georgeharrison.com
GEORGE H ARR ISON
posted by liensrock at 3:49 AM
2 comments
Thursday, November 19, 2009
Tuesday, June 16, 2009
OUT NOW! Let It Roll: Songs By George Harrison
GEORGE'S FIRST-EVER CAREER-SPANNING SOLO HITS COLLECTION, 'LET IT ROLL: SONGS BY GEORGE HARRISON,' IS RELEASED TODAY BY CAPITOL/EMI
iTunes Exclusively Offers Previously Unreleased Bonus Track, "Isn't It A Pity" (Earliest Demo Version), with Digital Album Purchase.
The album covers George's solo hits from 1970's All Things Must Pass Through 2002's Brainwashed, Remastered, Plus Live Recordings from 1971 Concert For Bangladesh.
Today, Capitol/EMI releases the collection in CD and digital formats, and iTunes exclusively offers the digital album with a previously unreleased bonus track, George's earliest demo version of "Isn't It A Pity."
The CD version includes a 28-page booklet featuring previously unseen and rare photos, and newly-written liner notes by Warren Zanes. The collection's 19 tracks have been digitally remastered by Giles Martin at EMI's Abbey Road Studios.
Visit georgeharrison.com for Let It Roll music previews, videos, e-cards, wallpapers and more
The tracklisting:
Let It Roll: Songs by George Harrison (CD, digital)
1. Got My Mind Set On You
2. Give Me Love (Give Me Peace On Earth)
3. The Ballad Of Sir Frankie Crisp (Let It Roll)
4. My Sweet Lord
5. While My Guitar Gently Weeps [Live] - Concert For Bangladesh
6. All Things Must Pass
7. Any Road
8. This Is Love
9. All Those Years Ago
10. Marwa Blues
11. What Is Life
12. Rising Sun
13. When We Was Fab
14. Something [Live] - Concert For Bangladesh
15. Blow Away
16. Cheer Down
17. Here Comes The Sun [Live] - Concert For Bangladesh
18. I Don't Want To Do It
19. Isn't It A Pity
iTunes Bonus Track: Isn't It A Pity (Earliest Demo Version)
GEORGE H ARR ISON
posted by liensrock at 11:54 AM
0 comments
Monday, June 11, 2007
The History Of The Traveling Wilburys
The History Of The Traveling Wilburys
The birth of The Traveling Wilburys was a happy accident. Warner Bros. Records' International Department had asked that George Harrison come up with a B-side for “This Is Love,” a single from his Cloud Nine album. At the time, it was customary to couple an A-side with a never-before-heard track, giving the single extra sales value.
This was mid-1988. Cloud Nine was just out. George, along with co-writer Jeff Lynne and their friends Bob Dylan, Tom Petty, and Roy Orbison, had been hanging out in Dylan's studio. I suppose George figured that as long as his pals were hand, why not use them to knock off this flip side.
A couple of days later, George came by my office to play the new “B-side.” We went next door to A&R head Lenny Waronker's office so he could hear it, too. George played us “Handle with Care.” Our reaction was immediate. This was a song we knew could not be wasted on some B-side. Roy Orbison's vocal was tremendous. I really loved the beautiful guitar figure that George played. The guys had really nailed it. Lenny and I stumbled over each others' words, asking “Can't we somehow turn this into an album?” (I also had a suspicion that, perhaps, George had been hungering for another band experience.)
We urged him on. George felt the spontaneity of it, felt its driving force. He always had great instincts. Being as smart as he was, he had a remarkable ability to pull people together. Think about The Concert for Bangladesh - only George Harrison could have made that happen.
Once the idea of a full, collaborative album was in front of us, George took over. The five front men (Harrison, Lynne, Petty, Dylan, and Orbison) decided not to use their own names. George and Jeff had been calling studio equipment (limiters, equalizers) “wilburys.” So first, they named their fivesome The Trembling Wilburys Jeff suggested “Traveling” instead. Everyone agreed.
The group was born: five guys who had star stature in their own rights, but it was George who created this Wilbury environment where five stars could get into an ego-free collaboration. Everybody sang, everybody wrote, everybody produced - and had great fun doing so.
