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'''''The Place I Love''''' is the debut album by English vocal duo [[Splinter (band)|Splinter]], released on [[Dark Horse Records]] in September 1974. It was also the first album released by the Dark Horse label, which was owned by [[George Harrison]], who produced the album. As well as extensive contributions from Harrison, ''The Place I Love'' features musical support from [[Gary Wright]], [[Billy Preston]], [[Jim Keltner]] and [[Alvin Lee]]. "Costafine Town", the first single from the album, was a top 20 hit in the United Kingdom and other countries. The album's sound has been likened to that of [[ |
'''''The Place I Love''''' is the debut album by English vocal duo [[Splinter (band)|Splinter]], released on [[Dark Horse Records]] in September 1974. It was also the first album released by the Dark Horse label, which was owned by [[George Harrison]], who produced the album. As well as extensive contributions from Harrison, ''The Place I Love'' features musical support from [[Gary Wright]], [[Billy Preston]], [[Jim Keltner]] and [[Alvin Lee]]. "Costafine Town", the first single from the album, was a top 20 hit in the United Kingdom and other countries. The album's sound has been likened to that of [[the Beatles]], [[Badfinger]] and [[Plastic Ono Band]]. |
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==Background== |
==Background== |
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Splinter's Bobby Purvis and Bill Elliott had had links with [[The Beatles]] for some time before they came to work with [[George Harrison]],<ref name="Clayson p 346">Clayson, p. 346.</ref> since [[Mal Evans]], in his role as a talent scout for [[Apple Records]], had discovered the duo (then playing in the Newcastle band Half Breed) and become their manager.<ref name="Leng p 142">Leng, p. 142.</ref><ref name="TBSL/Mal & Lonely Man">[http://badfinge.ipower.com/Splinter/how%20Splinter%20was%20discovered_George%20Harrison.mp3 "George Harrison talks about how Mal Evans discovered Splinter and 'Lonely Man' in the film (1974)"], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> Following his involvement with the music documentaries ''[[Raga (film)|Raga]]'' (1971) and ''[[The Concert for Bangladesh (film)|The Concert for Bangladesh]]'' (1972), Harrison's first foray into feature-film production was ''[[Little Malcolm]]'',<ref>Rodriguez, p. 201.</ref> directed by [[Stuart Cooper]] and shot primarily in [[Lancashire]] during February and March 1973.<ref>Badman, p. 90.</ref> A song was needed for a pivotal scene in the movie, for which Evans suggested the Purvis composition "Another Chance I Let Go", subsequently retitled "Lonely Man".<ref name="Clayson p 346" /><ref name="Leng p 142" /> Harrison was impressed and arranged sessions at [[Apple Corps#Apple Studio|Apple Studio]] in central London to record the song, with a view to issuing it as a single to coincide with the release of ''Little Malcolm''.<ref name="Leng p 142" /><ref name="TBSL/Mal & Lonely Man" /> With Harrison as producer and contributing his signature [[slide guitar]]s, Purvis and Elliott were backed by [[Pete Ham]] from Apple band [[Badfinger]], as well as an unnamed bassist and drummer.<ref>[http://badfinge.ipower.com/Splinter/AnotherChance.html "'Lonely Man' demo session by Splinter (with Pete Ham)"], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> |
Splinter's Bobby Purvis and Bill Elliott had had links with [[The Beatles]] for some time before they came to work with [[George Harrison]],<ref name="Clayson p 346">Clayson, p. 346.</ref> since [[Mal Evans]], in his role as a talent scout for [[Apple Records]], had discovered the duo (then playing in the Newcastle band Half Breed) and become their manager.<ref name="Leng p 142">Leng, p. 142.