George Harrison ‎- Living In The Material World (1973) US 1st Pressing - LP/FLAC In 24bit/96kHz

Posted By: Fran Solo
George Harrison ‎- Living In The Material World (1973) US 1st Pressing - LP/FLAC In 24bit/96kHz

George Harrison ‎- Living In The Material World
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz | 900mb
Mastered By Doug Sax At The Mastering Lab
Label: Apple Records/SMAS-3410 | Released: 1973 | Genre: Pop-Rock

A1 Give Me Love - (Give Me Peace On Earth)
A2 Sue Me, Sue You Blues
A3 The Light That Has Lighted The World
A4 Don't Let Me Wait Too Long
A5 Who Can See It
A6 Living In The Material World
B1 The Lord Loves The One (That Loves The Lord)
B2 Be Here Now
B3 Try Some Buy Some
B4 The Day The World Gets 'Round
B5 That Is All

Recorded At – Apple Studios
Phonographic Copyright (p) – The Gramophone Co. Ltd.
Copyright © – Material World Charitable Foundation
Copyright © – Harrisongs Music, Ltd.
Manufactured By – Apple Records, Inc.
Mastered At – The Mastering Lab
Bass – Klaus Voormann
Design – Wilkes & Braun Inc.
Drums – Jim Keltner, Ringo Starr
Engineer [Recording And Remix] – Phillip McDonald*
Guitar, Written-By, Producer – George Harrison
Keyboards – Gary Wright, Nicky Hopkins
Mastered By – Doug Sax
Photography By [Cover] – Kendall L. Johnson
Photography By [Inside] – Ken Marcus
Saxophone, Flute – Jim Horn
Strings – John Barham
Tabla – Zakir Hussein*
Released with a colour fold-out lyrics insert in a gatefold cover, brown large hole inner sleeve

Recorded at Apple Studio
3 Savile Row, London, W.I., England
Mastered at Mastering Lab

Copyright ©1973 "Material World Charitable Foundation" (A2 & B3: Harrisongs Music, Ltd.)
All Glories To Sri Krsna

℗1973 The Gramophone Company Limited.
Manufactured by Apple Records, Inc., 1370 Avenue of the Americas, New York, N.Y.
Printed in U.S.A.
Barcode and Other Identifiers
Matrix / Runout (Run-out etching (by hand) side A): SMAS-1-3410 Z-4 #4 HARE KRSNA T.M.L.
Matrix / Runout (Run-out etching (by hand) side B): SMAS-2-3410 Z-3 HARE RAMA T.M.L.
Matrix / Runout (Runout side 1 (Variation 2) etched): SMAS-1-3410 Z-4 #6 HARE KRSNA T.M.L.
Matrix / Runout (Runout side 2 (Variation 2) etched): SMAS-1-3410 Z-4 #2 HARE RAMA T.M.L.

George Harrison ‎- Living In The Material World (1973) US 1st Pressing - LP/FLAC In 24bit/96kHz

George Harrison ‎- Living In The Material World (1973) US 1st Pressing - LP/FLAC In 24bit/96kHz

George Harrison ‎- Living In The Material World (1973) US 1st Pressing - LP/FLAC In 24bit/96kHz

This Rip: 2015
Cleaning: RCM Moth MkII Pro Vinyl
Direct Drive Turntable: Marantz 6170
Cartridge: SHURE M97xE With JICO SAS Stylus
Amplifier: Marantz 2252
ADC: E-MU 0404
DeClick with iZotope RX3: Only Manual (Click per click)
Vinyl Condition: EX+
This LP: From my personal collection.
LP Rip & Full Scan LP Cover: Fran Solo

How does an instant multimillion-selling album become an underrated minor masterpiece? George Harrison's follow-up to the triple-disc All Things Must Pass (which had been comprised of an immense backlog of great songs that he'd built up across the last years of his time with the Beatles), Living in the Material World was necessarily a letdown for fans and critics, appearing as it did two-and-a-half-years after its predecessor without that earlier album's outsized songbag from which to draw. And it does seem like Harrison narrowed his sights and his vision for this record, which has neither the bold musical expansiveness nor the overwhelming confidence of its predecessor. And while there are still some beautiful and delightfully lyrical, charming moments throughout, few of the melodies are as instantly memorable and compelling as those of most of the songs on the earlier record, and some of the most serious songs here, such as "The Light That Has Lighted the World," seem weighed down with their own sense of purpose, in ways that All Things Must Pass mostly (but not entirely) avoided. What Living in the Material World does show off far better than the earlier record, however, is Harrison's guitar work – unlike the prior album, with its outsized contingent of musicians including Eric Clapton and Dave Mason on guitars, he's the only axeman on Material World, and it does represent his solo playing and songwriting at something of a peak. Most notable are his blues stylings and slide playing, glimpsed on some of the later Beatles sessions but often overlooked by fans.
"Don't Let Me Wait Too Long" is driven by a delectable acoustic rhythm guitar and has a great beat. The title track isn't great, but it does benefit from a tight, hard, band sound, and "The Lord Loves the One (That Loves the Lord)," despite its title, is the high point of the record, a fast, rollicking, funky, bluesy jewel with a priceless guitar break (maybe the best of Harrison's solo career) that should have been at the heart of any of Harrison's concert set. Vocally, Harrison was always an acquired taste, and he isn't as self-consciously pretty or restrained here, but it is an honest performance, and his singing soars magnificently in his heartfelt performance on "The Day the World Gets Round," a song that resembles "Beware of Darkness" and also, curiously enough, "Across the Universe." Perhaps a less serious title would have represented the album better, but nobody was looking for self-effacement from any ex-Beatle except Ringo (who's also here, natch) in those days. Even in the summer of 1973, after years of war and strife and disillusionment, some of us were still sort of looking – to borrow a phrase from a Lennon-McCartney song – or hoping to get from them something like "the word" that would make us free. And George, God love him, had the temerity to actually oblige, to the extent of painting a few signs here and there suggesting where he'd found it and where we might, all with some great playing and some laughs. And it wasn't all serious – there are pointed moments of humor throughout, especially on the title song; and "Sue Me, Sue You Blues" was a follow-up to Beatles-era tracks such as "Only a Northern Song," dealing with the internal workings and business side of his lingering involvement with the group, in this case the multiple, overlapping, sometimes rotating lawsuits that attended the breakup of their organization. And one track, "Try Some, Buy Some," which he'd given away to Ronnie Spector at the time, actually dated back to the All Things Must Pass sessions.
Review by Bruce Eder,
Welcome to the Dark Side of the Vinyl
Silent spaces haven't been deleted in this rip

Vinyl / CUE/ FLAC/ High Definition Cover: