A Friend's Story
George touched the lives of many people - he was intensely loyal to his friends and family. We thought it would be nice to chat with some of them and learn what he meant to them. We are really privileged to start this feature with a conversation with the very warm and generous Lon Van Eaton. As you will read, George inspired him to do many wonderful things in his own life. If any of you have not heard "Sweet Music" yet we urge you to go out and buy the compilation c.d soon to be in a store near you(!) "Come And Get It" as it has this tune on it as well as many others that our George helped shape in one way or another (please see News page)
FG Lon, please tell us about your first meeting with our George and how it came about.
LVE: We were in New York at Allen Klein’s office and George came in. He was busy with the preparations for the Concert for Bengladesh but eager and open. He said to me: “Sorry, I nicked that melody from one of your songs on the demo” It was from our song: “Without the Lord.” I am not quite sure but he may have had with him a Harptone guitar.
FG Lon, please tell us about your first meeting with our George and how it came about.
LVE: We were in New York at Allen Klein’s office and George came in. He was busy with the preparations for the Concert for Bengladesh but eager and open. He said to me: “Sorry, I nicked that melody from one of your songs on the demo” It was from our song: “Without the Lord.” I am not quite sure but he may have had with him a Harptone guitar.
Harptone Guitar Story
Thanks to Gert Petersen Denmark (mailto:[email protected])
During the time of 1971, prior to the Concert for Bangladesh, George Harrison, my brother Derrek and I were in New York City. The Guild Guitar Company in New Jersey had lost some of their best artisans who left to form the Harptone Guitar Company. They wanted to develop some of their advanced ideas like the additional back fret at the top, the flat in tune frets and various body styles, woods and finishes.
Also being of the mind to support George Harrison's work for Bangladesh – which was one of the first musical events to raise funds for causes - Harptone provided George with their new Harptone designs. He used them at the Bangladesh concert and thereafter.
Derrek and I, because of the association, were asked to go to the factory for sponsoring the guitars and to take photos. I have some pictures somewhere of that visit. I received four guitars - there was this black Harptone, a smaller dreadnaught natural finish six string acoustic, a twelve string and a hollow body four string bass, all natural finishes.
Sadly the only survivor is the black one, which is a great guitar and very nice for recording.
We then took off to England and used the guitars on the Brother album. George produced the song “Sweet Music” and I played this black Harptone during the recording session. George played the guitar but not while recording. Derrek and I and Peter Frampton were playing acoustic guitars on the basic track at Abbey Road. George was in the control room coming in and out to suggest etc. He did ask for the guitar and played an E7 chord for us to use at the place right before the chorus. It was a very good musical idea and we used it from then on.
Also being of the mind to support George Harrison's work for Bangladesh – which was one of the first musical events to raise funds for causes - Harptone provided George with their new Harptone designs. He used them at the Bangladesh concert and thereafter.
Derrek and I, because of the association, were asked to go to the factory for sponsoring the guitars and to take photos. I have some pictures somewhere of that visit. I received four guitars - there was this black Harptone, a smaller dreadnaught natural finish six string acoustic, a twelve string and a hollow body four string bass, all natural finishes.
Sadly the only survivor is the black one, which is a great guitar and very nice for recording.
We then took off to England and used the guitars on the Brother album. George produced the song “Sweet Music” and I played this black Harptone during the recording session. George played the guitar but not while recording. Derrek and I and Peter Frampton were playing acoustic guitars on the basic track at Abbey Road. George was in the control room coming in and out to suggest etc. He did ask for the guitar and played an E7 chord for us to use at the place right before the chorus. It was a very good musical idea and we used it from then on.
FG: There is definitely a huge wow factor to this especially with the kind of guys you and Derrek were. What did you think of George's efforts on behalf of this tiny struggling country.
LVE: I have always thought that the Bangladesh Concert which came from George and Ravi was the forerunner of the subsequent concerts and events where artists raised funds for worthy causes. Live Aid,Farm Aid, We Are the World and Bob Geldof’s work all were modeled on George’s groundbreaking yet ever so simple and profound concert.
During the late 1970’s, Klaus and I were still doing sessions in L.A., between playing tennis. As the disco craze became more embedded we were called less and less for sessions. Rockers were out and Jazzers were in. Disco ruled. We played more tennis!