</ref><ref name="TBSL/Mal & Lonely Man">[http://badfinge.ipower.com/Splinter/how%20Splinter%20was%20discovered_George%20Harrison.mp3 "George Harrison talks about how Mal Evans discovered Splinter and 'Lonely Man' in the film (1974)"], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> Following his involvement with the music documentaries ''[[Raga (film)|Raga]]'' (1971) and ''[[The Concert for Bangladesh (film)|The Concert for Bangladesh]]'' (1972), Harrison's first foray into feature-film production was ''[[Little Malcolm]]'' (1974),<ref>Rodriguez, p. 201.</ref> directed by [[Stuart Cooper]] and shot primarily in [[Lancashire]] during February and March 1973.<ref>Badman, p. 90.</ref> A song was needed for a pivotal scene in the movie, for which Evans suggested the Purvis composition "Another Chance I Let Go", subsequently retitled "Lonely Man".<ref name="Clayson p 346" /><ref name="Leng p 142" /> Harrison was impressed and arranged sessions at [[Apple Corps#Apple Studio|Apple Studio]] in central London to record the song, with a view to issuing it as a single to coincide with the release of ''Little Malcolm''.<ref name="Leng p 142" /><ref name="TBSL/Mal & Lonely Man" /> With Harrison as producer and contributing his signature [[slide guitar]]s, Purvis and Elliott were backed by [[Pete Ham]] from Apple band [[Badfinger]], as well as an unnamed bassist and drummer.<ref>[http://badfinge.ipower.com/Splinter/AnotherChance.html "'Lonely Man' demo session by Splinter (with Pete Ham)"], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> |
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According to Cooper, however, the whole film project then became tied up in the litigation surrounding [[Apple Corps]], delaying the release of ''Little Malcolm'' indefinitely.<ref>Michael Simmons, "Cry for a Shadow", ''[[Mojo (magazine)|Mojo]]'', November 2011, p. 85.</ref> Even before this development, Harrison had heard more of Purvis's songs and invited the duo to record a full album.<ref name="Leng p 142" /><ref name="Madinger & Easter p 442">Madinger & Easter, p. 442.</ref> "Splinter had all the qualities that Harrison admired in abundance," Simon Leng has written in his musical biography of the ex-Beatle, ''While My Guitar Gently Weeps'', noting Purvis's strength as a songwriter, Elliott's powerful vocals, and the pair's "lush harmonies".<ref name="Leng p 142" /> Keen to continue his role as a record producer and mentor for other artists after the scaling down of Apple Records,<ref>Inglis, p. 59.</ref> Harrison set about establishing his own label, which |
According to Cooper, however, the whole film project then became tied up in the litigation surrounding [[Apple Corps]], delaying the release of ''Little Malcolm'' indefinitely.<ref>Michael Simmons, "Cry for a Shadow", ''[[Mojo (magazine)|Mojo]]'', November 2011, p. 85.</ref> Even before this development, Harrison had heard more of Purvis's songs and invited the duo to record a full album.<ref name="Leng p 142" /><ref name="Madinger & Easter p 442">Madinger & Easter, p. 442.</ref> "Splinter had all the qualities that Harrison admired in abundance," Simon Leng has written in his musical biography of the ex-Beatle, ''While My Guitar Gently Weeps'', noting Purvis's strength as a songwriter, Elliott's powerful vocals, and the pair's "lush harmonies".<ref name="Leng p 142" /> Keen to continue his role as a record producer and mentor for other artists after the scaling down of Apple Records,<ref>Inglis, p. 59.</ref> Harrison set about establishing his own label, which he would launch in May 1974 as [[Dark Horse Records|Dark Horse]].<ref>Clayson, p. 345.</ref><ref name="Badman p 125">Badman, p. 125.</ref> Splinter was the first act signed to the label, apparently after considering [[Threshold Records]],<ref>[http://badfinge.ipower.com/Splinter/Splinter1974bio1.jpg Dark Horse Records press release], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> followed by [[Ravi Shankar]].<ref>Clayson, pp 345–46.</ref> |
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==Production== |
==Production== |
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Sessions began for Splinter's album straight after the recording of "Lonely Man"; like the latter track, "Love Is Not Enough" was taped at Apple Studio during 1973, but it would be re-recorded for release on the band's third album, ''Two Man Band''.<ref name="Leng p 143">Leng, p. 143.</ref> |
