“I’d Have You Anytime” By George Harrison And Bob Dylan

come with me to glasgow hotel room 1966 brother.im gonna be sick ...... ha ha do you guys think they ever gayed it up together

George Harrison visiting Bob Dylan, Sara Lownds, and Robbie Robertson near Woodstock, NY (November of 1968). In Bob’s home, he and George wrote “I’d Have You Anytime”.

George on writing with Bob:

George “I liked ‘I’d Have You Anytime’ because of Bob Dylan. I was with Bob and he had gone through his broken neck period and was being very quiet, and he didn’t have much confidence. That’s the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with his kids all around, and we were just playing. It was near Thanksgiving. He sang me that song and he was very nervous and shy and he said 'What do you think about this song?’ And I felt strongly about Bob when I had been in India years before, the only record I took with me along with all my Indian records was Blonde on Blonde. I somehow got very close to him, you know, because he was so great, so heavy and observant about everything. And yet, to find him later very nervous and with no confidence. But the thing he said on Blonde on Blonde about what price you have to pay to get out of going through all things twice, 'Oh mama, can this really be the end.’ And I thought, 'Isn’t it great?’ because I know people are going to think, 'Shit, what’s Dylan doing?’ But as far as I was concerned, it was great for him to realise his own peace and it meant something. You know, he had always been so hard and I thought, 'A lot of people are not going to like this,’ but I think it’s fantastic because Bob has obviously had the experience. I was saying to him, 'You write incredible lyrics,’ and he was saying, 'How do you write those tunes?’ So I was just showing him chords like crazy, and I was saying, 'Come on, write me some words,’ and he was scribbling words down and it just killed me because he had been doing all these sensational lyrics. And he wrote, 'All I have is yours, All you see is mine, And I’m glad to hold you in my arms, I’d have you anytime.’ The idea of Dylan writing something, like, so very simple, was amazing to me.”

(‘The Beatles: Off The Record 2 - The Dream is Over’, Keith Badman)

I’d Have You Anytime was started in Woodstock - I was invited by The Band. It was Thanksgiving time… I was hanging in his house, with him, Sara and his kids. He seemed very nervous and I felt a little uncomfortable - it seemed strange especially as he was in his own home. Anyway, on about the third day we got the guitars out and then things loosened up and I was saying to him 'Write me some words’, and thinking of all this: 'Johnnie’s in the basement, mixing up the medicine’, type of thing and he was saying 'Show me some chords. How do you get those tunes?’ I started playing chords, like major sevenths, diminisheds and augmenteds and the song appeared as I played the opening chord (G major 7th) and then moved the chords shape up the guitar neck (B flat Major 7th). The first thing I thought was: 'Let me in here/I know I’ve been here/Let me into your heart’. I was saying to Bob 'Come on, write some words’. He wrote the bridge: 'All I have is yours/All you see is mine/And I’m glad to hold you in my arms/I’d have you anytime.’ Beautiful. And that was that.

(‘I, Me, Mine’, George Harrison)

“When Julian went to George’s concert the next day, Neil Aspinall, John, and I went to talk with Lee Eastman, Linda’s father. While there, Julian called with a message from George: “All’s forgiven, George loves you and he wants you to come to his party tonight.” We did go the party at the Hippopotamus Club, where George, John, and Paul hugged. John, Julian, and I left New York the following day to spend Christmas in West Palm Beach, Florida.

On December 29, 1974, the voluminous documents were brought down to John in Florida by one of Apple’s lawyers. “Take out your camera, Linda,” he joked to me. Then he called Harold Seider to go over some final points.

When John hung up the phone, he looked wistfully out the window. I could almost see him replaying the entire Beatles experience in his mind.

He finally picked up his pen and, in the unlikely backdrop of Disney World, at the Polynesian Village Hotel, officially ended the greatest rock ’n’ roll band in history by simply scrawling John Lennon at the bottom of the page.”

– FROM MAY PANG’S INSTAMATIC KARMA (2008)

Not used lyrics for i'd have you anytime are insane

"All that i can say is not enough/it comforts me to know we're so much in love" "(without a doubt)"

"Let me hear you" "let me say it to you"

"I've got a song" "it isn't long"(? I think?) "Let me play it to you"

And of course whatever the hell "and i'm so glad that you're my love" is supposed to mean

THE BEATLES during their MBE Interview. June 12, 1965.

dark denim was his thing

George Harrison smile appreciation post (1/?)

Get Back: Part 2 - Stand Out Moments

The camera staying fixed on Paul's face so we can see the exact moment his heart breaks into a million pieces

Mal asking Paul if he wants to speak to John and no one noticing Ringo's hand going up as Paul rushes to the phone

Paul saying "stay out of it Yoko" when Linda spoke up during the group conversation - assuming Peter Jackson cut out the part where Paul got slapped in response

Lunchroom tapes loud and clear and with labelled subtitles!! - Give me all of it Peter!!

Dropping in on the alternative universe where Paul's a rogue English teacher who teaches the kids piano instead of sticking to the curriculum

A glimpse into the better world we could have had when McCartney/Starkey was the prominent songwriting duo of the band

Paul serenading the love of his life (Ringo) at the piano

Paul and Ringo feeling kinky and getting their S&M gear out - yes Ringo! Hang Paul by his ass!

John talking in gobbledygook because he knows that will make Paul laugh like a maniac - spoiler, it does!

Most mature take on John and Yoko's relationship, this side of the millennium, by the Apple Scruffs

"The Beatles?" "Nah, I care about Paul McCartney first and foremost... f*ck the Beatles"

John and George's "fisticuffs" showdown

John telling Paul to sing when he unilaterally decides to stop singing his harmony part on Dig A Pony - very reminiscent of the No Reply sessions

The look of amazement on Paul's face when Billy plays the keyboards for the first time

John's flamenco style guitar run on Don't Let Me Down

Allen Klein klaxon and the expert editorial choice to play You Never Give Me Your Money over this segment

Paul and Yoko being the superior musical collaboration - sorry John!

Robert Fraser!!!

Paul and George playing together nicely on Get Back

Yoko with the most half-assed "Poor John" ever when he details the strain on his voice from the prior day's session

Jimmie Nicol slander

Glyn Johns getting verbally abused by John and Paul

"And the dream I had was you..." *camera pans to Paul*

John and Paul being surprised by how good they sang on Two of Us

Paul (FINALLY!!!) clocking the musical dialogue between his and John's songs, right before John suggests it's like they're lovers...

George's growth with Two of Us from "anguish" to calling it "lovely" and wanting it as a B-side to Get Back

Pattie drifting in like a queen and George calling her over for a hug and a kiss

John giving his microphone a BJ while not breaking eye contact with Paul and stating he doesn't regret *ANYTHING* about India - Mature themes indeed!

George dragging everyone when he said if they'd been themselves in India they wouldn't be any of what they are now

Paul and Mal dragging MLH on to the roof like he's a sack of potatoes