George Harrison – circa 1973
“Sunrise doesn’t last all morning / The cloudburst doesn’t last all day” – ‘All Things Must Pass’ (George Harrison)
It’s his wife’s idea. In 1967, the wife of U.K. rock star George Harrison is former model and actress Pattie Boyd. George is one quarter of The Beatles, the British band whose success is so phenomenal George is one of the wealthiest young men in the world. Yet Pattie has found something that not all George’s money can buy, something that may, ultimately, become his most valuable possession. Pattie believes she may have found the key to spiritual serenity and peace of mind. On 24 August 1967, the Indian holy man, the Maharishi Mahesh Yogi, is giving a lecture at the Park Lane Hilton Hotel in London. Pattie convinces her husband and the rest of The Beatles to attend the Maharishi’s lecture that evening. The rest of George Harrison’s life is divided between the spirituality of the East and the avarice of the West. His music seeks to reconcile these polar opposites. It is this quest that characterises George Harrison’s recording career.
George Harrison (24 February 1943 – 29 November 2001) is born in Liverpool, England. (Note: All his life, George Harrison believed his birthdate was 25 February 1943. George was actually born at 11.50 p.m. on 24 February 1943.) His father, Harry, is a former ship’s steward turned bus driver. George’s mother, Louise, is a housewife, described as ‘warm-hearted’ and ‘happy.’ George is the youngest of the four Harrison children. His elder siblings are Harold (junior), Louise and Peter. Like his mother, George is ‘baptised a Catholic.’ However, the boy attends an Anglican school, Dovedale Primary. In 1954 he moves on to the Liverpool Institute.
Harry Harrison drives the bus that carries his son to school. One morning, another lad on the bus is short of the full fare so Louise gives him some extra pennies. The beneficiary of this largesse is Paul McCartney. Paul and George are already acquainted because of their mutual love for rock ‘n’ roll music. In 1956 Louise Harrison finds drawings of guitars on scraps of paper in her son’s pockets. She buys George a second-hand guitar and he strenuously applies himself to learning to play the instrument. George and his elder brother, Peter, form a group called The Rebels, but this collective manages only one gig before dissolving. George graduates to a newer, better guitar.
On 6 July 1957 Paul McCartney joins The Quarrymen, a band led by another local lad, John Lennon. On 29 August 1958 George joins Paul and John in that combo. The Quarrymen metamorphose into The Beatles, whose line-up is completed by drummer Ringo Starr. From 1962 to 1970 The Beatles conquer the musical world, recording a string of albums and singles, an astonishing number of which top the charts.
The Beatles are not completely democratic. John Lennon and Paul McCartney tend to be dominant. George Harrison and Ringo Starr are dutifully given a moment in the spotlight on each album, but it is a concession from the upper half of the band. George gets to sing cover versions of songs by earlier rock stars like Chuck Berry or Carl Perkins, or hand-me-down songs from Lennon and McCartney. George Harrison is usually the band’s lead guitarist but, as it was at home in Liverpool, he is the youngest, the ‘baby’ of the group, and is treated accordingly. He gets his first songwriting credit with ‘Don’t Bother Me’, a song George sings on The Beatles’ second album, ‘With The Beatles’ (1963).
‘A Hard Day’s Night’ (1964) is the first film in which The Beatles star. It is on the film set that George Harrison meets Pattie Boyd, a model who has a small acting role in the movie. George is quickly besotted with the 19 year old blue-eyed blonde. Pattie comes to return his attentions and they become a couple. George Harrison and Pattie Boyd marry on 21 January 1966.
Part of The Beatles’ second movie, ‘Help’ (1965), is filmed in the Bahamas. In one scene of the ‘surreal’ plot, some Hindi musicians are seen in the background. George Harrison takes an interest in the sitar played by one of the extras. In traditional Indian music, the sitar is the instrument most like the guitar, so its appeal to George is fairly easy to understand. However, the sitar has twenty-one strings, a much longer neck and is played while balanced against the ball of the seated musician’s foot. George buys a sitar of his own and practices with it as determinedly as he did when, as a teenager, he first learned to play guitar. George Harrison first plays the sitar on record on John Lennon’s song ‘Norwegian Wood’ in 1965. At a dinner party in London, George and Pattie are introduced to Ravi Shankar, ‘India’s best-known sitar virtuoso.’ In October 1966, the Harrisons begin a two-month ‘study holiday’ with Shankar in Bombay and the Himalayas. Not only does George improve his sitar technique but the couple learn about Indian mysticism and religion. With The Beatles, George Harrison records three full-blown original compositions of Indian music: ‘Love You To’ in 1966, ‘Within You, Without You’ in 1967 and ‘The Inner Light’ in 1968. The sounds of India, particularly the sitar, become part of the whole late 1960s hippie experience and feature on many other recordings by groups from the Western world.
