George Harrison Crawdaddy Interview 1977

          February 1977
          Interviewed by Mitchell Glazer
          ABOUT THIS INTERVIEW: While promoting his recently released album 
          entitled, "33 1/3" George Harrison gave an especially nostalgic and 
          enlightening interview to Crawdaddy magazine. Topics of discussion include 
          Beatle albums, the Hamburg days, the Ed Sullivan appearance, the 
          Maharishi, Beatle reunion offers, songwriting with Bob Dylan, and even 
          Eric Clapton's involvement with Patti Harrison.

            Q: "Were you nervous before the Beatles 1964 debut on the Ed 
            Sullivan Show?"
            GEORGE: "The Sullivan Show was funny because I didn't attend the 
            rehearsal. I was sick somehow on the flight over on the first trip 
            to the States. The band did play alot of rehersal for the sound 
            people, they kept going into the control room and checking out the 
            sound. And finally when they got a balance between the instruments 
            and the vocals, they marked on the boards by the control, and then 
            everybody broke for lunch. Then we came back to tape the show and 
            the cleaners had been 'round and polished all the marks off the 
            board. It was sort of a bit tacky in those days with the sound. 
            People would put amplifiers off to the side of the stage so it 
            didn't spoil the shot, you know."

            Q: "I just always wondered if you felt the pressure."
            GEORGE: "Oh yeah, we did. But we knew we'd had sufficient success in 
            Europe and Britain to have a bit of confidence. And we really needed 
            a helluva lot of confidence for the States because it was such an 
            important place. I mean, nobody'd ever made it, you know, British 
            acts-- apart from the odd singer like Lonnie Donnegan."
            "But Ed Sullivan was, you know-- Everybody had told us how he was 
            really big. But again, we were pretty naive to certain things so 
            that helped at the time. I remember them asking us did we know who 
            Walter Cronkite was. And I said, 'I dunno, isn't he somebody on the 
            television?' You know, things like that were good because they all 
            had fun-- the people asking questions and the press-- us being naive 
            and not seeming to care about that sort of thing."

            Q: "Was there ever a tendency to still act naive after you wised up?"
            GEORGE: "I dunno. But by that time we'd got into that whole sort of 
            routine that we used to have, you know, at press conferences. Alot 
            of it was just nervous energy, just for jokes and stuff which 
            everybody seemed to like. That was one of the big helps for the 
            Beatles at the time-- If anybody dried up in the press conferences 
            there was always somebody else there with a smart answer. There was 
            always a good balance, so nobody could ever really quite nail us."
            "The Sullivan show was just the climax to the Beatles' whole America 
            thing. In retrospect it probably wouldn't have mattered what we'd 
            done on the Sullivan show, it was like already established by the 
            previous press that had gone before. But that was a long time ago. 
            We'll get over the question, 'Are the Beatles getting together 

            Q: "I won't even ask you."
            GEORGE: "...because the answer is just like going back to school 
            again, really. The four of us are so tied up with our own lives, and 
            it's been eight years since we split. And time goes so fast. It's 
            not beyond the bounds of possibility, but we'd have to want to do it 
            for the music's sake first. We wouldn't stick together because 
            somebody had put an ad in the paper putting us on the spot."

            Q: "Somebody in New York is saying the Beatles are getting back 
            together to wrestle a Great White Shark in Australia."
            GEORGE: "That was the other guy-- He was gonna try and do the 
            Beatles show, and then try and do the other one with somebody 
            fighting a shark. I thought, 'If HE fights the shark, the winner can 
            be the promoter!"

            Q: "It seemed that all four of you were locked into something larger 
            than its parts."
            GEORGE: "It was. But none of us really thought about leaving until 
            '67 or '68, which was after we stopped touring. I know the first 
            time for me which was the most depressing was during 'The White 
            Album.' It was a problem making a double album because it takes such 
            a long time."

