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Harrison, Georgefree

  • Rikky Rooksby

George Harrison (1943–2001)

by Alistair Morrison, 1988

© Alistair Morrison; collection National Portrait Gallery, London

Harrison, George (1943–2001), musician and composer, was born on 25 February 1943 at 12 Arnold Grove, Wavertree, Liverpool, the youngest among the four children of Harold Hargreaves Harrison (d. 1978) and his wife, Louise, née French. His father was a former Cunard steward who, at the time George was born, was driving buses; he also served as a part-time union official. George had two older brothers, Harold (b. 1934) and Peter (1940–2007), and a sister, Louise (b. 1931).

Compared to the early lives of the other Beatles, Harrison's family life in working-class Liverpool was uneventful, apart from a seven-week hospitalization with nephritis when he was thirteen. He attended Dovedale primary school (the same school as John Lennon, though they didn't meet there). In 1949 the family moved to 25 Upton Green in the nearby town of Speke. In 1954 he won a place at the Liverpool Institute (a grammar school) after passing the eleven-plus examination. Harrison looked back on this change of school with unhappiness, having been swiftly disillusioned by its teachers. Innate intelligence enabled him to get by with little study, and any potential academic interests were swiftly eclipsed by an attraction to music. On leaving Liverpool Institute with one O-level in art, he took an electrician's apprenticeship at Blacklers, the Liverpool department store.

The Beatles

Harrison allegedly experienced his musical revelation when, cycling past an open window, he heard a snatch of Elvis Presley's 'Heartbreak Hotel'. By the end of the 1950s the first wave of rock and roll was over, and the homegrown British skiffle of singers such as Lonnie Donegan was popular with teenagers. Harrison's musical interests were encouraged by his parents, who bought him a guitar for £3. Louise Harrison supported her son through his initial difficulties with learning the instrument. Harrison later recalled, 'When I was a kid growing up, the guitar was the main thing that saved me from boredom. It was the only job I could think of that I wanted to do, which was playing guitar and being in a rock band' (Shapiro, 24). At thirteen he borrowed records by Chuck Berry and Buddy Holly, and dressed as a Teddy boy with drainpipe trousers and a quiff.

The group Harrison formed with his brother Peter and several other friends earned 10 shillings for their début gig as Johnny and the Rebels at the British Legion club in Speke. About this time Harrison met Paul McCartney on the school bus, and the two boys struck up a friendship. In July 1957 McCartney joined John Lennon's skiffle group, the Quarrymen. Harrison went to see them play in February 1958 and met Lennon afterwards. Lennon resisted Harrison at first because of his youth. He didn't want a fourteen-year-old in the band:

Paul introduced me to George and I had to make the decision whether to let George in. I listened to George play and said ‘Play “Raunchy”’ [an instrumental by Bill Justis]. Then I said, ‘OK, you can come in.’ I couldn't be bothered with him when he first came around. He used to follow me around like a bloody kid, hanging around all the time. He was a kid who played guitar and he was a friend of Paul's which made it easier. It took me years to come around to him, to start considering him as an equal.

Beatles in their own words, 17

This ‘audition’ apparently took place during a late-night bus trip. By March Harrison was in the group. Early in 1958 he made a 78 r.p.m. demonstration recording of a composition entitled 'In Spite of All the Danger', co-written with McCartney, along with a cover of Buddy Holly's 'That'll Be the Day'. The group shifted style from skiffle to rock and roll, and made a name for themselves playing in local clubs and venues throughout 1959, including a two-month stint at the Casbah Club.

