Side one. '.
'. '. '.
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'Side two. '.
'. '. ' Ding Dong, Ding Dong' is a song by English musician, written as a singalong and released in December 1974 on his album. It was the album's in Britain and some other European countries, and the second single, after ', in North America. A large-scale production, the song incorporates aspects of 's technique, particularly his from 1963. In addition, some Harrison biographers view 'Ding Dong' as an attempt to emulate the success of two anthems from the 1973–74 holiday season: ' by, and 's '.
The song became only a minor hit in Britain and the United States, although it was a top-twenty hit elsewhere in the world.Harrison took the lyrics to 'Ding Dong' from engravings he found at his nineteenth-century home, in – a legacy of its eccentric founder,. The song's 'Ring out the old, ring in the new' refrain has invited interpretation as Harrison distancing himself from his past as a member of, and as the singer farewelling his first marriage, to. As on much of the Dark Horse album, Harrison's vocals on the recording were hampered by a throat condition, due partly to his having overextended himself on business projects such as his recently launched record label,. Recorded at his Friar Park studio, the track includes musical contributions from, and.On release, the song met with an unfavourable response from many music critics, while others considered its musical and lyrical simplicity to be a positive factor for a contemporary pop hit. For the first time with one of his singles, Harrison made a promotional video for 'Ding Dong', which features scenes of him miming to the track at Friar Park while dressed in a variety of Beatle-themed costumes.
The song still receives occasional airplay over the holiday season. The video appears on the DVD in Harrison's eight-disc box set, released in September 2014. I was just sitting by the fire, playing the guitar, and I looked up on the wall, and there it was, carved into the wall in oak.
I thought, 'God, it took me four years of looking at that before I realised it was a song' Friar Park has got all these great things written all over the place.– George Harrison, on the inspiration behind 'Ding Dong, Ding Dong', 1974purchased the 33-acre estate, in, Oxfordshire, in January 1970, and soon afterwards composed ' as a tribute to the property's original owner, an eccentric lawyer and horticulturalist named. Harrison included the song on his triple album, released in November 1970, by which time he had begun incorporating into his new compositions some of the homilies and that Crisp had inscribed around the property, 70 or more years before. A four-line verse beginning 'Scan not a friend with a microscopic glass' particularly resonated with Harrison, who eventually used it in his 1975 song '. It similarly took Harrison several years to turn two inspirational lines of verse from carvings in the house's drawing room into song lyrics. These lines provided the repeated verse in 'Ding Dong, Ding Dong': 'Ring out the old, ring in the new' – which he took from the carving to the left of the fireplace – and 'Ring out the false, ring in the true' – from the one to the right.
In his 1980 autobiography, Harrison credits English poet as the original source for these lines. Whose wood and stone carvings at Friar Park inspired the songAuthors Chip Madinger and Mark Easter describe 'Ding Dong' as the 'quickest song' that Harrison ever wrote, in terms of time spent on the composition. The words for the song's – 'Yesterday, today was tomorrow / And tomorrow, today will be yesterday' – came from another pair of inscriptions from Crisp's time at Friar Park. Harrison found these lines in what he called 'the garden building', carved in stone around two matching windows. The only other lyrics in 'Ding Dong, Ding Dong' are the song title, repeated four times to serve as its.
Sung in imitation of a clock chiming, the chorus lyrics, combined with the message of those of the verse, lend the composition an obvious theme. Harrison later described the song as 'very optimistic', and suggested: 'Instead of getting stuck in a rut, everybody should try ringing out the old and ringing in the new People sing about it, but they never apply it to their lives.' Harrison's other singles from the early 1970s – ', ', ' and ' – were similarly written very quickly. In the case of 'Ding Dong' and other tracks from the album, however, author Simon Leng recognises this haste as an example of Harrison abandoning his careful approach to his own music over the 1973–74 period, while remaining a 'painstaking craftsman' on his concurrent projects with and the vocal duo. Preceding this change, elements of the British media had ridiculed Harrison's continued association with the, and some music critics had objected to the overtly spiritual content of his 1973 album. With his marriage to all but over by the summer of 1973, Harrison now wanted to be 'one of the boys, not a spotlight-grabbing philosopher', according to Leng. Production Initial recording Harrison recorded the rhythm track for 'Ding Dong, Ding Dong' at his home studio, in late November 1973, during the first sessions for Dark Horse.
