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ââåthe Biocapital of Living ââ” and Art of Dying ââ” After Fukushimaã¢ââ

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1970 song by George Harrison

"Art of Dying"
George Harrison "Art of Dying" sheet music.jpg

Cover of the original Hansen Publishing sheet music for the vocal
Song past George Harrison
from the album All Things Must Laissez passer
Released 27 November 1970
Genre Difficult rock, proto-disco
Length 3:37
Label Apple
Songwriter(southward) George Harrison
Producer(s) George Harrison, Phil Spector

"Art of Dying" (sometimes titled "The Art of Dying") is a song by English language stone musician George Harrison from his 1970 triple album All Things Must Pass. Harrison began writing the song in 1966 while still a member of the Beatles and during a period when he had outset go enamoured with Hindu-aligned spirituality and other aspects of Indian culture. The subject matter is reincarnation and the need to avoid rebirth, by limiting actions and thoughts that atomic number 82 to ane's soul returning in another, earthbound life form.

Harrison recorded "Art of Dying" in London shortly later on the Beatles' break-up in April 1970. The song was co-produced by Phil Spector and features a hard rock arrangement. The backing musicians include Eric Clapton and the rest of the latter's short-lived band Derek and the Dominos, as well as Gary Wright, Billy Preston, Bobby Keys and Jim Price. The song has received praise from several music critics; amid these, James Hunter of Rolling Stone described it equally a "spookily proto-disco" performance past "a rock orchestra recorded with sensitivity and teeth and faraway mikes".[i]

Since Harrison's death in November 2001, the lyrics accept received farther recognition equally a annotate on the nature of man being. The song has been interpreted in the jazz way by American guitarist Joel Harrison and as a grunge piece by the ring Blackness Insubordinate Motorcycle Club.

Background and limerick [edit]

For the concluding 30 or more years of his life, George Harrison repeatedly identified his get-go experience of taking the hallucinogenic drug LSD, with John Lennon and their wives, as existence responsible for his interest in spirituality and Hinduism.[ii] [three] [4] [5] The "trip" occurred past accident in Feb 1965,[6] [7] [eight] and he afterwards recalled a thought coming to his mind during the feel: "'Yogis of the Himalayas.' I don't know why ... It was similar somebody was whispering to me: 'Yogis of the Himalayas.'"[5] A visit in Baronial 1967 to the epicentre of hippie counterculturalism, San Francisco's Haight-Ashbury commune, and so persuaded him to abandon LSD and pursue a spiritual path through meditation.[ix] [ten] Past that point, Harrison had already immersed himself in Indian classical music, which is irrevocably tied to spirituality,[11] [12] and dealt with what author Ian MacDonald terms "the spiritual aridity of modern life"[13] in his song "Inside Yous Without You" (on the Beatles' Sgt. Pepper'due south Lonely Hearts Club Ring).[fourteen] [15]

Harrison began writing "Fine art of Dying" in 1966. Citing comments made by Harrison in a 1969 interview, musicologist Walter Everett says that Harrison perchance drew inspiration from Timothy Leary'due south text in the book The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead.[sixteen] The song is dedicated to the Hindu concept of reincarnation and the inevitability of death, as outlined in the opening poetry:[17]

There'll come up a time when all of us must get out hither
There'due south null Sis Mary tin do, will keep me hither with yous
As zilch in this life that I've been trying
Can equal or surpass the Art of Dying.

According to author Alan Clayson, the vocal's championship and subject thing suggest a familiarity with the fifteenth-century Latin text Ars Moriendi.[xviii] The mention of "Sister Mary" refers to the Catholic faith in which Harrison had been brought up as a child.[19] Speaking to author Peter Doggett, Harrison's sister Louise qualified his embracing of Hinduism with regard to his upbringing: "Our family were Catholics, but we always had a global outlook. We were spiritual, not religious as such. George didn't change as a person subsequently he went to India [in 1966] …"[twenty] Rather than Sister Mary, Harrison's original lyric named "Mr Epstein" – the Beatles' manager, Brian Epstein.[21] [22] Author Bruce Spizer speculates that Harrison was "contemplating life after the Beatles" as early on as mid 1966, since "most of the song's original verses recognise that fifty-fifty Mr. Epstein won't exist able to keep the group together or help out when it's over ..."[23]

A depiction of the Hindu view of reincarnation, whereby the self or soul (atman) repeatedly takes on a physical trunk, until moksha. The concept forms the basis of Harrison'due south lyrics in "Art of Dying".