Following a name-change to the Silver Beetles in May 1960 the band embarked on their first tour (two weeks in Scotland backing the singer Johnny Gentle). In summer 1960 Pete Best joined them on drums. The quintet of Harrison, Lennon, McCartney, Best, and Stuart Sutcliffe went to Hamburg to play a residency, first at the Indra Club and then from October in the Kaiserkeller. They played their first set (as the Beatles) in Germany on 17 August 1960. Like the rest of the band Harrison was forced to hone his musical and performing abilities under the pressure of six to eight hours of stagework a night in front of rowdy, impatient young audiences. He later said that 'We got very tight as a band in those clubs. Playing such long hours we developed a big repertoire of our own songs but still played mainly old rock'n'roll tunes' (Shapiro, 39). He sang Carl Perkins numbers like 'Your True Love' and his good looks drew pre-Beatlemania screams from the German girls. This adventure was terminated when the German authorities expelled Harrison on 21 November for being under age; the others followed shortly after. On 17 December the band played at the Cavern Club in Liverpool and surprised the audience with their new professionalism. After playing regularly at the Cavern through the spring of 1961 the Beatles returned to Germany in April (once Harrison had turned eighteen) to continue their musical career. A June recording session with singer Tony Sheridan led to the release of 'My Bonnie' in August in Germany as a single. Copies of this single found their way back to Liverpool to a record shop owner called Brian Epstein. Sutcliffe decided to leave the band to marry the artist Astrid Kirchherr. In July the four-piece Beatles returned to Liverpool.

The band's big break came in 1962, when Harrison was nineteen. Epstein took them under his wing, signing a management contract on 8 November 1961, and encouraged them to abandon their ‘rocker’ leather clothes for modish suits. After an infamously unsuccessful audition at the Decca label in January 1962 the band made a final trip to Hamburg to play at the Star Club. As they were about to leave Liverpool they received the news that Sutcliffe had died of a brain haemorrhage. Back in England the Beatles auditioned for George Martin at EMI in June 1962. The band were signed to EMI's Parlophone label in July, and Ringo Starr replaced Pete Best on drums in August. During their first recording session on 11 September the producer, Martin, seeking to make the band feel at home, asked them to 'Let me know if there's anything you don't like'. 'Well, for a start I don't like your tie', quipped Harrison, deadpan (Clayson, 78).

In October 1962, while the world endured the Cuban missile crisis, the ‘Fab Four’ released their first single, 'Love Me Do'. In 1963—the year often seen as the true beginning of ‘the Sixties’—the singles 'Please Please Me' and 'She Loves You' brought the Beatles unprecedented success and created a seismic upheaval in popular music. In February 1964 they went to the USA, where a country (or at least its youth) still numb from Kennedy's assassination embraced the optimistic energy of the group. Many famous musicians who came to fame in the 1970s, such as Bruce Springsteen, were inspired by the Beatles' appearance on the Ed Sullivan TV show (Harrison's bad dose of influenza almost prevented the performance but he recovered in time). The era of worldwide ‘Beatlemania’ was soon in full swing, and continued until they played their last concert in Candlestick Park, San Francisco, on 29 August 1966. During the madness Harrison met Patricia Anne (Patti) Boyd (b. 1944), a model, on the filmset of A Hard Day's Night in March 1964. They married on 21 January 1966 at Epsom register office. She was the daughter of Colin Ian Langdon Boyd, farmer. There were no children of the marriage.

Part of the Beatles' popularity lay in the fact that each member had a distinctive public persona which acted as a foil to the others. Harrison was ‘the quiet one’—serious, dark, a little mysterious. Shy and self-effacing, Harrison disliked Beatlemania, and in later years looked back on the whole business as a nightmare. As a musician he quickly found the circus that surrounded the Beatles frustrating. Even on their first US tour he complained, 'all that big hassle to make it, only to end up as performing fleas' (Shapiro, 59). Volley after volley of ear-splitting screams from thousands of teenagers often drowned out the band's inadequate amplification, so neither the audience nor the band could hear the music. After the Candlestick Park concert Harrison is reputed to have said, 'Well, that's it—I'm not a Beatle anymore' (Clayson, 139), which, though premature, revealed his feelings at the time about his role.

