200 number-one album
23 June – 27 July 1973		 Succeeded by
Chicago VI by Chicago

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