Dmitry Jilkin <dsj@dialup.ptt.ru> (28.06.2000)

His music is rather unusual after McCartney's one. And it's ...er... better. Paul was writing music for masses. That music could be understood by anyone who listened just one or two Beatles' songs. And that music was successful, it brought him money.

On the other hand George wrote ''music of his brain''. When my friend gave me a song of George ('My sweet lord' or 'Hear me Lord' I just don't remember) which he recorded from radio (it was impossible to find his albums in Russia even in Moscow) I didn't like it.

It was three years ago. Then I listened to Beatles' songs, I learnt by heart all their lyrics(It wasn't my aim, I just listened to them so much that I learnt by heart all their lyrics), I collected all their albums and unpluged songs, I bought fifteen books about Fab Four and at last bought album with their photos. After two years of listening to Liverpool's Four I got tired of them. I wanted something new and Paul's music was just the right thing I needed. He stayed in my heart for half a year. I don't mean I dislike him now (I really like him) but his music is rather primitive especially in last ten years (not encluding Flowers in the dirt). Every George album is something new. I can't say that some his songs are crap.Yes, I don't understand some of them but they are good I think.In some songs I find something of myself and it's very strange feeling as if George knows everything about you.

And at last I can say that George concerts are the best ones!!!!He beat even Beatles not speaking about Paul.

Ivan Piperov <zwetan@stud.uni-frankfurt.de> (24.08.2000)

I started listening to Harrison's solo records because I was listening to either the Beatles or Paul McCartney all the time. And when someone said, "Put something else on!" I'd play a George Harrison record. For the most of his carreer he doesn't sound like the Beatles at all, and that was a way for me to stay loyal to the Beatles without listening to someone else, when I wanted something different. And I like sticking to the "weak ones" being attacked, like Harrison sure one is. For good or bad his music is a way to get out of the opinion, that the Beatles were the only real group on this planet... As the years passed by, I realized that Harrison's records, in comparison to other groups' records (from the 70es)are a bit dull, because now I listen to prog-rock. But as these albums have guided and helped me through my adolescence, I have a personal, kinda sentimental relation to them. And I guess, George S., that you also suffer from a kind of sentimental Beatle-syndrom, when you rate George Harrison generally higher than say...Queen!

[Special author note: I rate Harrison higher than Queen because All Things Must Pass is a better album than all the Queen catalog put together. And here come the golden words: In My Humble Opinion. But I would prove that even in court.]

Sergey Zhilkin <sergey_jilkin@mail.ru> (15.10.2000)

I'm very glad you rated my favourite Beatle so high (I mean he deserves 3 stars but some think he doesn't). In my opinion he's great guy. Did he ever write crap(Electronic sound is exception but let's talk about only his after 1970 career)? Did he ever put out really bad album where you can't enjoy even couple of songs? No!

Some say that All things is his peak and that it happened by accident but they forget that 'it wasn't a whooper' (your words). George logically summed up all his ante All things experience and made wonderful record! Thanks God, he made only one attempt after that to make All things 2 (Living in the material world as you remember) which wasn't bad itself but surely it was worse than his first solo record.

You know, you may like or dislike George. No other way. It's all because his every album logically comes out from previous one (except Cloud 9 which was certain revolution in pop and disco music (as I know it was the first record where almost all tunes were with this rythmic tapping through all song which is popular even nowdays, especially in Russia)). And even the end of his career is logical, too. Just look: Great pop album, working in super group (Traveling Wilburys) and, what a pity, good-bye concert... George will never be back but I still have hope that he'll make another great album. He has everything he needs, even new songs. For example he could put 'Absolutely sweet Marie', 'What had happened to you', 'Cosmic empire', 'Window, window', 'I don't care much anymore', 'Nowhere to go', 'Mother divine', 'Troubler'(all these songs I heard on bootlegs). Then he could put some his favourite Dylan's songs, such as 'If not for you' and 'I don't wanna do it'. At last he could write two more songs himself. He could make another great comeback, he could be a star again, he could .... but he won't.

Mats Fjäll <mats.fjall@telia.com> (15.12.2000)

Love the man! To me, in the Beatles, he always was some kind of mix between John & Paul. Put together their best sides into one hell of a composer! As you say is is often forgotten and overlooked, and that's a shame since he's a fine guitar-player, great composer and a very good singer.

Don't know what more to say except for that very reliable sources keeps claiming that George has a complete, finished album laying around just waiting for it's release! Same roumers says that it contains Dylan's song 'Every Grain of Sand' plus the Ry Cooder-song 'How Can A Poor Man Stand Such Times And Live'.

I also I heard that it features drummer Jim Keltner! Unfortunately it's release has been put on hold because of the tragic story last year.

But I'm ready to wait!

Palash Ghosh <palash7@hotmail.com> (22.02.2001)

I must admit that the only George Harrison solo works that I'm familiar with are the ones he put out in the early and mid-1970's (I never really got the hankering to explore his later music!). I had always been familiar with All Things Must Pass, of course, and it is indeed a great record (although I could've done without that side with the 'Apple jams').

I recently gave some of his other 1970's LPs a good listening to and, I must say, they're all pretty good! Nothing really stands out, as you pointed out, but it's pleasant to the ear for the most part (I'm talking about Living in the Material World, Dark Horse, 33 1/3 and Extra Texture.).

The best thing about these records is that George can once in a while unearth a catchy melody and put together the competent back-up band. True, he never 'rocks out,' but he rarely bores me, either. And George also realized that the only he could make his Hindu-inspired lyrics more palatable to Western ears was to 'disguise' them in pop music garments. The years 1969 through 1972 were clearly George's 'golden age' (the triumphs on Abbey Road, the huge success of All Things Must Pass and the extravaganza of the Bangladesh concert). During this period he was actually the most successful Beatle and Paul McCartney must've been green with envy. I like George, but I don't see how anyone can love (or hate) him. He just doesn't elicit strong passions one way or another.

Eric Rogozin <erogozin@mtu-net.ru> (18.04.2001)

I adore George Harrison! His songs in The Fab Four were the masterpieces and the eternal templates of brilliant rock music (just remember - "Taxman", "While My Guitar Gently Weeps", "I Me Mine" - what a masterpieces!). And I also like his solo stuff. Two albums (All Things Must Pass and Cloud Nine) are the masterpieces and really are the musts for any music lover's collection, other records are very decent and mostly enjoyable. In one word, one mustn't ignore Harrison's solo career for sure, especially two albums mentioned above. Also one mustn't forget his wonderful role in excellent Travelling Wilburys. And when it supposed to be my general opinion about George, I'd like to say, that he's one of the best guitarists in the world, his guitar playing is superb (for me he is always in Top 10 of best guitarists); he's a brilliant composer and I love his vocal!