Sessions began for Splinter's album straight after the recording of "Lonely Man"; like the latter track, "Love Is Not Enough" was taped at Apple Studio during 1973, but it would be re-recorded for release on the band's third album, ''Two Man Band'' (1977).<ref name="Leng p 143">Leng, p. 143.</ref>{{refn|group=nb|Purvis and Elliot recorded a new version of "Lonely Man" also, which appeared on their 1975 album ''Harder to Live''.<ref>Aaron Badgley, [http://www.allmusic.com/album/harder-to-live-mw0000850212 "Splinter ''Harder to Live''"], [[Allmusic]] (retrieved 26 October 2012).</ref>}} Work on ''The Place I Love'' is said to have taken seventeen months, as Harrison encouraged Purvis and Elliott to refine their vocal sound in the studio and rework their songs, adding many ideas of his own.<ref>Leng, pp 143–45.</ref> After completing demos in London, recording was relocated to Harrison's state-of-the-art home studio, FPSHOT, at [[Friar Park]] in [[Oxfordshire]].<ref name="Leng p 143" /> One of a number of Harrison's "heavy friends" to contribute to the project,<ref name="Clayson p 346" /> [[Gary Wright]] served as a "sounding board and musical amanuensis", according to Leng,<ref name="Leng p 144">Leng, p. 144.</ref> while [[Phil McDonald]] was the recording engineer, as he had been on Harrison's recent album, ''[[Living in the Material World]]'' (1973).<ref>Booklet accompanying ''[[Living in the Material World]]'' reissue (EMI Records, 2006; produced by Dhani & Olivia Harrison).</ref> Other top-level musicians to guest on the backing tracks included [[Klaus Voormann]] (on electric and acoustic bass), [[Billy Preston]] (organ and piano), [[Willie Weeks]] (bass) and [[Jim Keltner]] (drums).<ref name="Schaffner p 179" /><ref name="TBSL/Place">[http://www.splinterlibrary.com ''Select:'' albums: The Place I Love], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> |
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By the end of January 1974, before heading off to India for a month,<ref>Leng, p. 148.</ref> Harrison included portions of Splinter's unfinished songs "Gravy Train", "Somebody's City", "Drink All Day", "The Place I Love" and "China Light" on a tape for record-industry boss [[David Geffen]].<ref name="TBSL/Geffen">[http://www.splinterlibrary.com ''Select:'' albums: The Place I Love / "The David Geffen tape"], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> Hoping to secure a US distributor for his nascent record label, and considering Splinter the "jewel in Dark Horse's crown",<ref name="Clayson p 346" /> Harrison added comments stressing to Geffen the band's "really good" songwriting.<ref name="TBSL/Geffen" /><ref>Leng, pp 142, 143.</ref> |
By the end of January 1974, before heading off to India for a month,<ref>Leng, p. 148.</ref> Harrison included portions of Splinter's unfinished songs "Gravy Train", "Somebody's City", "Drink All Day", "The Place I Love" and "China Light" on a tape for record-industry boss [[David Geffen]].<ref name="TBSL/Geffen">[http://www.splinterlibrary.com ''Select:'' albums: The Place I Love / "The David Geffen tape"], Tom Brennan's Splinter Library, 26 November 2011 (retrieved 25 October 2012).</ref> Hoping to secure a US distributor for his nascent record label, and considering Splinter the "jewel in Dark Horse's crown",<ref name="Clayson p 346" /> Harrison added comments stressing to Geffen the band's "really good" songwriting.<ref name="TBSL/Geffen" /><ref>Leng, pp 142, 143.</ref>{{refn|group=nb|Harrison eventually agreed terms with [[A&M Records]] as worldwide distributor for the label.<ref name="Badman p 125" /><ref name="Woffinden p 85" />}} |
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The [[overdubbing]] phase of the album took place "over a period of months", Leng writes, Harrison "piec[ing] it together as if he were creating a mosaic".<ref name="Leng p 143" /> While Elliott and Purvis perfected their vocals parts, [[Alvin Lee]] added guitar to "Gravy Train" and "Haven't Got Time", and [[Mel Collins]]' "well-targeted horn charts" featured on three tracks.<ref>Leng, pp 143–44.</ref> Harrison's own much-praised contributions included a variety of electric and acoustic guitar parts, as well as [[dobro]], bass, [[Pump organ|harmonium]] and [[Moog |
