Photo By Bill Zygmant.

george harrison & bob dylan ca. may, 1970. around this time they recorded some of the songs recently released on dylan’s outtakes album for the sessions that would eventually produce self portrait & new morning, 1970 album.

The best bands are those where the stories about their break up sounds like a divorce

The thing about I'd have you anytime and behind that locked door is that both songs started with george trying to get to bob. He started I'd have you anytime with "let me in here, I know I've been here, let me into your heart" bc bob was distant in that trip to woodstock. Behind that locked door is an entire song with a similar idea but he also wants to show to bob that he is loved by everyone ("the love you are blessed with this/world is waiting for") and by george himself ("with only this short time/I'm gonna be here with you") and also how much george loves to listen to him ("and the tales you've told me/from the things that you saw/makes me want our your heart"). And then on the concert for bangladesh when bob goes there and play in the concert he is basically opening himself to that possibility, yknow??? And when George says "I'd like to bring an old friend of us all, Mr Bob Dylan" he is reinforcing those ideas he mentioned on behind that locked door, that Bob is loved by everyone, but he does it in a much bigger scale somehow

excited for the Let It Be remaster coming out soon so we can see john and george singing “You’ve Really Got a Hold on Me” to each other in HD

George and Pattie  August,9  1967

smokign the shit that made george harrison and bob dylan if not for you live at the concert for bangladesh rehearsals at madison square garden 31st of July 1971

Miss O'Dell: Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan and Eric Clapton / Romeo and Juliet; Dire Straights / If Not For You; George Harrison and Bob Dylan / George Harrison for Creem magazine; 1987 / Tom Petty for Rolling Stone; 2002 / Romeo and Juliet; Dire Straights / Bob Dylan for Rolling Stone; 2001

A letter to Alistair Taylor from George Harrison, and the photo in question; images courtesy of Heritage Auctions.

“Sometimes, being the Beatles resident Mr Fixit didn’t seem such a great idea. Like the day George sent me a note from America. I’m not sure exactly where it was from, but then neither was he. The address was given as ‘Somewhere in America’ and the date as ‘Sunday the something’. George told me he had seen a great picture of him in the US papers taken in an unguarded moment when he was pulling an angry face and flashing a well-known two-fingered salute. George thought this was the most hilarious photo of him ever taken. He enclosed a scrap of a newspaper with this image on and my task was to track down the original. He wanted to buy the negative, have a lifesize print made of it, and have it mounted on hardboard and have it screwed on the outside of his front door. There are a lot of photographers in America and tracking down the one who had taken this particular snap took a great deal of time and effort. But eventually a friend in Fleet Street provided a vital contact and I managed it. George was delighted with the result, but the lifesize image was so alarming he did relent enough to switch it to his bathroom door. And he had them printed on the front of his Christmas card with the seasonal greeting ‘Why don’t you…?’ George always did have a rather individual sense of humour. George wrote, ‘To Al and Lesley, without whom it would not have been possible.’” - Alistair Taylor, With The Beatles (2003)

This might connect with another anecdote:

“The Beatles don’t collect pin-up photographs of themselves, but love anything a bit off-beat. In the spare bedroom, next to George and Patti[e]’s, there’s a massive 6-ft. high photograph of George, propped up against a wall, looking as though he’s about to hit somebody. George thinks he’s getting a bit tired of it, though, and might throw it out.” - The Beatles Book, January 1967 (x)

Intermission in the Harrison cars series: Kinfauns goes psychedelic. (You can find a photo of George Harrison in front of the mural in the book Living In The Material World.) Photo 1 by Robert Whitaker, photo 2 courtesy of messynessychic dot com.

“During autumn [of 1967] George asked Simon and me to paint a mural around the fireplace in the living room at the ‘Kinfauns’ bungalow in Esher. The mural portrayed George and Pattie as ‘Music Boy’ and ‘Flower Girl,’ as they lovingly called each other then, attended by a Yogi surrounded with an Aura of Light as the focal point to express their interest in Hinduism. We stayed at their lovely place about ten days to complete it. Inspired, George started decorating the exterior of the house, graffiti style with spray cans […]. George was kind and funny but would also be quiet and pensive at times. […] George also turned us on to Paramahansa Yogananda’s book; ‘Autobiography of a Yogi,’ whose large portrait was watching us from the wall while we were painting the mural […].” - Marijke Koger, marijkekogerart dot com, 11 August 2021

“At that moment, an arm wrapped around me from behind, and even though I couldn’t see who it was, I knew it could only be George. He put his head on my right shoulder and gave me a cheeky grin and a sidelong glance. ‘What’s that under your nose, George?’ ‘It’s called a mustache.’ George put on a jokingly posh look and slowly brushed along his mustache with one finger. […] He pointed at his new fireplace. ‘Looks like a lot of work, doesn’t it? Look, there’s Krishna in the center.’ It seemed very important to George to have more and more symbols of Indian culture around him. While he stood next to me, with his long, full dark hair, the mustache and dark eyes sparkling with enthusiasm, he suddenly seemed like an Indian himself. He fully merged into this culture and way of life. George had found his path. […] George grabbed a paintbrush as well, and together with the Dutch gypsies we set to work on George’s fireplace.” - Klaus Voormann, translated from Warum spielst du Imagine nicht auf dem weißen Klavier, John? (2003) (x)

Joan Baez & Bob Dylan, Newark, New Jersey, 1964 © Daniel Kramer.