In 1980, when John was killed I felt a profound loss personally and for our culture. I helped organize, founded and managed two not for profit organizations during that period, KIDS, INC., (Kindness Is Doing Something), for children and CHAMP, (The Children And Music Project), which demonstrated the value and importance of musical education in schools with classical violinist Judith Aller teaching. Then, in 1985, I relocated to Denver, Colorado and created a company that is dedicated to working with non profit events and productions to raise money for causes and for conscious media change. www.imagineabetterworld.com. I have been very lucky to be involved with a series of wonderful productions through the years. All inspired by Mr. George Harrison.
LVE: I have always thought that the Bangladesh Concert which came from George and Ravi was the forerunner of the subsequent concerts and events where artists raised funds for worthy causes. Live Aid,Farm Aid, We Are the World and Bob Geldof’s work all were modeled on George’s groundbreaking yet ever so simple and profound concert.
During the late 1970’s, Klaus and I were still doing sessions in L.A., between playing tennis. As the disco craze became more embedded we were called less and less for sessions. Rockers were out and Jazzers were in. Disco ruled. We played more tennis!
In 1980, when John was killed I felt a profound loss personally and for our culture. I helped organize, founded and managed two not for profit organizations during that period, KIDS, INC., (Kindness Is Doing Something), for children and CHAMP, (The Children And Music Project), which demonstrated the value and importance of musical education in schools with classical violinist Judith Aller teaching. Then, in 1985, I relocated to Denver, Colorado and created a company that is dedicated to working with non profit events and productions to raise money for causes and for conscious media change. www.imagineabetterworld.com. I have been very lucky to be involved with a series of wonderful productions through the years. All inspired by Mr. George Harrison.
George gets upset...
FG: The "instruction" he sent to Apple was so very typical of him, full of bad language to emphasize his point!
LVE: You must be speaking about the telegram that was sent to the Apple brass in NYC,including Alan Klein, Al Steckler and others. Soon after they received that telegram from George we were summoned to NYC for a meeting. The Apple business people asked us outright saying George was upset about the fact that “Sweet Music” wasn’t getting the proper promotion etc. They asked what we wanted. We could have asked for anything but not being savvy promotion men or record sales experts we just said, “Can we go record some more songs?” Of course they were “off the hook” and had given us anything we wanted. Later, in retrospect I imagine a well thought out promotional tour and a plan for radio play would have helped sell “Sweet Music.” We were too inexperienced and new to realize the internal workings of what could have been done.
FG: Where did you stay whilst you were in London and did Derrek and yourself go out with George after work was done. He was a splendid host and always anxious to show his guests a good time.
LVE: We stayed in a flat on Hays Mews that Ringo owned. It had tons of life-sized Penguin statues and was quite lovely. I remember going out to Henley to visit George one evening and as we entered the gates at Friar Park the Taxi driver was going on about how a pop star could afford all this lavish property. He was totally aghast and cursing in a heavy cockney accent.
LVE: You must be speaking about the telegram that was sent to the Apple brass in NYC,including Alan Klein, Al Steckler and others. Soon after they received that telegram from George we were summoned to NYC for a meeting. The Apple business people asked us outright saying George was upset about the fact that “Sweet Music” wasn’t getting the proper promotion etc. They asked what we wanted. We could have asked for anything but not being savvy promotion men or record sales experts we just said, “Can we go record some more songs?” Of course they were “off the hook” and had given us anything we wanted. Later, in retrospect I imagine a well thought out promotional tour and a plan for radio play would have helped sell “Sweet Music.” We were too inexperienced and new to realize the internal workings of what could have been done.
FG: Where did you stay whilst you were in London and did Derrek and yourself go out with George after work was done. He was a splendid host and always anxious to show his guests a good time.
LVE: We stayed in a flat on Hays Mews that Ringo owned. It had tons of life-sized Penguin statues and was quite lovely. I remember going out to Henley to visit George one evening and as we entered the gates at Friar Park the Taxi driver was going on about how a pop star could afford all this lavish property. He was totally aghast and cursing in a heavy cockney accent.
"Sweet Music"
FG: The photo of yourselves with George at the opening of the Apple Studio is one of our favourites. George was the only Beatle present - did he indicate why?
LVE: I don’t know why he was the only one there.
FG: Was this the launch for your single "Sweet Music" and please could you talk us through the occasion which must have been a pretty important one for Derrek and yourself.
LVE: Actually I think that photo was taken during the tine we were recording. I may be off on that tho.
FG: For the benefit of those who have not heard the story about George being refused admittance to the A&M Records Office where his Dark Horse set up was also located please could you tell it to us again one more time! George must have been frothing!
