[40], The sessions for most of the basic tracks for Living in the Material World took place over October and November 1972, with engineer Phil McDonald, but without Harrison's intended co-producer from All Things Must Pass and The Concert for Bangladesh, Phil Spector. So don't let me wait too long . [23] This tension is evident in the "implie[d] dissonance" during the verses, Leng adds, when Harrison moves from an F major chord to D-flat major. of those tears that I've cried, Here, with our love So don't let me wait, Don't let me wait, Now don't let me wait too long. [111] To Huntley, "Don't Let Me Wait Too Long" is "a superlative slice of almost McCartney-esque pop", with Harrison's "exquisite slide guitar" a particular highlight. [119] Harrison had suggested they cover the track as a compromise between Splinter's vision and the commercial requirements initiated by Dark Horse distributor Warner Bros. [72] "Don't Let Me Wait Too Long" was sequenced on side one of the LP, between the ballads "The Light That Has Lighted the World" and "Who Can See It". So don't let me wait too long, 'Till you're here by my side [41][nb 3] According to the album credits, the location for the recording was the Beatles' Apple Studio in London,[41][43] although bassist Klaus Voormann has stated that the true venue was Harrison's new home studio, FPSHOT, in Oxfordshire. [112], In November 1976, Harrison performed "Don't Let Me Wait Too Long" with Paul Simon during the pre-show taping of their joint appearance on NBC Television's Saturday Night Live. You know that it's you that I love. [57] On "Don't Let Me Wait Too Long", the overdubs included his vocals and slide guitar part. This song is by George Harrison and appears on the album Living In The Material World (1973). Don't let me wait too long. Although produced by Harrison alone, the recording employs aspects of the Wall of Sound production synonymous with his former collaborator Phil Spector – through the use of reverb, two drummers and multiple acoustic rhythm guitar parts. Here with your love Now only you know how to lay it there like it came from above. #-----PLEASE NOTE-----# #This file is the author's own work and represents their interpretation of the # #song. If it no longer meets these criteria, you can reassess it. Its lyrics have invited debate among commentators as to whether Harrison is addressing a lover such as Boyd or, like the majority of his lyrics on Material World, God. [30], Whereas Huntley, Inglis and Walker consider that Harrison is addressing a lover in "Don't Let Me Wait Too Long",[5][6][19] other commentators, like Giuliano, view the lyrics as being consistent with the predominant theme of Living in the Material World – namely, Harrison's spiritual search amid the temptations of the physical world. [71], Apple Records released Living in the Material World on 30 May 1973 in America. So don't let me wait too long, How I love you baby Now don't let me wait too long, Till you're here by my side [94] In Melody Maker, Michael Watts wrote of the song's "Spector touches", including "a crashing two-beat on piano and a great surge of drums, straight from [the Ronettes'] 'Be My Baby'". Helium – formerly Elf Power guitarist Bryan Poole – covered "Don't Let Me Wait Too Long" on his 2003 EP Kumquat Mae. [95] While otherwise lamenting the overt religiosity of the album,[96] Tony Tyler of the NME identified "Don't Let Me Wait Too Long" as the best track, describing it as "bright and hopeful" with a "memorable melody to commend it". So don't let me wait too long . The lack of clear distinction between the two themes in Harrison's songwriting was first evident in ". Here with your love Now only you know how to lay it there like it came from above. George Harrison - Don't Let Me Wait Too Long. like it came from above, Now don't let me wait too long [89] Author Andrew Grant Jackson suggests that the reason for the cancellation was due to "Don't Let Me Wait Too Long" having a similar sound to "When I'm Dead and Gone", a 1970 hit song by McGuinness Flint. [6][24] Part of a sound commonly associated with Harrison during the early 1970s,[60][61] these characteristics were also elements of his 1971 production of Badfinger's "Day After Day"[56] and Lon & Derrek Van Eaton's "Sweet Music". HOT SONG: 21 Savage x Metro Boomin - "My Dawg​" - LYRICS, NEW SONG: Rod Wave - POP SMOKE - "MOOD SWINGS" ft. Lil Tjay - LYRICS, NEW SONG: AC/DC - "Shot In The Dark" - LYRICS, NEW SONG: Shawn Mendes - "Wonder" - LYRICS, HOT SONG: BLACKPINK – "Lovesick Girls" - LYRICS. In a 1987 interview, Harrison cited Spector's unreliability and excessive alcohol consumption as reasons for him deciding to produce the new album alone. [6], Despite Spector's absence, the song's production incorporates aspects of his signature Wall of Sound,[59] through the use of reverberation, multiple drummers and layers of rhythm instruments such as acoustic guitars and keyboards. [48] In addition, Pete Ham and Tom Evans of the Apple group Badfinger attended some of the sessions in October,[1] playing acoustic rhythm guitar as they had on much of All Things Must Pass. [109], Simon Leng refers to "Don't Let Me Wait Too Long" as "one of George Harrison's most perfect pop confections", while praising its guitar fills and musical arrangement. [51][52][nb 4], Following the completion of the main recording sessions, Harrison carried out overdubbing on the basic tracks through to the end of February 1973. In November 1976, during the filming of their joint appearance on Saturday Night Live, Harrison performed "Don't Let Me Wait Too Long" with singer Paul Simon, but the song did not appear in the broadcast. 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