Why didn’t George keep Something and Here Comes The Sun for himself?

Why didn’t George keep Something and Here Comes The Sun for himself?

They wouldn't have been nearly as big if they weren't Beatles songs.

And they wouldn't have been as good. Paul's bass on Something is incredible.

The question is more why the fuck did they reject All Things Must Pass and Isn't It A Pity? Kind of sad if John and Paul still felt that threatened by George's burgeoning songwriting talent

>Here Comes the Son
>actually a daughter

disappoint :-(

Probably my favourite bass-work by Paul, that shit passes way too many people by

>pretending they can hear the bass

lol, human ear can hear from 200 Hz up, you can't hear the bass you poseurs

I'm pretty sure he showed them other songs that made it to All Things Must Pass, but those were probably used because Paul and John didn't find them threatening

They are just OK. Not great

>>pretending they can hear the bass
>lol, human ear can hear from 200 Hz up, you can't hear the bass you poseurs

1/10 b8

>make suggestions to your bandmates for songs on albums
>they're shit and no-one cares
>write a bunch of songs hoping they'll make it on the next album
>they're shit and no-one cares
>finally get a song on Sgt. Pepper's, what is shaping up to be the most acclaimed and popular release yet
>it's shit and no-one cares
>after leaving the Beatles finally get a chance to put all of your filler on one album
>it's shit and no-one cares, but middle children around the world rally behind you because they empathize with your plight of being an underwhelming failure
JUST

>implying
actually, i invite you to read up on the topic, as you seem to lack even the most basic knowledge in the field of acoustics and psychoacuoustics if you think it's bait. "Music, Physics and Engineering" by Harry Olson is a good starting point.

>actually, i invite you to read up on the topic, as you seem to lack even the most basic knowledge in the field of acoustics and psychoacuoustics if you think it's bait. "Music, Physics and Engineering" by Harry Olson is a good starting point.
you kind of sound like a cunt mate

you seem like a cunt for discrediting true facts as "bait"

>actually, i invite you to read up on the topic
kek

this is obviously a typo

it's 200Hz to 200kHz, that's why I told you to read some literature, s m h
kids today and believing everything they read in the internet

bass player here, can confirm.

Please stop being stupid on the internet

>i don't understand the topic so i'm going to call people stupid
wow.

>i don't understand the topic
The topic is George Harrison

Are you a brainlet or what

we're not talking about that faget anymore

get out of my topic, we're talking about human hearing range. This is some big boy subject, not expecting an amateur like you to have any knowledge in the field, haha.

why are you doing this

doing what?

ruining this thread

it's always been ruined

why

i don't know, ask the op

would you have us go be stupid of the street? you have any idea how dangerous that is? You need to grow up and stop thinking of only yourself.

>would you have us go be stupid of the street?
Yes?

I mean I don't know but it's certainly better that he used it for The Beatles in retrospect

Either way from an artist's perspective it's not like the artist should just go about their work second guessing their creations as to whether they'd be better for themselves or for the group that they're in at that given moment (within reason, assuming said artist doesn't have a specific plan for their potential idea outside of their current group), whatever an individual artist is doing at any specific given moment is best utilized when full effort is given towards it, it's not like it would've been in George's interest (or his songs' interest) for him to have held onto them for an indefinite time for future use, it makes more sense for an artist to consistently give their full effort 100% of the time as opposed to giving less of an effort for the present in order to potentially have more significance/strength in the future (again, unless said ideas are for use with a specifically realized concept that the musician is intending for use in its own separate thing).

It's almost as if that man was, at the time, a member of a great creative and collaborative group in the arts, and he wanted to make individual contributions to the group's collective work, as he was still in the group at the time.

Huh.