Harrison was the junior partner in the Beatles when it came to songwriting; he was usually allowed only one track per album. Furthermore, George Martin was not especially keen on Harrison's early songs. His first song for the Beatles was 'Don't Bother Me', written when ill in bed in a hotel during the Beatles' residency at a Bournemouth theatre in August 1963. By the mid-sixties Harrison was contributing numbers such as 'Taxman', 'Think for Yourself', 'If I Needed Someone', 'I Want to Tell You', and 'Only a Northern Song'. But to measure his contribution to the band by songwriting credits alone would be wrong. Harrison also sang backing vocals and occasionally lead vocal (as on 'Do You Want to Know a Secret' and their cover of Chuck Berry's 'Roll Over Beethoven'), as well as providing lead guitar and rhythm chords where necessary, demonstrating that he was adept at both and a real team player. He conscientiously worked to improve his guitar-playing. His solos were always well judged and to the point. He made the first of several contributions to widening the Beatles' sonic palette when he bought a Rickenbacker electric twelve-string guitar in 1964, the example of which almost in itself inspired folk-rock in America when Harrison's use of the Rickenbacker was imitated by Roger McGuinn of the Byrds. Harrison also acquired a Ramirez ‘classical’ guitar for 'And I Love Her' and a Fender Stratocaster in 1965. Songs like 'Yes It Is' and 'I Need You' featured a volume pedal, and the Moog and ARP synthesizers bought by Harrison were later heard on albums like Abbey Road.

India and the maharishi

The most important instrumental addition that Harrison gave the Beatles' recordings was the sitar, whereby he also brought the group into contact with the musical and religious traditions of India. He first heard a sitar during the filming of Help! in 1965, used it to add colour to the song 'Norwegian Wood', and wrote 'Love You To', where he overdubbed the guitars and vocal after the sitar and tabla. He met the Indian sitar virtuoso Ravi Shankar in June 1966 through the Indian embassy, which directed him to Hampstead's Asian Music Circle to get a replacement for a broken string on his sitar. Shankar offered to teach Harrison the basics. Harrison commented that it was the first time he had ever learned in a disciplined way, and for two years in the mid-sixties he mostly listened to Indian music and hardly touched the guitar except when in a recording session. (Some of Shankar's recordings appeared on Harrison's Dark Horse record label in the 1970s.)

Harrison's interest in Indian music soon expanded into a spiritual quest. Having first taken LSD in 1965, Harrison read Swami Vivekananda's book Raja Yoga in 1966, and visited India in September 1966. Harrison was also the Beatles' first link to the hippy counter-culture as it emerged in San Francisco's Haight Ashbury district, though his visit there in the summer of 1967 left him disillusioned with the movement's rising chaos.

It was his wife, Patti, who drew Harrison's attention to a particular meditation movement. The Beatles attended a lecture on 24 August 1967 by the Maharishi Mahesh Yogi, followed by a weekend meditation seminar in Bangor, north Wales. During that same weekend their manager Brian Epstein died. In February 1968 the Beatles went to Rishikesh in India for several months, to study and meditate with the maharishi. Ringo left first after ten days, bored. The others stayed until April, when a scandal arose involving alleged improprieties by the maharishi. Harrison stayed loyal to the guru, and for years after continued to fund the Radha Krishna temple in the UK, whose 'Hare Krishna Mantra' was a top-twenty hit in 1969.

