Olivia and Dhani Harrison delve into the imprint’s complex history, and what they have planned for its latest phase
The list of contemporary musicians with their own imprints is vast and includes Drake, the Weeknd, Dan Auerbach, Meek Mill, Jack White, and Kanye West. Dark Horse wasn’t simply one of the earliest artist-headed labels — along with labels started by the Beatles, the Rolling Stones, and Jefferson Airplane — but one of the most eclectic.
Harrison told Keltner he was starting his own record company and even showed him an illustration of the Uchchaihshravas, a seven-headed horse common in Hindu mythology, which would serve as the company’s logo. “He was just the king of all horses, the prototype for all horses, the best horse ever,” says Dhani of the symbol. “He turned the tide in the battle and just generally was seen as this powerful vehicle for protection and overcoming.
As an artist himself, Harrison was happy to delegate: In the U.K., the label was run by Jonathan Clyde, with Dennis Morgan managing the company’s L.A. office. Olivia Harrison had been working as an assistant in A&M’s merchandising department for two years when she was offered the job at Dark Horse, which had its own offices on the A&M lot — sharing space with Ode Records, whose major act was Carole King. “George was very excited, and he loved having that office to go to,” she says.
Another Dark Horse signing resulted from the weekly jam sessions at the Record Plant studio in L.A.
Everything appeared to be in order: Promoter Bill Graham was handling the tour, which was booked into arenas, and Harrison’s band featured a formidable lineup that included Preston, Scott, and, at times, Keltner. Predating the way Dylan would rearrange his material and, with the Rolling Thunder Revue, put the spotlight on other musicians onstage, Harrison reconfigured his material for some of the jazz-rock players behind him and generally allowed Preston and Scott to showcase their own songs.
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