George Harrison Archives - Ramblin' with Roger

New mashup version of Sour Milk Sea

Eric Clapton and Nicky Hopkins

My first Ask Roger Anything came from a dear friend, ADD:

Hey Roger, I wonder if you’ve heard the new mashup version of Sour Milk Sea that takes a George Harrison demo and makes it a new Beatles song featuring all of the Fab Four plus Eric Clapton? I just discovered it yesterday, and it’s pretty marvelous to my ears, like a lost track from The White Album. Here’s a link to it on YouTube.

There’s no AI involved, and if you watch as you listen, they explain how it was assembled. Love to read your thoughts on the actual end result, as well as more generally on projects like this. I actually added this track to my Beatles playlist because I think it deserves a slot among their very best songs, even though it’s not an official release.

Hope all is well with you and yours, Roger.

Alan

Thanks, Alan. Before answering, I should provide some notes for those who aren’t as Beatles-saturated as I.

From the Beatles Bible:

“‘Sour Milk Sea’ was one of the demo songs recorded in May 1968. Although it was an early contender for the White Album, it was eventually given to Apple recording artist Jackie Lomax,” a fellow Liverpudlian.

Song history

George noted: “I wrote ‘Sour Milk Sea’ in Rishikesh, India.. Anyway, it’s based on Vishvasara Tantra, from Tantric art. ‘What is here is elsewhere, what is not here is nowhere’. It’s a picture, and the picture is called ‘Sour Milk Sea’ – Kalladadi Samudra in Sanskrit. I used Sour Milk Sea as the idea of – if you’re in the s**t, don’t go around moaning about it: do something about it.”

Sour Milk Sea (Esher Demo). Not incidentally, here’s a list of songs from Esher, most of which ended up on the white album.

“The Beatles never attempted a studio version of ‘Sour Milk Sea’. It was taped by Lomax at Abbey Road on 24, 25, and 26 June 1968; Harrison produced the song, with Paul McCartney on bass, Ringo Starr on drums, Eric Clapton on guitar, and Nicky Hopkins on piano…

“Lomax was the first artist to sign to The Beatles’ Apple label. ‘Sour Milk Sea’ was released as a single in August 1968, with the catalogue number Apple 3.” It only went to US Pop #117, and failed to chart in the UK. Jackie Lomax included it on his album Is This What You Want?, which only reached #145 on the Billboard charts.

Apple singles

“It was part of Apple’s “Our first four” set of singles, which also included” The Beatles’ ‘Hey Jude,’ Mary Hopkin’s ‘Those Were The Days’ [#2 for three weeks AC, #1 for six weeks AC] and the Black Dyke Mills Band’s ‘Thingumybob.’“

Something called Outfake created a previous “Beatles” version of Sour Milk Sea from “the Beatles’ demo (recorded in Esher, May 1968) and Jackie Lomax’s basic track recording (which features Paul, Ringo, George, Eric Clapton, and Nicky Hopkins, recorded at Trident Studios in July 1968).”

But, Alan, the very recent version you provided is my favorite. The vocals lifted from Helter Skelter was a great touch. The video asks who plays the organ; I don’t know, but it’s likely Nicky Hopkins or Paul.

As all the comments noted, it should have been a serious contender for the white album, but George already had his allotment of four songs. Most people had opinions about what should have been excised in favor of Sour Milk Sea. Unsurprisingly, Revolution 9 and Wild Honey Pie are popular choices.

As to your general question about my feelings about projects like this, I’m ambivalent. I remember the conversation about the release of The Beatles’ Now and Then. It seems that a lot of folks didn’t understand that the use of AI was merely to unearth the buried John Lennon vocal that 1995 technology couldn’t access when Paul, George, and Ringo took the tape Yoko gave them. There won’t be more Beatles songs, so it’s nice that it won the Best Rock Performance Grammy.

But I like some mashups of what could have been, whereas others with dead people—Natalie Cole singing Unforgettable with her late dad, Nat—seemed a bit maudlin. Hologram duets weird me out.

Electric Light Orchestra and the Beatles

a reasonable choice

For my next answer to Ask Roger Anything, our contestant once again is Kelly Sedinger, the fine Buffalo-area blogger at ForgottenStars.net.

I read somewhere that ELO did the kind of music that The Beatles WOULD have done had they remained together into the 70s. Agree? Disagree? (I’m not really equipped to assess the claim, but it kind of feels right to me, at least in part.)

First, I have to note that you wouldn’t have gotten this question from Kelly two decades ago because he wasn’t a fan of the Beatles at all and likely was unfamiliar with the Electric Light Orchestra. For some reason, I remember what I believe was his first Beatles song of the week, Don’t Let Me Down, a B-side.