You can hear George's humility and good nature reflected in the Wilburys and their music. To my thinking, this was a perfect collaboration. All give were good friends who admired and respected one another. Roy Orbison was somebody they all idolized. Of course, they revered Bob Dylan, too. But Bob was closer to being their contemporary, so it was Roy who gave the project that special glow from rock and roll's early formative years.
Reflecting on all this, I recall a few years before, when my wife Evelyn and I had been in London. George had invited us to his house, Friar Park, to celebrate Evelyn's birthday. Roy was a house guest there at the time, so perhaps this could have been an early hint leading to the Wilburys. So, too, might it have been the time Tom, George, and Jeff came to dinner at our house a year or so before “Handle with Care.” For us, Tom had played a new song, as yet unrecorded, called “Free Fallin,'” backed by his two future Wilbury mates. Lenny and I loved the song so much we asked Tom and the guys to do it at least three times than evening.
Perhaps even then, they all were Wilburys, just didn't know their last name yet.
With the huge international success - over five million copies sold - of The Traveling Wilburys, Volume 1, a follow-up was inevitable. George being George, titled the second album The Traveling Wilburys, Volume 3. Sadly, by this time, Roy had died, but there was still great excitement when we visited the Wilburys, recording in the Wallace Neff-designed house at the top of Coldwater Canyon. Being with those guys, in that setting - truly memorable.
I'm glad that a song that early on had been destined for semi-obscurity as a B-side became the catalyst for something so lasting and joyful. Rolling Stone magazine named The Traveling Wilburys one of the 100 Best Albums of All Time.
----Mo OstinChairman EmeritusWarner Bros. Records2007
The True History Of The Traveling Wilburys
The etymological origins of The Traveling Wilburys have aroused something of a controversy amongst academic circles. Did they, as Professor “Bobby” Sinfield believes, originate from the various Wilbury Fairs which traveled Europe in Medieval times, titillating the populace with contemporary ballads, or were they rather derived from, “YE TRAVELING WILBURYS”, who were popular locksmiths during the Crusades and used to pick or unlock the jammed chastity belts (rather like today's emergency plumbers.)
Dr. Arthur Noseputty of Cambridge believes they were closely related to the Strangling Dingleberries, which is not a group but a disease. I think this can be discounted, not only because of his silly name but also from his habit of impersonating Ethel Merman during lectures. Some have even gone on to suggest tenuous links with The Pillsburys, the group who invented Flour Power.
Dim Sun, a Chinese academic, argues that they may be related to “THE STROLLING TILBURYS”, Queen Elizabeth the first's favourite minstrels, and backs this suspicion with the observation that The Traveling Wilburys is an obvious anagram of “V. BURYING WILL'S THEATRE”, clearly a reference to the closing of Shakespeare's Globe theatre by Villiers during an outbreak of the plague. This would account for the constant traveling. Indeed, many victims of the plague and St.Vitus' dance literally danced themselves to death, and it is this dancing theme that resurfaces with The Wilbury Twist. Not a cocktail but a dance craze, reminiscent of The Wilbury Quadrille made famous at Bath in 1790 by Beau Diddley, and the Wilbury Waltz, which swept Vienna in the 1890's.
One thing, however, remains certain. The circumambulatory peregrinations of these itinerant mundivagant peripatetic nomads has already disgorged one collection of popular lyrical cantata, which happily encapsulated their dithyrambic antiphonic contrapuntal threnodies as a satisfactory auricular experience for the hedonistic gratification of the hoi-polloi on a popular epigraphically inscribed gramophonic recording. Now here's another one.
Professor “TINY” Hampton is currently leading the search for Intelligent Life amongst Rock Journalism at the University of Please Yourself, California
----Hugh JamptonE.F. Norti-Bitz Reader In Applied Jacket, University of Krakatoa (East of Java)
The only known surviving members of this once great nomadic tribe of wandering musicians - whose ancestry goes back so far that their exact origins have become extremely difficult to retrace or separate from the legends and myths that have grown around them throughout the centuries. It is understood, however, that they have their roots deep in the obscure civilization of Asiatic Pygmies (called Travelians), whose musical intrigue was well renowned at that time.
