George Harrison and Paul Simon Play &quotHere Comes the Sun&quot and &quotHomeward Bound&quot on &#039SNL&#039

On April 24, 1976, Saturday Evening Reside producer Lorne Michaels appeared on SNL, which was nevertheless in its infancy, and presented the Beatles the whopping (and beautifully ludicrous) sum of $ three,000 to regroup and execute 3 songs.

“‘She Loves You,’ yeah, yeah, yeah—that’s $ 1,000 proper there,” Michaels stated. “You know the words. It’ll be effortless. Like I stated, this is produced out to ‘The Beatles.’ You [can] divide it anyway you want. If you want to give Ringo [Starr] much less, that’s up to you. I’d rather not get involved.”

As legend has it, John Lennon and Paul McCartney were watching SNL at Lennon’s New York City apartment that evening and seriously considered displaying up on the set.

Sadly, Lennon and McCartney—who seldom (as in, by no means) hung out—decided they have been as well tired to blow a handful of million minds, and the greatest missed chance in rock history became just another “What if?”

On May 22, Michaels addressed the Beatles once once more by way of SNL: “I was in a position to convince NBC to sweeten the pot. John, Paul, George [Harrison] and Ringo—we are now prepared to up the original offer you to $ three,200.” That didn’t perform either.

However, a few months later, on November 20, 1976, to be precise, Harrison appeared on the show to play a handful of songs, gather that original $ three,000 check—and jokingly haggle over income with Michaels.

“See, I believed you would recognize that it was $ three,000 for four individuals, and it would just be $ 750 for every single of you,” Michaels told Harrison backstage as a frantic studio audience watched via monitors. “As far as I am concerned, you can have the complete $ three,000.”

“That is pretty chintzy,” Harrison replied.

Anyway, we never know—or care—how significantly Harrison truly took property that night. We do know he performed and/or ran by means of at least four songs with the show’s host, Paul Simon, two of which aired on national Television. Below, you can watch as Harrison and Simon, guitars in hand, trade vocals on the Beatles’ “Here Comes the Sun” (:25) and Simon &amp Garfunkel’s “Homeward Bound” (three:54)

Although SNL has hosted hundreds of musical guests more than its 40-plus years (which includes, far more than when, McCartney), the Harrison/Simon duets are regarded two of the absolute very best of the bunch, and for great explanation.

There’s something intimate and stunning about the performances spend close focus to Simon’s harmonies on “Right here Comes the Sun,” Harrison’s ethereal lead vocals on “Homeward Bound” and his smooth little pentatonic lick at the quite finish of the clip (we also dig the phantom 7th chord heard for the duration of the final chorus of “Homeward Bound”). And let’s not overlook those groovy sweaters. Take pleasure in!

Guitar Planet

#6: The Employed – I Come AliveThis track comes from the 2012 album…

#6: The Employed – I Come Alive

This track comes from the 2012 album Vulnerable, and let me just kick this off by talking a tiny about that album title. Yes, it is super on-the-nose, but it also gets to the heart of the band, the a single defining characteristic of their music. The Used’s lyrics never sugarcoat or hide from hard topic matter, they discuss drug issues and self harm and sex in all their gritty reality, they’re frank about their feelings in surprising methods. Vulnerable is exactly how I’d describe their music at its core, and it’s nice to see them acknowledging that here.

This album is really sturdy, and it is hard to pick just 1 track – honourable mention goes to the really catchy ‘Put Me Out’ – but I Come Alive says some thing about the band that chimes with my selections so far. We’re coming to the end of our week with each other now, and this song recalls the first a single I chose.

Maybe Memories was a song about getting alive in spite of trauma, and acknowledging that life in a defiant and celebratory way. I Come Alive is a more mature song, with the lyrics coming to the realisation that “at the edge” is when the writer (Bert/persona) is at their most alive – when issues are going wrong, when tragedy strikes, is when they are most aware of their vitality.

Like most The Utilized tracks, this is ambiguous and complex – is the singer revelling in their potential to bounce back from trauma and “come alive when [they’re] falling down”, or describing their enjoyment of self-destruction? It’s completely up to the listener, and my interpretation of it adjustments based on what I need to hear on any provided day: each sentiments ring accurate to me as a reckless person who regularly courts disaster, and there’s anything really freeing about hearing somebody else acknowledging that sensation of becoming the most yourself when everything is falling apart about you.

1 WEEK // A single BAND