The [[overdubbing]] phase of the album took place "over a period of months", Leng writes, Harrison "piec[ing] it together as if he were creating a mosaic".<ref name="Leng p 143" /> While Elliott and Purvis perfected their vocals parts, [[Alvin Lee]] added guitar to "Gravy Train" and "Haven't Got Time", and [[Mel Collins]]' "well-targeted horn charts" featured on three tracks.<ref>Leng, pp 143–44.</ref> Harrison's own much-praised contributions included a variety of electric and acoustic guitar parts, as well as [[dobro]], bass, [[Pump organ|harmonium]] and [[Moog synthesizer]], [[mandolin]], and various percussive instruments.<ref name="TBSL/Place" /> Since he was still under contract to Apple, all these parts would be credited to three Harrison pseudonyms that were becoming increasingly well known to record buyers:<ref name="Schaffner p 179" /> Hari Georgeson, Jai Raj Harisein and P. Roducer.<ref>Castleman & Podrazik, pp 200–06.</ref> Splinter were amazed at his ability to work "for 24 hours straight",<ref name="Clayson p 346" /> and Purvis later told Leng that Harrison "bent over backwards to make us happy".<ref name="Leng p 144" /> In truth, however, Harrison's commitment to Splinter's debut, and to the Shankar projects ''[[Shankar Family & Friends]]'' (1974) and [[Ravi Shankar's Music Festival from India|Music Festival from India]], had a highly detrimental effect on his own career,<ref>Huntley, pp 107–08.</ref> since he would be forced to rush-record his ''[[Dark Horse (George Harrison album)|Dark Horse]]'' album (1974) while preparing for a much-hyped North American tour (again with Shankar) at the end of the year.<ref name="Madinger & Easter p 442" /><ref>Clayson, p. 335.</ref> The over-exertion resulted in Harrison losing his voice and finally contracting [[laryngitis]] during rehearsals in Los Angeles.<ref name="Madinger & Easter p 442" /><ref>Harrison, p. 312.</ref>{{refn|group=nb|Another factor was Harrison's lifestyle during the 1973–74 period, which marked the end of his marriage to [[Pattie Boyd]].<ref>Leng, pp 148, 150–51.</ref> While discussing the Splinter and Shankar albums in an interview for Houston radio station [[KLOL]], midway through his tour,<ref>Madinger & Easter, p. 443.</ref> Harrison asked listeners to help make ''The Place I Love'' a hit – and joked that he would need to sell 5 million copies of the album just to cover the cost of all the brandy consumed during its production.<ref name="Contra/On tour">[http://beatlechat.blogspot.com.au/2012/10/haris-on-tour-depressed.html "Hari's On Tour (Depressed)"], Contra Band Music, 17 October 2012 (retrieved 17 March 2013).</ref><ref>Badman, p. 138.</ref>}} |
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==Release== |
==Release== |
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''The Place I Love'' was released in Britain and America in late September 1974 with the Dark Horse catalog number 22001, signifying that it was the label's first album release.<ref name="Castleman & Podrazik p 138">Castleman & Podrazik, p. 138.</ref> "Costafine Town" backed with "Elly-May" was issued as a single on 13 September in the UK, although its US release was delayed by two months.<ref name="Castleman & Podrazik p 138" /><ref>Badman, p. 132.</ref> The album cover photo was taken by [[Terry O'Neill (photographer)|Terry O'Neill]] at Friar Park, showing Elliott and Purvis standing on the large stones that cross the property's |