            Q: "Why did you make a double?"
            GEORGE: "I think it was because there were so many songs, but it was 
            a period that had started a bit negative. It was a bit difficult and 
            we got through it and it was fine. We finally got through the album 
            and everybody was pleased because the track were good. Then I worked 
            on an album with Jackie Lomax on an Apple record and I spent a long 
            time in the States, and I had such a good time working with all 
            these different musicians and different people. Then I hung out at 
            Woodstock for Thanksgiving and, you know, I felt really good at that 
            time. I got back to England for Christmas and then on January 1st we 
            were to start on the thing which turned into 'Let It Be.' And 
            straight away, again, it was just weird vibes. You know, I found I 
            was starting to be able to enjoy being a musician, but the moment I 
            got back with the Beatles it was just too difficult. There were just 
            too many limitations based upon our being together for so long. 
            Everybody was sort of pigeon-holed. It was frustrating."

            "The problem was that John and Paul had written songs for so long it 
            was difficult-- First of all because they had such alot of tunes and 
            they automatically thought that theirs should be priority. So for 
            me, I'd always have to wait through ten of their songs before they'd 
            even listen to one of mine. That was why 'All Things Must Pass' had 
            so many songs, because it was like I'd been constipated. I had a 
            little encouragement from time to time, but it was very little. It 
            was like they were doing me a favor. I didn't have much confidence 
            in writing songs because of that. Because they never said, 'Yeah 
            that's a good song.' When we got into things like "While My Guitar 
            Gently Weeps,' we recorded it one night and there was such a lack of 
            enthusiasm. So I went home really disappointed because I knew the 
            song was good."

            "The next day I brought Eric Clapton with me. He was really nervous. 
            I was saying, 'Just come and play on the session, then I can sing 
            and play acoustic guitar.' Because what happened when Eric was there 
            on that day, and later on when Billy Preston... I pulled in Billy 
            Preston on Let It Be... it helped, because the others would have to 
            control themselves a bit more. John and Paul mainly because they had 
            to, you know, act more handsomely. Eric was nervous saying, 'No, 
            what will they say?' And I was saying, 'Fuck 'em, that's my song.' 
            You know, he was the first non-Beatle person who'd ever played on 

            Q: "It must have been terrifying..."
            GEORGE: "And it was a good date. Paul would always help along when 
            you'd done his ten songs-- then when he got 'round to doing one of 
            my songs, he would help. It was silly. It was very selfish, 
            actually. Sometimes Paul would make us do these really fruity songs. 
            I mean, my god, 'Maxwell's Silver Hammer' was so fruity. After a 
            while we did a good job on it, but when Paul got an idea or an 
            arrangement in his head... But Paul's really writing for a 
            14-year-old audience now anyhow. I missed his last tour, 

            Q: "'While My Guitar Gently Weeps' was such a personal song, I'd 
            always wondered why Eric was there."
            GEORGE: "Well, I'd been through this sitar thing. I'd played sitar 
            for three years. And I'd just listened to classical Indian music and 
            practiced sitar-- except for when we played dates, studio dates-- 
            and then I'd get the guitar out and just play, you know, learn a 
            part for the record. But I'd really lost alot of interest in the 
            guitar. I remember I came from California and I shot this piece of 
            film for the film on Ravi Shankar's life called 'Raga' and I was 
            carrying a sitar. And we stopped in New York and checked in a hotel, 
            and Jimi Hendrix and Eric Clapton were both at the same hotel. And 
            that was the last time I really played the sitar like that. We used 
            to hang out such alot at that period, and Eric gave me a fantastic 
            Les Paul guitar, which is the one he plays on that date. So it 
            worked out well. I liked the idea of other musicians contributing."
            "I helped Eric write 'Badge' you know. Each of them had to come up 
            with a song for that 'Goodbye Cream' album and Eric didn't have his 
            written. We were working across from each other and I was writing 
            the lyrics down and we came to the middle part so I wrote 'Bridge.' 
            Eric read it upside dwn and cracked up laughing-- 'What's BADGE?' he 
            said. After that Ringo walked in drunk and gave us that line about 
            the swans living in the park."