Glenn Wiener <glennjwiener@hotmail.com> (05.07.2001)

George Harrison probably benefited the most by the breakup of the Beatles. George always had to compete with Lennon and McCartney to get his music heard on Beatle records. When stepping out on his own, George had nobody to curtail his song-writing talents. On top of that, George networked very well in the music community as such talents as Eric Clapton, Bob Dylan, Elton John, Jeff Lynne, Dave Mason, and countless others have contributed to George Harrison solo records. Whereas George’s music focuses a bit too greatly on religious and spiritual matters, the quality of the music is indeed very good. The triple lp All Things Must Pass is fully loaded with great songs. The Bangladesh Concert also contains some spirited interpretations of George’s music. Cloud 9 and Living In The Material World are also strong releases. George has several other good songs on his other releases. In addition, George is an accomplished guitar player more so than Paul, John, or Ringo were on their main instruments. Although George has not done anything solo wise recently in the last thirteen, he has produced steady material in the past that is quite worthy.

<JanssensRJN@aol.com> (18.07.2001)

I think George Harrison is highly underated. He is such a talented musician.

Watching him play guitar sends goose bumps up my spine. I think some would disagree with me but he is far more talented at playing guitar and far more poetic than McCartney. His music reveals a kind, gentle, and sensitive man. He's the best!!

Jaki Springer <Twoflower14@hotmail.com> (30.12.2001)

Hi George, I stumbled upon your excellent site a couple of months ago and I've been really enjoying reading your reviews. Anyway, I thought I'd write a few lines about George Harrison who passed away last month because as a fan of the man and his ways (though not a fanatic one mind you - I have actually only recently started to delve into most of his solo output and I still haven’t heard all his albums) I really feel obligated to share my (not-so-fresh to be honest) thoughts about him and his music. (I know you said no speeches but I still feel that the passing away of a rock hero of George's caliber is way to important to go unnoticed or without the proper regard).

Ok, one thing that kinda pisses me off is the fact that whenever someone wants to throw in a few good words for George it always comes down eventually to something like "the guy who wrote 'something', 'Here Comes The Sun' and 'While My Guitar Gently Weeps'", maybe sometimes they'll mention 'Taxman' or 'Piggies' or whatever. The point is that to sum up his entire career by naming these 3 or 4 songs is absolutely ridiculous and it doesn't do to him any justice at all. I mean, you don't hear people referring to Paul McCartney as "that dude who wrote 'Yesterday' and 'Let It Be'" or something like that, right? and I really think that at his best, George was at least as good as Paul at songwriting if not better, so it kinda annoys me because it reduces George's work with The Beatles to these 3 songs which are nevertheless outstanding ones, I mean - these are the songs that without them The White Album and Abbey Road would have been just great albums instead of albums that redefined rock music, but George was much more than that. First of all he kept the whole thing balanced with his maturity (not necessarily as an artist but as a human being) and while Lennon and McCartney were busy fighting over the silliest trifles, competing and holding a grudge against each other (mostly near the end) it was Harrison's peaceful nature, maturity and lack of ego that enabled them to stick together for such a long time. And yes - it's a very long time considering the fact that two of the greatest musical minds and egos of the 20th century were members of this band and they basically hated each other's guts. What I'm trying to say is that George just HAD to be there (just like Ringo had to be there by the way) so that this whole intricate and delicate structure called the Beatles could exist.

His musicianship was also right up there - He was a Great slide guitar player and although sometimes he lacked the imagination to construct a really outstanding guitar solo (though he had his share of some good memorable ones) he was a solid, skilful and smart player. The fact people sometimes forget about George is that he was the youngest Beatle and in the beginning he used to look up to Paul and John, especially John and tried to emulate and copy whatever they did. He had to grow up and mature as an artist and find his own voice and that happened gradually over time right until '69-70' - the year he finally reached his peak as an artist both on Abbey Road and All Things Must Pass. So the thing was that George wasn't synchronized with John and Paul because it was a matter of biology - he was just younger and it took him some time to catch up with those guys, but he finally did. Actually, had the Beatles stayed together for another year or so it would have been George who would probably have the lion share of songs on their next LP... or at least that's how I like to think of it... George's biggest and most obvious problem as far as public recognition was that he was a part of a band that had two of the greatest songwriters in rock/pop history. It didn't bother him though - he actually liked not being in the spotlight, but what people must not forget is that he was a great songwriter himself and had he been on any other rock group he would have definitely earned the deserved recognition.

As a solo artist George had his flaws - after his great artistic outburst with ATMP his fire kinda started to die out but that doesn't mean he didn't have great moments in his career afterwards. Actually after having released a magnum opus like ATMP it's really amazing he had the artistic and emotional resources to continue and release good albums the way he did, though none of these albums came close to the emotional heights of ATMP. His style can turn off some people - he was definitely not an innovator or even original in any way (well actually that's not completely true - he was after all the one who introduced Indian music to the west and all that but he was a Beatle at the time so it doesn't really count), lyrically he could get really preachy (I'm talking about his later stuff) so if you want your music to be witty and thought provoking he's probably not for you and overall his music is just too… well... mainstream (but not for commercial success purposes or anything - that's just his style) and can even bore you if you are not in the right mood.Another thing is that fans of the Beatles will be very disappointed when they hear a Harrison album for the first time, because George really doesn't sound anything like the Beatles (well, maybe except for the Indian stuff) - he has his own unique style so you must drop all comparisons with the Beatles when you deal with him and actually that's true for all the other ex-Beatles too... But that's not really a problem, the problem is that his style is very limited which means that his albums are often too monotonous, and while it's not a real problem on a masterpiece like ATMP, it really makes the lesser stuff become kinda tedious and boring. And finally, the lack of diversity means he almost never rocks hard so he doesn't display any of his exciting guitar mastery (at least not on his studio albums) which is a damn shame and I also think he should have recorded some more bluesy and country stuff because he obviously had a knack for the genre. But despite all these faults the fact that there was usually a good, solid melody in most of his songs and there was this sincerity that could upgrade even his less interesting songs and give them that little extra value was most of the time enough to compensate for the lack of originality. And I'm not even talking about his really great songs, which were some of the most exciting, beautiful and emotionally draining songs ever written.

And it turns out that we didn't hear the man's final note yet - there are 25 new songs he managed to record during his last days and we can expect them to be released next year or so - it's going to be one of the most unique musical experiences ever even if the actual songs turn out to be not that good, which I really hope they are. I mean, it would be so wonderful to hear just another one last masterpiece from George but even if it's not that good it should still be special , so let's keep our expectations low for now and hope that whoever releases this album doesn’t spoil it by taking a cynical and greedy approach to the whole thing (hi Yoko)...

George Harrison was a special kind of artist and human being - he was humble, kind and full of love. He was probably the biggest humanitarian in rock history as The Concert For Bangla Desh showed the whole world. I really believe his music deserves much more love and respect and I know anyone who's willing to give it a chance will be really rewarded.

Ryan Maffei <chaucer@ix.netcom.com> (30.03.2002)

I'll keep it short and sweet for George, the most subtly admirable of the Beatle Boys, although I have so much praise I could direct toward him...anyway, here I go: George was the best Beatle. That's right. Not only did he have more instrumental prowess than any of the others, he was as smart and introspective as Lennon without going overboard with the "asshole" factor, he remained low-key and an accomplished songwriter, and while his work diminished somewhat in quality over the years, his brilliant spot of work with the Beatles--"My Guitar Gently Weeps" manages to top the rest of the White Album and ranks high on my Favorite Songs list--and with his triple-size tour-de-force All Things Must Pass, left behind a legacy of sublime, superbly crafted artistry that many artists nowadays would kill to have come up with in seven years.