Harrison says in his autobiography, I, Me, Mine, that in most cases i'south soul does not in fact "exit hither" after death, due to the karmic debt, or "load", accrued through actions and thoughts carried out in one's lifetime.[24] This point is illustrated in the third poetry of "Art of Dying":[25]

There'll come a time when virtually of us return here
Brought back by our desire to exist a perfect entity
Living through a million years of crying
Until yous realize the Art of Dying.

The mention of "a million years of crying" is a reference to the countless cycle of rebirth associated with reincarnation, where the soul repeatedly fails to leave the material world and attain nirvana,[26] otherwise known as moksha.[27] [28]

Written in a period soon before "karma", "mantra", "guru" and "māyā" all became cardinal words in his vocabulary,[29] Harrison shows an acknowledgment of possible confusion on the part of his listeners, and a degree of humour,[17] with the questions that appear at the finish of the verses, "Are you still with me?" and "Do you lot believe me?"[25] The subject area of rebirth was ane he would return to oft throughout his solo career,[thirty] notably on "Give Me Love (Give Me Peace on Earth)", with its pleas "Keep me free from birth" and "Help me cope with this heavy load".[31] [32] [nb 1]

Recording [edit]

I've got about 40 tunes I haven't recorded [with the Beatles], and some of them I think are quite proficient. I wrote one called "The Art of Dying" three years agone, and at that fourth dimension I thought it was too far out. Merely I'yard withal going to record it.[36]

– George Harrison, September 1969

"Art of Dying" was one of many compositions that Harrison stockpiled during the Beatles' career[37] [38] due to the connected dominance of the band's principal songwriters, Lennon and Paul McCartney.[23] When discussing his plans for making a solo album in an October 1969 interview, Harrison referred to "Art of Dying", saying he had been "working on a song about reincarnation since 1966".[39] On 26 May 1970, a month later on the Beatles' intermission-up, it was 1 of at least 15 songs performed by Harrison for producer Phil Spector's benefit at Abbey Road Studios in London,[xl] with a view to narrowing downwardly the material under consideration for All Things Must Pass.[41] [nb 2] Harrison performed the song on audio-visual guitar, just as with "Isn't It a Pity", "Run of the Mill", "Let It Downwards" and other selections, its system was transformed significantly equally the album sessions progressed.[23] In the case of "Art of Dying", Spector gave the runway a heavy production for the official release;[44] authors Chip Madinger and Mark Easter describe the production as a "[big] 'kitchen sink' job".[22] A widely bootlegged version known as "Art of Dying (Take 9)", comprising a band performance dominated by audio-visual rhythm guitars and piano,[45] with Ringo Starr on drums, sees the song somewhere midway between the solo run-through and the All Things Must Laissez passer organization.[22] This take 9, played in the primal of B ♭ minor, a semitone up from that of the official version of the song, was still in contention for release during the album's mixing phase.[22] [nb 3]

In a chapter discussing All Things Must Pass in his 2010 autobiography, American musician Bobby Whitlock writes of recording the song: "It was awesome when we were doing 'The Fine art of Dying,' Eric [Clapton] on that wah-wah and it was all cooking, Derek and the Dominos with George Harrison."[47] The sessions led to the formation of Derek and the Dominos,[48] [49] whose four members – Clapton, Whitlock, Carl Radle and Jim Gordon – all played on the track.[fifty] In a 1990 interview, Clapton said, "Nosotros made our bones, actually, on that album with George", since the 4 musicians had no formal plans to work as a band beforehand.[51]

The released version of "Art of Dying" is in the hard rock style.[17] The rail begins with what author Elliot Huntley terms Clapton's "firecracking" lead guitar,[xxx] and is propelled past Gordon's drumming and Radle's urgent bass.[17] [nb four] Jim Price'southward horn organisation provides a countermelody to the various A minor voicings in the song'due south instrumental passages[52] through to its "galloping" ending.[23] Testifying to the ferocity of the performance, Phil Collins afterward recalled that his hands were so badly blistered during the run-throughs of the song, he was unable to play his congas with any strength once they came to record the rails.[53] Although congas are absent-minded in the last mix,[54] [55] the recording includes other percussion parts.[22]