Given the popularity of the Beatles, it is difficult to overestimate the effect that Harrison's advocacy of Indian spirituality had on attitudes to religion among young people in the West, with both positive and negative consequences. It heightened the profile of spiritual seeking in the counter-culture, which had its origin in the beat poets' interest in Zen, helped offset the burgeoning hedonism of the mid-sixties, and broadened the spiritual outlook of the West. But it also led to an uncritical embracing of Eastern concepts regardless of whether they were intrinsically plausible, properly understood, or spiritually appropriate to Westerners, and to a parallel neglect of the West's own spiritual traditions. The worst of the familiar was compared with the best of the exotic East and was found wanting. By many, spiritual wisdom was approved of only if it came in colourful robes and spoke an unfamiliar language. This also fed into the counter-culture's attack on Enlightenment values and its rejection of the rational, the intellectual, and what it called dismissively ‘the mind’. The mind was there to be ‘blown’, not educated and nurtured. Another consequence of Harrison's activism in spiritual matters was to stimulate Lennon's activism. Of the two, Harrison was respected but was held in less affection by the public than Lennon, whose foibles were so obvious as to be understandable. Harrison in ‘guru mode’ could be more forbidding.

Harrison's Eastern interests soon left an imprint on the Beatles' song catalogue. The hugely successful Sgt Pepper's Lonely Hearts Club Band (June 1967) included 'Within You Without You'—written after he had started meditation, and composed on a pedal harmonium. 'The Inner Light', released as the B-side of 'Lady Madonna' in March 1968, was based on a chapter in a Chinese classic, the Tao te ching. The instruments were all Indian, played by Indian musicians, and were recorded in HMV's studios in Bombay. The White Album's 'While My Guitar Gently Weeps' was inspired by a phrase in another Chinese classic, the I ching ('Book of changes'). To the Magical Mystery Tour (December 1967) he contributed the disturbing 'Blue Jay Way', written, after a long flight, at a house in Los Angeles.

By 1967 Harrison was also developing a musical life independent of the Beatles. He recorded the soundtrack for the film Wonderwall in India in January 1968, released as Wonderwall Music (1968), the first release on the Beatles' Apple label. This was followed by another solo album, the experimental Electronic Sound (1969). In November 1968 he made an important trip to Woodstock to meet Bob Dylan and the Band, bringing back some of their ‘back-to-roots’ approach and style for the final Beatles albums.

Troubles recording The White Album in 1968 inspired a later Harrison song, 'Not Guilty'. The fact that it was a double album allowed room for four of his songs. Apart from 'While My Guitar Gently Weeps', 'Piggies' was a ghastly revelation of counter-culture misanthropy, and 'Savoy Truffle' was a light-hearted rock number inspired by the guitarist Eric Clapton's love of chocolates. More impressive was the haunting 'Long Long Long', with its reverberant drum breaks. The Yellow Submarine (1969) soundtrack included Harrison's 'It's All Too Much' and 'Only a Northern Song'. 'It's All Too Much' was partly inspired by the experience of LSD. Harrison commented that 'The LSD experience was the biggest experience that I'd had up until that time' (Harrison, 158).

At this time Harrison's marriage was under strain from the couple's inability to have a child, his wife's reluctant surrender of her modelling career, and the effect of Harrison's LSD intake and increasingly dogmatic religious outlook. There were tensions within the Beatles. Harrison did not like Yoko Ono's presence at the Get Back sessions. A famous argument with McCartney on 10 January 1969 led to Harrison storming out and writing 'Wah Wah' (which later appeared on his solo album All Things Must Pass). On 12 March 1969 (the day of McCartney's marriage to Linda Eastman) the police raided Harrison's house in Claremont Drive, Esher, and he and Patti were charged with the illegal possession of cannabis. They appeared in court on 31 March, and were each fined £250.

The Beatles' last two albums were Abbey Road (September 1969) and Let It Be (May 1970). The former contained Harrison's 'Something', which became one of the most covered songs in popular music, and the charming 'Here Comes the Sun'; the latter had 'I Me Mine' and 'For You Blue'. During this period Harrison also co-wrote 'Badge' with Eric Clapton for the group Cream.