In the more recent past, The Traveling Wilburys as we now know them, with their songs of colour and free expression, come to us marked with 221 years of pain, suffering and nightmarish domination by nightclub owners, tour operators, record company executives, wicked agents and managers - not to mention wives, road crews and drummers.
These popular songs, laments and epic heroic tales fuse together into a rhythmic and harmonic trifle that will leave a taste in your ears for days after the last diaphonic interval has departed from your CD player.
Let Thy Wilbury done!---Ted Ashenbecker (M.A.),Berlin University 1988
The original Wilburys were a stationary people who, realizing that their civilization could not stand still forever, began to go for short walks - not the “traveling”, as we now know it, but certainly as far as the corner and back. They must have taken to motion, in much the same way as penguins were at that time taking to ledges, for the next we hear of them they were going out for the day (often taking lunch or a picnic). Later, we don't as yet know how much later, some intrepid Wilburys began to go away for the weekend, leaving late Friday and coming back Sunday. It was they who evolved simple rhythmic forms to describe their adventures.
A remarkable sophisticated musical culture developed, considering there were no managers or agents, and the further the Wilburys traveled the more adventurous their music became, and the more it was revered by the elders of the tribe who believed it had the power to stave off madness, turn brunettes into blondes and increase the size of their ears.
As the Wilburys began to go further and further in their search for musical inspiration they found themselves the object of interest among many less developed species - nightclub owners, tour operators and recording executives. To the Wilburys, who had only just learnt to cope with wives, roadies and drummers, it was a blow from which many of them never recovered.
A tiny handful survived - the last of the Traveling Wilburys - and the songs gathered here represent the popular laments, the epic and heroic tales, which characterize the apotheosis of the elusive Wilbury sound. The message of the music travels, as indeed they traveled and as I myself must now travel for further treatment. Good listening, good night and let thy Wilbury be done . . .
---Professor "Tiny" Hamptonis currently leading the search for intelligent life amongst rock journalismat the University of Please Yourself, California.
http://www.travelingwilburys.com/thegallery.html
The birth of The Traveling Wilburys was a happy accident. Warner Bros. Records' International Department had asked that George Harrison come up with a B-side for “This Is Love,” a single from his Cloud Nine album. At the time, it was customary to couple an A-side with a never-before-heard track, giving the single extra sales value.
This was mid-1988. Cloud Nine was just out. George, along with co-writer Jeff Lynne and their friends Bob Dylan, Tom Petty, and Roy Orbison, had been hanging out in Dylan's studio. I suppose George figured that as long as his pals were hand, why not use them to knock off this flip side.
A couple of days later, George came by my office to play the new “B-side.” We went next door to A&R head Lenny Waronker's office so he could hear it, too. George played us “Handle with Care.” Our reaction was immediate. This was a song we knew could not be wasted on some B-side. Roy Orbison's vocal was tremendous. I really loved the beautiful guitar figure that George played. The guys had really nailed it. Lenny and I stumbled over each others' words, asking “Can't we somehow turn this into an album?” (I also had a suspicion that, perhaps, George had been hungering for another band experience.)
We urged him on. George felt the spontaneity of it, felt its driving force. He always had great instincts. Being as smart as he was, he had a remarkable ability to pull people together. Think about The Concert for Bangladesh - only George Harrison could have made that happen.
Once the idea of a full, collaborative album was in front of us, George took over. The five front men (Harrison, Lynne, Petty, Dylan, and Orbison) decided not to use their own names. George and Jeff had been calling studio equipment (limiters, equalizers) “wilburys.” So first, they named their fivesome The Trembling Wilburys Jeff suggested “Traveling” instead. Everyone agreed.
The group was born: five guys who had star stature in their own rights, but it was George who created this Wilbury environment where five stars could get into an ego-free collaboration. Everybody sang, everybody wrote, everybody produced - and had great fun doing so.
You can hear George's humility and good nature reflected in the Wilburys and their music. To my thinking, this was a perfect collaboration. All give were good friends who admired and respected one another. Roy Orbison was somebody they all idolized. Of course, they revered Bob Dylan, too. But Bob was closer to being their contemporary, so it was Roy who gave the project that special glow from rock and roll's early formative years.
