George Harrison’s message of peace and hope lives on after his death

Clearly this was an MK Ultra assassin sent to kill George Harrison.   Olivia, George’s wife, saved his and her own life.  George too had to fight to survive.

This was 1999.  George was only to live another two years.  The cancer which killed him, may have been a follow-on from his injuries.

The tragedy is that his life was still developing so powerfully.  He had a son to live for.  His music and spirituality were merging to bring the world a powerful message of peace and hope.  As with Kennedy, Princess Diana, and hundreds of others, messages of peace and hope are not tolerated by those who wish the world to be permanently at war. Three of The Beatles died for peace.  Their music and their message lives on after their deaths.

My Sweet Lord was put under endless legal attack, and the copyright law bent to a ludicrous extent to ensure George wasn’t able to get the full credit for what he was becoming and creating.  That’s the measure of the threat he posed to the Satanists, who desire his end and his message to die.  Don’t let it.

Maybe it was copied mistakenly.  Here’s the comparison.

Great version at Concert for George 2003.




6 Responses to “George Harrison’s message of peace and hope lives on after his death”

  1. Aldous says:

    G’New Year’s Day Tap. I have a minor musical background, reading/playing some music before I was a teenager and imo My Sweet Lord and The Chiffons’ He’s So Fine (written by Ronald Mack) are damn close melodically.

    The [Billy] Preston recording [of My Sweet Lord] was issued by Apple Records, and a “lead sheet” containing the melody, words and harmony was submitted for the United States copyright application.

    It’s a complex case and “one of the longest running legal battles ever to be litigated in this country”.

    Harrison acknowledged that he was familiar with “He’s So Fine”.


    It reminds me of the Joe Meek litigation (against Meek) about Telstar and the Tornados which ended in farce and tragedy. From memory, some French composer claimed copyright infringement for this worldwide smash hit and all royalties were frozen pending a court decision. Meek – a closet homosexual when it was illegal – was ‘outed’ (a court case and press coverage) and things spiraled down big time, culminating in him accidentally (it is claimed) shooting dead his landlady with a ‘friend’s’ shotgun before blowing his own brains out.

    The truly tragic part is that the French court eventually found in Meek’s favor and £3 million in royalties was released, only to then be seized by the UK government, as Meek had died intestate. I don’t think the Tornados saw a penny of it.

    A similar sad story concerns UK’s Badfinger – composers of Harry Nilson’s #Without You# who were badly let down by their reckless/corrupt manager. The copyright was never an issue but the Badfinger guys never saw a penny and both Pete Ham and Tom Evans (eight years after Ham) eventually took their own lives. Money sure is the root and route of all evil.

  2. Tapestry says:

    Any recording of ‘he’s so fine’ available? As Lennon said, every song that’s ever written is based on something or other.

    • Aldous says:

      Hi again Tap, this is a very good version:

      The Chiffons – He´s So Fine 1:50

      Comment: “I am a songwriter myself and I know how it feels: You try so hard to come up with the melody, then you have to put this melody down on chords and arrange it on the instrument, then you try to improve it and finally after a lot of hard work, you’re done. Aaand then it appears, that somebody has already written something similar, and you’re pissed off. That is called “Cryptomnesia” (your brain thinks it creates something new, but it actually recalls something already experienced). R.I.P. George Harrison.”

      That just about sums it up for me but weren’t some songs incredibly short in those days? I thought Adam Faith held the title for the shortest release ever but I’m sure that beats it. Actually, no it doesn’t on checking!

      Adam Faith – What do you want (HQ) 1:35

      Even his hit of ‘Poor Me’ only comes in at 1:44

      Poor Me was somewhat prophetic when he lost all his money in the UK’s On Digital debacle and what almost certainly fast-tracked his death at 62.

      These were in the days prior to the invention of the ‘Trucker’s Gear Change’ as it’s called in music, when a song moves up a key for no good reason towards the end in order to extend it.

      When phrase modulation comes at or near the end of a musical piece, it is referred to as the truck driver’s gear change, which is still used frequently in some genres.

      Here’s a perfect example of Trucker’s Gear Change at 3:00 (of 3:43) in a superb Mike Batt composition sung by the late Glam Rocker Alvin Stardust – Bernard William Jewry.

      Alvin Stardust – I Feel Like Buddy Holly 1984

      Incidentally, Jewry did not originate either of his stage personas, in both cases taking over these personas from other artists.

  3. Lynn says:

    Songs are a story base..been around this industry and only now seeing the total Maffia that runs is a racket just like all the others.

  4. Aldous says:

    Copyright has a 70 year ‘life’ after the author dies, which means some of our best known compositions are slowly but surely approaching the end of copyright protection. [This is for the original composition and not for recordings or any future re-recordings/covers where a 95 year rule seems to apply.

    Irving Berlin’s (born Israel Isidore Baline) composition #White Christmas# will be out of copyright September 22, 1989 (his death at 101) plus 70 = 2059. ANYONE can record their version of White Christmas after this date without a further cent going to the Irving Berlin estate or foundations.

    Recordings themselves appear to be protected for 95 years, so the White Christmas that we hear all the time by Bing Crosby (The version most often heard today on radio during the Christmas season is the 1947 re-recording. The 1942 master was damaged due to frequent use. Crosby re-recorded the track on March 19, 1947, accompanied again by the Trotter Orchestra and the Darby Singers, with every effort made to reproduce the original recording session. The re-recording is recognizable by the addition of flutes and celesta in the beginning. Wiki) will be out of copyright on March 19, 1947 plus 95 = 2042.

    As far as I can figure, Joe Meek’s compositions ‘Telstar’, ‘Johny Remember Me’, Have I The Right’ (to name but three) will all be out of copyright in 1967 (his death) plus 70 = 2037 whereas the recordings themselves (by Tornados, John Leyton and Honeycombs respectively) are protected until 95 years after their release. The performers may be getting a slight cut of the royalties if it was factored into their contracts but I wouldn’t bank on it as this would have been unusual unless they had some creative input.

    All such royalties it would seem going to UK’s HM Revenue and Customs as Meek died intestate.

    Incidentally, the session musician (name escapes me) who penned the piano intro to Bridge over Troubled Water got equal ‘royalties’ with Paul Simon and Art Garfunkel for that moment of genius. Simon and Garfunkel didn’t have to do that but recognized its huge importance to the song’s success. What a pity the MSL/HSF debacle couldn’t have been sorted out so amicably. BTW, George Harrison’s name will always be credited to My Sweet Lord (on CD’s/Vinyl etc) but all royalties diverted to Bright Tunes Music Corp or whoever owns that copyright now. The author’s name credited on the original recording is never changed.

  5. Lynn says:

    Seems the joos have this all stitched up Aldous…Sneaky buggers.

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