After the Beatles

After the Beatles' split, announced in April 1970, Harrison was the first to make a significant commercial impact as a solo artist. 'Once the last Beatles album was finished, I was raring to go. I'd got so much music inside me that I was musically constipated' (Shapiro, 91). An abundant backlog of songs meant that he had enough material to release a triple album, All Things Must Pass (1970). This yielded several hit singles, the most successful being 'My Sweet Lord', in which Harrison linked Christian alleluias with hare Krishnas and the Sanskrit text of a Vedic hymn. The song was partly inspired by the Edwin Hawkins Singers' gospel hit 'Oh Happy Day' (1969), and featured a slide guitar break, a technique which became something of a Harrison trademark. Unfortunately, he was later successfully sued over the song's alleged resemblance to the Chiffons' 1962 hit 'He's So Fine', a legal judgment commented upon by Harrison in 'This Song' (1976). All Things Must Pass boasted a huge Phil Spector production and memorable songs such as 'What Is Life', 'I'd Have You Anytime' (co-written with Bob Dylan), and the exuberant 'Awaiting on You All'—one of the finest spiritual rock songs ever written, opening with a dig at John and Yoko Lennon's famous ‘bed-in’ for peace:

You don't need no love-inYou don't need a bed-pan.

Harrison's concern over the plight of the poor and refugees in the Indian subcontinent led to his organizing two ‘Bangla Desh’ charity concerts in New York in August 1971. He persuaded Bob Dylan, Ringo Starr, Eric Clapton, and Ravi Shankar to take part. The concert recordings were released as a triple album in December 1971, and Harrison himself released a single, 'Bangla Desh', in 1972. From 1973 onwards his solo career dwindled as his inspiration faltered and the Beatles fell from favour. Living in the Material World (1973) had primarily religious themes and produced a US number 1 single in 'Give Me Love (Give Me Peace on Earth)' but Dark Horse (1974) failed to reach the charts in the UK. Extra Texture (1975) was the last album he contractually owed the Apple label. Thirty Three and 1/3 (1976) did better, and was followed by a compilation, The Best of George Harrison (1976).

Harrison's 1969 conviction for possession of cannabis made travel abroad difficult. During the early 1970s he became a virtual recluse at Friar Park, the 120-room Gothic mansion near Henley-on-Thames bought for £200,000 in 1971. Its extravagant gardens created by Sir Frank Crisp inspired Harrison to take up gardening (his other enthusiasms included motor racing and the films of George Formby). In the mid-seventies his health started to break down with alcohol-induced liver damage and hepatitis. His personal life became troubled with the consequences of his wife's affair with Eric Clapton, and his own with Ringo Starr's wife, Maureen. Harrison sought relief and calm by revisiting India. The situation with Patti and Eric Clapton came to a head in 1974 (more light is shed on this by the autobiographies of Clapton and Patti published in 2007). About this time Harrison's depression caused him to make disparaging remarks about the Beatles, such as 'The biggest break in my career was getting in the Beatles. The second biggest break … was getting out of them' (Shapiro, 121).

Harrison set up his own Dark Horse record label in 1974. In the process of organizing a tour for that winter he met the woman who became his second wife, the 27-year-old Mexican Olivia Trinidad Arias, daughter of Esiquiel Arias, dry-cleaner. The following years saw a recovery in Harrison's personal and professional life. After years of estrangement the Harrisons divorced in 1977 (Patti married Eric Clapton in 1979). Harrison was able to spend much time with his father in the last months of Harold's life before he died in May 1978. Harrison and Arias had a son, Dhani, born on 1 August 1978, and married at Henley register office on 2 September 1978. In the following year he released George Harrison. Nevertheless a thirty-date US tour had very mixed reviews and audience reaction, owing to the long support set by Ravi Shankar, the lack of enough upbeat numbers, and Harrison's evangelizing between-songs patter.