            Q: "I always thought your contributions guided the band's direction. 
            Beatles '65-- the country influence. Or the Indian influence."
            GEORGE: "Well, Ringo as well, you know. We all gave as much as we 
            could. The thing was, Paul and John wrote all the songs in the 
            beginning. And they did write great songs, which made it more 
            difficult to break in or get some action on the songwriting thing. 
            But you know, we all did contribute such alot to the Beatles. There 
            was a period of time when people thought, 'Ringo doesn't play the 
            drums.' I don't know what they thought of me, but they tended to 
            think it was John and Paul for a period of time."
            "I helped out such alot in all the arrangements. There were alot of 
            tracks though where I played bass. Paul played lead guitar on 
            'Taxman,' and he played guitar-- a good part-- on 'Drive My Car."

            Q: "You played bass?"
            GEORGE: "No, I didn't play-- We laid the track because what Paul 
            would do, if he's written a song, he'd learn all the parts for Paul 
            and then come in the studio and say, 'Do this.' He'd never give you 
            the opportunity to come out with something. But on 'Drive My Car' I 
            just played the line, which is really like a lick off 'Respect,' you 
            know, the Otis Redding version-- and I played that line on guitar 
            and Paul laid that with me on bass. We laid the track down like 
            that. We played the lead part later on top of it. There were alot of 
            things... like on a couple of dates Paul wasn't on it at all, or 
            John wasn't on it at all, or I wasn't on it at all. Probably only 
            about five tunes altogether where one of us might not have been on."

            Q: "Which of the Beatles albums do you still listen to?"
            GEORGE: "I liked when we got into 'Rubber Soul,' 'Revolver.' Each 
            album had something good about it and progressed. There were albums 
            which weren't any good as far as I was concerned, like 'Yellow 
            "We put all the songs together into an album form-- I'm talking 
            about English albums now, because in the states we found later that 
            for every two albums we had, they (Capitol) would make three... 
            because we put fourteen tracks on an album, and we'd also have 
            singles that weren't included on albums in those days. They'd put 
            the singles on, take off a bunch of tracks, change all the running 
            order, and then they'd make new packages like 'Yesterday And Today,' 
            just awful packages."

            Q: "That entire era was so productive. Did it seem that way to you?"
            GEORGE: "Yeah, it was good, it was enjoyable. We'd get into doing 
            harmonies and this and that. Beacause in the early days we were only 
            working on four-track tapes. So what we'd do would be work out most 
            of the basic track on one track, get all the balance and everything 
            set, all the instruments,. Then we'd do all the vocals, or overdub. 
            If there was guitar, lines would come in on the second verse and 
            piano in the middle eight with shakers and tambourines. We'd line up 
            and get all the sounds right and do it in a take, and then do all 
            the vocal harmonies over."

            "Those old records weren't really stereo. They were mono records and 
            they were rechanneled. Some of the stereo is terrible because you've 
            got backing on one side. In fact, when we did the first two albums-- 
            at least the first album which was 'Please Please Me,' we did it 
            straight onto a two-track machine. So there wasn't any stereo as 
            such, it was just the voices on one track and the backing on the 
            other. Sgt Pepper was only a four-track."

            Q: "It's hard to believe."
            GEORGE: "Yup. Well, we had an orchestra on a separate four-track 
            machine in 'Day In The Life.' We tried to sync them up. I remember-- 
            they kept going out of sync in playback, so we had to remix it."

            Q: "Was the rest of the band difficult when you started getting into 
            Indian music?"
            GEORGE: "Not really. They weren't really as interested. When I'd 
            first met Ravi (Shankar) he played a private concert just at my 
            house, and he came with Alla Rakha, and John and Ringo came to that. 
            I know Ringo didn't want to know about tabla because it just seemed 
            so far our to him."

            Q: "He couldn't relate to it?"
            GEORGE: "Well, he could relate to it as a percussion instrument, as 
            drums. But how Rakha actually played it, he couldn't figure that out 
            at all. But they liked it. They knew there was something great about 
            it. But they weren't into it as I was. Then they all went to India 
            and had those experiences in India, too... which, for anybody who 
            goes to India, I think straight away you can relate much more to 
            Indian music because it makes so much more sense having been there."

