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Read the original blog post3.49pm
31 March 2008
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‘Give Me Love (Give Me Peace On Earth)’ is the opening track on George Harrison’s fourth solo album Living In The Material World. See more…
We did the tracking at Apple. The songs were just cool, simple little songs, but when we got to ‘Give Me Love’, I thought to myself, ‘This is hard work, this one!’ The drums are kind of subdued, but I was playing a very busy little syncopated part, trying to play with the guitar – and George was so easy to play with. When we finally got the take, I remember listening and thinking, ‘I wouldn’t have got away with that with anybody else.’ Any other producer would probably have said, ‘OK, that’s cool, now let’s have a proper backbeat and nail it down.’
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1.24pm
Moderators
15 February 2015
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sigh butterfly said in another thread
I heard Give Me Love (Give Me Peace On Earth) while driving into work today. What a wonderful arrangement – the song is so inviting and friendly. The guitar and piano sound like the musical equivalent of a smile. The way George sings “Trying to, touch and reach you with,
Heart and soul” is like a vocal hug.Thank you George
Thank you George 
I know exactly what you mean, SB. This is one of my favourites; I never get tired of hearing it. The opening rhythm guitar is so crisp and fresh, and then that slide guitar which is the epitome of Harrisonic slide guitar (I won’t describe it as gleaming because I’ve used that adjective too many times in description of George’s slide fabosity). And his vocal is so gentle and heartfelt, with that slight raggedness which makes the song that much more gorgeous.
When I heard this one, it was like the wax seal on my Harrifan-For-Life contract. 
I was on a Give Me Love kick for days, and I’ve not looked back since. 
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3.03pm
3 August 2012
Offline To add to @Beatlebug’s comment it is a massive difference from All Things Must Pass . That’s got songs such as Wah-Wah and Let It Down which have way too many instruments and are filled with reverb and then suddenly his next album has this at the beginning which is such a big change with its one drummer(!) and barely any reverb. It’s sparse arrangement continues throughout the rest of the album (kinda) which is why it’s so effective when you listen to it in that context.
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9.15pm
8 January 2015
Offline It has the triple whammy of great lyric, melody and rhythm. I’m strongly reminded of The Band and that style of country rock, with a strong backup vocal component and a strong keyboard part.
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9.08am
28 March 2014
Offline Great song! 
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9.47am
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1 May 2011
Offline It’s such a catchy tune that tickles your chin and gives you a massive hug at the beginning so you want to stay and listen. Its also more airy and less saturated than a lot of what on ‘All Things Pass’ which is so refreshing.
Easily one of George’s best tracks as well as one of the best solo tracks and singles by a solo Beatle. I had the vinyl single with ‘Miss O’Dell’ on the b-side and was frequently going back to play both.
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10.43pm
Moderators
15 February 2015
Offline Beatlebug said
I know exactly what you mean, SB. This is one of my favourites; I never get tired of hearing it.
This is still true. Thanks for interrupting my attempt to listen to Ram , @sigh butterfly
One of the few popular “overplayed” songs that doesn’t actually get worn out with repeated listens. It’s as fresh on the ten thousandth listen as the first, as fresh and cool and clear as a bright spring morning after a rain, with all the heartfelt gentle yearning invitation George’s gentle yearning soul could muster.
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10.52pm
11 June 2015
Offline Your words bring tears to my eyes @Beatlebug , it really is that wonderful.
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4.21am
Moderators
15 February 2015
Offline Jim Keltner said
We did the tracking at Apple. The songs were just cool, simple little songs, but when we got to ‘Give Me Love’, I thought to myself, ‘This is hard work, this one!’ The drums are kind of subdued, but I was playing a very busy little syncopated part, trying to play with the guitar – and George was so easy to play with. When we finally got the take, I remember listening and thinking, ‘I wouldn’t have got away with that with anybody else.’ Any other producer would probably have said, ‘OK, that’s cool, now let’s have a proper backbeat and nail it down.’
I do really like the drums ‘n bass on this one. The meandering, shuffley, syncopated nature of them really adds a layer of depth to what would otherwise be a very straightforward song, while also somehow not overpowering the main focal point of the song.
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