Harrison listed Collins as a contributor on the 2001 reissue of All Things Must Laissez passer.[56] [57] However, Collins writes in his 2016 autobiography that this credit was but out of kindness, and that he did not play on the released version of "Art of Dying".[58] In Collins' recollection, the session he attended for the song was an before take from May 1970, featuring a different musical organization and with Starr, Klaus Voormann and Billy Preston as the other musicians.[59] [nb 5] Before giving Collins the mistaken credit in 2001, Harrison sent him a record that he said was a recording of the vocal with his conga playing. Collins recalled in a 2016 interview, "I idea, Oh, my god, this sounds terrible." Collins added that the tape was a practical joke at his expense, since Harrison had asked percussionist Ray Cooper to deliberately play poorly, saying: "Play bad, I'm going to record information technology and send it to Phil."[55] [threescore]

Release and reception [edit]

… and then at that place was the world later on the Beatles, when [Harrison] and his music seemed to open upward and flower. I will never forget the offset time I heard All Things Must Pass ... It was like walking into a cathedral. George was making spiritually awake music – we all heard and felt it ...[61]

– Martin Scorsese, recalling the release of "Fine art of Dying" and Harrison'south other spiritually themed songs on All Things Must Pass

Apple Records released All Things Must Laissez passer on 27 Nov 1970,[62] with "Art of Dying" sequenced as the second rails on side four, in the triple album's original, LP format.[63] While describing the positive response to the album, author Robert Rodriguez includes the vocal every bit an illustration of how Harrison'south talent had been "subconscious in plain sight" behind Lennon and McCartney during the Beatles' career.[64] Rodriguez writes: "That the Quiet Beatle was capable of such range – from the joyful 'What Is Life' to the meditative 'Isn't It a Pity' to the steamrolling 'Art of Dying' to the playful 'I Dig Love' – was revelatory."[64] On ten December, a portion of the song was included in a segment on the U.k. tv evidence Top of the Pops that focused on All Things Must Pass.[65]

The album's release coincided with a menstruum when organized religion and spirituality was emerging every bit a popular theme in stone music and youth culture.[66] [67] "Art of Dying" exemplified Harrison's focus on Hindu-aligned religious concepts equally a solo creative person from 1970 onwards.[68] [69] In his contemporary review for Rolling Stone, Ben Gerson wrote of the wide range of styles found on All Things Must Pass and recognised "Art of Dying" as "a song of reincarnation" with a tune that he likened to "Pigment It Blackness" past the Rolling Stones.[70] Hamlet Vox correspondent Nicholas Schaffner described information technology as an "essay" on the subject area of reincarnation.[71] In Dec 1972, Andrew Davies of Record Mirror cited the vocal in his assessment of the Beatles as solo artists, saying that All Things Must Pass and Harrison'south organisation of the 1971 Concert for Bangladesh project ensured he had "far surpassed" Lennon and McCartney since the band'southward break-upwardly. Davies said that Harrison's lyrics "never sink into banality or become pretentious" and and then he could address the themes in "Fine art of Dying" "without becoming slushy and sentimental".[72]

Reviewing the 30th anniversary edition of the album, James Hunter of Rolling Stone enthused near the performance: "Imagine a rock orchestra recorded with sensitivity and teeth and faraway mikes: bluesy and intricate on Harrison and Dylan's 'I'd Take You Anytime,' fizzy on 'Apple tree Scruffs,' grooving on 'Let Information technology Down,' and spookily proto-disco on 'Art of Dying.'"[1] In some other 2001 review, for The New York Times, Jody Rosen grouped "Fine art of Dying" with "Wah-Wah" and "Hear Me Lord" as examples of how Spector successfully transformed Harrison'south compositions on an "operatic scale". Rosen added: "The symphonic squall of these songs seems less about rock star hubris than Mr. Harrison'due south straining to express outsized emotions – sorrow, regret, longing, writ very large."[73] [nb 6]

In his characteristic on Harrison's solo career for Goldmine magazine in 2002, Dave Thompson paired "Art of Dying" with "Beware of Darkness" every bit songs that "charge per unit among the finest compositions of Harrison's entire career".[75] Writing for Uncut in 2008, David Cavanagh said that, while "My Sweet Lord" was the best-known of the spiritually themed songs on All Things Must Pass, "Art of Dying" was the most "far-sighted", with a lyric that "saw the 27-year-old Harrison ready for death in an ecstasy of resolved, purified karma".[76] Writing in 1001 Albums You Must Hear Before You Die, Andrew Gilbert highlights "Fine art of Dying" as an example of the "finely crafted, spiritually charged songs" that ensure that All Things Must Pass "only sounds better with time".[77] Damian Fanelli of Guitar Earth includes the vocal amidst the all-time of Clapton's many collaborations with members of the Beatles. He describes it every bit "outstanding" and "wah-tastic ... the closest Harrison got to difficult rock as a solo creative person".[78]

