George Harrison

“So busy and eager”: The Beatles at the Star-Club in Hamburg, circa May 1962

TheBeatlesarriveinHamburg on August 17, 1960.Aftersixweeksatthe Indra Club, on October4,1960theyplaytheir first show at the Kaiserkeller,wheretheystrike up a friendship with22-yearoldgraphicartist Klaus Voormann, artstudentAstridKirchherr and Jürgen Vollmer,

aphotographerattheInstitute For Fashion T HEthingtoremember about George Harrisonisthat he was a Gemini. Thetwinsign. Yin and yang. On Revolveryouhave “Love You To” and “Taxman”.Two sides. He could be reallylivingthis spiritual life – into meditationandgettingupat5am to see the sun come up–anddoingitveryextensively. Then suddenly he wouldgocrazy!Hecouldswap from the one extreme to theother,andhecouldfindways to make himself believethatitwasthegoodthing to do. He would talkhimselfintoit.Thisiswhy he was always searchingforsomething–because he knew himself wellenoughtoknowthatheneeded something toholdonto.

ThefirsttimeIsawGeorgehe was only 17 years of age.Hewasverydifferenttohow he was later. He wasacockylittleboy!Thisband he was with was completelyunknown.Itwasthe autumn of 1960. In thisclubinHamburg,theKaiserkeller, they played for peopletodance.Georgewassinging all those funny songs,whichhedidlateronalittle bit, when he sat aroundandplayedukulele.He was into songs like “I’mHenryTheEighth,IAm”, singing it all cockney. HewouldsingallthoseEddie Cochran numbers too, like“TwentyFlightRock”.

Ittooksometimetogettoknow them. We had gone to concertsandjazzclubs,butthis scene was completely new tous.Wewentmanytimes.They had started looking over tous–“Theretheyareagain,those Existentialists!” – and wewerelookingatthestageall the time, seeing all the details.“LookatGeorge,he’sgot big ears, hasn’t he! And hehasfunnyteeth–hehasthose Dracula teeth!”

Theyweretalkingonstagein English and our English wasnotsohot.Eventually[Astrid and Jürgen] said to me, “Klaus,youspeakEnglish.Why don’t you make contact so “WHERE THEY WERE LIVING WAS TERRIBLE” we can meet them?” John was standing by the stage, and I went over and took the record cover I had designed with me, which was “Walk… Don’t Run” – by The Typhoons, not The Ventures. I showed it to John, and he said, “Go to Stuart, he’s the artistic one.” Because John was the rock’n’roller, he didn’t want anything to do with art. So I went over to Stuart [Sutcliffe] and we got on like the world on fire. It was

KLAUS VOORMANN amazing, we talked about everything. It was only natural then that in the breaks between shows we went out with Stuart and the others came along, and we’d watch them eat their cornflakes. We became friends. All of them were very much into music. ock and roll was the most important thing. The list of songs hey were able to play was the largest of all the bands in amburg. They were so busy and eager, listening to the cords again and again until they got it down. At this stage, l you could see is that they played those songs really well.

Voormann with Astrid Kirchherr hey were a great rock and roll band, with three great voices. didn’t know anything about them writing songs, that came and Stuart Sutcliffe at a party in Hamburg, 1961 uch, much later. George was so happy to play the guitar. He was very exuberant, a really great guy. He didn’t show any signs of searching, that happened later. I don’t think that was part of his life at that time. I didn’t get any sense that the others patronised him. I think they were very equal to each other. Pete Best often didn’t come along, he’d go off with some girl or something, but John, Paul and George really stuck together. You couldn’t go to a worse place than the one they were living in. The Reeperbahn was the sin mile of Germany, it was just terrifying. Where they were living was terrible. I would call it a broom cupboard. It had a bare light bulb hanging down from the ceiling. No wardrobe, they were living out of a suitcase. Sweaty walls. No window! Just a door. Those really simple beds used in the war. Really terrible. We knew they were taking pills. I did too! We all did. It was so they could stay up longer and still be happy when they had to play at three in the morning. We gave them suggestions of what to do. Sometimes we took trips to the Baltic Sea, or we went to the cinema or maybe even to an exhibition. They didn’t have anybody The Beatles in those Hamburg days. They were little boys away from with Pete Best on stage at the Cavern Club, home. What are they going to do? We just invited them along. They came to get something good to eat at Astrid’s February 1961 house. They all went in the bath tub and got washed, as they

George’s first gaff: Kinfauns, Esher, Surrey, August 1969

Tux men: Beatles and Brian Epstein at the premiere of A Hard Day’s Night, July 6, 1964

couldn’tevencleanthemselves properly in the digs thing was, they were so excited about this success. they were living in. You wonder today, ‘How could the It was lovely to be a part of that. parents let those guys go out there?’ But they handled it All four of them had lived in the Green Street well, they learned a lot – in lots of respects! – and they apartment then John went to Emperor’s Gate with certainly learned how to play rock and roll music. Cynthia, and Paul went to stay with Jane Asher. So it

