Run of the Mill

"Run of the Mill" Song by George Harrison from the album All Things Must Pass Published Harrisongs Ltd Released 27 November 1970 (US), 30 November 1970 (UK) Genre Rock, folk rock Length 2:49 Label Apple Writer George Harrison Producer George Harrison, Phil Spector All Things Must Pass track listing 23 tracks Side one "I'd Have You Anytime", "My Sweet Lord", "Wah-Wah", "Isn't It a Pity", Side two "What Is Life", "If Not for You", "Behind That Locked Door", "Let It Down", "Run of the Mill", Side three "Beware of Darkness", "Apple Scruffs", "Ballad of Sir Frankie Crisp (Let It Roll)", "Awaiting on You All", "All Things Must Pass", Side four "I Dig Love", "Art of Dying", "Isn't It a Pity (Version Two)", "Hear Me Lord", Side five "Out of the Blue", "It's Johnny's Birthday", "Plug Me In", Side six "I Remember Jeep", "Thanks for the Pepperoni", "Run of the Mill" is a song by English musician George Harrison, released on his 1970 triple album All Things Must Pass. Harrison wrote the song shortly after the Beatles' troubled Get Back sessions in early 1969, during a period when his growth as a songwriter inadvertently contributed to the dysfunction within the Beatles' group dynamic. The lyrics reflect the toll that running their company Apple Corps had taken on relationships among the individual Beatles, particularly between Paul McCartney and the other three members, as well as Harrison's dismay at John Lennon's emotional removal from the band. Commentators recognise "Run of the Mill" as one of a number of self-referential compositions on All Things Must Pass that provide an insight into events contributing to the band's break-up in April 1970. The song's release coincided with a falling out between Harrison and McCartney, which led to the latter taking legal action to dissolve the Beatles partnership, and to a four-year period of personal estrangement between the two musicians. The musical arrangement for "Run of the Mill" bears the influence of the Band, with whom Harrison had enjoyed a brief collaboration in Woodstock before starting on the Get Back project. The recording features contributions from Gary Wright and former members of Delaney & Bonnie's Friends band, such as Jim Gordon, Jim Price and Bobby Whitlock. Biographers and reviewers have variously described "Run of the Mill" as an essay on karma, a tale of lost friendship, and a love song to the Beatles. Olivia Harrison has named it among her favourites of all her late husband's compositions. An alternative version of the song, performed solo by Harrison on acoustic guitar, appears on the 2012 compilation Early Takes: Volume 1. Background edit: By the early months of 1969, George Harrison had begun an "incredible phase of creativity", musical biographer Simon Leng writes, one that would have to happen almost in spite of the Beatles, given his customary junior status to bandmates John Lennon and Paul McCartney. The ill-tempered Get Back sessions in January 1969 inspired two new Harrison songs in "I Me Mine" and "Wah-Wah", both dealing with the fractious situation within the band, and his return to their fold after walking out on 10 January allowed him to dictate terms for their immediate future. From that point, all thoughts of a return to live performance before an audience, as McCartney had hoped for, were abandoned. McCartney and Lennon now looked at Harrison "with new respect", author Alan Clayson suggests: "Who'd have thought it? This was George with an unprecedented glint in his eye, George making a stand ..." Liverpool friend Bill Harry was another to notice a transformation in Harrison since his month in upstate New York with Bob Dylan and the Band: "He wasn't under the domination of the others. He wasn't a passenger any more." An additional factor in Harrison's newfound assuredness was his introduction to the Hare Krishna movement, following a meeting with devotee Shyamasundar Das at Apple Corps headquarters in December 1968. Away from the rehearsal studio, the financial problems within the Beatles' Apple business empire became another divisive issue at this time. From summer 1968 until the appointment of Allen Klein as business manager, in March 1969, McCartney was a regular presence at the company's central London headquarters, calling staff meetings and urging financial restraint on the trappings that had come to define the company. While noting that all the individual Beatles were demanding employers, Apple press officer Derek Taylor later described McCartney as "the bossiest of the bossy"; according to Tony Bramwell, Apple Records' head of