Legacy [edit]

Harrison in the Hindu holy city of Vrindavan in 1996

Mikal Gilmore of Rolling Stone concluded his 2002 commodity "The Mystery Inside George" with a comment on the relevance of "Art of Dying" to Harrison'southward legacy. He said the song reflected Harrison's recognition that manifesting love is "among the highest purposes of life" besides as an appreciation that "Onetime darkness is irrefutable, and sometimes dear and understanding tin can't salve a troubled heart or a soul in harm's way." Gilmore added that the "love story" surrounding the Beatles all-time illustrated such a "dichotomy" and none of the band members "carried that noesis with greater weight, yearning or honor than George Harrison".[79]

In Martin Scorsese's 2011 documentary George Harrison: Living in the Fabric World, the song's significance is highlighted in the context of the knife assail Harrison endured in December 1999, two years earlier his expiry from cancer, when an intruder bankrupt into his home in Oxfordshire.[eighty] [81] In his article on the film, Joe Bosso of Music Radar says that "mastering the art of dying" had been Harrison'south prime number business during his last years; he cites Olivia Harrison's and Starr's respective comments as indicating that Harrison accomplished his spiritual goal.[82] Harrison'due south son Dhani supported this contention in a 2002 interview, and he said that his father had plant a contentment and lightheartedness that contrasted with the "more than serious" outlook evident in "Fine art of Dying" and "All Things Must Pass".[83] [nb seven]

On the 2002 Hare Krishna Tribute to George Harrison DVD, in which devotees from the Radha Krishna Temple (London) offered their reminiscences on Harrison,[85] Shyamsundar Das, a lifelong devotee, expressed his certainty that Harrison had achieved a state of transcendence in line with Hindu teachings. Shyamsundar quoted from the lyrics to "Art of Dying" while remarking that Harrison had successfully grasped the principles of moksha even by the late 1960s.[86] Also in 2002, a Beliefnet writer commented on Harrison's preparations for expiry and wrote of the song:

In "Art of Dying", Harrison reminds united states that death is life's greatest opportunity. There comes a fourth dimension when each of us must leave this material world, and no corporeality of prayer and science tin go along the states hither – but what we truly are does non terminate to be. The Bhagavad-Gita teaches that "Never was in that location a time when I did not exist, nor yous, nor all these kings; nor in the future shall any of us stop to be."[28]

New Zealand Herald journalist Graham Reid cited the vocal's lyrics and Harrison's example in an commodity he wrote virtually the contrasting ways that individuals face up the notion of expiry and alive accordingly.[87]

In Jan 1991, Starr contributed a preface to the book Walking After Midnight in which he reproduced Harrison'due south I, Me, Mine entry on "Art of Dying".[88] The book followed the 1988 documentary movie Walking Later Midnight,[88] in which well-known figures such as Starr, Martin Sheen, Willie Nelson, Donovan and the Dalai Lama speculate on their by incarnations.[89] [nb 8] Gary J. Moore of the Staten Island Advance referenced Harrison's song and Olivia's clarification of her married man's passing in his review of Katy Butler'south 2019 book The Art of Dying Well, in which Butler outlines practical steps to ready for death.[91] [nb ix]

Amidst Harrison biographers, Elliot Huntley describes "Art of Dying" every bit "certainly the most dramatic" rail on All Things Must Pass and "ane of the about scintillating rock songs in the Harrison catechism".[30] Ian Inglis writes that "Art of Dying" fully reflects Harrison'southward "postal service-Beatles confidence" and notes the Heart Eastern "musical antecedents" despite the obvious Hindu concepts within the lyrics.[93] In his book While My Guitar Gently Weeps, Simon Leng views "Art of Dying" every bit picking up "where 'Tomorrow Never Knows' and 'Within You lot Without You' paused", and adds: "If ever a song challenged the ane-eyed nature of the rock world, this is it. Nothing could be farther from superficial popular culture."[17]

Other versions [edit]