            Q: "Was it intimidating to start out at age 17 or 18, and be younger 
            than the others?"
            GEORGE: "No. There are around nine months between me and Paul... 
            Nine months between Paul and John. In the early days when I was 
            still at school, I was really small. I sort of grew in height when 
            we were away in Hamburg. A few years before that we did a few 
            parties at night-- just silly things-- John, Paul, and I. And there 
            were a couple of other people who kept coming and going. John was in 
            school, the College of Art, which was adjoining our school. Paul and 
            I would sneak out of our school and go into his place, which was a 
            bit more free, you know. Ours was still in school uniforms, and we 
            could smoke in his place and do all that. I think he did feel a bit 
            embarrassed about that because I was so tiny. I only looked about 
            ten years old."

            "But in Hamburg, we were living right in the middle of St Paulie, 
            which is right in the middle of the Reeperbahn district in Hamburg. 
            All the club owners were like gangsters, and all the waiters had 
            tear-gas guns, truncheons, knuckle-dusters. They were a heavy crew. 
            Everybody around that district were homosexuals, pimps, hookers. You 
            know, being in the middle of that when I was 17. (laughs) It was 
            good fun. But when we moved into our second club we were becoming so 
            popular with the crowd of regulars that we never got in any problems 
            with all these gangster sort of people. They never tried to beat us 
            up because they knew the Beatles. And you know, they'd say 'Pedels' 
            (pronounced, Peedles), that's German for prick."

            Q: The whole image of the Beatles got cleaned up and smoothed over, 
            which is always attributed to Brian Epstein."
            GEORGE: "In the Hamburg days we had to play so long and really rock 
            it up and leap about and foam at the mouth and do whatever. We 
            missed the whole period in England-- Cliff Richards and the Shadows 
            became the big thing. They all had matching ties and handkerchiefs 
            and gray suits, but we were still doing Gene Vincent, Bo Didley, you 
            know, Ray Charles things. So when we got back to England that was 
            the big thing. They didn't know us in Liverpool, and there was a big 
            gig at the townhall or something, at a dance. There was an 
            advertisement in the newspaper saying, 'Direct from Hamburg,' and so 
            many people really dug the band, and they were coming up to us and 
            saying, 'Oh, you speak good English!'"
            "But a year or so after that, When Brian Epstein came on the scene, 
            he said, 'You should smarten up because nobody wants to know you,' 
            --TV producers or record producers or whatever. We just looked too 
            scruffy. In Germany they had alot of leather stuff, like black 
            leather trousers and jackets and boots."

            Q: "Do you miss that Hamburg in your music?"
            GEORGE: "I just had a good time just playing, you know. That's what 
            I miss. Even when we sold records and started doing alot of tours, 
            it was a bit of a drag because we'd go on the road and we'd play the 
            same tunes to different people, and then we'd drop a few and add the 
            new ones all the time. It got stale. I felt stale, you know, because 
            you play the same riffs... da-da-ding-ding-dow, you know. 'Twist And 
            Shout' and things. By the time you came off the road, touring the 
            world, I'd just want to not particularly..."

            Q: "...look at an instrument?"
            GEORGE: "Yeah... for a while. And so we did get very stale, and 
            that's a period when-- I was saying about after being into the 
            sitar-- I got really friendly with Eric, and all the kids were 
            playing guitars. I'd felt as though I'd missed so many years out."

            Q: "You mean like Hendrix and Cream, and that whole era?"
            GEORGE: "Yeah, and all the young kids coming up were all playing so 
            good, and I hadn't been involved with it for so long, both being in 
            the Beatles just playing the same old tunes, and playing Indian 
            music. So I felt a long way behind. That was one reason why I had 
            all the instruments. I suddenly realized, 'I don't like these 
            guitars,' and Eric gave me this Les Paul which really got me back 
            into it because it sounded so funky. That was one of the reasons I 
            started playing slide, you know, because I felt so far behind in 
            playing hot licks. With slide I didn't have any instruction, I just 
            got one and started playing."