He's gone now, God rest his soul. I may not play guitar, but I am a songwriter and a person, and our good friend George is an endless influence to me musically and otherwise. May I have the unrivaled opportunity to meet him in heaven someday...that is, if I don't get sent to rock hell for not loving Beggar's Banquet.

Dan Hogg <dantheman_sg27@hotmail.com> (22.01.2003)

When I first really got into the Beatles, I considered George Harrison my favorite Beatle. That status has always flip-flopped, and I consider each Beatle my favorite in their own regards. I've always been fascinated by low-key, quiet band members who were overshadowed by others, and that's Harrison all over. He never was too overbearing, except for maybe when he got too preachy. There's some pretty good stuff in his solo career, and not just his first album. You're right, he's had a pretty consistent solo career, comparatively. He hasn't had a disco album, or a mid-'80s style album. Just mostly low-key tunes. I just hope they reissue some of his later albums. I heard they might soon, but that could be just a rumor.

<Pardavaraloka@aol.com> (06.12.2003)

If George's music makes you weep, you should buy the Concert for George DVD. It is stunningly beautiful tribute to a great man whose death was truly the most graceful and courageous of any of the late rock musicians. His true and spiritual life had a profound effect on his family and friends as you will see. A true treasure. Please review.

Nick Einhorn <eeinhorn@home.com> (23.07.2000)

This may not be an incredible album, but it shouldn't be entirely dismissed. I actually find it quite enjoyable. Granted, if you hate Indian music, this isn't for you - but if you like "Within You Without You", "Love You To" and "Inner Light", this might be worth while. The individual tracks might not be that interesting, but they do create a nice atmosphere, and fortunately none of them go on for too long. If a certain bit of music doesn't strike your fancy, it'll be over in a minute and a half anyway. Plus, this does actually have some standouts. "Ski-ing" (with Eric Clapton) is enjoyable, but so are "Singing Om", "Wonderwall To Be Here", and "Party Seacombe". The lack of lyrics is perhaps a good thing, seeing that George wasn't the greatest lyricist out there - it also helps make the album more coherent. Overall, a worthwhile buy if you enjoy experimental music and world music, or if you're a big Harrison fan.

Ivan Piperov <zwetan@stud.uni-frankfurt.de> (24.08.2000)

Yeah, that's a cool, hip album for anyone's standarts. I guess that's what some people call "pothead-crap". Who ever thought such an experimental and actulally quite unique record would come from the dull Beatles guitarrist? "Dream Scene" kicks ass, like "Revolution 9"! And the indian tracks? You better get used to this sound, (I know it's hard to) because lots and lots of little melodies are hidden there. Just do as recommended in the CD-linear notes: put this into your stereo (and the stereo sound is great here!) in your living room, dim the lights...if you're in such sort of music, you'll love it! That's one George Harrison CD I still enjoy.

Robert Tally <BtheW@aol.com> (19.01.2001)

I think the thing that strikes me about this album is that it doesn't sound like a George Harrison solo album. This is probably because George's role as a player and as a composer are both questionable here. If you look at the liner notes for the CD, there's a list of the musicians (grouped into two sections - both Bombay and London) and Harrison isn't on the list. As a matter of fact, neither are Eric Clapton (but then, he isn't listed on the White Album, either) and Ringo Starr (but that sure sounds like him on 'Party Seacombe'), but at least they're both mentioned in the text section. Almost every track - particularly the Bombay stuff - sounds improvised, so I'd have to think that Harrison's input as a composer was limited at best. He nevertheless took full credit. All that aside, I think this is an enjoyable album. My favorite track is 'Dream Scene' with those great textures in the opening part and generally trippy atmosphere. 'Drilling A Home' is entertaining, as is 'Cowboy Museum' (which the CD mistakenly lists as 'Cowboy Music'). 'Party Seacombe' is a highlight, and is rhythmically similar to 'Flying' by that other, lesser-known group. There's a lot of other little bits that I enjoy: the backwards guitar on 'Ski-ing'; the technical playing on the tabla on 'Gat Kirwani' and 'Tabla And Pakavaj'; the two keyboards mirroring each other on 'Greasy Legs'; and some of the mournful stuff like 'Microbes'. In fact, I think every track is at least okay, so while I wouldn't actually recommend it to anybody (it is a pretty strange thing to listen to), I would still give this album a favorable rating. It's very dated, but that actually adds to its charm.

Some technical info: The CD switches the titles of 'Glass Box' and 'On The Bed'.  'Glass Box' is the earlier (and longer) track and 'On The Bed' follows it. Also, the original LP has only twelve tracks, since many of the titles are grouped into medleys. It's easy to figure out which ones these are, since on the CD, songs in the same medley have very little silence between them. In one case, two titles overlap, so that the LP lists them as one title: 'Ski-ing And Gat Kirwani'. Also, I should mention that the non-Indian material on here was recorded in London in Dec. 1967, but also included some Indian musicians for texture. The strictly Indian titles were recorded in Bombay in Jan. 1968, along with the instrumental track for 'The Inner Light'. The vocals for that track were then recorded in Feb. 1968 when they did 'Lady Madonna'.

Palash Ghosh <palash7@hotmail.com> (07.03.2001)

Although I am of Indian descent, I've never really liked it when Western pop musicians used Indian classical musical styles in their songs (which, of course, The Beatles sometimes did at George Harrison's urging). However, I kinda like his Wonderwall Music album, it's disarmingly sweet and charming. Nothing to get excited about, but it's not evil and hateful as all the crap John and Yoko put out during the waning days of The Beatles.

Alex Zaitsev <zaitsev@perm.ru> (04.07.2004)

Before I forget: the riff of "Skiing" was used in a "full" song. The trio Big Berta (Cozy Powell + Dave Ball + Danny Ball) used it. I've just heard the song on the radio.

Martin <M.VAN.DER.GAAG@ppsw.rug.nl> (17.09.99)

This album might have aptest title ever: it's no more, and no less. Because of all the Beatle/Apple legend, people hearing this for the first might therefore not dare to say so, but believe me, THIS REALLY IS CRAP! This is interesting stuff ONLY for historical Beatle buffs, and not even for early Moog fans. Programming ancient switchboard synthesizers must have been a real challenge for its owner and therefore fun. It definitely was for Harrison, as shows on its vivid cover, but these recordings never should have been MADE, let alone left his basement studio. This album contains neither music nor a soundscape: it's just 'sounds'. I even wonder if Harrison made any efforts to 'compose' anything (which is at least obvious with Lennon's TWO VIRGINS), but this alarmingly sounds like 'trying every knob on the switchboard' (if there was any). The joke however is that this was actually being released at the time; it proves that even toilet flushing noises might have sold if recorded by a Beatle in 1968/69. If you like Harrison as a guy, listen to it once, reconsider and then forget it. If you're into Beatles avant garde, stick to Lennon and Ono's 'unfinished music' volumes 1-3 which are very interesting compared to this. If you're looking for noodling with early Moogs, try less bold applications such as 1970's soundtrack to Performance. I'd be glad to exchange my copy of ELECTRONIC SOUND with somebody who owns a CD full of bus noises (but preferrably by several different types of buses).