''The Place I Love'' was released in Britain and America in late September 1974 with the Dark Horse catalog number 22001, signifying that it was the label's first album release.<ref name="Castleman & Podrazik p 138">Castleman & Podrazik, p. 138.</ref> "Costafine Town" backed with "Elly-May" was issued as a single on 13 September in the UK, although its US release was delayed by two months.<ref name="Castleman & Podrazik p 138" /><ref>Badman, p. 132.</ref> The album cover photo was taken by [[Terry O'Neill (photographer)|Terry O'Neill]] at Friar Park, showing Elliott and Purvis standing on the large stones that cross one of the property's lakes.<ref name="TBSL/Place" /> Promotion for the album included feature articles in ''[[Melody Maker]]'' and advertisements in American music magazines ''[[Billboard (magazine)|Billboard]]''<ref>[http://books.google.com.au/books?id=tgcEAAAAMBAJ&pg=RA1-PA11&dq=%22dark+Horse%22&hl=en&sa=X&ei=DJS1UOsiieyYBdLZgbAD&ved=0CDoQ6AEwAg#v=onepage&q=%22dark%20Horse%22&f=false ''Billboard''], 5 October 1974, p. 11 (retrieved 28 November 2012).</ref> and ''[[Circus (magazine)|Circus Raves]]''.<ref name="TBSL/Place" /> |
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Splinter's debut album brought Purvis and Elliott the only British and American chart success of their career: "Costafine Town" climbing to number 17 in the UK<ref>[http://chartarchive.org/a/splinter "Splinter"], Chart Stats (retrieved 25 October 2012).</ref> and number 77 on the [[Billboard Hot 100|''Billboard'' Hot 100]], while ''The Place I Love'' peaked at number 81 on the [[Billboard 200|''Billboard'' 200]] albums chart.<ref>Castleman & Podrazik, pp 355, 365.</ref><ref>[http://www.allmusic.com/artist/splinter-mn0001511167/awards "Splinter: Awards"], [[Allmusic]] (retrieved 25 October 2012).</ref> In Australia, "Costafine Town" was a top-ten hit.<ref name="TBSL/Place" /> Released in February 1975, the follow-up single in Britain was the rustic "Drink All Day", which, after being banned by the [[BBC]] for containing the word "bloody",<ref name="Clayson p 346" /> was immediately followed by "China Light", the second single from the album in the United States.<ref>Castleman & Podrazik, pp 147, 149.</ref> |
Splinter's debut album brought Purvis and Elliott the only British and American chart success of their career: "Costafine Town" climbing to number 17 in the UK<ref>[http://chartarchive.org/a/splinter "Splinter"], Chart Stats (retrieved 25 October 2012).</ref> and number 77 on the [[Billboard Hot 100|''Billboard'' Hot 100]], while ''The Place I Love'' peaked at number 81 on the [[Billboard 200|''Billboard'' 200]] albums chart.<ref>Castleman & Podrazik, pp 355, 365.</ref><ref>[http://www.allmusic.com/artist/splinter-mn0001511167/awards "Splinter: Awards"], [[Allmusic]] (retrieved 25 October 2012).</ref> In Australia, "Costafine Town" was a top-ten hit.<ref name="TBSL/Place" /> Released in February 1975, the follow-up single in Britain was the rustic "Drink All Day", which, after being banned by the [[BBC]] for containing the word "bloody",<ref name="Clayson p 346" /> was immediately followed by "China Light", the second single from the album in the United States.<ref>Castleman & Podrazik, pp 147, 149.</ref> |
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| Line 77: | Line 77: | ||
*Bill Elliott – vocals (all tracks) |
*Bill Elliott – vocals (all tracks) |
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*Bobby Purvis – vocals (all tracks) |
*Bobby Purvis – vocals (all tracks) |
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*[[George Harrison]] – acoustic guitar (2, 3, 4, 6, 8), electric guitar (1, 4, 6, 7, 9), 12-string acoustic guitar (2, 4), [[dobro]] (2, 6), mandolin (3), bass (5), 6-string bass (5), [[Pump organ|harmonium]] (2, 6), percussion (2, 4, 5, 6, 9), [[jew's harp]] (2), [[Moog synthesizer |
*[[George Harrison]] – acoustic guitar (2, 3, 4, 6, 8), electric guitar (1, 4, 6, 7, 9), 12-string acoustic guitar (2, 4), [[dobro]] (2, 6), mandolin (3), bass (5), 6-string bass (5), [[Pump organ|harmonium]] (2, 6), percussion (2, 4, 5, 6, 9), [[jew's harp]] (2), [[Moog synthesizer]] (8), backing vocals (7) |
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*[[Gary Wright]] – piano (4, 5, 8), electric piano (6, 7) |
*[[Gary Wright]] – piano (4, 5, 8), electric piano (6, 7) |