promotions, Lennon and partner Yoko Ono inflicted "their own reign of terror". On 18 January, Disc magazine published what author Peter Doggett describes as "a heroin-fuelled monologue" by Lennon in which he said of Apple's finances: "If it carries on like this, all of us will be broke in the next few months." Although McCartney sought to install New York lawyers Lee and John Eastman as the band's business advisors, Lennon's outburst attracted the attention of the less conservative Klein. The latter effectively became the Beatles' manager when Harrison and Ringo Starr also chose to put their faith in his tougher approach to business. Refusing to acknowledge Klein as his representative, McCartney later cited this division as the first-ever "irreconcilable difference" among the four Beatles, leading directly to the band's break-up in April 1970. Composition edit: It was when Apple was getting crazy ... Paul was falling out with us all and going around Apple offices saying "You're no good" - everyone was just incompetent (the Spanish Inquisition sketch). It was that period - the problem of partnerships. - George Harrison discussing his inspiration for writing "Run of the Mill", 1979 Although he remained committed to running Apple Records until its winding down in 1973, Harrison viewed the concept of Apple as an example of Lennon and McCartney's egos "running away with themselves or with each other". Harrison's relief from the tedium of business meetings through February and March 1969 was reflected in his composition "Here Comes the Sun", written in Eric Clapton's garden while "sagging off" from Apple. Around the same time, Harrison wrote "Run of the Mill", a song addressing the failure of friendships within the band - or as he put it, "the problem of partnerships". The title was a play on "trouble at t'mill", a Northern English term for conflict at the local factory or workplace. Doggett suggests that "run of the mill" might also have been a condemnation of Harrison's songwriting uttered by one of his bandmates during the fraught Get Back sessions at Twickenham Film Studios. In his 1980 autobiography, I, Me, Mine, Harrison describes the lyrics as "the first song I ever wrote that looked like a poem on paper". The words run in a continuum, uninterrupted by instrumental breaks of any kind. The opening verse outlines what theologian Dale Allison terms "a statement of responsibility": Everyone has choice, When to or not to raise their voices, It's you that decides ... In I, Me, Mine, Harrison introduces these words with a reference to McCartney's heavy-handedness at Apple and likens the scene to a Monty Python comedy routine. But in the lyrics to "Run of the Mill", author Ian Inglis notes, rather than "exacerbate the poisonous atmosphere that hangs over the group by merely adding to the endless stream of insults and counterinsults", Harrison shows "genuine regret" at what has transpired within the band, and "warns against trying to shift the blame" for one's actions. Another biographer, Joshua Greene, suggests that partly through his association with the Hare Krishna movement, Harrison was now "too sure of his life's higher purpose to waste any more time on petty squabbles". Inglis views the second verse as a reference by Harrison to the "abuse and humiliation" he had received at Twickenham, particularly in Lennon's "unfeeling" criticism of his new songs: Tomorrow when you rise, Another day for you to realize me, Or send me down again ... The theme of "failed or betrayed friendship", in Leng's words, is most evident midway through the third verse, with the lines "You've got me wondering how I lost your friendship / But I see it in your eyes". Doggett interprets this statement as reflecting Harrison's "decaying relationship" with McCartney at the time. Lennon too had been a friend of Harrison's since school days, and Leng includes him as a source of Harrison's "minibereavement" at the Beatles' impending demise. In the first lines of the song's two bridge sections, Leng notes the "psychological stress" implied by Harrison's switch from a minor chord to its major voicing on the final word, "you". "Though I'm beside you, I can't carry the lame for you", Harrison sings in the second bridge, before concluding the section with: "I may decide to get out with your blessing, where I'll carry on guessing." Leng writes of this song-wide message: "It presents his realization that he has to walk away and carry on with his own life. George Harrison is not his Beatle brothers' keeper." The final verse urges an awareness of the consequences of chasing