Reflecting on all this, I recall a few years before, when my wife Evelyn and I had been in London. George had invited us to his house, Friar Park, to celebrate Evelyn's birthday. Roy was a house guest there at the time, so perhaps this could have been an early hint leading to the Wilburys. So, too, might it have been the time Tom, George, and Jeff came to dinner at our house a year or so before “Handle with Care.” For us, Tom had played a new song, as yet unrecorded, called “Free Fallin,'” backed by his two future Wilbury mates. Lenny and I loved the song so much we asked Tom and the guys to do it at least three times than evening.
Perhaps even then, they all were Wilburys, just didn't know their last name yet.
With the huge international success - over five million copies sold - of The Traveling Wilburys, Volume 1, a follow-up was inevitable. George being George, titled the second album The Traveling Wilburys, Volume 3. Sadly, by this time, Roy had died, but there was still great excitement when we visited the Wilburys, recording in the Wallace Neff-designed house at the top of Coldwater Canyon. Being with those guys, in that setting - truly memorable.
I'm glad that a song that early on had been destined for semi-obscurity as a B-side became the catalyst for something so lasting and joyful. Rolling Stone magazine named The Traveling Wilburys one of the 100 Best Albums of All Time.
----Mo OstinChairman EmeritusWarner Bros. Records2007
The True History Of The Traveling Wilburys
The etymological origins of The Traveling Wilburys have aroused something of a controversy amongst academic circles. Did they, as Professor “Bobby” Sinfield believes, originate from the various Wilbury Fairs which traveled Europe in Medieval times, titillating the populace with contemporary ballads, or were they rather derived from, “YE TRAVELING WILBURYS”, who were popular locksmiths during the Crusades and used to pick or unlock the jammed chastity belts (rather like today's emergency plumbers.)
Dr. Arthur Noseputty of Cambridge believes they were closely related to the Strangling Dingleberries, which is not a group but a disease. I think this can be discounted, not only because of his silly name but also from his habit of impersonating Ethel Merman during lectures. Some have even gone on to suggest tenuous links with The Pillsburys, the group who invented Flour Power.
Dim Sun, a Chinese academic, argues that they may be related to “THE STROLLING TILBURYS”, Queen Elizabeth the first's favourite minstrels, and backs this suspicion with the observation that The Traveling Wilburys is an obvious anagram of “V. BURYING WILL'S THEATRE”, clearly a reference to the closing of Shakespeare's Globe theatre by Villiers during an outbreak of the plague. This would account for the constant traveling. Indeed, many victims of the plague and St.Vitus' dance literally danced themselves to death, and it is this dancing theme that resurfaces with The Wilbury Twist. Not a cocktail but a dance craze, reminiscent of The Wilbury Quadrille made famous at Bath in 1790 by Beau Diddley, and the Wilbury Waltz, which swept Vienna in the 1890's.
One thing, however, remains certain. The circumambulatory peregrinations of these itinerant mundivagant peripatetic nomads has already disgorged one collection of popular lyrical cantata, which happily encapsulated their dithyrambic antiphonic contrapuntal threnodies as a satisfactory auricular experience for the hedonistic gratification of the hoi-polloi on a popular epigraphically inscribed gramophonic recording. Now here's another one.
Professor “TINY” Hampton is currently leading the search for Intelligent Life amongst Rock Journalism at the University of Please Yourself, California
----Hugh JamptonE.F. Norti-Bitz Reader In Applied Jacket, University of Krakatoa (East of Java)
The only known surviving members of this once great nomadic tribe of wandering musicians - whose ancestry goes back so far that their exact origins have become extremely difficult to retrace or separate from the legends and myths that have grown around them throughout the centuries. It is understood, however, that they have their roots deep in the obscure civilization of Asiatic Pygmies (called Travelians), whose musical intrigue was well renowned at that time.
In the more recent past, The Traveling Wilburys as we now know them, with their songs of colour and free expression, come to us marked with 221 years of pain, suffering and nightmarish domination by nightclub owners, tour operators, record company executives, wicked agents and managers - not to mention wives, road crews and drummers.
These popular songs, laments and epic heroic tales fuse together into a rhythmic and harmonic trifle that will leave a taste in your ears for days after the last diaphonic interval has departed from your CD player.