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*[[Klaus Voormann]] – bass (1, 4, 6, 9), [[Double bass|standup bass]] (2, 8) |
*[[Klaus Voormann]] – bass (1, 4, 6, 9), [[Double bass|standup bass]] (2, 8) |
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*[[Mel Collins]] – horn arrangement (1, 7, 9) |
*[[Mel Collins]] – horn arrangement (1, 7, 9) |
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== |
==Notes== |
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{{reflist|2|group=nb}} |
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==Citations== |
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{{reflist|3}} |
{{reflist|3}} |
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== |
==Sources== |
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{{refbegin}} |
{{refbegin}} |
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* Keith Badman, ''The Beatles Diary Volume 2: After the Break-Up 1970–2001'', Omnibus Press (London, 2001; ISBN 0-7119-8307-0). |
* Keith Badman, ''The Beatles Diary Volume 2: After the Break-Up 1970–2001'', Omnibus Press (London, 2001; ISBN 0-7119-8307-0). |
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| Line 97: | Line 100: | ||
* Alan Clayson, ''George Harrison'', Sanctuary (London, 2003; ISBN 1-86074-489-3). |
* Alan Clayson, ''George Harrison'', Sanctuary (London, 2003; ISBN 1-86074-489-3). |
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* Olivia Harrison, ''George Harrison: Living in the Material World'', Abrams (New York, NY, 2011; ISBN 978-1-4197-0220-4). |
* Olivia Harrison, ''George Harrison: Living in the Material World'', Abrams (New York, NY, 2011; ISBN 978-1-4197-0220-4). |
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* Elliot J. Huntley, ''Mystical One: George Harrison |
* Elliot J. Huntley, ''Mystical One: George Harrison – After the Break-up of the Beatles'', Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0). |
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* Ian Inglis, ''The Words and Music of George Harrison'', Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3). |
* Ian Inglis, ''The Words and Music of George Harrison'', Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-3). |
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* Simon Leng, ''While My Guitar Gently Weeps: The Music of George Harrison'', Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5). |
* Simon Leng, ''While My Guitar Gently Weeps: The Music of George Harrison'', Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5). |
||
* Chip Madinger & Mark Easter, ''Eight Arms to Hold You: The Solo Beatles Compendium'', 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4). |
* Chip Madinger & Mark Easter, ''Eight Arms to Hold You: The Solo Beatles Compendium'', 44.1 Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4). |
||
* Robert Rodriguez, ''Fab Four FAQ 2.0: The Beatles' Solo Years, |
* Robert Rodriguez, ''Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980'', Backbeat Books (Milwaukee, WI, 2010; ISBN 978-1-4165-9093-4). |
||
* Nicholas Schaffner, ''The Beatles Forever'', McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5). |
* Nicholas Schaffner, ''The Beatles Forever'', McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5). |
||
* Bob Woffinden, ''The Beatles Apart'', Proteus (London, 1981; ISBN 0-906071-89-5). |
* Bob Woffinden, ''The Beatles Apart'', Proteus (London, 1981; ISBN 0-906071-89-5). |
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| Untitled | |
|---|---|
The Place I Love is the debut album by English vocal duo Splinter, released on Dark Horse Records in September 1974. It was also the first album released by the Dark Horse label, which was owned by George Harrison, who produced the album. As well as extensive contributions from Harrison, The Place I Love features musical support from Gary Wright, Billy Preston, Jim Keltner and Alvin Lee. "Costafine Town", the first single from the album, was a top 20 hit in the United Kingdom and other countries. The album's sound has been likened to that of the Beatles, Badfinger and Plastic Ono Band.