The Beatles meeting with the Maharishi Mahesh Yogi in August 1967 leads to an invitation to study with the guru at his ashram in Rishikesh, India, for three months. The Beatles set out on 16 February 1968 but, one by one, they lose faith in the Maharishi. Ringo Starr heads back to England after ten days, Paul McCartney leaves after six weeks, while John Lennon and George Harrison remain for eleven weeks. ‘The Maharishi seemed to think more about the ladies’ than the ‘cosmic consciousness’ to be achieved through transcendental meditation. The Maharishi may have been a disappointment, but George Harrison’s interest in Eastern mysticism persists.
George Harrison’s contributions to The Beatles catalogue of songs are not limited to Indian music. Some of his better known songs performed with the group include ‘If I Needed Someone’ in 1965; ‘Taxman’ in 1966; ‘While My Guitar Gently Weeps’ in 1968; ‘Something’ (UK no. 4, US no. 3, AUS no. 1) and ‘Here Comes The Sun’, both in 1969; and ‘I, Me, Mine’ in 1970 (though it was recorded the previous year).
Over his time with The Beatles, George Harrison’s style of guitar-playing alters. In the early years, he favours a Chuck Berry influenced burst or an almost countryish twang in his solos. By the later years, he is purveying a different sound. It is a very high, plangent wail. Partly, this is achieved by playing slide guitar. This involves wearing a metal tube over one of the fingers with which the neck of the guitar is fretted. This results in a blurred, distended note. ‘Something’ is a good example of what comes to be recognisable as George Harrison’s style of playing. His singing voice gets into a virtual dialogue with the ‘long keening notes hanging in the air – sad rather than painful.’
Being part of The Beatles also brings George Harrison into contact with many other famous rock stars. For example, American rock star of the 1950s and 1960s Roy Orbison visits the U.K. and joins The Beatles and fellow Liverpool-born act Gerry And The Pacemakers on The Beatles’ third national tour which takes place in May 1963. On their first U.S. tour, The Beatles are visited in their New York hotel room on 28 August 1964 by folk music star, Bob Dylan. Eric Clapton, the famous guitarist in blues rock band Cream, becomes close friends with George Harrison and plays, uncredited, on ‘While My Guitar Gently Weeps’ in 1968.
While still with The Beatles, George Harrison becomes the first member of the group to release a solo album. ‘Wonderwall Music’ (1968), released in November, is ‘a mostly oriental soundtrack to accompany a mostly psychedelic film.’ It is followed in June by ‘Electronic Sound’ (1969) (US no. 191), ‘an experimental album of radio static.’
In 1970 George Harrison buys Friar Park, a mansion in Henley-On-Thames. It was built eighty years earlier and is in some disrepair. The estate was created by the multimillionaire Sir Frank Crisp, a lawyer and political advisor. The décor is notable for carved heads of fat friars, seraphim, serfs and other such tongue-in-cheek religious motifs. George Harrison devotes considerable time and funds to the restoration of the buildings and grounds. He finds a new guru, Bhaktivededanti Swami, and installs some orange-robed Hare Krishna monks in one of the smaller houses on the grounds. Friends and visitors are subjected to George’s ‘long, wandering dissertations on karma’ and take to calling him ‘His Lectureship’ behind his back. George Harrison also takes pleasure in working in the gardens. Though Friar Park is so large it requires full-time grounds-keeping staff, it is also common to see the master of the house in Wellington boots armed with a spade or pitchfork or driving a tractor.
The lady of the house does not see things in such a rosy light. Although she had been a prime motivator in her spouse’s interest in India, Pattie Harrison’s own taste for such stuff is now as burned out as a used incense stick. ‘Forbidden to have her own career’, she feels ‘isolated…in the big, gloomy house.’ Pattie regularly escapes to London and begins having an affair with George’s best friend, Eric Clapton. She breaks off the relationship with Clapton (for now) and returns to George, but their marriage is showing the strain.
With The Beatles having split up in 1970, George Harrison moves on to his own solo career. ‘Wonderwall Music’ and ‘Electronic Sound’ were for a more avant-garde audience, but ‘All Things Must Pass’ (1970) (UK no. 1, US no. 1, AUS no. 1) is the real beginning. After being limited to only a few songs at most on each Beatles album, George Harrison now clears out his backlog of compositions with a triple album. The third disc is actually a jam session with famous musician friends like guitarists Eric Clapton and Dave Mason, keyboardists Bobby Whitlock and Billy Preston, and drummers Ringo Starr and Jim Gordon. The album is produced by Phil Spector, the notorious ‘tycoon of teen’ who masterminded a string of hit singles around the late 1950s – early 1960s for acts like The Ronettes. Spector worked with The Beatles at the end of their career and is also employed by fellow ex-Beatle, John Lennon. Spector’s ‘wall of sound’ production style involves large numbers of musicians and layers of instrumentation. George Harrison adapts well to this and ‘All Things Must Pass’ is his finest solo album, ‘one of the rock masterpieces of the 1970s.’ The cover photos are taken at Friar Park with its gnomes. The album’s biggest hit is ‘My Sweet Lord’ (UK no. 1, US no. 1, AUS no. 1), a kind of ‘multi-religious pop anthem’: ‘My sweet Lord / Mmm, my Lord / I really want to see you / Really want to see you / Really want to be with you.” The song progresses and the backing chorus of “Hallelujah” alters to “Hare Krishna.” A simple acoustic guitar is the basis for the sing-a-long, overlaid with Harrison’s trademark whining electric guitar top notes. ‘My Sweet Lord’ goes on to pose some problems for its author. George Harrison is sued for plagiarism by Bright Tunes because of the song’s similarity to the melody of The Chiffons’ 1963 hit ‘He’s So Fine.’ The best of George Harrison’s songs in his solo career is ‘What Is Life’ (US no. 10, AUS no. 5). This is one of the chief beneficiaries of Phil Spector’s everything-and-the-kitchen-sink production style. Atypically built around a bold descending fuzz guitar riff, the song is fleshed out with a hasty acoustic strum, the thin high notes of Harrison’s guitar, clattering drums and a competitive string section. “What I feel / I can’t say / But my love is there for you any time of day / But if it’s not love / That you need / Then I’ll try my best to make everything succeed,” sings George before the chorus blossoms forth. The title track, ‘All Things Must Pass’, is a meditation on ‘life’s transitory nature’, though in the wake of The Beatles disbanding some forlorn fans prefer to interpret it as an elegy for that band. ‘The Art Of Dying’ and the languorous ‘Isn’t It A Pity’ (US no. 1) also sketch out George’s ‘Hindu world view’ that ‘nothing is certain and that nothing survives.’ The man responsible for the creation of Friar Park gets a nod with ‘The Ballad Of Sir Frankie Crisp (Let It Roll)’, a song that swells up from delicate piano notes. Also, Bob Dylan’s ‘If Not For You’ is covered by Harrison on this album.
George Harrison’s next project begins with a visit from his sitar mentor, Ravi Shankar. “My friend came to me / With sadness in his eyes / Told me that he wanted help / Before his country died.” So goes the introduction to ‘Bangla Desh’ [sic] (UK no. 10, US no. 23), a single released in July 1971. In 1971, the State of Bangladesh is created from part of Pakistan and the two lands frame the country of India. Bangladesh is ‘beset by political and economic problems which are often aggravated by natural disasters such as floods.’ At this point in time, it is a famine that is the greatest threat. George Harrison’s single is followed on 1 August 1971 by ‘The Concerts for Bangla Desh’, a charity fund-raiser at Madison Square Garden in New York City. An all-star cast, consisting of such luminaries as Eric Clapton, Bob Dylan and Ringo Starr, join George Harrison for these shows. A commemorative live album is released in January, ‘Concert For Bangla Desh’ (1972) (UK no. 1, US no.2). It’s a hugely successful effort, marred only by protracted legal wrangles regarding clearances for all the artists involved. This red-tape delays for far too long the money actually reaching the victims of famine.