Let Thy Wilbury done!---Ted Ashenbecker (M.A.),Berlin University 1988
The original Wilburys were a stationary people who, realizing that their civilization could not stand still forever, began to go for short walks - not the “traveling”, as we now know it, but certainly as far as the corner and back. They must have taken to motion, in much the same way as penguins were at that time taking to ledges, for the next we hear of them they were going out for the day (often taking lunch or a picnic). Later, we don't as yet know how much later, some intrepid Wilburys began to go away for the weekend, leaving late Friday and coming back Sunday. It was they who evolved simple rhythmic forms to describe their adventures.
A remarkable sophisticated musical culture developed, considering there were no managers or agents, and the further the Wilburys traveled the more adventurous their music became, and the more it was revered by the elders of the tribe who believed it had the power to stave off madness, turn brunettes into blondes and increase the size of their ears.
As the Wilburys began to go further and further in their search for musical inspiration they found themselves the object of interest among many less developed species - nightclub owners, tour operators and recording executives. To the Wilburys, who had only just learnt to cope with wives, roadies and drummers, it was a blow from which many of them never recovered.
A tiny handful survived - the last of the Traveling Wilburys - and the songs gathered here represent the popular laments, the epic and heroic tales, which characterize the apotheosis of the elusive Wilbury sound. The message of the music travels, as indeed they traveled and as I myself must now travel for further treatment. Good listening, good night and let thy Wilbury be done . . .
---Professor "Tiny" Hamptonis currently leading the search for intelligent life amongst rock journalismat the University of Please Yourself, California.
http://www.travelingwilburys.com/thegallery.html
GEORGE H ARR ISON
posted by liensrock at 8:35 AM
0 comments
Friday, January 19, 2007
DHANI HARRISON
site de DHANI HARRISON
DHANI HARRISON
Thenewno2 on Late Night With Conan O'Brien
thenewno2 | MySpace Vidéo
DHANI HARRISON
Thenewno2 on Late Night With Conan O'Brien
thenewno2 | MySpace Vidéo
GEORGE H ARR ISON
posted by liensrock at 7:21 AM
0 comments
Saturday, November 25, 2006
29/11/2006
extrait saga BEATLES RTL
Atteint d'un cancer à la gorge, George Harrison était parvenu à enrayer la maladie en 1998. Mais ce n'était qu'une rémission. En mai 2001, il doit être opéré d'une tumeur au poumon. Le 29 novembre, on apprend qu'il a définitivement perdu son combat contre le cancer. Il décède à l'âge de cinquante-huit ans. Au sein des Beatles, George Harrison occupait une position difficile. Le producteur George Martin la résumait en ces termes : "Son talent aurait dû croître et exploser dans n'importe quel autre contexte. Là, il restait écrasé sous le poids de deux génies." George Harrison n'a jamais nourri de rancune envers qui que ce soit, et quand on lui demandait quelle était sa chanson préférée des Beatles, il était le premier à reconnaître et à apprécier le talent de ses camarades.
"Je ne peux pas dire que j'ai une chanson préférée. Il y en a beaucoup que j'aime bien. Par exemple, j'aime beaucoup I am the walrus, un titre qui a été écrit par John Lennon, ainsi que Strawberry fields forever, une autre bonne chanson de John. Je crois que ma chanson préférée écrite par Paul McCartney, c'est She's leaving home."
Après les disparitions de John Lennon et de George Harrison, Ringo Starr se faisant très discret, c'est Paul McCartney qui devient tout naturellement l'exécuteur testamentaire des Beatles. C'est lui en tout cas qui est à l'origine de la sortie de l'album "LET IT BE … NAKED", en octobre 2003.
GEORGE HARRISON 29/11/01
Ajouter à mon profil | Plus de Vidéos
Atteint d'un cancer à la gorge, George Harrison était parvenu à enrayer la maladie en 1998. Mais ce n'était qu'une rémission. En mai 2001, il doit être opéré d'une tumeur au poumon. Le 29 novembre, on apprend qu'il a définitivement perdu son combat contre le cancer. Il décède à l'âge de cinquante-huit ans. Au sein des Beatles, George Harrison occupait une position difficile. Le producteur George Martin la résumait en ces termes : "Son talent aurait dû croître et exploser dans n'importe quel autre contexte. Là, il restait écrasé sous le poids de deux génies." George Harrison n'a jamais nourri de rancune envers qui que ce soit, et quand on lui demandait quelle était sa chanson préférée des Beatles, il était le premier à reconnaître et à apprécier le talent de ses camarades.