Because George was 17, eventually the authorities was only George and Ringo left when I moved in. said that he had to go back home [Harrison was They had nothing there! The apartment was barely deported for being underage on November 21, 1960]. It furnished. It was very cold – a cold atmosphere. Bill was terrible. Stuart and Astrid brought him to the train bought two chandeliers to put in there, so at least it station in Hamburg. I did a little drawing of him leaving looked a little more decorated. Again, like in and I wrote next to it ‘Packed like a mule’. He had a Hamburg, they didn’t have anybody there. No aunt, really nice amplifier he bought in Germany and his no mother, no friend. Just Brian Epstein. For food, all guitar. Astrid gave him a big bag of food for the journey. they could do was either fish fingers or cornflakes – He had to go by train, then by ship,and train again – and a cup of tea. That was it. he was scared that he would fall asleep and someone They were filming A Hard Day’s Night during this would steal all his stuff. It wasn’t easy for him, taking time. They had to get up early, that was the main this journey all by himself at 17 years of age. problem! They didn’t spend much time there, but

Later, Paul and Pete Best were deported. They were they had a tape recorder and a record player and put in a cell in the Davidwache police station on the great records. I played my classical guitar and Reeperbahn and sent back. Of course, they all came they complimented me. I had a great time in that back to Hamburg again and we kept in touch. apartment. I could go downstairs and do whatever

A couple of years later, in late 1963, I wanted to come I wanted, but when the boys went down there was to England. I talked to George on the phone, and he screaming all night. It must have been terrible for the said, “Why don’t you come other people who lived in and stay with us?” So I that street. It was an awful came and stayed at 57 noise. Wherever they went, Green Street in Mayfair. the fans always found out When I arrived, Bill where they were. They had Corbett, the chauffeur, to drive fast! said, “The boys want you While I was there, it to come down to the was George’s 21st birthday, studio.” Bill drove me and the heap [of mail] was down and there were kids as tall as I am. The fans in front of the gates. I had sent him cards and thought, ‘Oh God, they’re keys made out of marzipan so famous now, what am I and cake. He took the going to do?’ I didn’t know letters and read quite a lot how they would react. of them. He was always

I just walked into the “He was nice to the fans, he knew studio and immediately George ran towards me and always nice to the fans”: George on his them by name. He would say, “Ah, how’s your embraced me. The nice 21st birthday mother doing...?”

Three classic Voormann performanceswith the soloBeatles

JOHN LENNON

“I FOUND

OUT” (JOHN LENNON/PLASTIC ONO BAND, APPLE, 1970)

A raw little rocker featuring Lennon at this most caustic, this hard-won epiphany casts off false prophets, drugs, fame and his parents. The Plastic Ono Band trio are attheirmostbrutallyeffective,with Voormann’sbassdrivingitall.

GEORGE HARRISON

“BEHERE NOW”

(LIVINGINTHE MATERIALWORLD, APPLE,1973)

Voormann switchestouprightbassto complementoneofHarrison’s mostbeguiling,soul-searching andvulnerabletracks.Hispartwas recordedinanacousticallysuperior bathroomatFriarPark.“ThenMal Evanscamein,satonthetoiletand flushedinthemiddleofthesong!”

RINGO STARR

“I’M THE GREATEST”

(RINGO, APPLE, 1973)

Written by Lennon and sung by Starr in the guise of Billy Shears, this gaudy vaudevillian rocker is dominated by Voormann’s swinging bass figure. The sole recording featuring all four members of mythical post-Beatles group The Ladders: Lennon,Harrison, Starr and Voormann.

Ladders man: Voormann in the studio in LA, 1973

Voormann designs the classic cover for Revolver and remains a close observer as the band quit touring and begin to pull apart. Meanwhile, Harrison starts exploring more esoteric personal interests

IVISITED George and Pattie in their house in Esher. They started to realise that they were rich and had money – so why live in an apartment in London? I remember one time, The Fool were there, painting his fireplace and George was painting the house and smoking lots of joints. George never got really into the heavy drugs. LSD was heavy enough. He actually realised pretty soon that this was all silly and he didn’t continue doing it. He went to Haight-Ashbury and it was terrible. He realised what bullshit it all was.

In 1966, John called me and said, “Do you have an idea for the cover?” I was invited to come to the studio and listen to the tracks on Revolver – they played me whatever they had done up to that point.