The real test for George Harrison comes with ‘Living In The Material World’ (1973) (UK no. 2, US no. 1, AUS no. 2). In reference to the album’s title, George Harrison says, “For me, living in the material world just meant being in this physical body with all the things that go along with it.” ‘Give Me Love (Give Me Peace On Earth)’ (UK no. 8, US no. 1) is the album’s single, a tune that flows like a stream. It’s a good example ‘of a particularly Harrisonian kind of love song, in which it is never clear whether he is singing about interpersonal love or the love of God.’ Perhaps that’s because, in the author’s words, “I think individual love is just a little of universal love. The ultimate love, the universal love or love of God, is a basic goal.” Despite songs like ‘Sue Me, Sue You Blues’ and ‘That Is All’, the album is judged ‘a thoroughly inadequate sequel’ to ‘All Things Must Pass.’
The marriage of George and Patti Harrison finally breaks down. The couple separate in September 1974 and she returns to Eric Clapton. After the divorce is finalised in 1977, Pattie weds Clapton on 27 March 1979. Their union lasts until 1985 and ends in divorce in 1989. Amazingly, George Harrison’s friendship with Eric Clapton is maintained through all the years. According to George, “Every time I’d go and see him, and stuff, he’d be really hung up about it, and I was saying, ‘F*** it, man, don’t be apologising,’ and he didn’t believe me. I was saying ‘I don’t care.’”
This sentiment is somewhat undercut by a rewrite of The Everly Brothers 1957 hit ‘Bye Bye Love’ included on George Harrison’s next album, ‘Dark Horse’ (1974) (US no. 4, AUS no. 47). George’s voice sounds a bit rough on the title track, ‘Dark Horse’ (US no. 15), as he proclaims, “I’m a dark horse / Running on a dark race course.” The guitars jangle like reins and the song has a circular rhythm like a galloping horse. Amidst huffing saxophones, ‘Ding Dong’ (UK no. 38, US no. 36) attempts to become a New Year’s anthem: “Ring out the old, ring in the new / Ring out the false, ring in the true.” This song has the unfortunate distinction of being the first single by any of The Beatles, either as a unit or separately, to fail to make the U.K. Top 30. This album is said to be ‘far worse’ than its predecessor, but it is a bit underrated.
In June 1974 George Harrison starts his own Dark Horse record label. The first signing is his old friend, Ravi Shankar. For the moment, George Harrison’s own recordings are still issued on the Apple label created by The Beatles in 1968.
On 2 November 1974 George Harrison begins a U.S. tour to promote ‘Dark Horse’. The show opens with Ravi Shankar conducting twenty-four Indian musicians. This tests the tolerance and patience of concert-goers. Making matters worse, George Harrison loses his voice part way through the tour. It is ‘disastrous.’
‘Extra Texture – Read All About It’ (1975) (UK no. 16, US no. 8, AUS no. 36) is George Harrison’s next album. The best song from this set, ‘You’ (UK no. 38, US no. 20), is a loud and colourful piece – but it is also said to be a leftover from the ‘All Things Must Pass’ era.
George Harrison’s recording contract with Apple is now concluded and he prepares to release his first album under his own Dark Horse imprint. A distribution deal is struck with A & M Records. When Harrison fails to deliver the album by the agreed deadline (due to a bout of hepatitis), A & M threaten him with lawsuits. The situation is salvaged when Warner Brothers steps in as Dark Horse’s new distributor.
The situation with A & M is not completely negative for George Harrison. On his visits to their offices, he meets a pretty secretary named Olivia Trinidad Arias. George hires the dark-haired Mexican-born woman away from A & M to join Dark Horse. More importantly, George and Olivia fall in love.
‘Thirty Three & 1/3’ (1976) (UK no. 35, US no. 11, AUS no. 27) is the title of George Harrison’s debut on Dark Horse. The title refers to not only the turntable speed at which the record should be played, but George Harrison’s age at the time. Synthesisers feature more heavily on this disc than before, but the guitar is still dominant. It is a more ‘buoyant and self-confident’ release. ‘This Song’ (US no. 25), and its accompanying video satirise George’s legal battle over the similarity of ‘My Sweet Lord’ and ‘He’s So Fine.’ “This song has nothing bright about it,” he quips in reference to his accusers, Bright Tunes. “This song came to me / Unknowingly,” George assures the mock court. The video of ‘Crackerbox Palace’ (US no. 19) is made at George’s home, Friar Park, though the palace of the title is more like a metaphor for Western civilisation. He tells the newborn they can relax and know “That the Lord is well and inside of you.” The album also finds room for the funky ‘Woman Don’t You Cry For Me’, a cover of Cole Porter’s ‘True Love’ and the lush, closing love song / prayer ‘Learning How To Love You.’