LVE: During the A&M period in Los Angeles, 1974, I remember being with George at a party before we left to go to the Charlie Chaplin lots on La Brea where A&M Records was located—and also where George housed Dark Horse Records. Poor George. He had eaten something that had meat in it that evening and several of the people at the party started talking and questioning “his Holiness” for having eaten meat!
That made for an uncomfortable but swift exit. We arrived at the gate on La Brea in George’s Morgan convertible with iron chain steering wheel, and we were greeted with the officer not knowing who George was and refusing him entrance. George, who was a deep-thinking spiritual man and for the most part even keeled and calm, went ballistic! Standing up in the car I remember him yelling, “Ever heard of the Beatles?”
It took a few minutes and another guard to arrive before recognition took place. George had magic. Another time he came into a session for Derrek and mine in New York City, and he was asked to play a slide guitar part on a track we were doing. Calmly and without losing concentration he went over and over the track, transforming the sections with an amazing, quite magical sense of phrasing and harmony. He literally saved the song and created a masterpiece. I am so very lucky to have seen genius at work in person and the sense is beyond mere words.
FG: On the Dark Horse sleeve notes George has written (in his own hand) that Derrek and yourself were responsible for the "Ooohhs". It was a difficult time in George's personal life and it is nice to know that he had your support at that point. What were the recording sessions like and did George seem at all different since you saw him in 1971?
LVE: George was his dapper self but had much more on his mind. He was the force behind a record label and responsible entirely for Dark Horse. We recorded those Ouh’s <sp? How do you spell it? We recorded them in a few passes and it was quite smooth. Speaking of Ooohhs, your way, I listened to “Sweet Music” just the other day. I was smiling, remembering the fun and joy of the sessions. In fact, after a playback, Klaus stood up and repeated a line from the song: “If I could live my life again I’d live it as a song.” Klaus said: “I’d be the ‘Nation Anthem’ so everybody would stand up when I was played.” George quickly chimed in saying: “I’d be the ‘Hare Khrisna Mantra!’” Two things I’d add to that record, silly me. Instead of the little electric piano solo I would wish for George to play a slide guitar solo and on the ‘La la’s’ I’d add the upper harmonies.
FG: You mentioned a track that George played slide on for you later in New York City. Do you happen to remember the year/month and of course what the track was?
LVE: It was at the Record Plant I think and John Bon Jovi was engineering. The song was called “Where Are You.” Bon Jovi and the others in the control room were frozen in disbelief when George walked in. Of course he created magic with his guitar. Stevie Wonder was recording down the hall in another studio and his amazing background singers came in and sang some backing vocals. I don’t know what happened to the song or tapes after that. I have a monitor mix with the girls but not with George’s bits. Maybe the engineers have it still?
LVE: I don’t know why he was the only one there.
FG: Was this the launch for your single "Sweet Music" and please could you talk us through the occasion which must have been a pretty important one for Derrek and yourself.
LVE: Actually I think that photo was taken during the tine we were recording. I may be off on that tho.
FG: For the benefit of those who have not heard the story about George being refused admittance to the A&M Records Office where his Dark Horse set up was also located please could you tell it to us again one more time! George must have been frothing!
LVE: During the A&M period in Los Angeles, 1974, I remember being with George at a party before we left to go to the Charlie Chaplin lots on La Brea where A&M Records was located—and also where George housed Dark Horse Records. Poor George. He had eaten something that had meat in it that evening and several of the people at the party started talking and questioning “his Holiness” for having eaten meat!
That made for an uncomfortable but swift exit. We arrived at the gate on La Brea in George’s Morgan convertible with iron chain steering wheel, and we were greeted with the officer not knowing who George was and refusing him entrance. George, who was a deep-thinking spiritual man and for the most part even keeled and calm, went ballistic! Standing up in the car I remember him yelling, “Ever heard of the Beatles?”
It took a few minutes and another guard to arrive before recognition took place. George had magic. Another time he came into a session for Derrek and mine in New York City, and he was asked to play a slide guitar part on a track we were doing. Calmly and without losing concentration he went over and over the track, transforming the sections with an amazing, quite magical sense of phrasing and harmony. He literally saved the song and created a masterpiece. I am so very lucky to have seen genius at work in person and the sense is beyond mere words.
FG: On the Dark Horse sleeve notes George has written (in his own hand) that Derrek and yourself were responsible for the "Ooohhs". It was a difficult time in George's personal life and it is nice to know that he had your support at that point. What were the recording sessions like and did George seem at all different since you saw him in 1971?