The year 1980 turned out to be something of a watershed. Harrison published a limited-edition autobiography-cum-lyric book entitled I Me Mine. Lennon took offence at being left out of the book altogether. Harrison made an unsuccessful attempt to contact him to discuss this grievance. That December, Lennon was shot dead. Now the Beatles really were history; there could be no reunion. When the subject of a reunion between the remaining three Beatles came up, Harrison is reputed to have said 'Not while John's dead'. However, McCartney and Starr did participate in Harrison's tribute to Lennon, 'All Those Years Ago', a hit in 1981 included on the Somewhere in England album. Lennon's death marked the start of a revival of interest in the Beatles, slow at first, but intensifying in the early 1990s, partly helped by many young people's attempt (in the UK at least) to relive the 1960s.

In the 1980s Harrison became more involved in the world of film production, as joint founder of Handmade Films. The company produced Monty Python's Life of Brian (1979), Time Bandits (1981, for which he wrote the music), The Long Good Friday (1981), The Missionary (1982), Privates on Parade (1984), A Private Function (1985), Mona Lisa (1986), Shanghai Surprise (1986, starring the American singer Madonna), and Withnail and I (1987). He later sued his business partner for fraud before selling Handmade in 1994.

Harrison's musical output featured on Gone Troppo (1982), The Best of Dark Horse, 1976–1989 (1989), and on two albums with the super-group the Traveling Wilburys (1987–90), which linked Harrison with Tom Petty, Bob Dylan, Jeff Lynne, and Roy Orbison, and continued until Orbison's death. His solo album Cloud Nine (1987), produced with Jeff Lynne, yielded a hit, 'Got My Mind Set on You', an old James Ray blues song, and another look back at the Beatles, 'When We Was Fab'. The success of these projects encouraged Harrison to tour internationally in 1991–2 with Clapton, the music being released as Live in Japan (1992). Otherwise he appeared in public infrequently.

Harrison's finances were helped by the issue of the Beatles' Anthology CDs, film, and book (1995–6) and other historical recordings such as The Beatles at the BBC (1994). Harrison went into the studio to record parts for the previously unissued demonstration recordings 'Free as a Bird' and 'Real Love', with Jeff Lynne producing, in 1994. He also remastered All Things Must Pass for its thirtieth anniversary reissue in 2001.

Harrison retained his commitment to disseminating Eastern spirituality throughout his life. In 1973 he had donated Bhaktivedanta Manor in Hertfordshire to the International Society for Krishna Consciousness, to be used as a Hindu centre. He remained associated with the transcendental meditation movement. In 1992 he gave a concert to promote the UK Natural Law Party. In 1997 he had a cancerous tumour and part of a lung removed. Two years later, in the early hours of 30 December 1999, he was attacked at home by Michael Abram, a paranoid schizophrenic, who stabbed him ten times. He was saved by his wife, who knocked out the intruder with a table lamp. Unfortunately the cancer returned. He sought treatment in Switzerland, but died in Los Angeles on 29 November 2001. His ashes were immersed in the Ganges in accordance with Hindu beliefs. He was survived by his second wife and son, and left an estate valued at almost £100 million. The cover of his last album, Brainwashed (2002), featured a group of tailor's dummies around a television set, perhaps reflecting the misanthropy of his sentiment, 'We must struggle even though we are all rats and valueless, and try to become better human beings' (Harrison, 312).


  • G. Harrison, I, me, mine (2002)
  • A. Clayson, The quiet one: a life of George Harrison (1990)
  • I. Macdonald, Revolution in the head: the Beatles' records and the sixties, pbk edn (1998)
  • Beatles in their own words, ed. Miles and P. Marchbank (1978)
  • A. Babiuk, Beatles gear: all the Fab Four's instruments, from stage to studio (2001)
  • M. Shapiro, All things must pass: the life of George Harrison (2002)
  • The Times (1 Dec 2001)
  • Daily Telegraph (1 Dec 2001)
  • The Guardian (1 Dec 2001)
  • The Independent (1 Dec 2001)
  • The Scotsman (3 Dec 2001)
  • WW (2001)
  • b. cert.
  • m. certs.