            Q: "Do you feel self-conscious about your guitar playing?"
            GEORGE: "I just had to force myself back. Alot of it was just 

            Q: "John said the best Beatle music happened before the group ever 
            cut a record."
            GEORGE: "Mmm, well yes. I think some of the best stuff we did was 
            when we stopped touring and spent alot of time in the studio. You 
            know, we lived in a studio, really. Alot of things which were 
            innovations as far as recording went-- I think THAT was some of the 
            best music. But as far as playing live, I agree with what John says 
            about the old days. We were really rocking. We had fun, you know. We 
            really had fun."

            Q: "Since you've gone solo, your signiture musically is different 
            from that now. Like when you did 'Wah-Wah.'"
            GEORGE: "That was the song, when I left from the 'Let It Be' movie, 
            there's a scene where Paul and I are having an argument, and we're 
            trying to cover it up. Then the next scene I'm not there and Yoko's 
            just screaming, doing her screeching number. Well, that's where I'd 
            left, and I went home to write 'Wah-Wah.' It had given me a wah-wah, 
            like I had such a headache with that whole argument. It was such a 

            Q: "When did you meet Eric for the first time?"
            GEORGE: "We were in the Hammersmith Odeon, and the Yardbirds were 
            sort of supporting a group on the bill, and I just met him then, but 
            really didn't get to know him. I met him again when the (Lovin) 
            Spoonful were at the Marquee, and John and I went down and were just 
            sort of hanging about backstage with them. We were going down to 
            their hotel... I can remember just seeing Eric, 'I know him. I'm 
            sure I know this guy, and he seems like, you know really lonely.' I 
            remember we went out and got in a car and went off to Sebastian's 
            Hotel and I remembered thinking, 'We should've invited that guy 'cuz 
            I'm sure we know him from somewhere and he just seemed, like, 

            "And then a couple of years, maybe a year or so later, The Bee Gees, 
            the Cream, were all involved with Brian Epstein originally, so I 
            started meeing Eric and hanging out with him then at Brian Epstein's 
            house. We sort of went out quite a bit with Brian for dinner and 
            stuff, and then the whole Cream thing started happening. Through 
            that period he played 'Guitar Gently Weeps,' and after that he just 
            escaped out of London because some cop was after him. And he bought 
            a house just a bit further out in the country from where I was, and 
            we used to hang out."

            "'Savoy Truffle' on The White Album was written for Eric. He's got 
            this real sweet tooth and he'd just had his mouth worked on. His 
            dentist said he was through with candy. So as a tribute I wrote, 
            'You'll have to have them all pulled out after the Savoy Truffle.' 
            The truffle was some kind of sweet, just like all the rest-- cream 
            tangerine, ginger sling-- just candy, to tease Eric."

            Q: "I remember him saying he was dedicating 'Layla' to some mystery 
            woman. Did you know what was happening?"
            GEORGE: "Well yeah, sort of. The thing is, with Eric over the years, 
            and you know we (George and Patti Harrison) both loved Eric. Still 
            do. And there were a few funny things. I pulled his chick once. 
            That's happened, and now you'd think he was trying to get his own 
            back on me. (laughs) But much later, when all that thing was going 
            on, when I split from Patti, you know... Patti and he got together 
            after we'd really split. And actually we'd been splitting up for 
            years. That was the funny thing, you know. I thought that was the 
            best thing to do, for us to split, and we should've just done it 
            much sooner. But I didn't have any problem about it-- Eric had the 
            problem. Everytime I'd go and see him, and stuff, he'd be really 
            hung up about it, and I was saying, 'Fuck it, man. Don't be 
            apologizing,' and he didn't believe me. I was saying, 'I don't 

            Q: "You said 'All Things Must Pass' was like as explosion for you."
            GEORGE: "Yeah. I had alot from during the Beatles time and I was 
            writing all the time, and I wrote a few while making the album as 