LVE: George was his dapper self but had much more on his mind. He was the force behind a record label and responsible entirely for Dark Horse. We recorded those Ouh’s <sp? How do you spell it? We recorded them in a few passes and it was quite smooth. Speaking of Ooohhs, your way, I listened to “Sweet Music” just the other day. I was smiling, remembering the fun and joy of the sessions. In fact, after a playback, Klaus stood up and repeated a line from the song: “If I could live my life again I’d live it as a song.” Klaus said: “I’d be the ‘Nation Anthem’ so everybody would stand up when I was played.” George quickly chimed in saying: “I’d be the ‘Hare Khrisna Mantra!’” Two things I’d add to that record, silly me. Instead of the little electric piano solo I would wish for George to play a slide guitar solo and on the ‘La la’s’ I’d add the upper harmonies.
FG: You mentioned a track that George played slide on for you later in New York City. Do you happen to remember the year/month and of course what the track was?
LVE: It was at the Record Plant I think and John Bon Jovi was engineering. The song was called “Where Are You.” Bon Jovi and the others in the control room were frozen in disbelief when George walked in. Of course he created magic with his guitar. Stevie Wonder was recording down the hall in another studio and his amazing background singers came in and sang some backing vocals. I don’t know what happened to the song or tapes after that. I have a monitor mix with the girls but not with George’s bits. Maybe the engineers have it still?
"The Dance of Life"
FG: George was a pioneer and would approve wholeheartedly about your new project. Please tell us a bit more about it.
LVE: I am sure George would approve of the new shows and the LIVIES™ technology. In fact, I was reading about Prince Charles just now in Vanity Fair and his new environmental book and TV Special. Here’s the new website: www.liviesllc.com We would also love for him to become involved. All of us that care about the planet will be inspired by the first show utilizing the LIVIES™ technology, “The Dance of Life”.
I was honoured when Joseph Eger, author of “Einstein’s Violin” and creator of The Symphony for United Nations heard my score and elected me to be a delegate to the United Nations. Some have said it is like 3-D but I would humbly suggest it is beyond 3-D, some call it 4-D! LIVIES™ is a new entertainment delivery system. The next step in the future of entertainment… LIVIES™—Live Interactive Visual Immersion Entertainment Shows! Imagine a theatre of breathtaking high definition images immersed in surround sound. A theatre where performances are projected onto awe-inspiring high-def virtual realities. A theatre designed to educate and entertain audiences of all ages. This is LIVIES™ Digital Theatre. And you don’t have to imagine it. It is here, the first ever Live Interactive Visual Immersion Environmental Shows! We can safely guarantee that after experiencing a LIVIES™ show your life will be transformed. It is an interactive journey to a brand new person that you will become.
“The Dance of Life” We’re All In It! is a new show about the environment. The heavenly planets vibe into human form and Mother Earth tries to warn her people about the damages they are causing. In desperation, she sues her people in an historical trial and just before the verdict an environmental disaster strikes leaving YOU, the audiences to judge as you become the jury to decide the fate of the world!
"There is no precedent to compare with The Dance of Life. It is an original, fresh, sometimes provocative, imaginative and vibrant journey. Not only is it in tune with the times, it inspires the times and invites the mind and heart to participate in a quantum journey. This fantastical musical is a celebration of life and joyous possibility."
Edward Crosby Wells, Playwright
During my time at Apple I remember the film that George was inspired by “El Topo ”. Such a great story. Huge in scale. Overcoming the five masters. Then, later George continued in his film work with films like “Pow Wow Highway”. We have the same sensibility in that film can be an effective way to communicate with the public about serious issues. We like to do it with fun!
FG: You must be very excited at the release of "Come and Get It: The Best of Apple Records" which has of course got "Sweet Music" on it. We know we are and it is at the top of our list!
LVE: Thank you so much and I appreciate you asking me these questions so that I may share. It is a total and complete honor to be included and to be with those great artists on the same recording.
FG: Finally, Lon, when was the last time you saw our George and what quality (or qualities) of his struck you personally and set him apart from the very many people you have had the privilege to meet over the years?
The last time I saw George was during those New York sessions. When we were flying back to the US after the recording of the Brother album I had a vivid image and sense. It was like Americans were on an evolutionary rung below Europeans. They had eaten too much beef! I don’t mean this as a negative but I had the sense that among people there were highly evolved souls and those that were on the way there. George was a very highly evolved soul and as you said, a heavenly being. These feelings are not easy to express but are sensed and felt when one is in the presence. If all is energy and the rate of vibration is slowest and densest with say a rock and then speeds up and becomes more refined as it evolves then God, or any name for that all refined entity is the highest vibration and we all are on our way there or not. I have studied some of the Hindu teachings that George lived and it is easy to see that George evolved in this life very near the Gods. I also have learned from Tibetan Buddhism the Bardo states and the continuous circle of life. We cannot die! Consciousness is forever. Some, having a great compassion for humanity may elect to return to human form as Boddhisattvas to work and help humanity. George must surely have already been a Boddhisattva and I wouldn’t be surprised if he came back again in that form. What else can such a wonderful heart and soul do?
www.liviesllc.com
http://www.lonvaneaton.com
http://www.imagineabetterworld.com
Thanks to Mark the English and syntax is now proper. Thanks Mark.