Aside from himself, on acoustic guitar, the other musicians on the track were (piano), (bass), and (both on drums) – all of whom had appeared on Living in the Material World earlier in the year. The recording engineer was.The sessions coincided with a period of domestic turbulence at Friar Park, with Harrison and Boyd both involved in extramarital affairs. They saw in the 1973–74 New Year with a party at Starr's mansion – which was an 'absolute dud' of a night, according to their friend Chris O'Dell, due to Harrison having openly declared his love for Starr's wife, a few days before.
Boyd recalls that Harrison told her at the party: 'Let's have a divorce this year.' Overdubbing Harrison included a rough of 'Ding Dong' on a tape he sent to boss in January 1974, shortly before travelling to India to visit Shankar and escape his unhappy domestic situation with Boyd. The purpose of the tape was to find a distributor for albums by Harrison's future acts – by Shankar, and Splinter's – both of which had started off as Harrison productions for ' record label. He added two songs of his own on the tape, with introductory comments about 'Ding Dong'. It's one of them repetitious numbers which is gonna have 20 million people, with the nymphomaniacs, all doing backing vocals by the end of the day, and it's gonna be wonderful.– Harrison discussing the song on a taped message to a music industry executive, January 1974As outlined to Geffen, Harrison went on to adopt the production technique of his former collaborator, American producer, in his subsequent work on the track. Harrison's musical arrangement reflects the influence of the 1963 album, which contained Spector-produced songs by, and, while more recently Spector had co-produced the Apple Records single ' single,.
Some authors claim that with 'Ding Dong', Harrison set out to create a seasonal 'classic', in an attempt to match the British chart success of 'Happy Xmas' and particularly of 's ' and 's ' – two singles that were major UK hits over the winter of 1973–74. Leng cites the inclusion on the finished version of 'Ding Dong' of and electric guitars, similar to the Slade hit, while Harrison's use of, two drummers and, together with a female choir, matched the arrangement on 'I Wish It Could Be Christmas Everyday', which was heavily influenced by Spector's sound. Having incorporated aspects of Spector's technique on Material World, Harrison's aim with 'Ding Dong, Ding Dong', according to Leng, was an update of the Wall of Sound that reflected 'the glam rock mood of the day'.Harrison call-and-response guitar by and onto the 1973 rhythm track, as well as his own. Further overdubs included baritone and saxophone parts by, and a second acoustic guitar, played. Harrison also contributed on organ, and percussion, the last of which included tubular bells (or chimes), and.Harrison's workload ensured that he was rushing to finish Dark Horse in October 1974 before beginning his on 2 November. Described by Leng as 'growled', Harrison's rough-sounding singing on 'Ding Dong' shows the effects of a long-standing throat problem.
Due to a combination of overexertion and abuse, this condition worsened, leading to him contracting as he simultaneously completed his vocals for the album in Los Angeles and rehearsed for the tour. The female backing singers on the track remain uncredited.
US trade ad for the single, January 1975In the United Kingdom, 'Ding Dong, Ding Dong' was released as the from Dark Horse on 6 December 1974 (as Apple R 6002). The was ', a non-album track that Harrison recorded in a single take, specifically for the single.In the United States, where ' had already been issued in advance of the album, 'Ding Dong' was coupled with the instrumental ' and released two days before Christmas (as Apple 1879). Apple issued promotional discs to US radio stations, containing a 3:12 edit of the song.
The single was available in a picture sleeve consisting of the song lyrics printed on an off-white background, with stamped and the FPSHOT logo. The record's A-side face label included a photo of Harrison's new girlfriend, above the song information, whereas the UK single had Harrison's face on both sides.On the Dark Horse, the two face labels similarly alternated between a picture of Harrison and one of Arias. Combined with the positioning of 'Ding Dong' as the opening track on side two, this detail gave the impression that the song represented Harrison's ushering-in of his future wife and a farewell to Boyd. In the album's inner-sleeve credits, Harrison listed one of the guitarists on the track as 'Ron Would if you let him', a reference to Wood's brief affair with Boyd before she took up with. He also acknowledged Frank Crisp for having provided 'spirit' on the recording. In another farewell to the past, Harrison signed the so-called 'Beatles Agreement' papers in New York on 19 December, further severing the four former bandmates from the group's legal identity.Rather than the smash hit that Harrison had hoped for, 'Ding Dong' was only moderately successful. The single peaked at number 38 in Britain and number 36 on America's.