For the cover, the spread of fans they had was the most important thing. There might be an older mother in the venue, then some young kid. There were the ones who loved “She Loves You” and the ones who’d get on with “Tomorrow Never Knows” and all those turned-around tapes, with the crazy sounds and bird noises. You had to combine all those people onto one image. I knew the fans definitely wanted to see lots of pictures, so that was the main thing, seeing the boys in the band. In those days, it was sensational if people had long hair; it was a political statement. So the hair was an important part. I tried to combine all those things into one image.

On the cover, George is staring right at us. I had set up the faces the way I wanted them, and I had a hard time to get the likeness of George. He was a beautiful boy, but very, very difficult to draw. It’s interesting, isn’t it? I never knew why. He had beauty and charisma, everything you want to see in a person, but it was difficult to get it right. The look of the eyes was important to me. I tried several times and eventually I just took this newspaper and cut out the eyes and the mouth and stuck it on there. I thought, ‘That looks good’, so I kept it like that.

“IHADAHARD TIME TO GET THE LIKENESS OF GEORGE”

KLAUS VOORMANN

Recording “Within You Without You” for Sgt Pepper “It had started to go in different directions”: The Beatles in Munich, June 24, 1966

Peoplewouldsayhe was The Quiet One, which was so illy. He wasn’t quiet at all, he could be very direct. He ould be very biting, very sarcastic. He could really tell eople off, too, if he wanted. Lots of things could wind im up. If someone in the garden planted the tree in the wrong place, he could be very hard. Or if someone came up with a $100 bill and said, “Sign it for me”, he’d say,

“Piss off, you arsehole!” He didn’t like the media and doing interviews, that’s why they called him the quiet one. When he started having something to say, it was about religion.

I watched George’s development. I wouldn’t ask him directly, but I thought, ‘Interesting, interesting!’ At the start he wasn’t so much into the meditation, at first it was just the music. Later, it was more apparent. He’d get together with Indian people and I knew he was close to Ravi Shankar. When I was living in Raynes

Park, near Wimbledon, George came to visit. He played on my harmonium and wrote “Within You

Without You” there in my apartment. I recorded it on my tape recorder and he took the tape home with him so he had the song down.

Already with The Beatles it had started to go in different directions. It wasn’t the same as when they were living in Green Street. It was a band then and ey were doing things together. Now, everyone was doing their own thing. They didn’t play live, ey didn’t go on tour, so they just met in the ecording studio as The Beatles. The connection fthebandwentdownhill.

Voormann has a ringside seat during the end of The Beatles and the blossoming of their solo careers. Living at Friar Park, he works on Harrison’s 1970 opus and cements a friendship that will continue until Harrison’s death in 2001

IWAS in the Manfred Mann band. We disbanded at almost exactly the same time as The Beatles disbanded. So I started playing for John and Ringo and George. Between those three there was no problem. There were a lot of times when George might say, “Paul is really pissing me off!” It was really heavy, what was going on. It felt like someone knifing someone else in the back, they really had hard feelings towards one another – some very dirty washing being done. It was legal shit that had to be taken care of, nothing to do with the actual personalities. They were four people who had gone separate ways, they didn’t like the same things. There wasn’t the same unity as there was before, but they were still really professional about working.

Listening to the master tape of All Things… with Apple’s Pete Bennett and Phil Spector, NYC, October 31, 1970 The Concert For Bangladesh, August 1, 1971: (l–r) George, Klaus Voormann, Jesse Ed Davis, Eric Clapton

WhenGeorgestarted All Things Must Pass he didn’t have Friar Park, he was still living in Esher. Then he showed us pictures of this crazy house he wanted to buy, and he was very excited. I was there pretty much from the start – when water was still leaking in! I helped design his house, made sketches and plans for him. George was excited. He had something to play with, with the big gardens with the caves under the grounds.

I lived for a long time at Friar Park, from 1970 to 1972. First I lived in a room in the big house, then I had a little cottage that George let me have rent free. We had a ball, it was beautiful. We went around the gardens and played guitar and wrote songs. We would sit at the piano and play together, I’d play the left hand and he would play finger style on the right. I spent most days with him, even at breakfast and dinner. Pattie was still around and Kumar, this great Indian guy, was cooking beautiful food.

George was very excited at the period. He had all those great songs in his drawer and he never got to record them for The Beatles. And they kept coming! I would see him writing in the garden with a guitar when the sun was shining, or in the studio, or at the breakfast table.

He was liberated. I guess they all were. I had recorded with John and I love that record [John Lennon/Plastic Ono Band], I love its directness and freshness. Those impulsive songs came out of a very direct feeling, writing the song and going direct to the studio, sitting there crying, laughing and hugging with Yoko. It’s a fantastic piece of work. Just to play with John and Ringo as a trio was amazing.