"Je ne peux pas dire que j'ai une chanson préférée. Il y en a beaucoup que j'aime bien. Par exemple, j'aime beaucoup I am the walrus, un titre qui a été écrit par John Lennon, ainsi que Strawberry fields forever, une autre bonne chanson de John. Je crois que ma chanson préférée écrite par Paul McCartney, c'est She's leaving home."
Après les disparitions de John Lennon et de George Harrison, Ringo Starr se faisant très discret, c'est Paul McCartney qui devient tout naturellement l'exécuteur testamentaire des Beatles. C'est lui en tout cas qui est à l'origine de la sortie de l'album "LET IT BE … NAKED", en octobre 2003.
GEORGE HARRISON 29/11/01
Ajouter à mon profil | Plus de Vidéos
GEORGE H ARR ISON
posted by liensrock at 2:43 PM
0 comments
Monday, November 13, 2006
THEBEATLES.COM
THEBEATLES.COM :
Envoyer l'AMOUR à un ami Lundi 13 novembre 2006 Nous avons lancé un ensemble d'e-cartes ainsi vous pouvez envoyer l'AMOUR à un ami ! La sélection juste une image et une voie, ajoutent votre message, et cliquent pour envoyer…. Pour envoyer une carte, aller à la page d'accueil de TheBeatles.com et suivre les instructions :
THEBEATLES.COM
Envoyer l'AMOUR à un ami Lundi 13 novembre 2006 Nous avons lancé un ensemble d'e-cartes ainsi vous pouvez envoyer l'AMOUR à un ami ! La sélection juste une image et une voie, ajoutent votre message, et cliquent pour envoyer…. Pour envoyer une carte, aller à la page d'accueil de TheBeatles.com et suivre les instructions :
THEBEATLES.COM
GEORGE H ARR ISON
posted by liensrock at 8:23 AM
0 comments
Friday, November 10, 2006
georgeharrison.com@email.georgeharrison.com
Vishwa Mohan BhattHas enchanted East and West with his delicate, yet powerful music performed on the Mohan Veena - an instrument of his own making. Related to the slide guitar and played lap style, the Mohan Veena has 38 strings and is made of spruce, mahogany, and rosewood. A disciple of Ravi Shankar, Vishwa Mohan incorporates techniques of sitar, sarod and veena into his performances. He is celebrated as a soloist as well as a sensitive collaborator. His album with Bela Flek, banjo, and Ehru artist, Jei Bing Chang was nominated for a Grammy. "A Meeting by the River", his album with Ry Cooder won this most prestigious award.
Lakshmi ShankarWhen an illness ended her promising career as a Bharat Natyam dancer, Lakshmi's artist soul survived the tragedy and began to sing. Her first musical studies were with Abdul Rehman Khan - an experience so intense that she describes it as twenty years (of study) in only five. Brother-in-law Ravi Shankar later became her teacher. Though she has composed and performed for films, including Academy Aeard winner Gandhi, classical music is her primary direction. Lakshmi has recorded numerous albums and CDs and she finds time to teach many grateful students. She is welcomed with standing ovations when she tours worldwide alonge or often with Ravi Shankar. Lakshmi is recognised as one of the great artists of our age.
Japan America TheatreGeorge and Sakaye Aratani Japan Amercia Theater244 South San Pedro Street, Los Angeles (Little Tokyo), CA 90012
Reserved Seating$25, $35, $50, $100 VIP, $250 Donors CircleCurrent Music Circle Members will have priority seating during a special pre-reservation period from September 25 to Occtober 6. Tickets for the public go on sale October 7.
Ticket and Information and Reservations: 213-680-3700Aratani / Japan America Theater Box Office
Concert InformationThe Music Circle at 626-449-6987 or www.MusicCircle.org
Parking: there are several parking lots on San Pedro street directly across from the theatre.
GEORGE H ARR ISON
posted by liensrock at 9:40 AM
0 comments