In 2010, I asked him: “OK. How the heck could you dislike the entire oeuvre of The Beatles for so long? I can see if one doesn’t like the more avant-garde stuff or thought the early material wasn’t as good as the later tunes. But to reject the whole eclectic eight years? And how did you finally become enlightened?”

His reply: “The flip answer is, ‘Tastes change.’ The more serious answer is… ‘Tastes change.'”

Me? Obsessing?

Anyway, I started obsessing with this. I found a list of bands with three or more songwriters. Eh. The Band, the Eagles. Nah, not the right vibe.

Reddit has a list of Beatlesque bands, but of a later period. The only one I even considered was the Christine McVie/Buckingham/Nicks version of Fleetwood Mac, which is unrecognizable from the Peter Green Days. Heck, they even have their own white album, Tusk.

I thought the snake-bitten band Badfinger could have been it. The group was on Apple Records; their first hit, Come and Get It, was written by Paul McCartney. Day After Day has a lovely guitar line by George Harrison. And No Matter What is definitely of the Beatles genre.

I began fixating on When The Beatles Hit America by John Wesley Harding, the very strange song in which “John, Paul, George and Ringo are going to be reforming as The Beatles in 1993.” Which was, of course, impossible.

But it has this section, “And for anyone who didn’t realize or know, it sounded a lot like ELO, or ELP, or XTC, ABC, YMO, BTO. But it didn’t sound much like P.S., I Love You.”

The candidates

Well, not much like Emerson, Lake, and Palmer, though the Billy Preston organ, especially on I Want You (She’s So Heavy), is very nice. Bachman- Turner Overdrive? Not really.

ABC is an interesting consideration. Wikipedia notes, “Their early-1980s success in the US saw them associated with the Second British Invasion.”

Yellow Magic Orchestra, I’ll admit I don’t know musically. It’s a “Japanese electronic music band formed in Tokyo in 1978… The group is considered influential and innovative in the field of popular electronic music… and effectively anticipated the “electropop boom” of the 1980s. They are credited with playing a key role in the development of several electronic genres, including synthpop, J-pop, electro, and techno while exploring subversive sociopolitical themes throughout their career.”

XTC was actually the band I first considered. “The band gained popularity during the rise of punk and new wave in the 1970s, later playing in a variety of styles that ranged from angular guitar riffs to elaborately arranged pop.” Eclectic, like the Beatles.

And, in the end

But Electric Light Orchestra is a reasonable choice. The group formed in 1970, the year the Beatles officially broke up. They were more commercially successful than many of the other candidates, selling “over 50 million records worldwide, making them one of the best-selling music groups of all time.” They made it into the Rock and Roll Hall of Fame.

John Lennon remarked that ELO were the “Sons of the Beatles.” George and Ringo played with ELO. Jeff Lynne played with Paul McCartney. And of course, Jeff shows up in the Traveling Wilburys with George and produced an album of his and the 1995 Beatles songs. This is a bit ironic because “In an article from the 1970s, when the writer described an ELO song coming on the radio, [George] said, almost dismissively, ‘Sounds like the Beatles.'”

Check out the 2008 article in The Guardian. ELO: The band the Beatles could have been. “Critics called them ‘dull’ and laughed at the spaceships. Did they not realise Jeff Lynne was a songwriter to rival Lennon and McCartney?” And Lynne visited the Abbey Road studios while the Beatles worked on the white album.

So, sure, ELO can claim the title. How are Jeff Lynne, ELO, and The Beatles connected?

Moody Blues, Dylan, the Boss, solo Fab

Smile Away

In response to my most recent Ask Roger Anything request – you can STILL ask! – TWO music questions.

My old buddy Kevin, who grew up in my area, but who I didn’t know until college, asked:
What are your favorite albums by 1) the Moody Blues, 2) Bob Dylan and 3) Bruce Springsteen?

The Moody Blues is easy. While I have a few albums on vinyl that I haven’t listened to in forever, I never got any on CD or as downloads, except for a greatest hits CD. So the only album I can remember without looking it up is Days Of Future Passed. And I liked it not just based on its themes of dayparts, but the fact that a 1967 album could generate a hit half a decade later. Nights In White Satin went to #103 pop in 1968, but to #2 pop for two weeks in 1972.

My first favorite Springsteen album was Born To Run, the album that got him on the cover of Time and Newsweek simultaneously. And Darkness On The Edge Of Town was a very strong follow-up. Born In The USA is, naturally a great album, but I heard it a bit too often in the 1980s.