Splinter's Bobby Purvis and Bill Elliott had had links with The Beatles for some time before they came to work with George Harrison,[1] since Mal Evans, in his role as a talent scout for Apple Records, had discovered the duo (then playing in the Newcastle band Half Breed) and become their manager.[2][3] Following his involvement with the music documentaries Raga (1971) and The Concert for Bangladesh (1972), Harrison's first foray into feature-film production was Little Malcolm (1974),[4] directed by Stuart Cooper and shot primarily in Lancashire during February and March 1973.[5] A song was needed for a pivotal scene in the movie, for which Evans suggested the Purvis composition "Another Chance I Let Go", subsequently retitled "Lonely Man".[1][2] Harrison was impressed and arranged sessions at Apple Studio in central London to record the song, with a view to issuing it as a single to coincide with the release of Little Malcolm.[2][3] With Harrison as producer and contributing his signature slide guitars, Purvis and Elliott were backed by Pete Ham from Apple band Badfinger, as well as an unnamed bassist and drummer.[6]
According to Cooper, however, the whole film project then became tied up in the litigation surrounding Apple Corps, delaying the release of Little Malcolm indefinitely.[7] Even before this development, Harrison had heard more of Purvis's songs and invited the duo to record a full album.[2][8] "Splinter had all the qualities that Harrison admired in abundance," Simon Leng has written in his musical biography of the ex-Beatle, While My Guitar Gently Weeps, noting Purvis's strength as a songwriter, Elliott's powerful vocals, and the pair's "lush harmonies".[2] Keen to continue his role as a record producer and mentor for other artists after the scaling down of Apple Records,[9] Harrison set about establishing his own label, which he would launch in May 1974 as Dark Horse.[10][11] Splinter was the first act signed to the label, apparently after considering Threshold Records,[12] followed by Ravi Shankar.[13]
Sessions began for Splinter's album straight after the recording of "Lonely Man"; like the latter track, "Love Is Not Enough" was taped at Apple Studio during 1973, but it would be re-recorded for release on the band's third album, Two Man Band (1977).[14][nb 1] Work on The Place I Love is said to have taken seventeen months, as Harrison encouraged Purvis and Elliott to refine their vocal sound in the studio and rework their songs, adding many ideas of his own.[16] After completing demos in London, recording was relocated to Harrison's state-of-the-art home studio, FPSHOT, at Friar ParkinOxfordshire.[14] One of a number of Harrison's "heavy friends" to contribute to the project,[1] Gary Wright served as a "sounding board and musical amanuensis", according to Leng,[17] while Phil McDonald was the recording engineer, as he had been on Harrison's recent album, Living in the Material World (1973).[18] Other top-level musicians to guest on the backing tracks included Klaus Voormann (on electric and acoustic bass), Billy Preston (organ and piano), Willie Weeks (bass) and Jim Keltner (drums).[19][20]
By the end of January 1974, before heading off to India for a month,[21] Harrison included portions of Splinter's unfinished songs "Gravy Train", "Somebody's City", "Drink All Day", "The Place I Love" and "China Light" on a tape for record-industry boss David Geffen.[22] Hoping to secure a US distributor for his nascent record label, and considering Splinter the "jewel in Dark Horse's crown",[1] Harrison added comments stressing to Geffen the band's "really good" songwriting.[22][23][nb 2]