personal success, echoing what Greene views as the underlying message behind Harrison's temporary departure from the Beatles in January 1969 - that "character, not career, should govern their behavior": How high will you leap?, Will you make enough for you to reap it?, Only you arrive, At your own made end, With no one but yourself to be offended, It's you that decides. Through Harrison's repetition of "It's you that decides" from earlier in the song, to serve as his parting statement here, "Run of the Mill" becomes "less of an accusation and more of a plea", Inglis writes. On "the most obvious level", Inglis adds, the song "appears to be directed toward McCartney", as well as the divisions within the Beatles that reflect Apple's precarious position in 1969. In a January 2001 interview with Guitar World magazine, Harrison remarked of this period: "At that point in time, Paul couldn't see beyond himself. He was on a roll, but ... in his mind, everything that was going on around him was just there to accompany him. He wasn't sensitive to stepping on other people's egos or feelings." Recording edit: McCartney's refusal to have the release of his eponymous first solo album delayed to allow for the Beatles' Let It Be - the album salvaged from the 1969 Get Back tapes by American producer Phil Spector - led to him indirectly announcing the band's break-up on 9 April 1970. Late that month, Harrison visited Apple's new offices at 1700 Broadway, New York, where he announced his intention to soon begin work on an album of his unused songs, many of which he had been stockpiling for years. Noting the emotional disarray of Lennon, McCartney and Starr at this point, Doggett writes of their former bandmate: "Harrison retained a sense of objectivity. The youngest Beatle, he was now the group's wisest spokesman." In an interview with Howard Smith for WPLJ Radio, Harrison talked of all humans as "potentially divine" yet, in the case of the Beatles and Apple, the problem arose when someone tried to take over or control the group. "We all have to sacrifice a little in order to gain something big," he added, while remarking of McCartney's objections to Klein: "The reality is that he's outvoted, and we're a partnership ... Like in any other business or group, you have a vote, and he was outvoted three to one ..." Working with Spector at London's Abbey Road Studios, Harrison recorded a solo demo of "Run of the Mill" at the start of the All Things Must Pass sessions, on 20 May. At this stage, the song displayed a folk influence, similar to "Window, Window", a composition that Harrison had premiered towards the end of the Get Back film project. Once the full sessions for All Things Must Pass were under way a week later, Harrison transposed the key for "Run of the Mill" up a semitone, to D major, and replaced the starkness of his demo with a sweeping musical setting, similar to other Beatles-era compositions on the album, Leng observes, such as "All Things Must Pass" and "Isn't It a Pity", in its debt to the music of the Band. Unlike on those two tracks, which featured orchestration from John Barham and the big sound commonly associated with Spector's production style, on "Run of the Mill" Harrison was supported by former members of the Delaney & Bonnie Friends band only - Jim Gordon (drums), Carl Radle (bass) and Bobby Whitlock (harmonium) - augmented by ex-Spooky Tooth Gary Wright on piano. According to Leng's study of the All Things Must Pass sessions, Harrison played the song's two acoustic guitar parts. In what author Bruce Spizer notes as a "delicate recording", these guitar lines accentuate the melody's tumbling descents during the verses, although Spizer also suggests that Humble Pie guitarist Peter Frampton may have played one of the parts. Aside from Wright's piano, the most prominent instrumentation on the recording is the trumpet and saxophone motif that bookends the song. Harrison vocalised the melody line for this motif in his guide vocal on the basic track, before the brass parts were overdubbed by Jim Price and Bobby Keys, both ex-Delaney & Bonnie and soon to begin working with the Rolling Stones. This same motif later inspired Harrison's song "Soft Touch", written in the Virgin Islands in 1976 and issued on the George Harrison album three years later. Release and reception edit: "Run of the Mill" was released in November 1970 as the final track on disc one of All Things Must Pass, in its original LP format. After the cacophonous, "big production" "Let It Down", the song provided a parting statement after an album's worth of music that covers