I should note that c. 2000, my late brother-in-law John asked me what I wanted for Christmas or my birthday. I said any Springsteen CD prior to 1992, most of which I had on vinyl. He bought me Asbury Park, both Born albums, Darkness, and The River, the two-record set which I had never owned.

Around 2006, my sister Leslie bought me We Shall Overcome: The Seeger Sessions. Some great songs, done well. But many of them appear in the two-CD Live in Dublin that came out in 2007, and they’re even better.

Zimmerman

Considering the vast number of Dylan CDs I now own, it’s peculiar that I never bought a Bob album in the 1960s. It’s due in part to the fact that I had belonged to the Capitol Record Club in 1966/67, where I got the bulk of my Beatles LPs, not to mention albums by the Beach Boys, Lovin’ Spoonful, and others. Bob was on Columbia. The ONLY Dylan song I owned was from a cheap compilation album, The Best of ’66, which had I Want You.

In fact, the first Dylan album I purchased was for my high school girlfriend, the double album Self-Portrait, which came out in 1970. I wasn’t impressed, and I’m not even sure whether SHE liked it.

Eventually, I bought a few LPs – John Wesley Harding and Nashville Skyline. But it wasn’t until CDs came out that I started to backfill my Dylan collection: Highway 61 Revisited, Blonde On Blonde, and my favorite, Blood on the Tracks.

I had pre-ordered Love and Theft, which was to be released on September 11, 2001. After I left work early that day – we all did – I was riding my bike home and I went past the record store. I stopped, got the album, and stood around the store awhile as the television was recapitulating the awful news of the day.

I didn’t listen to the album for well over a week. But when I did, I LOVED it, especially the run that began with the third track, Summer Days. I played this album a lot, and it made me happy in a very sad time.

Solo Fabs

Julie, who I’ve known for a few years – I have a pic of her holding my daughter when L was a baby – wants to know:
What is the best solo Beatles album?

Oh, my, I have been musing on this forever. Conventional Wisdom would put All Things Must Pass by George and Plastic Ono Band by John at the top of the list. These would be totally legitimate choices, especially ATMP, which proved that John and Paul underestimated their younger bandmate. I just watched Concert For George from 2002, and it reminded me just how much I loved Wah Wah.

Yet, and maybe it’s because I’ve listened to it recently, that I’m picking Paul’s (and Linda’s) Ram. Your folks would know that when it came out in 1971, it was savaged by much of the music press. Part of this was a function of the less-than-kind things John said about the album.

Really? Yes

As this 2021 review noted, “The record… saw the singer lay down a blueprint that would eventually help build some of the most notable genres around. You can trace everything from Britpop to pure jangle indie back to this record.” Too Many People, for instance, was a jab at John, much more subtle than John’s How Do You Sleep on his Imagine album.

From All Music: “In retrospect, it looks like nothing so much as the first indie-pop album, a record that celebrates small pleasures with big melodies, a record that’s guileless and unembarrassed to be cutesy. But McCartney never was quite the sap of his reputation… There’s some ripping rock and roll in the mock-apocalyptic goof Monkberry Moon Delight, the joyfully noisy Smile Away, where his feet can be smelled a mile away, and Eat At Home, a rollicking, winking sex song.”

When I played it recently for the first time this century, I said, pretty much to myself, “Damn, I really LIKE this album!” And I remembered it amazingly well.

Oh, and I have a great affection for the Ringo album, which featured all four of them, not all at the same time. Do the Travelling Wilburys count as “solo”? Because I’d stick that first album in the mix.

The death of a public figure

Ask Arthur Anything response

Harvey Milk.George Moscone — **Harvey Milk and George Moscone**

For Arthur’s Ask Arthur Anything feature – I wonder where he got THAT idea? – I asked him one or two questions. One was “Other than Nigel [his late husband], whose death did you most mourn? Also what death of a public figure most affected you?” I’m going to focus on the latter.

Arthur wrote: “Two deaths affected me well afterward: Harvey Milk’s assassination in 1978 and Matthew Shepard’s murder twenty years later.” And it is true for me as well.

At the time, I thought Harvey Milk was the “other guy”, a city councilman killed along with San Francisco Mayor George Moscone by colleague Dan White. This happened only a short time after the Jonestown massacre, in which a large number of Bay Area residents died, traumatizing the community. Congressman Leo Ryan was also murdered in Guyana, tearfully announced by Moscone.

But by the time I saw the 2008 film Milk, I knew how important Harvey’s leadership was in LGBTQ+ rights. And that he went to school at the University at Albany.