Olivia Arias gives birth to George Harrison’s only child, a son named Dhani (born 1 August 1978). George and Olivia marry the following month on 2 September 1978.
After a lengthy break, ‘George Harrison’ (1979) (UK no. 39, US no. 14, AUS no. 52) marks the artist’s return. The album’s highlight is ‘Blow Away’ (UK no. 51, US no. 16): “Day turned black / Sky ripped apart / Rained for years / And it dampened my heart,” Harrison begins, before going on to proclaim “All I got to do is to / To love you / All I got to be is-a / Be happy / All it’s got to take is a thought to make it / Blow away, blow away.” Despite this catchy melody, the album meets with ‘little success.’
On 15 August 1980, George Harrison’s ‘I, Me, Mine’ is published. This autobiography / annotated songbook is leather-bound and ‘exorbitantly expensive.’
Warner Brothers are ‘not happy’ with their signing, rejecting the next album George Harrison submits. They require him to rework the project. In the interim, Harrison’s former colleague in The Beatles, John Lennon, is murdered on 8 December 1980. So Harrison’s revised album, ‘Somewhere In England’ (1980) (UK no. 13, US no. 11, AUS no. 17), includes a tribute to the slain Lennon. The other remaining Beatles also appear on the bouncy ‘All Those Years Ago’ (UK no. 13, US no. 2, AUS no. 14). “Deep in the darkest night / I send out a prayer to you,” sings George. In the song, he tells Lennon “I always looked up to you” and “You were the one who imagined it all” (a tip of the hat to Lennon’s solo hit from 1971, ‘Imagine’).
On 19 February 1981 the lawsuit regarding ‘My Sweet Lord’ is finally settled. In the judgment, George Harrison is said to have ‘subconsciously plagiarised’ ‘He’s So Fine’ and is ordered to pay five hundred and eight-seven thousand dollars.
‘Gone Troppo’ (1982) (US no. 8) is ‘released almost secretly’ as ‘Harrison scarcely lifts a finger to promote it’ or the single ‘Wake Up My Love’ (US no. 53).
After a lengthy spell out of the spotlight, George Harrison returns with ‘Cloud Nine’ (1987) (UK no. 10, US no. 8, AUS no. 10). This album is co-produced by Jeff Lynne, former leader of rock band The Electric Light Orchestra. Lynne’s production style can be heavy-handed, but its florid nature works here because it recalls Phil Spector’s similarly over-the-top approach on ‘All Things Must Pass.’ Thematically though, this is a much lighter album. Harrison wears his age with a relaxed attitude. The biggest hit is a cover version of ‘Got My Mind Set On You’ (UK no. 2, US no. 1, AUS no. 8), a song written by Rudy Clark that was originally a hit for James Ray in 1962. Its huge, thumping drums provide a solid base for the spirited performance. A long-time Beatles fan, Jeff Lynne coaxes George Harrison through ‘When We Was Fab’ (UK no. 25, US no. 23) about his days with the 1960s legends. Amid sawing strings that evoke John Lennon’s ‘I Am The Walrus’, George Harrison recalls “The microscopes that magnified the tears / Studied warts and all / Still the life flowed on and on.” The album also includes ‘This Is Love’ (UK no. 55).
Buoyed by the success of ‘Cloud Nine’, George Harrison is the prime mover in The Traveling Wilburys. This is a supergroup consisting of George Harrison, Jeff Lynne, Tom Petty (who was also working with Lynne), and Harrison’s old friends, Roy Orbison and Bob Dylan. All five of them assume comical pseudonyms as the Wilbury brothers. George is Nelson Wilbury on ‘Volume One’ (1988) (UK no. 16, US no. 3, AUS no. 1). Roy Orbison passes away on 6 December 1988, shortly after the first Wilburys album.
A new song, ‘Cheer Down’ co-written with Tom Petty, is added to the George Harrison compilation album ‘Best Of Dark Horse 1976-1989’ (1989) (US no. 132).
