They traded similarly distorted guitar licks on Abbey Road’s ‘The End’ like members of The Eagles. It would have meant a co-writing credit in most other bands.īoth exciting players, they let rip together on such rockers as Birthday (1968) – their doubled bass and guitar lines powering this Cream-esque pot boiler. George was equally careful with Paul’s songs it was only in the last year or so that Paul confessed that the memorable four note signature in ‘And I Love Her’ was George’s work. It became a source of irritation to George when fans declared it his best piece of work. Think of McCartney’s sizzling guitar solo in Taxman (perhaps returning the favour for In Spite of All the Danger) which was reversed to double the length. Their underestimation of Harrison’s gift was later a cause of regret (John thought that ‘Something’ and ‘Here Comes the Sun’ were the only decent things on Abbey Road) and this early closing of ranks was a resentment Harrison carried with him beyond The Beatles’ demise.ĭespite their lack of joint publishing credits however, their work together was still remarkable. In the glow of this attraction, it seems Harrison found himself the musical gooseberry. Their remarkable pact to credit everything they did to ‘Lennon/McCartney’ was made when they were sixteen and honoured (just about) to this day. They were excited about their song writing, quickly realising they would benefit from each other. Lennon and McCartney were, at least to begin with, in awe of each other’s talents Lennon envious of McCartney’s seemingly endless supply of melodies while Paul admired John’s compellingly direct lyrical style. It did not bode well for future collaborations they only again shared credit on such innocuous instrumental fare as ‘Flying’ from the Magical Mystery Tour Soundtrack, ‘Dig it’ and the back-from-the-dead track ‘Free as a Bird.’ For such ancient history, this does seem a littl bit like nit picking.
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Paul later took full credit for the song, claiming George simply played the guitar solo – at the time he said, they did not realise that this did not constitute part of the song itself. It was amateurish for sure, but an entirely competent pastiche it would still have been the finest song Elvis never wrote. ‘In Spite of All the Danger’ was a slow, moody blues in the style of Gene Vincent recorded by Percy Phillips in his Liverpool living room.
In fact they were responsible for the very first Beatles’ original committed to disc. Overshadowed by the all conquering Lennon/McCartney partnership, it seems a McCartney and Harrison teaming was given very little consideration. While Paul’s left handed bass playing saved The Beatles the expense of a third microphone (and by 1963 they could probably afford it) very little has been said of the musical collaboration between the two youngest Beatles. Set in 1964, during first US tour.One of the indelible images of the ‘Sixties is of Paul McCartney and George Harrison sharing a mike, their guitars akimbo, shaking their mop-tops while nailing their trademark falsetto. Oh how can I explain this, basically, it's a Beatles circle-jerk fic, and John has a lovebite on his neck.