I discussed Matthew Shepard in a comparison with Emmett Till, about whom I’ve written often. “Neither victim was a publicly known person; they weren’t activists in their respective civil rights struggles. Yet because Emmett’s mother had his battered body photographed in an open casket, because we saw the fence upon which Matthew was symbolically crucified, they were remembered nationally far beyond how the average murder victim is recalled.”

And yes, I protested in Albany against a certain ‘religious” Hate group, which came to town some years ago to complain about Laramie Project performances.

Dead musicians

Unlike John Lennon’s assassination, which hit me immediately, George Harrison’s death didn’t have the same instant impact. I knew he was dying. It was after 9/11; in fact, he was on the cover of TIME magazine in late November 2001, the first cover that wasn’t about 9/11 or Afghanistan in a couple of months. As I played George’s music, and later, when I heard the Concert For George, his passing developed a greater resonance.

Sometimes, I’ll point out to Brian Ibbott, host of the podcast Coverville, which music stars had birthdays the following month that were divisible by five. I noted that David Bowie would have been 75 on January 8, 2022. Someone commented, “There hasn’t been a David Bowie cover story since the tribute in 2016. January 10 will also be the sixth anniversary of this sad day. So, please!”

Weird thing. I was recently watching that bit with Bowie and Bing Crosby on the latter’s holiday special. You know, the one with the fascinating dialogue. I was thinking, “Crosby died [on October 14, 1977] before that thing aired.” And suddenly, I realized, “Bowie’s dead too!” This is obviously something I knew intellectually since I had written about it more than once. Yet it took me by surprise and made me quite sad.

I’d count Prince, especially since my niece Rebecca Jade started singing with Sheila E. in 2017, and they cover so many of his songs. They both appeared in the televised Let’s Go Crazy — An All-Star Grammy Salute 2020, with Sheila as a musical director.

Martin

The person, though, whose death has hit me more at a later date is Martin Luther King, Jr. I remember when he died in 1968. However, I’ve learned SO much more about him subsequently. I’ve tried to make a point in the past decade to write about him every year around the dates of his birth (January 15) and death (April 4).

This is particularly true since certain people have hijacked his message into simplistic tropes. I wrote in 2013, What Would Martin Do, which is pretty representational of what I’ve been going for.

There are many others. For instance, several late entertainers and athletes I’ve admired, from Ella Fitzgerald to Hank Aaron, who had to endure Jim Crow.

Coincidentally, the very same day Arthur debuted the aforementioned post, Kelly shared For Carrie, noting Carrie Fisher, gone five years. It’s worth checking out.

Some Of Us Grew Up Listening To The Beatles

How was the relationship between John Lennon and George Harrison?

Beatles Tshirt I was listening to some little ditty which involved the 76-year-old Paul McCartney dancing to one of his new songs from his #1 album Egypt Station, encouraging fans to send in videos doing the same.

Then YouTube, in its infinite wisdom, suggested How Do You Sleep? (Takes 5 & 6, Raw Studio Mix Out-take), John Lennon’s searing takedown of his former writing partner.

From the notes, “excerpted from the 120-page book in the Imagine Ultimate Collection Box Set,” John noted: “You know, there’s two things I regret. One is that there was so much talk about Paul on it, they missed the song. It was a good track….

“And I should’ve kept me mouth shut – not on the song, it could’ve been about anybody, you know?… Dylan said it about his stuff… most of it’s about him. The only thing that matters is how [Paul] and I feel about those things… Him and me are OK… I’ve always been a little, you know, loose. And I hope it’ll change because I’m fed up of waking up in the papers. But if it doesn’t, my friends are my friends whatever way.”

But how was the relationship between John Lennon and George Harrison, who, not incidentally, is seen playing on How Do You Sleep, just before John was shot?

Several fans noted that John showed little interest in George’s songs during the Beatles, he was negative about George’s three-album box set All Things Must Pass and that John had been upset that George had not mentioned him enough in his autobiography (I, Me, Mine).

At some level, December 8, the day in 1980 that John Lennon died, always reminds me of a couple things. How people can be frozen in time, with John forever 40. How you don’t always get a chance to reconcile difficulties with others in life.

When I moved into my new office in October, one of my colleagues kindly bought me a poster of all the Beatles’ albums. This was the week that my intern, who was born in India, noted that she had never heard of The Beatles! Also around that time, Drake broke the Beatles’ Record for Most Top 10 Songs in a Year, though with all of his guest appearances on others’ records, and in a download age, I naturally think the designation deserves an asterisk.

So I bought that T-shirt that reads, “Some Of Us Grew Up Listening To The Beatles, The Cool Ones Still Do,” mostly because it’s true.
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