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"Who Can See It" is a song by English musician George Harrison, released on his 1973 album ''Living in the Material World''. The lyrics reflect Harrison's uneasy feelings towards the Beatles' legacy, three years after the group's break-up, and serve as his statement of independence from expectations raised by the band's unprecedented popularity. Some music critics and biographers suggest that he wrote the song during a period of personal anguish, following the acclaim he had received as a solo artist with the 1970 triple album ''All Things Must Pass'' and his 1971–72 Bangladesh aid project. The revelatory nature of the lyrics has encouraged comparisons between ''Living in the Material World'' and John Lennon's primal therapy-inspired 1970 release, ''Plastic Ono Band''. A dramatic ballad in the Roy Orbison vein, the composition features unusual changes in time signature and a melody that incorporates musical tension. Harrison self-produced the recording, which includes heavy orchestration and a choir, both arranged by John Barham. Several commentators consider Harrison's vocal performance on "Who Can See It" to be among the finest of his career, while his production style has been likened to that of Beatles producer George Martin. The other musicians on the track are Nicky Hopkins, Klaus Voormann, Jim Keltner and Gary Wright. Among reviews of the song, "Who Can See It" has been described variously as an "aching, yearning masterpiece",〔Huntley, p. 92.〕 a "song which goes on far too long to make its simple point",〔 and an "unequivocal statement" on Harrison's identity.〔 In line with his self-image as a musician, regardless of his past as a Beatle, Harrison included "Who Can See It" in the setlist for his 1974 North American tour with Ravi Shankar, the first tour there by a former Beatle since the band's break-up. ==Background and inspiration== As with the majority of the songs on his ''Living in the Material World'' album, George Harrison wrote "Who Can See It" over 1971–72.〔 In his autobiography, ''I, Me, Mine'', he makes light of the emotion behind the song, describing it as simply "a true story meaning 'Give us a break, squire'".〔Harrison, p. 238.〕 Simon Leng, Harrison's musical biographer, recognises the song as a statement of considerable personal anguish, however.〔Leng, pp. 129–30, 137, 156.〕 He writes of Harrison having been "deeply traumatized" by the effects of the Beatles' unprecedented popularity, and equally disoriented by his success as a solo artist following their break-up in April 1970.〔Leng, pp. 129, 138.〕 According to Leng, Harrison was in the same state of internal conflict over 1972–73 as John Lennon had been when writing the song "Help!" in 1965,〔Leng, p. 138.〕 during his self-styled "fat Elvis period".〔MacDonald, p. 136.〕 Music critic Stephen Holden highlighted a similar comparison between the two ex-Beatles in July 1973,〔Rodriguez, pp. 155–56.〕 when he deemed ''Living in the Material World'' to be "as personal and confessional" as Lennon's primal therapy-inspired ''Plastic Ono Band'' album (1970).〔Stephen Holden, ("George Harrison, ''Living in the Material World''" ), ''Rolling Stone'', 19 July 1973, p. 54 (retrieved 17 February 2014).〕 During the Beatles' career, Harrison had been the first to tire of Beatlemania and the group's celebrity status,〔The Editors of ''Rolling Stone'', pp. 33–34.〕 and he had written songs rejecting what Leng terms the "artifice" surrounding the band.〔Leng, p. 86.〕 Lennon himself described the Beatles' predicament as "four individuals who eventually recovered their individualities after being submerged in a myth".〔Peter Doggett, "Fight to the Finish", ''Mojo: The Beatles' Final Years Special Edition'', Emap (London, 2003), p. 140.〕 In addition, for Harrison, while he began to match Lennon and Paul McCartney as a songwriter towards the end of the group's career,〔Lavezzoli, p. 185.〕〔("George Harrison Biography" ), rollingstone.com (retrieved 14 October 2015).〕 his relatively junior position in the Beatles was a source of frustration to him,〔Greene, pp. 45, 53.〕 which, according to music journalist Mikal Gilmore, left "deep and lasting wounds".〔The Editors of ''Rolling Stone'', p. 39.〕 Aside from being released from the psychological pressure of being a Beatle in 1970,〔MacDonald, p. 300.〕〔The Editors of ''Rolling Stone'', p. 33.〕 Harrison was the one who potentially benefited the most from the group's break-up.〔Anthony DeCurtis, , ''Rolling Stone'', 12 October 2000 (archived version retrieved 17 February 2014).〕〔Schaffner, p. 140.〕 His 1970 triple album, ''All Things Must Pass'', was a major commercial and critical success,〔Peter Doggett, "The Apple Years", ''Record Collector'', April 2001, pp. 36, 37.〕 eclipsing releases by both Lennon and McCartney.〔Woffinden, p. 39.〕〔Lambert Ramirez, ("George Harrison: The not-so-quiet Beatle" ), philstar.com, 17 March 2014 (retrieved 14 October 2015).〕 According to author Ian Inglis, Harrison became "popular music's first statesman" as a result of both ''All Things Must Pass'' and his 1971–72 Bangladesh aid project.〔Inglis, p. 36.〕 The last of these established humanitarianism as a new direction for rock music,〔Tillery, p. 100.〕〔Rodriguez, pp. 41, 49, 51.〕 in addition to focusing on Harrison the level of attention previously afforded the Beatles.〔Bruce Eder, ("George Harrison" ), AllMusic (retried 15 October 2015).〕〔Clayson, p. 318.〕 While Leng describes "Who Can See It" as a "plea for understanding from a private man living his life in public",〔 Inglis writes that, after the "euphoria" of his recent achievements as a solo artist, Harrison was forced to confront "some of the more unpleasant realities of his everyday life".〔Inglis, p. 37.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Who Can See It」の詳細全文を読む スポンサード リンク
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