Harrison never performed "Art of Dying" live,[94] although he included it in his proposed setlist for the Concert for Bangladesh,[95] which took identify at Madison Square Garden in New York on 1 Baronial 1971.[96] Jim Horn'due south horn nautical chart for the song is reproduced at the end of I, Me, Mine.[97] The acoustic demo of "Fine art of Dying" from May 1970 has been available unofficially since the 1990s on the bootleg Beware of ABKCO! [98] [99] Early on mixes of the released track, showing the recording at various stages during the overdubbing process, have been issued on the bootlegs The Making of All Things Must Laissez passer [100] and Songs for Patti – The Mastertape Version.[101] The latter also includes the discarded "Take 9" version.[101]

Jazz guitarist Joel Harrison covered "Art of Dying" on his 2005 anthology Harrison on Harrison: Jazz Explorations of George Harrison.[102] [103] At the George Fest tribute concert in Los Angeles in September 2014, "Art of Dying" was performed by Blackness Rebel Motorbike Order.[104] [105] Their version appears on the 2016 film and anthology release from the consequence, co-produced past Dhani Harrison.[106] [nb ten] In a subsequent interview, Dhani highlighted this version as one of the George Fest performances that had particularly impressed him, maxim: "I didn't realize that was like grunge until I saw BRMC play information technology; I was like, 'Oh. This is a shoegazey grunge song!' They unlocked that vocal for me."[108] Megan Volpert of PopMatters similarly considers it to exist one of the concert's two "particularly keen, more interpretive covers". She highlights the employ of slide guitar as a "bold" new characteristic, given the reverence afforded Harrison's slide playing.[109] In his review for American Songwriter, Hal Horowitz also considers BRMC's performance to exist among the best at George Fest and he describes the song as a "seldom heard Harrison gem".[107]

Personnel [edit]

According to Simon Leng, the following musicians played on "Art of Dying":[52]

  • George Harrison – vocals, electric guitars, backing vocals
  • Eric Clapton – electrical guitar
  • Gary Wright – electric pianoforte
  • Billy Preston – organ
  • Bobby Whitlock – tubular bells[110] [nb 11]
  • Carl Radle – bass
  • Jim Gordon – drums
  • Jim Toll – trumpets, horn organisation
  • Bobby Keys – saxophone
  • uncredited – percussion[22] [93]

Notes [edit]

  1. ^ Other examples include "Living in the Material World",[33] "Only Shady"[34] and "Circles".[35]
  2. ^ Along with "Isn't It a Pity", which also dated from 1966,[42] "Art of Dying" was the oldest of the songs Harrison recorded for All Things Must Laissez passer.[43]
  3. ^ The master tape canvass lists accept 9 every bit "Art of Dying (Version One)", with drums, bass, "stereo guitars", piano, percussion and vocals filling 7 of the available tracks on the 8-runway tape.[46]
  4. ^ Simon Leng considers Clapton's guitar riff to exist partly an adaptation of a "lick" played past Harrison on the Beatles' 1969 song "The End". He adds: "['The Terminate'] had been a track on which Harrison was lauded for sounding like Clapton. Reincarnation indeed."[52]
  5. ^ He has as well said that Mal Evans, members of Badfinger and Maurice Gibb were present at the session.[54]
  6. ^ Reviewing Starsailor'due south anthology Silence Is Easy in 2004, Jason Heller of Westword said that the rails "Four to the Floor" was "eerily similar" to "Art of Dying", a gesture he viewed as "either mocking or paying tribute to Spector" after Starsailor had dismissed Spector from the projection.[74]
  7. ^ Soon after Harrison's death, drummer Jim Keltner similarly reflected: "George has been prepared for this for a long fourth dimension. Simply listen to his songs; for example, he wrote and sang 'The Art of Dying' over 30 years agone ... Information technology's us who weren't prepared. So nosotros flounder around looking for words to try and describe him and flounder around bargain[ing] with not ever hearing his voice again, ya know."[84]
  8. ^ Author Gary Tillery states that the Beatles could accept released a final "outset-rank" album fatigued from All Things Must Pass alone. In such a scenario, he visualises Starr as the pb singer on "Art of Dying" and "What Is Life".[90]
  9. ^ In 2016, after the Catholic Church building warned against pantheism and launched a website titled The Fine art of Dying Well, a BBC News report commented: "[The] website coincidentally shares its proper noun with George Harrison's 1970 song, whose lyrics appear to reject the Catholicism of 'Sister Mary' and turn towards the pantheistic spirituality of Hinduism."[92]
  10. ^ Dhani organised the 2014 concert to showcase his male parent'due south influence on a more diverse range of artists than had been the case at the all-star Concert for George in November 2002.[107]
  11. ^ Madinger and Easter write that the various in-progress mixes of "Art of Dying" reveal the presence of tubular bells on the recording but make no mention of a piano office,[22] for which Leng credits Whitlock as playing.[52] In his autobiography, Whitlock states that his contribution was the tubular bells, which he played with a leather hammer.[110]

