live album for Shankar and Ali Akbar Khan for a January release on Apple Records, the highly regarded In Concert 1972. Overdubbing and mixing After hosting a visit by Bob Dylan and his wife Sara at Friar Park, Harrison resumed work on the album in January 1973, at Apple. "Sue Me, Sue You Blues", which he had originally given to Jesse Ed Davis to record in 1971, was taped at this point. The lyrics' courtroom theme had a new relevance in early 1973, as he, Lennon and Starr looked to sever all legal ties with manager Allen Klein, who had been the prime cause for McCartney's earlier litigation. For the rest of January and through February, extensive overdubs were carried out on the album's basic tracks – comprising vocals, percussion, Harrison's slide guitar parts and Horn's contributions. "Living in the Material World" received significant attention during this last phase of the album production, with sitar, flute and Zakir Hussain's tabla being added to fill the song's two "spiritual sky" sections. The resulting contrast between the main, Western rock portion and the Indian-style middle eights emphasised Harrison's struggle between physical-world temptations and his spiritual goals. The Indian instrumentation overdubbed on this track and "Be Here Now" also marked a rare return to the genre for Harrison, recalling his work with the Beatles over 1966–68 and his first solo album, Wonderwall Music (1968). Barham's orchestra and choir were the final items to be recorded, on "The Day the World Gets 'Round", "Who Can See It" and "That Is All", in early March. With production on the album completed, Harrison flew to Los Angeles for Beatles-related business meetings and to begin work on Shankar and Starr's respective albums, Shankar Family & Friends (1974) and Ringo (1973). Album artwork As he had done with All Things Must Pass and The Concert for Bangladesh, Harrison entrusted the album's art design to Tom Wilkes, and the latter's new business partner, Craig Baun. The gatefold and lyric insert sleeves for Living in the Material World were much commented-on at the time of release, Stephen Holden of Rolling Stone describing the record as "beautifully-packaged with symbolic hand-print covers and the dedication, 'All Glories to Sri Krsna'", while author Nicholas Schaffner likewise admired the "color representations of the Hindu scriptures", in the form of a painting from a Prabhupada-published edition of the Bhagavad Gita. Reproduced on the lyric insert