Madinger and Easter write that the single did 'remarkably well', however, given that it was issued too late to take advantage of holiday-season programming. Harrison's single enjoyed more success internationally, climbing to number 10 in the Netherlands and number 12 in Belgium.Despite 'Ding Dong' having had what author terms a 'respectable' chart run in America, Apple distributor omitted the song from its 1976 compilation, which the company issued after Harrison had moved on to Dark Horse Records. Following Dark Horse 's CD release in 1992, the song was unavailable in newly form until the Harrison reissues, released in September 2014. Critical reception Contemporary reviews. Harrison (centre), dressed in his red Sgt.
Pepper uniform in a scene from the 'Ding Dong, Ding Dong' film clipHarrison compiled a colour film for 'Ding Dong, Ding Dong', the first time he made a promotional clip for one of his singles. The film was little seen at the time of release; it was first broadcast in January 1975, on UK television, and then on the French network 's show Midi Premiere in May that year.
The video was issued officially on disc eight of Harrison's box set in September 2014. Described as 'a hoot' by Robert Rodriguez, it conveys what Harrison deemed the 'comical' aspect of the song. Leng describes the clip as 'sporadically amusing' and says of its content: 'As the audiences at the Dark Horse Tour concerts were about to discover, the only 'old' that he wanted to 'ring out' was the Beatles.'
Harrison appears in a range of Beatles-related costumes while miming to the track. His attire in these scenes represents a chronology of periods in the band's career – starting with the black leathers, followed by 1963 and, and then the iconic uniform from 1967. During these scenes, he plays a mix of guitars, including his famous 12-string, as used in the Beatles' 1964 film, and the (christened ') that Clapton had used on the recording of ' in September 1968.
Pepper portion shows Harrison playing a while, behind him, an Indian man plays a. Harrison also re-creates Lennon and Ono's album cover, by appearing naked save for an acoustic guitar and a pair of furry boots. Another change of costume and instrument, to denims and, supports his stated rejection during the tour of early-'70s era, ' George'.Harrison is also seen walking around the grounds of Friar Park.
In these scenes, he wears scruffy, present-day attire that represents 'his own, new identity', according to Leng, who likens Harrison's appearance to the character on the cover of 's album. Harrison mimes the final choruses inside the house, filmed in close-up and surrounded by a cast of 'dwarfs, gnomes and other characters'. At the end of the clip, he is seen at the flagpole on the roof of the house, replacing a with his yellow-and-red Om flag – a gesture that was the opposite of Boyd's when she learned of Harrison's affair with Maureen Starkey. The video was directed by Harrison and filmed by Nick Knowland. Personnel Adapted from Harrison's original handwritten credits, as reproduced in the 2014 Dark Horse CD booklet:. – vocals, 12-string acoustic guitar, organ, percussion, backing vocals. – saxophones, horn arrangement.
– piano. – bass. – drums. – drums.
– electric guitar. – electric guitar. – acoustic guitar. uncredited – female choirChart positions. Harrison detailed his more intense feelings on the end of their marriage in another song, ', which he also recorded at this time.
With the winding down of Apple Records from 1973, Harrison spent considerable time trying to set up his own record company, Dark Horse. Like his former Beatles bandmates, Harrison remained an Apple artist until the expiration of his -affiliated recording contract in January 1976, at which point he signed with Dark Horse. In December 1972, Apple had reissued the 1963 Christmas disc as Phil Spector's Christmas Album, a release that brought the work overdue recognition and commercial success, especially in Britain. For these keyboard and percussion parts, Harrison credited himself as, variously, Hari Georgeson, Jai Raj Harisein and P. ^ Badman, p. 144.
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