References [edit]

  1. ^ a b James Hunter, "George Harrison All Things Must Pass 30th Anniversary reissue", Rolling Stone, 29 March 2001; quoted in The Super Seventies "Classic 500", George Harrison – All Things Must Pass (retrieved 4 June 2014).
  2. ^ The Editors of Rolling Stone, pp. 144, 145.
  3. ^ George Harrison, in The Beatles, pp. 179–80.
  4. ^ George Harrison, pp. 36, 44, 106.
  5. ^ a b Olivia Harrison, p. 190.
  6. ^ George Harrison, p. 41.
  7. ^ George Harrison and John Lennon, in The Beatles, p. 177.
  8. ^ Lennon, p. 241.
  9. ^ Clayson, p. 223.
  10. ^ Tillery, pp. 53–54, 160.
  11. ^ Leng, pp. 24, 29.
  12. ^ Mick Gold, "The Act You've Known For All These Years: The Beatles and Sgt. Pepper", unpublished, 1974; available at Rock'due south Backpages (subscription required).
  13. ^ MacDonald, p. 215.
  14. ^ MacDonald, p. 15.
  15. ^ Leng, pp. 29, 98.
  16. ^ Everett, p. 323.
  17. ^ a b c d east Leng, p. 98.
  18. ^ Clayson, p. 215.
  19. ^ Leng, p. 95.
  20. ^ Doggett, p. 22.
  21. ^ George Harrison, p. 182.
  22. ^ a b c d due east f g Madinger & Easter, p. 432.
  23. ^ a b c d Spizer, p. 225.
  24. ^ George Harrison, pp. 180–81.
  25. ^ a b Tillery, p. 89.
  26. ^ O'Dell, p. 141.
  27. ^ Allison, p. 87.
  28. ^ a b "George Harrison & the Art of Dying: How a lifetime of spiritual search led to a beautiful death", Beliefnet, December 2002 (retrieved i November 2020).
  29. ^ Clayson, pp. 208, 217–xviii, 293, 295.
  30. ^ a b c Huntley, p. 59.
  31. ^ Schaffner, p. 159.
  32. ^ Stephen Holden, "George Harrison, Living in the Textile World", Rolling Stone, xix July 1973, p. 54 (retrieved 26 June 2012).
  33. ^ Tillery, pp. 111–12.
  34. ^ Inglis, p. 45.
  35. ^ Allison, p. 139.
  36. ^ Alan Smith, "George: I'chiliad Non Competing with John and Paul", NME, 20 September 1969, p. 10.
  37. ^ Madinger & Easter, p. 427.
  38. ^ Unterberger, p. 286.
  39. ^ Harry, p. 10.
  40. ^ Badman, p. 10.
  41. ^ Leng, p. 77.
  42. ^ John Harris, "How George Harrison Made the Greatest Beatles Solo Album of Them All", Archetype Stone/loudersound.com, 27 November 2016 (retrieved i November 2020).
  43. ^ Tom Pinnock, "George Solo: All Things Must Pass", Uncut Ultimate Music Guide: George Harrison, TI Media (London, 2018), p. 55.
  44. ^ Harry, p. 21.
  45. ^ Unterberger, p. 290.
  46. ^ "Eight rails primary tape for All Things Must Pass", George Harrison – The Apple Years volume (Apple Records, 2014; produced past Dhani Harrison, Olivia Harrison & Jonathan Clyde), pp. 26–27.
  47. ^ Whitlock, p. 75.
  48. ^ Rodriguez, p. 77.
  49. ^ Leng, p. 101.
  50. ^ Spizer, pp. 220, 225.
  51. ^ Timothy White, "Rollin' & Tumblin'", Spin, March 1990, p. 36.
  52. ^ a b c d Leng, p. 97.
  53. ^ Volition Hodgkinson, "Dwelling house Amusement: Phil Collins", The Guardian, 15 November 2002 (retrieved viii May 2019).
  54. ^ a b John Harris, "A Tranquility Storm", Mojo, July 2001, p. 72.
  55. ^ a b Clark Collis, "How George Harrison Pranked Phil Collins", EW.com, 17 February 2016 (retrieved ten December 2020).
  56. ^ Huntley, p. 305.
  57. ^ Leng, p. 78.
  58. ^ Collins, pp. 69, 75.
  59. ^ Collins, pp. 63, 66, 69–70.
  60. ^ Hashemite kingdom of jordan Runtagh, "10 Things Yous Didn't Know George Harrison Did", Rolling Stone, 29 November 2016 (retrieved 8 May 2019).
  61. ^ "George Harrison Documentary and Book Announced", georgeharrison.com, 14 July 2011 (retrieved 24 February 2017).
  62. ^ Castleman & Podrazik, p. 94.
  63. ^ Spizer, pp. 219–20.
  64. ^ a b Rodriguez, p. 147.
  65. ^ Badman, pp. 16–17.
  66. ^ Clayson, p. 294.
  67. ^ Frontani, p. 158.
  68. ^ Inglis, pp. 31, 141.
  69. ^ Steve Rabey/Religion News Service, "George Harrison, 'Living in the Material World'", The Huffington Mail service, 9 Oct 2011 (retrieved 25 February 2017).
  70. ^ Ben Gerson, "George Harrison All Things Must Pass", Rolling Stone, 21 January 1971, p. 46 (retrieved 3 July 2012).
  71. ^ Schaffner, p. 142.
  72. ^ Andrew Davies, "George and Paul – the Enigmatics", Record Mirror, 16 Dec 1972, p. 9.
  73. ^ Jody Rosen, "Luxuriating in the Sprawl of That Early seventy's Sound", The New York Times, 29 July 2001, S2 p. 25 (retrieved 25 February 2017).
  74. ^ Jason Heller, "Starsailor", Westword, 5 February 2004 (retrieved 10 December 2020).
  75. ^ Dave Thompson, "The Music of George Harrison: An album-by-anthology guide", Goldmine, 25 January 2002, p. 17.
  76. ^ David Cavanagh, "George Harrison: The Dark Horse", Uncut, Baronial 2008, p. xl.
  77. ^ Anthology review by Andrew Gilbert, in Robert Dimery, 1001 Albums You Must Hear Earlier You Die, Universe (New York, NY, 2005); quoted in The Super Seventies "Classic 500", George Harrison – All Things Must Pass (retrieved 4 June 2014).
  78. ^ Damian Fanelli, "Exploring Eric Clapton'southward Collaborations with The Beatles, Part 1", guitarworld.com, 8 November 2016 (retrieved vii May 2019).
  79. ^ The Editors of Rolling Stone, p. 51.
  80. ^ Holly Cara Price, George Harrison: Living in the Fabric Globe, Paste, five October 2011 (retrieved one November 2020).
  81. ^ Graham Reid, "George Harrison: Life of the Quiet Beatle", New Zealand Herald, 19 Nov 2011 (retrieved 1 November 2020).
  82. ^ Joe Bosso, "George Harrison: Living in the Material Earth – review", MusicRadar, 2 October 2011 (retrieved 8 May 2019).
  83. ^ Greene, pp. 272–73.
  84. ^ Harvey Kubernik, "George Harrison 'All Things Must Pass' 50th Anniversary", Music Connection, x November 2020 (retrieved 12 November 2020).
  85. ^ Harry, p. 217.
  86. ^ "The Art of Dying", Hare Krishna Tribute to George Harrison DVD (ITV Productions, 2002).
  87. ^ Graham Reid, "An Essay on the Inevitable (2002): The Fine art of Dying", Elsewhere, five April 2008 [2002] (retrieved 2 November 2020).
  88. ^ a b Badman, p. 459.
  89. ^ Dan Pavlides, "Walking Subsequently Midnight (1988)", AllMovie (retrieved 18 Apr 2018).
  90. ^ Tillery, p. 90.
  91. ^ Gary J. Moore, "The Old Guy: On the Art of Dying", Staten Island Advance, 23 November 2019 (retrieved 1 November 2020).
  92. ^ Callum May, "Catholics Focus on the Art of Dying Well", BBC News, 1 November 2016 (retrieved 1 November 2020).
  93. ^ a b Inglis, p. 31.
  94. ^ Madinger & Easter, pp. 436–37, 447, 473, 481, 485.
  95. ^ Olivia Harrison, p. 288.
  96. ^ Frontani, pp. 158–59.
  97. ^ George Harrison, p. 399.
  98. ^ Madinger & Easter, p. 426.
  99. ^ Richie Unterberger, "George Harrison Beware of ABKCO!", AllMusic (retrieved 26 Feb 2017).
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  102. ^ John Kelman, "Joel Harrison: Harrison on Harrison: Jazz Explorations of George Harrison", All About Jazz, fourteen November 2005 (retrieved 28 February 2017).
  103. ^ Matt Collar, "Joel Harrison Harrison on Harrison: Jazz Explorations of George Harrison", AllMusic (retrieved 27 February 2017).
  104. ^ Philip Cosores, "Alive Review: George Fest at the Fonda Theatre in Hollywood (9/28)", Result of Sound, 30 September 2014 (archived version retrieved 24 February 2017).
  105. ^ "GEORGE FEST: A Nighttime to Gloat the Music of George Harrison @ the Fonda Theatre", larecord.com, xxx September 2014 (retrieved 24 February 2017).
  106. ^ Stephen Thomas Erlewine, "Diverse Artists George Fest: A Night to Celebrate the Music of George Harrison", AllMusic, 29 February 2016 (retrieved 24 Feb 2017).
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  108. ^ NPR staff, "The Serenity Beatle'due south Long Shadow: Dhani Harrison on Sharing His Dad with the Earth", npr.org, 28 Feb 2016 (retrieved 26 February 2017).
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  110. ^ a b Whitlock, p. 81.