George Harrison, like all his surviving ‘siblings’, changes his alias for the follow-up album by The Traveling Wilburys. Thus, it is Spike Wilbury who appears on ‘Volume Three’ (1990) (UK no. 14, US no. 11, AUS no. 14) (and no, there is no ‘Volume Two’; calling their second album ‘Volume Three’ is typical of the quirky humour involved in the project).
Eric Clapton talks George Harrison into touring again for the first time since 1974. With both Clapton and his friend’s backing band, George Harrison completes a tour of Japan in December 1991. Some of these performances are preserved on the album ‘Live In Japan’ (1992) (US no. 126).
In mid-1997 George Harrison is diagnosed with throat cancer. On 30 December 1999, Michael Abram, a deranged intruder at Friar Park, attacks George Harrison with a knife, inflicting forty stab wounds. The encounter would have probably been fatal had not the singer’s wife, Olivia, bravely driven off the assailant. George Harrison’s cancer spreads to his lungs and then, finally, to his brain, causing his death on 29 November 2001.
‘Brainwashed’ (2002) (UK no. 19, US no. 18, AUS no. 29) is released posthumously, the album being completed by Jeff Lynne and George Harrison’s son, Dhani. The opening track, ‘Any Road’ (UK no. 37), is probably the best. It features George Harrison playing a banjulele and in an ironically joyous mood: “Oh Lord, we got to fight / With the thoughts in my head / With the dark and the light.”
George Harrison’s life in music is also marked by sharp contrast. He may have aspired to be an Eastern ascetic, but he was confronted with the myriad temptations of the life of a wealthy rock star of the Western world. The more rigorous his religious orthodoxy, the more difficult it was for him to connect with a wider audience. His years with The Beatles gave him access to many ears and, though his songwriting gifts may have fluctuated in quality over the years, he never totally lost his ability to commune with the masses. He may have owned an estate festooned with bizarre follies that also housed Hare Krishna monks, but George Harrison was still a bus driver’s son from Liverpool. George Harrison ‘knew his feelings and recognised his weaknesses [and] hoped that sharing [the latter] would eliminate them to some degree. Compassion was at the heart of his songs.’ ‘The music is and always will be where the best clues remain, clues telling us something about who George Harrison was – and is.’
- ‘The Beatles’ edited by Jeremy Pascall, Robert Burt (Octopus Books, 1975) p. 15, 45, 55, 79, 84, 85
- ‘Rolling Stone Rock Almanac’ by the Editors of ‘Rolling Stone’ magazine (Papermac, 1984) p. 31, 39, 133, 150, 178, 234, 323
- ‘Shout –The True Story Of The Beatles’ by Philip Norman (Corgi Books, 1981) p. 56, 57, 339
- ‘The Love You Make – An Insider’s Story Of The Beatles’ by Peter Brown, Steven Gaines (Pan Books, 1983) p. 117, 134, 193, 249, 252, 342, 343, 344, 345, 347, 348, 349
- ‘The Illustrated New Musical Express Encyclopedia of Rock’ by Nick Logan, Bob Woffinden (Salamander Books, 1978) p. 103, 104
- ‘The 500 Greatest Albums Of All Time’ – ‘Rolling Stone’ magazine (February 2004) p. 70
- lyricsfreak.com as at 11 March 2013
- ‘The Rolling Stone Illustrated History Of Rock ‘N’ Roll’, ‘The Solo Beatles’ by Allan Kozinn (Plexus Publishing, 1992), p. 231, 233, 235
- ‘Atlas of Man’ – Edited by John Garsford (Rigby Limited, 1978) p. 203
- ‘Crawdaddy’ magazine (February 1977) – George Harrison interview reproduced on beatlesinterviews.org
- wikipedia.org as at 25 February 2013
- ‘The Illustrated Rock Handbook’ edited by Roxanne Streeter, Ray Bonds (Salamander Books, 1983) p. 100
- ‘Let It Roll – Songs By George Harrison’ – Sleeve notes by Warren Zanes (2 April 2009) (EMI Records Limited, 2009) p. 24
- Internet Movie Database – imdb.com – as at 16 January 2016
Song lyrics copyright Harrisongs Limited with the exceptions of ‘Give Me Love (Give Me Peace On Earth)’ (Material World Charitable Foundation administered by Harrisongs Limited); ‘All Those Years Ago’, ‘When We Was Fab’ and ‘Any Road’ (all Umlaut Corporation)
Last revised 8 February 2016