junior status to former bandmates Lennon and Paul McCartney, while "Sue Me, Sue You Blues" was his comment on McCartney's 1971 High Court action to dissolve the band as a business entity. In line with Prabhupada's teachings, all such pursuits of fame, wealth or position meant nothing in Harrison's 1972 world-view. Author Gary Tillery writes of Material Worlds lyrical content: "The album expresses his impressions of the mundane and the spiritual worlds and the importance of ignoring the lures of the everyday world and remaining focused on the eternal verities." Even in seemingly conventional love songs such as "That Is All" and "Don't Let Me Wait Too Long", Harrison appeared to be addressing his deity as much as any human partner. Musically, the latter composition reflects the influence of Brill Building songwriters of the early 1960s, while Harrison sings of a love delivered "like it came from above". Harrison donated his copyright for nine of the eleven songs on Living in the Material World, together with the non-album B-side "Miss O'Dell", to his Material World Charitable Foundation. The latter initiative was set up in reaction to the tax issues that had hindered his relief effort for the Bangladeshi refugees, and ensured a perpetual stream of income, through ongoing publishing royalties, for dispersal to the charities of his choice. Production After the grand, Wall of Sound production of All Things Must Pass, Harrison wanted a more understated sound this time around, to "liberate" the songs, as he later put it. He had intended to co-produce with Phil Spector as before, although the latter's erratic behaviour and alcohol consumption ensured that, once sessions were under way in October 1972, Harrison was the project's sole producer. Spector received a credit for "Try Some, Buy Some", however, since Harrison used the same 1971 recording, featuring musicians such as Leon Russell, Jim Gordon, Pete Ham and Barham, that they had made for Ronnie Spector's abandoned solo album. A release date was planned for January or February 1973, with the album title rumoured to be The Light That Has Lighted the World. Within a month, the title was announced as The Magic Is Here Again, with an erroneous report in Rolling Stone magazine claiming that Eric Clapton was co-producing and that the album was set for release on 20 December 1972. Recording In another contrast with his 1970 triple album, Harrison engaged a small core group