Sergey Zhilkin <sergey_jilkin@mail.ru> (17.09.2000)

I made a bet with my friend that I could listen to Electronic sound in earphones for at least twenty minutes. I lost 5 dollars... But this is no wonder. This %^$@*$ album just spoils my good collection. I know I'll put it under my cupboard to keep it's balance. Hey! Does anybody want free CD-box?

Robert Tally <BtheW@aol.com> (20.01.2001)

Okay, let me think of something positive to say about this album. There are six or seven brief moments, mainly during 'Under The Mersey Wall', when something happens that I can describe as "kinda neat." Otherwise, this album is a failure. And, mind you, I'm not one of those people that think all avant garde music is garbage. But even with avant garde, you still need to hold the listener's attention. John and Yoko did a lot better than this with Two Virgins, and that wasn't exactly a great album. I think the real culprit here is the use of a single, solitary machine - the moog synthesizer - rather than a variety of sound sources. I'm particularly displeased with the second track, 'No Time Or Space', since it seems as though Harrison (or the guy who 'assisted' him) was trying to come up with the most obnoxious sounds possible from this machine. But even that track has its moments, I suppose. By comparison, 'Under The Mersey Wall' is downright relaxing. In fact, I think it would probably have worked pretty well in some cheesy old sci-fi flick where some poor sap gets detached from his space capsule and finds himself stranded in deep space with nothing but a pressure suit. 'No Time Or Space' would be the part where he falls into a black hole.

Anyway, for the trivially-minded - this was one of only two releases on the Zapple label. The other was John and Yoko's Life With The Lions, which (perhaps not coincidentally) was the most uncompromisingly dissonant and hard-to-listen-to of their avant garde releases. But, then again, Electronic Sound isn't really avant garde. As Harrison himself says, it's more like 'avant garde clue

Brian Kehew <MelloT@aol.com> (05.02.2001)

OK - one dissenting opinion...

You must read Bernie Krause's book "In a Wild Sanctuary" for the true background and controversy to this album. That still won;t change your opinion, but I happen to be ONE of several people I know who listen to this album repeatedly (!) all the way through.

It's not great, but it is a blatant blast of Moog Synthesizer and its sounds for those of us who like the things. Even more so than the carefully controlled "Switched On Bach" this is a demo (again - read the book) of what the synthesizer SOUNDS like. No drums, no "arrangements", very minimal. To me, that is less offensive than most peoples' attempts at pop songwriting. This is the same synth they used on Abbey Road, so at least it has history!

Pedro Andino <pedroandino@msn.com> (23.12.2003)

MY SON LOVES THIS ALBUM AND HE IS NOT ANNOYED! NO TIME OR SPACE IS A COSMIC JOURNEY FOR HIM AND WHEN HE GOES TO SLEEP I PUT THIS ON AND LET HIM DREAM IN THE COLORS OF THIS ALBUM IF YOU HEARD THAT GET TERRY RILEY! HIS ALBUM IS ALSO RECORDED ELECTRONICLY. I'M GLAD YOU LOVED BRIAN ENO AND MIKE OLDFIELD I HAVE ANOTHER GREEN WORLD AND TUBULAR BELLS ON VINYL AND CD COULD THIS BE GOOD? YES! I ALSO  SAMPLE SOUNDS TOO.

Glenn Wiener <Glenn.Wiener@Entex.com> (09.02.2000)

One of these days I will have to pruchase this recording. These two records of songs are really top quality material. It shows you what George had in his arsenal while Lennon & McCartney were filling up Beatle albums with great music. You kind of wonder if the Beatles would have used this music if they had stayed together. George should have scrapped the Apple Jams section fo this record, although a couple of them are actually catchy in spots. Otherwise you rating is quite accurate.

Howard Mueller <SINSCRAPE@webtv.net> (27.04.2000)

Lessee, I just bought this on C.D. I own it on vinyl but havn't heard it in years. It hasn't left my C.D. player in three days! It was a joy redicovering it. I agree with most of your review, but for your somewhat dislike of the insramental jams, I don't think they detract at all from the overall album and in fact are a great finish, in that they let your mind drift over all that came before. On and on they flow and just as you are ready to compleatly give in to them and dissapear into the pounding bliss ...it's over, and you're left with the urge to do it all over again!

Ryan Mulligan <pxpres@idt.net> (15.05.2000)

My Sweet Lord, indeed. A great double album. No filler at all, imo and i love the jams at the end. Is that George playing that good or no? Obvious stand-outs are 'My Sweet Lord' and 'Isn't It A Pity', but u can't dimiss 'What Is Life', 'I'd Have You Anytime', 'If Not For You', or 'Behind That Locked Door'. I dig that segue from 'It's Johnny's Birthday' to 'Plug Me In' a great deal. Well, if Blonde On Blonde is counted as a double album than it's not the best one of those ever, but it's definitely up there. I don't have anything else by him alone so I'm ready to be dissappointed......eventually. Get this album if you don't have it......104 minutes of good music!

mjcarney <mjcarney@netzero.net> (28.06.2000)

Wow! That is easily the best review of this album that I have ever read.  It nearly hit the album right on.  There really are two main stars of this album, George Harrison of course leads his solo career with one of the best albums ever, and probably the second best solo album by any Beatle.  Lennon's heartfelt opener Plastic Ono Band only tops this one and that is probably because of the abominable Apple Jams discussed above.  Although none of these jams are entirely unlistenable, none of them really go anywhere.  They might have been alright on another one of George's solo albums, but unfortunately next to his 2.5 sides of pure genius, they definately pale.  George does it all here, with his incredible cover of Dylan on "If Not For You"; gospel-ish numbers like "My Sweet Lord", "Awaiting On You All" and "Hear Me Lord"--which George, I feel is incredible and definately one of the highlights!; rockers such as "Wah Wah" and "Let It Down"; country with "Beware of Darkness"; atmospheric mood pieces "Ballad of Sir Frankie Crisp(Let It Roll)"--possibly my favorite number here and the two versions of "Isn't It A Pity"; and straight out pop with "What is Life" and "Apple Scruffs." The title track too, is terrific, although I actually like the guitar demo better (surprisingly).  George and his band on this disc are of course the main stars, but the other star is Phil Spector.  Spector, who was also workin and doing an adequate if somewhat poor production on the Beatles Let It Be at the same time, really hit the mark well with George's songs.  The production really adds depth to the great lyrics, prayers, and moody pieces of the album.  There is hardly a problem with the production here at all, it is just simply incredible and it adds strength to this masterful, beatiful album.  A 10/10!

Steven St.Thomas <sst@scrump9.freeserve.co.uk> (17.07.2000)

I must say you summed up this album very well, but subtracting a point or two for Apple Jam isn't necessary in my opinion. This album I would have loved to see come out (I was only three at the time). To see this person who had been overshadowed for so long by two brilliant songwriters come out with something that on so many levels surpasses some of the Beatles work, and most of the post-Beatles work would have been inspiring to witness.

