“I got the impression that he needed to be quite forceful to get his songs onto Beatles records”: George Harrison orchestrator John Barham reflects on their shared love of Indian music and being conducted by Phil Spector

John Barham wrote the orchestral and choral arrangements for two of George Harrison’s most celebrated albums: 1970’s All Things Must Pass and 1973’s Living in the Material World.

Barham, who was educated at the Royal College of Music and the School of Oriental and African Studies, both in London, was an assistant to Ravi Shankar, a longtime friend of Harrison.

Harrison and Barham first collaborated on Harrison’s often-overlooked 1968 soundtrack album, Wonderwall Music, the first solo album to be released by a Beatle.

We recently caught up with Barham for a rare interview – via email – about Harrison’s skills as a producer.

When you met George in 1966, you shared a love of Indian music, which was hardly mainstream at that point. Was there a sense that you were outsiders in your chosen fields?

“Yes, there was that sense, but we didn’t really discuss it. We talked more about spirituality and philosophy. I remember that the other Beatles were curious about other aspects of Indian culture, too, in particular, their [1968] trip to Rishikesh [India] and being influenced by the teachings of the Maharishi and transcendental meditation.”

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In 1966, you did Alice in Wonderland with Ravi, and George wrote his first Indian-influenced song, Love You To, for Revolver. Do you think it was scary for him to introduce Indian music onto a record by the Beatles?

“I got the impression that he needed to be quite forceful to get his songs onto Beatles records. He was one against two of the greatest songwriters of their time. But also their equal. George was so intensely involved with Indian music as well as his work with the Beatles, and I think the strength of his conviction would have overcome any scary feelings.”

Wonderwall Music was one of George’s first forays into album production. What was it like working for him during those sessions? Was he completely in control or was he still learning as he went along?

“He was certainly in control – but I wouldn’t say completely in control. One of the things I liked about working with him was his ability to give musicians the freedom to express themselves while following his leadership.

“I recently checked the Apple Records box set and saw how many productions George was involved in. He was a quick learner, and working with Billy Preston, Badfinger and Ronnie Spector would have offered George – and myself– plenty of opportunities to learn a few tricks of the trade.”

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How would you approach writing an arrangement for one of George’s songs?

“For the All Things Must Pass orchestral sessions, we first worked together at Friar Park [Harrison’s home – and home studio– in Henley-on-Thames, England] in a large room with two chairs and an upright piano.

“George sang and played ideas on the guitar, and I suggested ideas on the piano. I notated everything we agreed on so that there would be no surprises at the recording stage. It was very straightforward and collaborative.”

How did Phil Spector’s production style on All Things Must Pass affect your choices?

“Phil gave me complete freedom by not being present at the preparatory orchestral sessions. He left it to George and me. But during the recording, he demonstrated in front of the orchestra how he thought I should conduct.”

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Did having George as the producer on Material World give you more freedom in your arrangements?

“The preparation and recording sessions were very similar, with the difference that Phil was not telling me how to conduct.”

On the new remix, they really brought out your orchestral arrangements. Were you frustrated with the original mix?

“I wasn’t frustrated, but I thought the balance in the original mixes of All Things and Material World was unsatisfactory. George’s vocals were too low in relation to the backing. This recent remixing of Material World is excellent, especially in regard to correcting that balance.”

What do you think George’s main gifts were as a guitarist?

“I think his main gifts were his melodic sense, simplicity, clarity and, for me, an instantly recognizable style that embodied melodic ideas with rock rhythms and an influence of Indian music.”

• Living in the Material World: 50th Anniversary box set is available now via Dark Horse.