            Q: "Which was your favorite? 'My Sweet Lord?'"
            GEORGE: "No, not particularly. I liked different songs for different 
            reasons. I liked the first song that was on the album, 'I'd Have You 
            Anytime,' and particularly the recording of it, because Derek and 
            the Dominoes played on most of the tracks and it was a really nice 
            experience making that album-- because I was really a bit paranoid, 
            musically. Having this whole thing with the Beatles had left me 
            really paranoid. I remember having those people in the studio and 
            thinking, 'God, these songs are so fruity! I can't think of which 
            song to do.' Slowly I realized, 'We can do this one,' and I'd play 
            it to them and they'd say, 'Wow, yeah! Great song!' And I'd say, 
            'Really? Do you really like it?' I realized that it was okay... that 
            they were sick of playing all that other stuff. It's great to have a 
            tune, and I liked that song, 'I'd Have You Anytime' because of Bob 

            "I was with Bob and he'd gone through his broken neck period and was 
            being very quiet, and he didn't have much confidence anyhow-- that's 
            the feeling I got with him in Woodsock. He hardly said a word for a 
            couple of days. Anyway, we finally got te guitars out and it 
            loosened things up a bit. It was really a nice time with all his 
            kids around, and we were just playing. It was near Thanksgiving. He 
            sang me that song and he was, like, very nervous and shy and he 
            said, 'What do you think about this song?' And I'd felt very 
            strongly about Bob when I'd been in India years before-- the only 
            record I took with me along with all my Indian records was 'Blonde 
            On Blonde.' I felt somehow very close to him or something, you know, 
            because he was so great, so heavy and so observant about everything. 

            And yet, to find him later very nervous and with no confidence. But 
            the thing that he said on 'Blonde On Blonde' about what price you 
            have to pay to get out of going through all these things twice-- 'Oh 
            mama, can this really be the end.' So I was thinking, 'There is a 
            way out of it all, really, in the end.'"

            "He sang for me, 'Love is all you need/ Makes the world go 'round/ 
            Love and only love can't be denied/ No matter what you think about 
            it/ You're not going to be able to live without it/ Take a tip from 
            one who's tried.' And I thought, Isn't it great, because I know 
            people are going to think, 'Shit, what's Dylan doing?' But as far as 
            I was concerned, it was great for him to realize his own peace, and 
            it meant something. You know, he'd always been so hard.. and I 
            thought, 'Alot of people are not going to like this,' but I think 
            it's fantastic because Bob has obviously had the experience. I was 
            saying to him, You write incredible lyrics,' and he was saying, 'How 
            do you write those tunes?' So I was just showing him chords like 
            crazy. Chords, because he tended just to play alot of basic chords 
            and move a capo up and down. And I was saying, 'Come on, write me 
            some words,' and he was scribbling words down. And it just killed me 
            because he'd been doing all these sensational lyrics. And he wrote, 
            'All I have is yours/ All you see is mine/ And I'm glad to hold you 
            in my arms/ I'd have you anytime.' The idea of Dylan writing 
            something, like, so very simple."

            Q: "Did you get any feedback from John or Ringo or anybody, saying 
            GEORGE: "I remember John was really negative at the time, but I was 
            away and he came 'round to my house, and there was a friend of mine 
            living there who was a friend of John's. He saw the album cover and 
            said, 'He must be fucking bad, putting three records out. And look 
            at the picture on the front, he looks like an asthmatic Leon 
            Russell,' There was alot of negativity going down. You know... Ringo 
            played on almost the whole album. I don't care about that. Fuck it-- 
            we've been through the thing. I felt that whatever happened, whether 
            it was a flop or a success, I was gonna go on my own just to have a 
            bit of peace of mind."

            Q: "So you weren't apprehensive about how it would go over?"
            GEORGE: "No. Not at all. I felt it was good music, whether people 
            bought it or not. I was concerned that the musicians who played on 
            it were concerned. It was good."

            Q: "By the time it was finished, you were confident it was good?"
            GEORGE: "Even before I started I knew I was gonna make a good album 
            because I had so many songs and I had so much energy. For me to do 
            my own album after all that-- it was joyous. Dream of dreams."