There are so many songs on this album that are simply beautiful. That's the only word I can describe it with. I really consider this album to be the best work any of them did once they left the cocoon of the Beatles, and it really is a shame (a pity) that George's work has been so criticised over the years. He has matched some of the eloquence of this album on later releases, particularly 33& 1/3 and George Harrison. But the thing with George is he is mellow. He's not going to take you by the scruff of the neck and demand you listen to him, which I think Paul (and particularly John) tried too hard to do during the early 70's. George taps you on the shoulder with his songs, and if you don't turn around he doesn't seem bothered you didn't.

I have to say my favourite tracks on this album have to be "Run of the Mill" and "All Things Must Pass". In some frightening way, listening to these songs has always put a perspective into my life about adjusting to changes / loss / gains. Of all the Beatles, I think George has understood this the most, he has an emotional honesty about his songs that go beyond cheap sentimentality, but more into the human condition. (Sorry getting pretentious)

Nice review.

Sergey Zhilkin <sergey_jilkin@mail.ru> (22.09.2000)

Oh, how wrong I was when I said that Cloud 9 is 10 out of ten album. Well, not so wrong but it really doesn't beat All things must pass. Sometimes I think that it is the best ex-Beatles' album. Unfortunately this pure gem wasn't noticed by my friends. Everyone said that all of it's melodies are the same and one said that this whole album is a very big rip-off of Bob Dylan. Well, I can't say George wasn't influenced by Dylan (and even two tracks prove it: 'I'd have you anytime' and 'If not for you') but this masterpiece was written by George and there was noone to help him (I mean songwriting - of course he had strong backup team). You know, this album should get 15 out 15. Pity that you don't plus any scores for really revolution albums. I even enjoy 'Apple Jam' (doesn't 'Thanks for pepperoni' remind you 'Roll over Beethoven' which was lately performed on Live in Japan). I see only one minus (which is really small one) here: quality of some songs isn't sufficient for me(I mean 'Awaiting on you all', 'Art of dying' and 'Wah-wah'). I'll try to explain. I mean audio-quality: sometimes instruments are louder than George's voice and I don't like it. Though this mistake was corrected on Concert for Bangla Desh. True masterpiece! Thank you for understanding it!!!

Only one question. Will you review Beware of ABCKO!? Some tunes are really great. [Unfortunately, I will not, because I don't review bootlegs, but some tunes are great indeed, and it's well worth picking up - G.S.]

Robert Tally <BtheW@aol.com> (23.01.2001)

This clearly is Harrison's best album, but frankly, he hasn't exactly been giving it much competition in the ensuing years. I'm a little hesitant to call All Things Must Pass a great album (I might have to become a bigger Harrison fan for that), but I do think it's a very good album. If we're willing to ignore Apple Jam (and it looks like most people are), then even the least appealing tracks on this are pretty good. My favorite, lately anyway, is 'Apple Scruffs', but then I'm a sucker for catchy folk tunes. 'Beware Of Darkness' and 'Let It Down' both stand out for me among the dark and serious tracks. 'What Is Life' is simply one of the best pop songs anybody has ever come up with. 'Behind That Locked Door' and 'I'd Have You Anytime' both sport beautiful melodies. 'I Dig Love' is playful and (at the risk of sounding dated) 'groovy'. Most of the others are songs that I like without necessarily loving them.  'Awaiting On You All' is a pretty exciting gospel tune, but somewhat over-produced. 'My Sweet Lord' is hardly even a song, but the track sounds great. 'Ballad Of Sir Frankie Crisp' and 'Run Of The Mill' are both simple and enjoyable. 'Isn't It A Pity' (both versions) is another good dark song, but somehow doesn't send me head over heals. 'All Things Must Pass' is a solid piece of work, and 'If Not For You' is a great arrangement of the Dylan song, but neither are highlights in my mind. 'Wah-Wah' is a really good song (with a great riff) that suffers from too much clutter. The only two songs that pale to these for me are 'Art Of Dying' (just a little too much like a '70s cop show theme, but otherwise solid stuff) and 'Hear Me Lord' (which just doesn't grab me). Apple Jam is mostly a waste of time.  It would have been okay to do this if the jams were better, but they're not that great. I think the best one is 'I Remember Jeep' (which includes some 'electronic sound'). 'Thanks For The Pepperoni' is basically Chuck Berry with a hangover. 'Out Of The Blue' is not only the longest of these, but (ironically) has the fewest chords. 'Plug Me In' is saved by being both upbeat and short. 'It's Johnny's Birthday' breaks up the monotony pretty well, though, by not actually being a jam, but a joke. It's a shame that this had to be a triple LP. At least in its present form, it's only two CDs, but it's still hard to persuade people to buy it. If anybody out there thinks they'll only ever buy one George Harrison release, then just spend the extra money, because this really is worth the price of two.

<Jabtot@aol.com> (27.01.2001)

It is very difficult to reccomend a recording on the kind of mood the music sets when one finishes it.It took me several purchases of Beatle solo albums to find the one which could be titled a masterpiece.With ATMP George grabs the brass ring that the others could not reach.This album sets such a peacefull mood from track to track.An album that you could finally listen to and feel.John tried to make albums like this,but seemed to just fall short.After listening to Lennon,you got the message,but you were a bit more pissed off than where you started.Macca never tried to reach the ring(you could'nt really blame him for not trying) he still had the hit formula.ATMP gives one a feeling of love,and how to give love.A masterpiece,a religious experience,.......a rickenbacker! Put this disk on and FEEL IT.God save George Harrison.

Palash Ghosh <palash7@hotmail.com> (22.02.2001)

Many of the songs on All Things Must Pass are simply astonishing. While the general public is likely only familiar with 'My Sweet Lord' and 'What is life,' there are several other wonderful gems on this record. Favorites include 'I'd have you anytime' and 'Let it down.' I always wondered why the album didn't start out with the jumpy, joyful 'My Sweet Lord' -– rather it begins with 'I'd Have You Anytime,' an extremely beautiful almost electro-Gothic ballad. 'Let it down' sounds terrifically Claptonish (I don't know is Eric appeared on that song or not). 'Isn't it a pity' (both versions) is gorgeous, as well.

'Apple Scruffs' is a happy little number, which probably would've found a better home on The Beatles "Let it be" album. Even in a lightweight song like 'Scruffs', George manages to sneak in something spiritual/metaphysical like the line about "beyond all space and time." Wonderful harmonica, too. I agree that Phil Spector's penchant for overproduction somehow uplifted (instead of drowned out) George's compositions. 'Wah-Wah' is such an example, it's so very heavily layered, but the melody somehow is upfront and glorious.

I kinda wish that The Beatles could've stuck around for, say, another year, and so most of these great songs would've appeared on that album –- think of it, a Beatles album DOMINATED by George. It would've represented total vindication for him.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (05.03.2001)

The atmosphere here is unique:never before,never after.This album was almost otherwordly."The ballad of Sir Frankie Crisp " epitomizes its mystery,its secrets,its intense meditation."My sweet lord" turns  two-bit twaddles ("He's so fine") into a song of redemption."Beware of darkness" and "I'd have you anytime" used to open each dics (when it was on vinyl) as sanctuary janitors.G.H. was never able to recapture this mood that made winter 1970-1971 nights so magic!