Markbego.com
LVE: I am sure George would approve of the new shows and the LIVIES™ technology. In fact, I was reading about Prince Charles just now in Vanity Fair and his new environmental book and TV Special. Here’s the new website: www.liviesllc.com We would also love for him to become involved. All of us that care about the planet will be inspired by the first show utilizing the LIVIES™ technology, “The Dance of Life”.
I was honoured when Joseph Eger, author of “Einstein’s Violin” and creator of The Symphony for United Nations heard my score and elected me to be a delegate to the United Nations. Some have said it is like 3-D but I would humbly suggest it is beyond 3-D, some call it 4-D! LIVIES™ is a new entertainment delivery system. The next step in the future of entertainment… LIVIES™—Live Interactive Visual Immersion Entertainment Shows! Imagine a theatre of breathtaking high definition images immersed in surround sound. A theatre where performances are projected onto awe-inspiring high-def virtual realities. A theatre designed to educate and entertain audiences of all ages. This is LIVIES™ Digital Theatre. And you don’t have to imagine it. It is here, the first ever Live Interactive Visual Immersion Environmental Shows! We can safely guarantee that after experiencing a LIVIES™ show your life will be transformed. It is an interactive journey to a brand new person that you will become.
“The Dance of Life” We’re All In It! is a new show about the environment. The heavenly planets vibe into human form and Mother Earth tries to warn her people about the damages they are causing. In desperation, she sues her people in an historical trial and just before the verdict an environmental disaster strikes leaving YOU, the audiences to judge as you become the jury to decide the fate of the world!
"There is no precedent to compare with The Dance of Life. It is an original, fresh, sometimes provocative, imaginative and vibrant journey. Not only is it in tune with the times, it inspires the times and invites the mind and heart to participate in a quantum journey. This fantastical musical is a celebration of life and joyous possibility."
Edward Crosby Wells, Playwright
During my time at Apple I remember the film that George was inspired by “El Topo ”. Such a great story. Huge in scale. Overcoming the five masters. Then, later George continued in his film work with films like “Pow Wow Highway”. We have the same sensibility in that film can be an effective way to communicate with the public about serious issues. We like to do it with fun!
FG: You must be very excited at the release of "Come and Get It: The Best of Apple Records" which has of course got "Sweet Music" on it. We know we are and it is at the top of our list!
LVE: Thank you so much and I appreciate you asking me these questions so that I may share. It is a total and complete honor to be included and to be with those great artists on the same recording.
FG: Finally, Lon, when was the last time you saw our George and what quality (or qualities) of his struck you personally and set him apart from the very many people you have had the privilege to meet over the years?
The last time I saw George was during those New York sessions. When we were flying back to the US after the recording of the Brother album I had a vivid image and sense. It was like Americans were on an evolutionary rung below Europeans. They had eaten too much beef! I don’t mean this as a negative but I had the sense that among people there were highly evolved souls and those that were on the way there. George was a very highly evolved soul and as you said, a heavenly being. These feelings are not easy to express but are sensed and felt when one is in the presence. If all is energy and the rate of vibration is slowest and densest with say a rock and then speeds up and becomes more refined as it evolves then God, or any name for that all refined entity is the highest vibration and we all are on our way there or not. I have studied some of the Hindu teachings that George lived and it is easy to see that George evolved in this life very near the Gods. I also have learned from Tibetan Buddhism the Bardo states and the continuous circle of life. We cannot die! Consciousness is forever. Some, having a great compassion for humanity may elect to return to human form as Boddhisattvas to work and help humanity. George must surely have already been a Boddhisattva and I wouldn’t be surprised if he came back again in that form. What else can such a wonderful heart and soul do?
www.liviesllc.com
http://www.lonvaneaton.com
http://www.imagineabetterworld.com
Thanks to Mark the English and syntax is now proper. Thanks Mark.
Markbego.com
[email protected]
http://www.harrisonjordan.com/salidor/Contact.html
Lon and Derrek now...
