Album Credits: “The album was a film soundtrack but as a standalone vision it embraces a glorious multiverse of sonorous vignettes like nothing I’ve ever heard. It speaks of a fearless heart.” – Nitin Sawney Released in November 1968, George Harrison’s Wonderwall Music was the first solo album released by a member of The Beatles and the first LP to be released by Apple Records. Wonderwall Tape Box While in prep, George made a few important contacts. Among the first was John Barham, who met George in 1966 while working as an assistant to Ravi Shankar. “Ravi took me down to George’s house in Esher, where he had asked Ravi to play a recital for a small gathering,” Barham recalls.

“A few months before recording began on Wonderwall, he asked me if I wanted to do some arranging, and so of course I agreed,” beginning a relationship that would span years. The first true sessions for the film/album took place at De Lane Lea Studios in London on December 21. Those recordings featured just two players – sarod master Aashish Khan and his longtime tabla player, Mahapurush Misra, who were experiencing their first winter together on tour in England. George had met Khan the year before in Varanasi, India, shortly after George began studying with Ravi, and the two became good friends. “I was in England with my father,” the late sarod player Ali Akbhar Khan, “and George came to my hotel and asked if I would be interested in playing for his movie, Wonderwall. So the next day he took me to the studio, and I recorded with Mahapurush.” The sarod is somewhat like a sitar, though without frets, held in the lap while playing. Its 25 strings are plucked, like a lute, with a pick made of coconut shell, while the player uses both a well-tuned ear and a fingernail on the other hand, used like a slide, to find notes.

Khan and Misra played together on two tracks, Misra playing alone on “Tabla and Pakavaj,” the latter a double-ended drum laid sideways and played with both hands. For “Love Scene,” where Prof. Collins watches as the girl and her boyfriend..

Do the obvious, Barham recalls, “George said, ‘Oh, we need romantic music here.’ I knew a raga which had been created by Aashish’s grandfather, Allauddin Khan, called ‘Mauj-Khamaj,’ which I always thought was very romantic. So I suggested that to Aashish.” Khan recorded several passes, and then George asked him to do something commonplace in his own pop recording, though unusual for an Indian musician – double-track himself. “He said, ‘Why don’t you play something along with it?’” the musician remembers. “At first I was very confused, but then I started listening and found some spaces in between and started filling them, and he liked it very much.” The other piece, “Gat Kirwani,” used over a modeling sequence, is based on another raag, “Raga Kirwani,” made popular around that time by Allaudin Khan and Shankar, which George requested Khan play.

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Kelk 2000 site key keygen. The following day, George did the first of a number of sessions with a group he had known from Liverpool, The Remo Four – Tony Ashton (keyboards), Colin Manley (guitar), Phil Rogers (bass) and Roy Dyke (drums). The quartet, recording at Abbey Road, and played on nearly all of the western music tracks, typically by themselves, with only occasional overdubs added by George or Barham. The group – also NEMS artists, like The Beatles – had just returned from a stay at the Star Club in Hamburg, the legendary Beatles haunt, and were looking for their next gig, so George asked their help.

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The process was straightforward in coming up with the unique music for the cues. “We would sit in a circle and listen to George explaining what he wanted, sometimes on a guitar,” Dyke recalls. “Then we’d jam a little bit, come up with something, and he’d say, ‘Yeah, I like that,’ and we’d record.

It was all improvised, nothing written down, all very quick. And it was such a warm atmosphere.” The group recorded on this date with engineer Pete Bown, as well as in late January with Ken Scott recording. Ashton handled nearly all of Wonderwall’s keyboards, including a Mellotron, still a fairly new instrument at the time, and heard throughout the album. “George had all kinds of instruments there,” Dyke says. “Tony was a good keyboard player, particularly organ.

When I met him in 1962, the groups were beginning to change from all guitar to guitar and keyboard. He was a solid musician.” On “Red Lady Too,” the second (thus “Too”) of two cues where Collins observes the girl bathed in red light, Ashton plays a melodic tack piano, joined on the recording by Barham on a piano bass.