  • BFINA, ‘“Mighty good”: the Beatles’, All you need is love, T. Palmer (director), ITV, 14 May 1977
  • BFINA, ‘The movie life of George’, C. Brand (director), LWT, 8 Jan 1989
  • BFINA, The Beatles anthology, pts 1–6, G. Wonfor (director), ITV, 26 Nov 1995 (pt 1), 3 Dec 1995 (pt 2), 10 Dec 1995 (pt 3), 17 Dec 1995 (pt 4), 26 Dec 1995 (pt 5), 31 Dec 1995 (pt 6) [also BL NSA, V3608/4, V3616/2, V3622/3, V3623/3, V3638/2, V3646/1]
  • BFINA, ‘Tribute to George Harrison’, BBC, 30 Nov 2001
  • BFINA, current affairs footage
  • BFINA, documentary footage
  • BFINA, performance footage


  • BL NSA, ‘Profile: George Harrison’, interview with A. Nightingale, 1977, 1LP0202302–1LP0202303
  • BL NSA, ‘The Beatles at the BBC’, 1997, H8245/2
  • BL NSA, documentary recordings
  • BL NSA, performance recordings


  • M. McCartney, three bromide prints, 1960×64, NPG
  • B. Aris, photograph, 1963 (with the Beatles), NPG
  • J. Bown, photograph, 1963, repro. in J. Bown, Men of consequence (1987), pl. 9
  • H. Hammond, bromide print, 1963 (with the Beatles), NPG
  • D. Hoffman, photograph, 1963 (with the Beatles), V&A, theatre collections
  • T. O'Neill, bromide fibre print, 1963 (with the Beatles), NPG
  • N. Parkinson, bromide print, 1963 (with the Beatles), NPG
  • D. Wynne, bronze sculpture, 1964 (with the Beatles), repro. in The sculpture of David Wynne, 1949–1967 (1968), 104; priv. coll.
  • D. Wynne, bronze study, 1964, repro. in The sculpture of David Wynne, 1949–1967 (1968), 105; priv. coll.
  • R. Whitaker, bromide print, 1966, NPG
  • R. Whitaker, cibachrome print, 1966 (with the Beatles), NPG
  • L. McCartney, platinum print, 1967 (with the Beatles), NPG
  • D. McCullin, photograph, 1968, repro. in F. Ritchin, ‘1968: the unbearable relevance of photography’, Aperture, 171 (summer 2003), 68
  • photograph, 1968,; repro. in The Times
  • A. Newman, colour dye transfer print, 1978, NPG
  • T. O'Neill, group bromide fibre print, 1981 (the wedding of Ringo Starr and Barbara Bach), NPG
  • T. O'Neill, bromide fibre print, 1987 (with Dhani Harrison), NPG
  • A. Morrison, bromide print, 1988, NPG [see illus.]
  • M. Seliger, photograph, 1992, repro. in E. Bogosian, Physiognomy: the Mark Seliger photographs (1999), 198
  • R. Avedon, photograph, repro. in R. Avedon and D. Arbus, The sixties (1999), 28
  • H. Benson, photographs, repro. in H. Benson, Once there was a way … photographs of the Beatles (2003)
  • photograph, Camera Press, London; repro. in The Independent
  • photographs, Redferns Music Picture Library, London
  • photographs, Hult. Arch.
  • photographs, Popperfoto, Northampton
  • photographs, Rex Features, London
  • photographs, Camera Press, London
  • photographs, Universal Pictorial Press and Agency, London
  • photographs, repro. in Harrison, I, me, mine
  • photographs, repro. in Clayson, The quiet one
  • photographs, repro. in Shapiro, All things must pass
  • photographs, repro. in J. Fine, ed., Harrison (2002)

Wealth at Death

£98,916,464: probate, 21 Nov 2002, CGPLA Eng. & Wales