the spiritual transcendence of "My Sweet Lord" and "What Is Life", the humiliated friend in "Wah-Wah" and the pain of human separation offered in "Isn't It a Pity". In the company of so many other high-quality compositions found throughout All Things Must Pass, each of which offered "a different type of ecstasy", author Tom Moon has written, "Run of the Mill" received comparatively little specific attention from reviewers originally and is still somewhat overlooked. On release, Ben Gerson of Rolling Stone praised it as a "vintage Beatle" song, a composition of "poignance and McCartneyesque lyricism". A few years later, Nicholas Schaffner referred to it as "an essay on karma" and highlighted the message underpinning the song: "It's you that decides ... your own made end". Writing in 2000, Chip Madinger and Mark Easter opined: "A lovely, acoustic-driven song, 'Run Of The Mill' was the perfect antidote to the barrage of sound which preceded it on this LP, playing much the same role as 'Long, Long, Long' had on the 'White Album' when it followed 'Helter Skelter'." More recently, Simon Leng identifies a thematic link between it and other songs in the Harrison canon, notably "See Yourself", from Thirty Three & 1/3 (1976), and rates "Run of the Mill" "one of his most successful" compositions in its acknowledgment that human relationships are "the other side of the coin" from the spiritual search represented in "My Sweet Lord" and "Hear Me Lord". Harrison biographer Elliot Huntley describes "Run of the Mill" as "another of the songs on the album that screamed, 'Cover me!'" It is a song that resonates also with its composer's widow, Olivia Harrison. "George singing was always beguiling to me", she writes in her introduction to the posthumous edition of I Me Mine, "and countless times I was his audience of one. Run of the Mill was a song I often asked him to play, the lyrics so wise, especially the reminder that, 'Tomorrow when you rise, another day for you to realise me' ('me' being God) ..." Speaking to Mojo in November 2011, ten years after her husband's death, Olivia Harrison named it as the song that most reminded her of Harrison. Music critic Tim Riley calls it "the best of the lot" on All Things Must Pass. Alternative version edit: The demo version of "Run of the Mill" was featured briefly in Martin Scorsese's George Harrison: Living in the Material World documentary, played over a scene where Harrison leaves the stage at the end of one of his 1974 Dark Horse Tour concerts. Long available on bootleg collections such as Beware of ABKCO!, it was finally issued officially in the UK in November 2011, on the deluxe edition CD accompanying the DVD release of the film and worldwide six months later on the Early Takes: Volume 1 compilation. Noting Harrison's usual practice of perfecting his guitar parts, compilation producer Giles Martin has commented: "the appeal of this version to me is that it's very rough and edgy". Personnel edit: The musicians who performed on "Run of the Mill" are believed to be as follows: George Harrison - vocals, acoustic guitars, backing vocals, Gary Wright - piano, Bobby Whitlock - harmonium, Carl Radle - bass, Jim Gordon - drums, Jim Price - trumpets, horn arrangement, Bobby Keys - saxophone, Notes edit: ^ As with the months of recording for the Beatles' White Album the previous year, the Get Back film project was marred by a lack of co-operation among band members. Authors Doug Sulpy and Ray Schweighardt write of Harrison's predicament at Twickenham: "The respect he received from fellow musicians such as Bob Dylan and Eric Clapton could not be found within his own band. His new compositions were routinely derogated and rejected by John Lennon and Paul McCartney, even though some were far better than their own.", ^ In January 1969, Harrison and Derek Taylor announced plans to write a musical comedy based on life at Apple's headquarters, at 3 Savile Row. With Harrison's support, Python member Eric Idle lampooned the chaotic running of the company in his 1978 Beatles satire, The Rutles, also known as All You Need Is Cash., ^ According to Greene, Shyamasundar visited the Beatles during the Get Back sessions, at Harrison's request. Although Lennon and McCartney's disillusion with the band's collective search for spiritual enlightenment, via meditation and the teachings of Maharishi Mahesh Yogi, was evident during the rehearsals, the meeting was a success, Greene writes, in that it briefly inspired an otherwise unengaged Lennon., ^ Harrison and Lennon's friendship, strengthened by their shared exploration of LSD