The overdubbing phase of the album took place "over a period of months", Leng writes, Harrison "piec[ing] it together as if he were creating a mosaic".[14] While Elliott and Purvis perfected their vocals parts, Alvin Lee added guitar to "Gravy Train" and "Haven't Got Time", and Mel Collins' "well-targeted horn charts" featured on three tracks.[25] Harrison's own much-praised contributions included a variety of electric and acoustic guitar parts, as well as dobro, bass, harmonium and Moog synthesizer, mandolin, and various percussive instruments.[20] Since he was still under contract to Apple, all these parts would be credited to three Harrison pseudonyms that were becoming increasingly well known to record buyers:[19] Hari Georgeson, Jai Raj Harisein and P. Roducer.[26] Splinter were amazed at his ability to work "for 24 hours straight",[1] and Purvis later told Leng that Harrison "bent over backwards to make us happy".[17] In truth, however, Harrison's commitment to Splinter's debut, and to the Shankar projects Shankar Family & Friends (1974) and Music Festival from India, had a highly detrimental effect on his own career,[27] since he would be forced to rush-record his Dark Horse album (1974) while preparing for a much-hyped North American tour (again with Shankar) at the end of the year.[8][28] The over-exertion resulted in Harrison losing his voice and finally contracting laryngitis during rehearsals in Los Angeles.[8][29][nb 3]
The Place I Love was released in Britain and America in late September 1974 with the Dark Horse catalog number 22001, signifying that it was the label's first album release.[34] "Costafine Town" backed with "Elly-May" was issued as a single on 13 September in the UK, although its US release was delayed by two months.[34][35] The album cover photo was taken by Terry O'Neill at Friar Park, showing Elliott and Purvis standing on the large stones that cross one of the property's lakes.[20] Promotion for the album included feature articles in Melody Maker and advertisements in American music magazines Billboard[36] and Circus Raves.[20]
Splinter's debut album brought Purvis and Elliott the only British and American chart success of their career: "Costafine Town" climbing to number 17 in the UK[37] and number 77 on the Billboard Hot 100, while The Place I Love peaked at number 81 on the Billboard 200 albums chart.[38][39] In Australia, "Costafine Town" was a top-ten hit.[20] Released in February 1975, the follow-up single in Britain was the rustic "Drink All Day", which, after being banned by the BBC for containing the word "bloody",[1] was immediately followed by "China Light", the second single from the album in the United States.[40]
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [41] |
| Phonograph Record | (favourable)[42] |
NME critic Bob Woffinden described "Costafine Town" as an "attractive" song and a "very promising beginning" for both Splinter and the new record label.[24] The album was played before many of Harrison and Shankar's North American shows in November and December 1974, leading to positive comments from concert reviewers.[19] In his 1977 book The Beatles Forever, Nicholas Schaffner noted the "exquisite music" on The Place I Love, describing it as a "gorgeous fantasy" of what Harrison's Dark Horse album "should have sounded like".[19]
Simon Leng views it as an "overlooked classic" and the best album that Harrison worked on between Living in the Material World and his 1976 debut on Dark Horse, Thirty Three & 1/3.[17] Bruce Eder of Allmusic describes The Place I Love as sounding like "very good Badfinger outtakes" and "a cross between the Plastic Ono Band on a very good day and very melodic offshoots of All Things Must Pass in its leaner moments".[41] As highlights, Eder singles out "Somebody's City" (an "absolute jewel", featuring some of Harrison's "best and flashiest" guitar playing), "Gravy Train" ("practically a sequel to 'Get Back'") and "Costafine Town" ("a warmly nostalgia-laden tune with a memorable melody and gorgeous singing").[41] Eder bemoans the lack of a CD release for the album, adding: "Splinter deserved to be remembered, but so far their recognition has only come from the hardcore underground network of Beatles enthusiasts."[41]
All songs by Robert J. Purvis, except where noted.
Side one
Side two
