death 529: George Harrison, Bob Dylan, The Beatles ‘When Everybody Comes To Town’

B. Dylan G. Harrison Beatles When Everybody Comes To Town Death 529

This LP sold for $327 on eBay in January of 2013, attesting to its rarity.

B. Dylan G. Harrison Beatles When Everybody Comes To Town Death 529 II

< Track list needed >

The Home Of Bob Dylan
Woodstock, New York
Late November 1968

1. I’d Have You Any Time (Bob Dylan/George Harrison)
2. Nowhere To Go (Bob Dylan/George Harrison)

Bob Dylan and George Harrison (guitar & vocal).

Notes.

Second song also called Everybody Somebody Comes To Town.

Mono recording, 4 minutes.

http://www.bjorner.com/DSN01660%201968.htm#DSN01675

Also this gem of a Dylan site http://www.searchingforagem.com/ [no longer exists] states that the song is copyrighted under the title “Nowhere To Go”

NOWHERE TO GO Bob Dylan/George Harrison, 1968 H
Actual copyrighted title for the song performed at Woodstock, New York State, as a duet by Bob and George in November 1968 and circulating mainly under the title EVERY TIME SOMEBODY COMES TO TOWN

**** On a side note: ****

3:22 of this recording had also been released in 1977 on the original 20 X 4 LP on Ruthless Rhymes JPGR 1177. It was reissued in 1979 and 1981 on JPGR REMIME OBS-204 with the last track on Side 2 omitted and in lesser sound quality. That last track was the released version of ‘Homecoming Queen’, the bootleg has as track 7 an offline recording of the song mistitled as ‘Penny O’Dell’.  The performer is Kenny O’Dell and the song was issued in 1972 on the B-side of his single “Lizzie And The Rain Man” on Kapp K-2178 – no Paul or Beatles involvement and certainly not from Paul’s 1974 Nashville sessions as claimed.

****

George+Harrison+harrison_dylan

“I liked I’d Have You Anytime because of Bob Dylan. I was with Bob and he had gone through his broken neck period and was being very quiet, and he didn’t have much confidence. That’s the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the 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 very nervous and shy and he said, ‘What do you think about this song?’ And I had felt strongly about Bob when I had been in India years before, the only record I took with me along with all my Indian records was Blonde On Blonde. I somehow got very close to him, 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 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?’ 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 realise his own peace and it meant something. You know, he had always been so hard and I thought, ‘A lot of people are not going to like this,’ but I think it’s fantastic because Bob has obviously had the experience.” (George Harrison in his book I, Me, Mine)

“Well known for his unsophisticated musical approach, particularly in comparison to the Beatle’s broader “harmonic palette”, author Simon Leng suggests, Dylan was eager to learn some more-advanced chords. Harrison began demonstrating various major seventh, diminished and augmented chord shapes – “all these funny chords people showed me when I was a kid”, as he later put it. While playing a G major 7 chord and taking the shape up the guitar neck to B♭ major Harrison realised, “Ah, this sounds like a tune here …” Keen to break down the barriers that Dylan had imposed during the visit, Harrison came up with the song’s opening verse:

    Let me in here
    I know I’ve been here
    Let me into your heart
    Let me know you
    Let me show you
    Let me grown upon you.

At the same time, he was pushing Dylan to come up with some words of his own. Dylan duly supplied a rejoinder,[30] in the form of the song’s bridge-chorus:

    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.

“I was saying to him “write me some words”, and thinking of all this: Johnnie’s in the basement, mixing up the medicine, type of thing, and he was saying, “show me some chords, how do you get those tunes? 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, and I was saying, ‘Come on, write me some words,’ and he was scribbling words down and it just killed me because he had 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, was amazing to me.”
– George Harrison, on writing “I’d Have You Anytime” with Bob Dylan

“Beautiful – and that was that,” Harrison concludes in I, Me, Mine. He subsequently finished the composition alone.” (from the wikipedia article on I’d Have You Anytime)

Dylan Harrison 68

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