John McFerrin <stoo@imsa.edu> (12.03.2001)

Anyhoo, I finally bought this album last week (it's been remastered, and the new version costs $8 less than the old one, and there are bonus tracks) and it was all I'd hope it to be. I can't remember all of the details I should be able to ( and I can't listen to it right now, as my CD's and MP3's are on loan to a friend while I'm on spring break), but still, DAMN.

That being said, I wouldn't give it more than the high 13 you did. Because it _is_ a whee bit monotonous (though I do understand that that's the point). But that's just nit-picking. 'Isn't it a Pity' is obviously the best, but it's nice that George presented at least some competition for it ('If Not For You', 'Wah-Wah', etc etc).

Damn good album in any case. Good to listen to before church. All you fundies out there: don't waste your time on crap like Saved, if you want true spiritual uplift, get this.

Eric Rogozin <erogozin@mtu-net.ru> (16.04.2001)

All I can say is GEORGE HARRISON IS GREAT!

Craig H Collins <chc@rochester.rr.com> (08.07.2001)

I too loved "Isn't It A Pity" and have been playing the tune on piano for years (the third chord, diminished, is very special). Surprisingly, it was obvious to me the day I purchased the album (30 yrs ago) the tip-o-the-hat to 'Hey Jude', perhaps because I had also been playing that on the piano and noticed the chord similarity.

<f1998117@bits-pilani.ac.in> (03.11.2001)

that was a wonderful review of this masterpiece.well,of late i have been frantically trying to find out the tracks on which clapton had contributed but have come a heavy loser.i was wondering if you`d have any info on that.if you do please mail it to me.thank you very much.goodby

Jaki Springer <twoflower14@hotmail.com> (13.02.2002)

This is undoubtedly where George Harrison made his strongest statement as an artist and finally managed to escape the enormous shadows of his more renowned (ex-)colleagues. All Things Must Pass is a testament to the man's talent and genius and I believe that together with Lennon's Plastic Ono Band it stands as the ultimate Beatles solo album. In fact, I find both albums to be quite similar in more than one way: both were released the same year (at the same time George was mixing All Things at Abbey Road Studios in October 1970, John was in the same building recording Plastic Ono Band), after both John and George had recorded some highly experimental (actually pretty damn unlistenable) albums, thus making POB and ATMP their REAL first solo albums, both albums featured Ringo Starr and Klaus Voorman as part of the backing band and were produced by Phil Spector. The two albums also share the same lyrical concept, roughly speaking - These are two very personal and confessional works, and they both basically serve as their author's credo. But here is where the resemblance definitely ends. In fact these albums are as different from each other as they are similar - although their concept was identical, their actual lyrical contents were very dissimilar, stemming from the vast differences between George and John's personalities and resulting in both albums representing the opposite ends of the emotional/religious spectrum - while ATMP is a hymn to God, faith and love, POB, its (evil?) twin is very dark, moody and mournful. They have also nothing in common musically - while George opted for the luxuriant, polished and shiny production for his most defining album, Lennon's masterpiece is very minimalistic and raw. I actually find it quite interesting that it was not vice versa - after all you would have expected the introverted and humble George's most deep and personal work to sound very plain and unpretentious and the extroverted John to go wild with an expensive production on his greatest solo album, at least based on their previous Beatles material, right?

Anyway, although this album is a real peace of heavenly beauty, I can't say it's absolutely perfect. It's a little bit too monotonous, and because of its length it makes the album a little difficult to listen to in one sitting, but that is actually my only serious complaint here and even this is not enough to render it less than a masterpiece, simply because the songs themselves just rule mightily - starting with the first one, the quiet, pensive 'I'd Have You Anytime' which features some beautiful guitar bits and is one of my favorite songs here, through the noisy, bitter 'Wah-Wah' (where Phil Spector did a superb job with his "wall of sound" schtick) and the affectionate but somewhat melancholic 'Beware Of Darkness' which is the best song on the album IMHO (although 'Isn't It A Pity' comes really close). The only song that is a slight letdown for me is Dylan's 'If Not For You'. It's actually a good song, but maybe a little out of place here and it sounds a little pale next to the other stuff. Plus, maybe it's just me, but I think George sounds a lot like Dylan on this one. He probably did that subconsciously, but it kinda makes the song less attractive for me.

I also have to mention two songs that send shivers down my spine whenever I listen to, especially after George's death - 'My Sweet Lord' and 'Art Of Dying'. The way he deals with death in these songs is so mature, wise, and not without a pinch of humour, that you can't help but wonder how someone so young (27) could tackle this subject so gracefully.

The 30th Anniversary remastered edition of this album includes four new bonus tracks and two of them are a real treat. There is a beautiful new version of 'My Sweet Lord' that was especially recorded for the new release and on which George is accompanied by his son Dhani on acoustic guitar, and 'I Live For You' is an outtake from the original album that was left out because George felt the takes they had of the song at the time were not good enough, but me, I think this song is absolutely gorgeous. It's obviously a little under produced and doesn't have the majestic feel to it - after all, it didn't get the Spector "wall of sound" treatment, but it's such a delicate and beautiful little number that I highly recommend purchasing the remastered edition if only for this song.

Oh, and I actually find some of the Apple Jams quite nice - 'Plug Me In' and 'Thanks For The Pepperoni' show some flashes of creativity, though I admit the rest are pretty crappy - in fact, they are so unimaginative and dull that I actually find it hard to believe that Eric Clapton was "jamming" there. But, well, it says he did in the liner notes so I'm gonna risk sounding heretical here, and hope I don't get hit by lightning (or a mighty Fender Stratocaster) as I ask confounded: IS THIS THE ONE THEY CALL GOD? ;) Nevertheless, I don't consider these jams a real part of the album (they're just there to provide sort of a historic document and to try to capture the atmosphere in the studio while the album was recorded) so I wouldn't lower the album's rating because of them.

ATMP is a beautiful album that offers you a unique spiritual, religious experience and doesn't let go of you all the way through. Few albums are this emotionally intense and convey such a rich mixture of feelings like the one you get when you succumb to the sublime beauty of this one.

Eric Kleinbrink <ekleinbrink@yahoo.com> (17.10.2002)

George, I must thank you for getting me interested in this wonderful album... without your wonderful review of All Things Must Pass, I may never have listened to this great album. The songs are great. Some are rollicking and uplifting... others are downright depressing. But, they are all good songs. I have to admit that I was shocked that George Harrison could put together an album like this! It's almost Dylan-esque in it's mood swings and the simplicity of the chord arrangements.... the exception being the straightforward lyrics.

What a classy album ! I am recommending to all. Again, thanks George.

Greg Smith <gregsmith@ntlworld.com> (27.11.2002)

Oh, what a joy this album is beside 'My Sweet Lord' and 'What is Life', you have some of the most wonderful songs George has ever wrote. 'The Balled of St Crisp' is my personal fave, along with 'Beware of Darkness'. The reissue is good, even in a crappy cardboard package, you have 'My Sweet Lord 2000', I will get cruicfied for saying this but I like this more then the orginal (or the orginal (he's so fine) of the orginal) Sam Brown's volcals at the end get me every time. 'My Sweet Lord' begins and ends Goerge's solo career, it starts the a chant, at the end of MSL, as does the title track to the masterpice Brainwashed. When are you going to review that George?, the album is stunning, with some of the best slide guitar I have ever heard. All Things Must Pass, like Brainwashed, is joyful, hopeful, and sad, sad because we have lost a true musical great.