Then George came along and he suddenly had this peaceful atmosphere. There was lots of time. John was very much involved with himself. George was completely different. He was really into having this bunch of people around him who he liked. They were friends who could play really well and who understood what he was doing. He took lots of care in showing his songs to us, we all made our suggestions and pulled the whole thing together. We never had any music sheets, we only had the lyrics and then he played the song – but bit by bit we worked ourselves into those songs.

We all felt good, and we all were very eager to do the best for George’s songs. He asked if I knew any keyboard players and I suggested Gary Wright. Gary was very much into meditation, so those two got on really well. Carl Radle was a great bass player, Jim Gordon a great drummer, and at the time a really sweet, nice person. It was so fantastic to be in the studio with George and all these nice

AKlaus-eyeviewofThe ConcertForBangladesh

AUGUST1marksthe50th anniversaryoftheConcert ForBangladesh.Voormann helpedHarrisonsetuptheconcert, andplayedbassinthehouseband. “IwitnessedRaviShankartelling Georgeaboutthisproblemin Bangladesh,”herecalls.“Ravisaid hewasgoingtodoaconcertand Georgesaid,‘Well,I’llhelpyou!’

“HewenttoLAtogetmusicians together,andIfollowedhimand westayedtogether.Everyonewas sohappy.Ididanillustrationofthe rehearsalswithBillyPreston,Ringo, Georgeandmyselfandthebrass section.It’sverynice.Oliviasaw itandsaid,‘Oh,I’dliketohaveit!’It wasreallyaball.Weallhadsomuch fun.Nobodygotpaid,nobodyhad arecordoutthattheywantedto promote,theyjustwantedtohelp.

“WithDylan,itwasdifficultfor George.Hewasreallygoodfriends withBob,butheknewhewasalittle strangeandheknewhewasscared tobeupthereagain.Evenafterthe rehearsals,Georgedidn’tknowifhe wasgoingtodoitornot–thankfully heturnedupand hewasterrific (below).George wasgreat.He hadneverdone thisbefore. Someone whowasn’ta frontmanand didn’twanttobe one,hetakesthis burdenonhis shouldersand doesitbecause hewantstohelp afriend.Hedid afantasticjob ” people.Ringowastheresometimes.Eric[Clapton] camein.Iwassohappytobepartofit.

ImetPhilSpectorseveraltimes,andtherewasn’tone momentwherehehadagun,orhewasbeingbadto anybody.Hewasalwayspleasant,verydelicate.He madegoodsuggestions;hewasagreatproducerwho gotfantasticsounds.Therewasnosignofhimbeinga personwhocouldgocrazy.Ofcoursehewasdrunk sometimes,butthat’saboutall.Hewasveryfunny.He gotonwellwithGeorge–andJohn.Hewassoniceto Yoko.Ineversawhimpissedoff.

IwasveryinvolvedwithGeorgeduringthattime.He alwaysbroughtmelittlepresents.AtChristmasIgota littleChampamplifier.Thenextyearhegavemea PrecisionFretlessbass.FromIndiahebroughtmearug withlotsofanimalsonit,whichIhavemyfeetonright now.Hewassuchagreatfriend,buttherewasthe phasewherehewenttheotherway.

IrememberIwasinNewYorkandGeorgeaskedmeto comedown–hewascuttingthefilmfortheBangladesh concert.IcametothebuildingandDylanwassitting there,Georgewassittingthereandtheeditorandwe sataroundtalkingalittle.Lateron,theengineertold methatGeorgehadsaid,“Oh,Klausisgoingtocome down,hidethecocaine!”Thatwashimhavingabad conscience,becauseheknewIwassohappywhenhe wasinagoodstateofmind.Iheardthatandfelt terrible.BecauseI’mnothisfather!I’mjusthisfriend andheishidingstuff.

Allinall,however,itwasareallygoodfriendship.All thetimeuntilhedied,Georgealwayscontactedme, wrotealetterorcalledme.Whenhe phonedhetalkedinpretendGerman nd[calledhimself]HerrSchnitzel, retendingtobesomeGermanguy. Oncehegotreallyworried.Therewasa ainaccidentinGermany,inEschede nJune1998],lotsofpeoplewerekilled. eleftamessagesaying,“Pleasecallme ack,pleasecallmeback.”Iwasn’t ere,Iwasaway.Heleftfiveorsix essagesonmyanswerphone.Hewas allyworried.Thatwashisnature. mKeltnersaysthatassoonasGeorge menearLosAngeles,hewouldsay, ey,I’mhere,whencanIseeyou?” wasthesamewithme.Whenever wasclose,inSwitzerlandorAustria, anywhereinthevicinity,he’dcallandwe’dgo hoppingtogether. Itwasreallynice.MycontactwithGeorgenever ended,hewasalwaysafriend,andthroughit allIcouldstillseethatcocky17-year-old.Hewas alwaysthere.