Dimensions: (sight) 34'h x 23'w (overall). Accompanied by Letter of Authenticity, James Spence Authentication, 2014.
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Taking comfort in the crack professionalism of Clapton’s band, which included the likes of current Rolling Stones keyboardist Chuck Leavell, bassist Nathan East and guitarist Andy Fairweather Low among others, Harrison delivers a Greatest Hits set for the ages offering a well hued balance of choice solo material and his most beloved contributions to The Beatles, where “Something” segues into “What Is Life” and “Cloud 9” parts the sky for “Here Comes the Sun.” Framed George Harrison signed insert poster for 1970 album, 'All Things Must Pass'. Scarce Original Brazilian Pressing Of The Tenth George Harrison Album Nice Vinyl, Includes Insert With Lyrics, Labels Clean. Delivered to stores in July of ’92, this double live chronicle of the trek-even in its 25th anniversary year-remains arguably the best concert album by a solo Beatle on the market. George Harrison’s short tour of Japan in December of 1991 with old friend Eric Clapton and his band marked the Quiet One’s first stab at touring since that troubled run in ’74. Undervalued by his bandmates, Harrison managed to stockpile enough songs for a solo album that is widely considered a masterpiece of 1970s rock. Instead, he was a man of great integrity, tremendous intuition and singular performance.
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Paul McCartney may have been the one who first started messing around with analog adventurism during the Revolver era, but with his second solo project it was Harrison who dove deep into the chasm of these studio explorations when he acquired his first Moog synthesizer.Įlectronic Sound was issued on the Fabs’ incredibly shortlived avant-garde offshoot of Apple Records-cheekily dubbed Zapple-and entails two lengthy compositions of amorphous sonic experiments on the Moog IIIc modular synth, which he had purchased directly from its inventor, the late Robert Moog, and is still owned by his family to this very day.ĭespite being hit with a lawsuit from renowned synthesizer player Bernie Krause, who claimed that the track “No Time or Space” was actually a recording of him teaching Harrison how to play the Moog and released without his consent, both this 25-minute soup of Silver Apples-angling burps and delays and its overdubbed 18-minute counterpart on the flip (“Under the Mersey Wall”) serve as an indulgent and oddly visionary testament to the Zapple label and its unsung promise to bring the avant-garde to the pop crowd. George Harrison was considered by many to be ‘The Quiet Beatle’, which was a tidy, albeit prescriptive, title.