AMEN.

Dan Hogg <dantheman_sg27@hotmail.com> (22.01.2003)

Wow, what a way to come out of the gate, to start one's solo career. George Harrison's All Things Must Pass is the best solo Beatle debut. Plastic Ono Band is also great, but I have to be in the right mood to fully enjoy it. McCartney is too underdeveloped, and I'm not willing to touch Ringo's debut anytime soon. Harrison hinted at great things toward the end of his Beatles tenure, and it all comes to fruition here. Phil Spector's huge sound mostly enhances the performances, which makes it all the more cathartic. On a more personal level, I got the album right before my grandmother passed away. So, many of these tracks really helped me cope and move on.

Disc 1 is kicked off by the lovely "I'll Have You Anytime", that I never would have guessed was written by Bob Dylan. "My Sweet Lord" is, well, "My Sweet Lord". I don't care about the lawsuit crap, it's a deserved classic. That repeating chant at the end is truly beautiful, and brings me to tears every time. "Wah Wah" rocks well, but the wall-of-sound gives me a headache. "Isn't it a Pity" is pretty in its despair, even though the "Hey Jude" chants are out of place. "What is Life" is a classic rock radio staple, another good rock tune. "If Not For You" does outdo Dylan's original, and "Behind That Locked Door" has a nice humble sound. "Let it Down" switches from subdued to loud often, to good effect. "Run of the Mill", however, always escapes me. Not sure why.

Disc 2 starts off with a lesser track, "Beware of Darkness," that's still good. "Apple Scruffs" lightens things up, with a country rhythm and harmonica. "Ballad of Sir Frankie Crisp" may be more mellow than others, but I have very personal connections (as I mentioned above)with this song in particular, so this one brings me to tears. "Awaiting on You All" might be overproduced, but it so uplifting I hardly care. I first heard the title track on Anthology 3, but this version outdoes it big-time. It helped me through the passing of my grandmother, and later, the passing of George himself. "I Dig Love" is another lighter moment, with booming drums and silly lyrics. "The Art of Dying" is like "Run of the Mill", a tune I often overlook because of it being near the end of its respective CD. Version 2 of "Isn't it a Pity" is very inferior to the first one, and "Hear Me Lord" is too slow for me. Oh, and Apple Jam is utterly useless too.

Oh yeah, there are extra tracks too, because I got the reissue. "I Live For You" is every bit as good as "Behind That Locked Door", both are mellow and nice. Alternates of "Let it Down", "Beware of Darkness", and "What is Life" aren't impressive, with the last song cluttered by a lame brass part. "My Sweet Lord 2000" may sound weak, but it serves a nice full circle of his career, starting and ending with "My Sweet Lord" (OK, not really, if you counted Brainwashed). Well, this is one long review, but this is one epic double album. And hearing it around a very personal time makes it all the more epic. I apologize if it detracted from my review, but I couldn't omit it.

Sergey Zhilkin <sergey_jilkin@mail.ru> (16.09.2000)

The best live album I've ever heard. The best temporary band (George, Bob Dylan, Ringo, Billy Preston, Eric Clapton, Pete Ham, Jim Keltner(he helped George on many records after that) and Ravi Shankar) I've ever seen (though I haven't seen much in my life). There's even a new George's song 'Bangla Desh'(it was performed after the end of concert).Ringo comes with his the greatest song 'It don't come easy'. George even managed to make an excelent story(moral of which is:treat your friends the way you want to be treated) out of two songs: 'Jumpin' Jack flash' & 'Youngblood'(slowered and more ...err... bluesy). Five Dylan's songs are great!

Live versions of 'Wah-wah', 'My sweet lord', 'Awaiting on you all' and 'It don't come easy' are better than studio's ones (as for Dylan's songs I don't know because I don't have studio versions).Ther's only one minus: this concert would be better without 4-minutes clapping and George's introductions.As for 'Bangla Dhun' it's all right and I can easily get through it. Well, maybe my rating is too high but I think it's 9.5/10.

Susan Robison <robinson@nysnet.net> (26.09.2000)

The best song??? Has to be "Here Comes the Sun" with the one and only Pete Ham...

Robert Tally <BtheW@aol.com> (25.01.2001)

I like this album more on a historic level than on a musical one. It kind of boggles my mind to think of the number of rock heavyweights that took the stage for this show. Obviously, there's Harrison, who was riding high on his recent solo success, but he tends to struggle through a lot of these songs. He's always been somewhat limited in his vocal abilities, sometimes getting good results, but often not - and hardly ever in live situations. The fact that he wasn't touring, while certain others in this ensemble were doing so regularly, also makes things a little shaky. Not that it's a bad record, though. In fact, 'Here Comes The Sun' comes off pretty well with its purely acoustic treatment (I'd still take the original, though.) Most of the others - 'Wah-Wah', 'Something', 'Awaiting On You All', 'My Sweet Lord' - are notably inferior to the studio versions, but reasonable. Eric Clapton would come across a lot better on 'While My Guitar Gently Weeps' if his guitar sound was ballsier. 'Bangla Desh' is perhaps more bombastic here than on the studio version. I'm not too impressed with the tune; it has its good points, but the lyrics are awfully contrived - but I think that's what happens when you write an instant made-to-order song. Ringo's spot ('It Don't Come Easy') is also somewhat weak, as he has trouble staying in key, so needless to say, it's not as good as the studio version. But these shortcomings are okay for two reasons: (1) the show still has a fun spirit that transcends them and (2) the rest of the performances are great. Obviously, Bob Dylan's set is a highlight.  Of course, he pulls out the usual favorites - Blowin' In The Wind' (which is sung much higher than on the studio version), 'Mr. Tambourine Man' (who, as it turns out, is Ringo Starr), 'Just Like A Woman' (which is drastically different than the studio version) and 'A Hard Rain's Gonna Fall' - but it's the inclusion of 'It Takes A Lot To Laugh/It Takes A Train To Cry' that seals the deal for me. Leon Russell is redhot on this album, with an action-packed medley of 'Jumpin' Jack Flash' and 'Youngblood' and a great vocal part on 'Beware Of Darkness'. Billy Preston turns in a first-rate performance on 'That's The Way God Planned It', although the studio version is a little more intense. Then there's Ravi Shankar and 'Bangla Dhun'. Obviously we're dealing with seasoned professionals here, as they improvise some pretty complicated interplay between themselves and gradually work up the intensity. I think I prefer Shankar's Monterey Pop performance, though (the only other thing he's done that I'm familiar with). Sometimes I'm a little put off by the kind of comments made by Harrison and Shankar at the beginning of the show - about Indian music being more 'serious' than the other part of the show. How can 'Blowin' In The Wind', for instance, be anything but serious? I like all the 'introduction of the band' stuff, though, as it makes me feel more like I'm there.