Sources [edit]

  • Dale C. Allison Jr., The Dear There That's Sleeping: The Fine art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ISBN 978-0-8264-1917-0).
  • Keith Badman, The Beatles Diary Volume two: After the Interruption-Up 1970–2001, Coach Press (London, 2001; ISBN 0-7119-8307-0).
  • The Beatles, The Beatles Album, Chronicle Books (San Francisco, CA, 2000; ISBN 0-8118-2684-8).
  • Harry Castleman & Walter J. Podrazik, All Together Now: The First Consummate Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-viii).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN i-86074-489-3).
  • Phil Collins, Not Expressionless Nonetheless: The Memoir, Crown Archetype (New York, NY, 2016; ISBN 978-1-101-90747-4).
  • Peter Doggett, Yous Never Give Me Your Money: The Beatles After the Breakup, Information technology Books (New York, NY, 2011; ISBN 978-0-06-177418-8).
  • The Editors of Rolling Rock, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • Walter Everett, The Beatles as Musicians: Revolver Through the Anthology, Oxford Academy Press (New York, NY, 1999; ISBN 0-19-509553-7).
  • Michael Frontani, "The Solo Years", in Kenneth Womack (ed.), The Cambridge Companion to the Beatles, Cambridge University Press (Cambridge, Uk, 2009; ISBN 978-ane-139-82806-two), pp. 153–82.
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  • George Harrison, I Me Mine, Relate Books (San Francisco, CA, 2002; ISBN 0-8118-3793-9).
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  • Bill Harry, The George Harrison Encyclopedia, Virgin Books (London, 2003; ISBN 978-0753508220).
  • Elliot J. Huntley, Mystical I: George Harrison – After the Break-upwards of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-three).
  • Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-v).
  • Cynthia Lennon, John, Hodder & Stoughton (London, 2006; ISBN 0-340-89512-eight).
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  • Scrap Madinger & Marking Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-four).
  • Chris O'Dell (with Katherine Ketcham), Miss O'Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved, Touchstone (New York, NY, 2009; ISBN 978-1-4165-9093-4).
  • Robert Rodriguez, Fab Four FAQ ii.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-5-9).
  • Gary Tillery, Working Form Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-v).
  • Richie Unterberger, The Unreleased Beatles: Music & Flick, Backbeat Books (San Francisco, CA, 2006; ISBN 978-0-87930-892-6).
  • Bobby Whitlock (with Marc Roberty), Bobby Whitlock: A Rock 'n' Curl Autobiography, McFarland (Jefferson, NC, 2010; ISBN 978-0-7864-6190-5).

External links [edit]

  • "George Fest – Art of Dying" (by Blackness Rebel Motorcycle Club)

bowmaneavere.blogspot.com

Source: https://en.wikipedia.org/wiki/Art_of_Dying_%28song%29

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