            Q: "Let's move ahead. On the new album I've never been able to 
            figure out whether you're talking about Krishna or a woman."
            GEORGE: "That's good-- I like that. 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. Each one of us must manifest our 
            individual love, manfest the divinity which is in us. All individual 
            love between one person loving another, or loving this that or the 
            other, is all small parts or small examples of that one universal 
            love. It's all God, I mean if you can handle the word 'God.'"
            "Ultimately the love can become so big that we can love the whole of 
            creation instead of 'I love this but I don't like that.' Singing to 
            the Lord or an individual is, in way, the same. I've done that 
            consciously in some songs."

            "I've had alot of interest in different ways and one of the things I 
            never liked was the whole bit in the late '60s when everybody 
            started getting into it. One thing I really disliked was this, 'My 
            guru's better than your guru.' It's like little kids on the street-- 
            'My dad's bigger than your dad.' The point is that there is only one 
            God, he's got millions of names, but there's only, but there's only 
            one God. All Maharishi ever gave me was good advice and he gave me 
            the technique of meditation which is really wonderful."

            Q: "They say he was a..."
            GEORGE: "Well you know, John went through a negative thing moreso 
            than I did with the Maharishi. I can see now much clearer what 
            happened, and there was still just alot of ignorance that went down. 
            Maharishi was fantastic and I admire him, like Prabhupada, for being 
            able in spite of all the ridicule to just keep going. And there's 
            more people now-- especially in the United States-- who are all 
            doing it. And in the '60s they were laughing at us saying it was 
            stupid. All of these people have influenced me and I've tried to the 
            best out of all of them without getting spitiual indegestion."

            Q: "What about your albums like, 'Living In The Material World,' the 
            whole concept of maya. It's so ironic that you got caught up in it."
            GEORGE: "Oh yeah. I'm living in it. But people interpret it to mean 
            money, cars, that sort of thing-- although those are part of the 
            material world. The material world is like the physical world, as 
            opposed to the spiritual. For me, living in the material world just 
            meant being in this physical body with all the things that go along 
            with it."

            Q: "The litigation involved in the Concert For Bangladesh, didn't 
            that depress you?"
            GEORGE: "Yeah, that is sure enough to make you go crazy and commit 
            suicide. The whole thing of being Beatles-- it was very heavy on us 
            four. It was like some people wrote saying, 'Well, the problem with 
            the Beatles is that when we were all growing up they were just 
            tooling 'round the world in limosines.' Actually it was the reverse. 
            We were forced to grow up much faster. And what they call growing up 
            was actually being stuck in a rut while we were transcending layer 
            upon layer. So the heaviness of just the things we've been through, 
            we either use it or rise above it or it pulls you down. For me, it's 
            like it makes me have to call upon the inner me for the strength in 
            order to rise above it, because that part is the maya. Whereas, if 
            you just cop out, it doesn't do anybody any good."

            "Is it a prioity to go 'round the world being a rock & roll star? 
            That's what I'm saying. There's no time to lose, really, and there's 
            gonna have to be a point where I've got to drag myself away and try 
            and fulfill whatever I can."

            "There are alot of people in the business that I love, friends, you 
            know, who are really great but who don't have any desire for 
            knowledge or realization. It's good to boogie once and a while, but 
            when you boogie all your life away it's just a waste of life and of 
            what we've been given. I can get high like the rest of them, but 
            it's actually low. The more dope you take, the lower you get, 
            really. Having done that, I can say that from experience. Whatever 
            it is-- you just need more, and the more you take the worse you get."

            "I used to have an experience when I was a kid, which used to 
            frighten me. I realized (years later) in meditation that I had the 
            same experience... I'd feel really tiny, and at the same time I'd 
            feel I was a whole thing as well. It was feeling like two different 
            things at the same time. And this little thing with this feeling 
            would vibrate right through me... and it would start getting bigger 
            and bigger and faster and faster until it was going so far and 
            getting so fast that it was mind-boggling, and I'd come out of it 
            really scared."

            "I used to get that experience alot when we were doing 'Abbey Road' 
            recording. I'd go into this big empty studio and get into a soundbox 
            inside of it and do my meditation inside of there, and I had a 
            couple of indications of that same experience, which I realized was 
            what I had when I was a kid."