and meditation during 1965-68, had since been undermined by the all-consuming nature of Lennon's relationship with Ono. Contributing to the friction between the two Beatles at this time, and an impediment in their friendship until Lennon's death in 1980, Harrison was the only member of the Beatles and their extended staff at Apple to voice his dislike of Ono's intrusive presence in band matters. In a 1987 interview with journalist Anthony DeCurtis, Harrison used this "I see it in your eyes" theme regarding friendship when discussing his relationship with Lennon during the last few years of his life: "That period where he was cooking bread and stuff, I always got an overpowering feeling from him ... You could see it in his eyes ... it was almost like he was crying out to tell me certain things or to renew things, relationships, but he wasn't able to, because of the situation he was in.", Citations edit: ^ Leng, p. 59., ^ The Editors of Rolling Stone, pp 38, 39., ^ John Harris, "A Quiet Storm", Mojo, July 2001, p. 68., ^ Tillery, p. 90., ^ Miles, p. 328., ^ Harrison, p. 194., ^ MacDonald, pp 289, 322., ^ Doggett, "Fight to the Finish", p. 136., ^ Miles, pp 330, 331., ^ Tillery, pp 86, 161., ^ Clayson, p. 261., ^ The Editors of Rolling Stone, p. 38., ^ Clayson, p. 262., ^ Clayson, p. 254., ^ Greene, pp 110, 116., ^ Tillery, p. 69., ^ The Editors of Rolling Stone, pp 38-39., ^ The New Rolling Stone Encyclopedia of Rock & Roll, p. 61., ^ Miles, p. 337., ^ O'Dell, pp 66-67, 122-23., ^ Paul Du Noyer, "Ten Minutes That Shook the World", Mojo, October 1996, p. 60., ^ Doggett, "Fight to the Finish", pp 137, 140., ^ Doggett, You Never Give Me Your Money, pp 63, 360., ^ Miles, p. 331., ^ Doggett, You Never Give Me Your Money, p. 58., ^ Sounes, p. 241., ^ Clayson, p. 265., ^ Doggett, You Never Give Me Your Money, pp 68-69., ^ Sounes, p. 254., ^ Doggett, You Never Give Me Your Money, p. 70., ^ Harrison, p. 188., ^ Madinger & Easter, p. 442., ^ George Harrison, in The Beatles, p. 287., ^ MacDonald, p. 313., ^ Harrison, p. 144., ^ Spizer, p. 223., ^ Doggett, You Never Give Me Your Money, p. 141., ^ MacDonald, pp 267, 287-88., ^ Sulpy & Schweighardt, p. 1., ^ Leng, p. 92., ^ Allison, p. 153., ^ Clayson, p. 370., ^ Inglis, pp 27-28., ^ Greene, p. 116., ^ Greene, pp 117-19., ^ Sulpy & Schweighardt, p. 207., ^ Greene, pp 119-20., ^ Inglis, p. 27., ^ Leng, p. 91., ^ Doggett, You Never Give Me Your Money, pp 33-34., ^ Huntley, pp 24-25., ^ Rodriguez, pp 413-15., ^ Clayson, pp 248-49., ^ The Editors of Rolling Stone, p. 146., ^ Harrison, p. 187., ^ Inglis, p. 28., ^ Huntley, pp 23-24., ^ Sounes, pp 265-66., ^ Badman, pp 3-4., ^ Badman, p. 6., ^ Huntley, pp 48-49., ^ Doggett, You Never Give Me Your Money, p. 133., ^ Doggett, You Never Give Me Your Money, pp 133, 135., ^ Leng, p. 77., ^ Madinger & Easter, p. 426., ^ Sulpy & Schweighardt, pp 270, 273-74., ^ Madinger & Easter, pp 427, 430., ^ Leng, pp 92, 102., ^ Clayson, p. 292., ^ Leng, pp 91, 102., ^ Madinger & Easter, p. 430., ^ Spizer, p. 224., ^ Clayson, pp 278-79., ^ Harrison, p. 344., ^ Spizer, p. 220., ^ Leng, pp 90-91, 102., ^ Leng, pp 83, 85-87., ^ Album review by Andrew Gilbert, in: Robert Dimery, 1001 Albums You Must Hear Before You Die, Universe (New York, NY, 2005); quoted in The Super Seventies "Classic 500", George Harrison - All Things Must Pass (retrieved 24 June 2012)., ^ The Editors of Rolling Stone, p. 187., ^ Tom Moon, 1,000 Recordings to Hear Before You Die, Workman Publishing Company (New York, NY, 2008); quoted in The Super Seventies "Classic 500", George Harrison - All Things Must Pass (retrieved 24 June 2012)., ^ Ben Gerson, "Reviews: George Harrison All Things Must Pass", Rolling Stone, 21 January 1971 (retrieved 3 July 2012)., ^ Schaffner, p. 142., ^ Leng, p. 194., ^ Huntley, p. 57., ^ Introduction by Olivia Harrison, in Harrison, p. 5., ^ News > December 6, 2011: "DVD Of The Year! Mojo Magazine Talks To Olivia Harrison", georgeharrison.com (retrieved 15 March 2013)., ^ Riley, pp 348-49., ^ George Harrison: Living in the Material World DVD, 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese)., ^ "George Harrison - Beware of ABKCO!", Bootleg Zone (retrieved 26 June 2012)., ^ Stephen Thomas Erlewine, "George Harrison: Early Takes, Vol. 1", Allmusic (retrieved 15 September 2012)., ^ Terry Staunton, "Giles Martin on George Harrison's Early Takes, track-by-track", musicradar.com, 18 May 2012 (retrieved 15 March 2013)., ^ George Harrison: Run of the Mill, The Beatles Bible (retrieved 21 June 2012)., Sources edit: Dale C. 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