If anybody's looking for the studio version of 'Bangla Desh', which was released as an A-side just days before the performance, it's now available on The Best Of George Harrison. The B-side was a song called 'Deep Blue', which has never been officially released on CD (but it's on several bootlegs), and is a nice, simple, folky tune that stylistically sounds like All Things Must Pass. It's not a great song, but it's infectious.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (05.03.2001)

I don't think it's a great live album.Leon Russel's contribution is unlistenable,except for "jumpin' jack flash",essentially because of the quality of the song.Harrison's all things tunes are given treatments that are obviously inferior to their studio cousins.Dylan is a great live artist,but elsewhere.As for Harrison,the Japan album has a wider range of songs and a better sound."Deep blue" was a song about GH's mother;she passed away the previous year.

Palash Ghosh <palash7@hotmail.com> (07.03.2001)

I don't have the CD of The Concert For Bangla Desh but I'm familiar with the movie and most of the material on the record. This concert represented the very peak of George Harrison's career -– he had reached a stature of universal respect that not even Lennon or McCartney could approach in their solo years.

Long before 'Live Aid,' this was the greatest collection of rock and roll stars gathered for a worthy cause. What a great diverse crew of good folks they brought out! And to think George even invited John and Paul to the party (but they declined, and rightfully so, for if they had shown up, people would've mistaken this event for a Beatles reunion –- and, besides, who wants Yoko showing up and mucking everything up with her interminable wailing?).

Many people regard Bob Dylan's surprise (and unannounced) appearance as the concert's highlight -– I would agree it's ONE of the highlights. It was almost surreal seeing him on stage with two ex-Beatles and Eric Clapton. (Clapton, by the way, came out from his self-imposed 'heroin hideaway exile' for this).

I must admit that musically, the finest moments belong to Leon Russell when he snarls through that medley of 'Jumpin' Jack Flash' and 'Young Blood.' I also agree that the Ravi Shankar bit at the start is a too long and wearying (well, John had his Yoko, why shouldn't George have his Ravi?). Incidentally, Ravi Shankar is, at best, a MEDIOCRE sitar player. Yup, you heard that right. The best sitar players in India are almost like ascetic holy men, they would NEVER even dare to mix their music with foreign pop styles. Ravi liked fame, though.

If George could've gotten one of The Stones and someone from The Who here, this concert would've REALLY ROCKED!

I also think it was a shame that George didn't allow Badfinger more of a prominent role at this concert -- although he did have Pete Ham with him for the acoustic 'Here comes the sun.' Badfinger's profile would've been immeasurably higher if they could've done one or two of their best songs.

Glenn Wiener <glennjwiener@hotmail.com> (05.07.2001)

Some captivating moments both by George and his friends. The acoustic touches on 'Here Comes the Sun' has a nice touch. The BanglaDesh song is another passionate number. In addition, Leon Russell contributes a nice medley of 'Jumping Jack Flash' and 'Youngblood' that really livens up the speakers. Ringo’s, 'It Don’t Come Easy' is another highlight. Bob Dylan contributes some of his material that fans of his will appreciate. Overall, this record can be apprecaited by a wide audience.

Jaki Springer <twoflower14@hotmail.com> (13.02.2002)

A really fun live album, and I say this in spite of the slight aversion I normally have to live albums. Now, I know that what I'm going to say next will probably make me look like a complete jerk, but it's been bugging me for a very long time and since you seem to be very fond of live albums, George, I kinda thought it would be a good time to let it all out and well, come out of the closet, so to speak...

You see, the problem I usually have with live albums, very generally speaking, of course, is that they almost never feature any exclusive new material that can't be found elsewhere (and although that's hardly the point of live shows, I believe it should be an important part of live show RECORDINGS), the songs are often performed in a sloppy, careless way (chances are you're gonna be really disappointed as your favorite songs get butchered mercilessly and bleed to musical death), the sound quality is more often than not vastly inferior to that of a studio album, rarely equaling it, and live albums almost always tend to feature some unnecessary jams or "really cool" instrumental parts like twenty minute drum solos and other really annoying stuff.

OK, sorry about all that. That was just my little personal rant on the down side of live albums, take it or leave it. (OK, OK, leave it, geez… :-) Oh, and I am well aware of acts like the Who for example whose main strength lied in their fantastic live performances, but what I'm trying to say here is that live shows are great if you're actually THERE - there's nothing like seeing and hearing your favorite group perform live, but I do think that most live ALBUMS fail to capture the live experience - the atmosphere, the excitement and thrill, that are the main aspects of every live concert. Most of the time these things just get lost on the recording, and once you eliminate these elements, you are left with just the performance's musical value, and that's bad news for most bands because, as I already said, most bands' studio versions put to shame the live ones. In pure musical terms, that is.

But enough with the whining already, let's talk about THIS particular live album. Well, to be completely honest, this album is no exception to what I've just said. It has many of the aforementioned flaws - the sound quality is far from perfect, some songs get a poor treatment and sound like lesser versions of the originals (especially Dylan's 'Just Like A Woman'), and we get the inevitable instrumental in the form of the lengthy Indian piece 'Bangla Dhun', which is not totally unlistenable or something like that, but it's very repetitive and it doesn't go anywhere (but then again, I'm no expert on Indian music, just my Western music trained ears talking here…).

Fortunately, this album has more than one redeeming quality. In fact, for every flaw it has, there's something that more than makes up for it. First of all, the atmosphere is great and the fun is pouring from the speakers whenever I play this CD. You really get the feeling that these guys, who are some of the most prominent figures in rock history, are having a lot of fun playing together and just being on the same stage. And that sheer fun and enjoyment is probably the reason the performance came out so good (the guys actually never got the chance to rehearse due to the impromptu nature of the whole event). So the level of musicianship is surprisingly high considering the circumstances – in fact, some songs here sound almost better than their studio versions, and among those that stand out are the beautiful acoustic version of 'Here Comes The Sun', the energetic 'Jumpin' Jack Flash' from the 'Jumpin' Jack Flash/Young Blood' medley (the Young Blood part is kinda too primitive and uninteresting to really enjoy, but I really like the way the two songs are joined together), 'Something' (which features some very nice guitar work) and the closing 'Bangla Desh'. Bob Dylan's segment is also quite good, and although he totally butchers 'Just Like A Woman', which he turns into a geriatric country tune, his other contributions are really good.

One last thing I'd like to mention is the rendition of 'While My guitar Gently Weeps'. It is mostly great, but I find the ending a little anticlimactic. True, it was obvious it would be very difficult, if not impossible to duplicate the studio solo on stage, and that's exactly the reason I was hoping for the live one to be quite the opposite - uninhibited, loud, flashy - so it could maybe make up for it by trying to use muscle where the studio version used brains, but the solo here is neither, and sounds a little pointless to me. Maybe George felt the same way about it, because on Live In Japan, more the twenty years later, he finally gave Eric Clapton the green light to unleash a really virtuosic, ferocious solo at the end of 'My Guitar', and needless to say I think that version was superior to the Bangla Desh one.

Anyway, despite its many flaws, I really love this album and being the anti-live guy that I usually am, this should probably say something about the quality of this one. It's not a truly great album, I guess, but it sure is good enough to make me happy.

Glenn Wiener <Glenn.Wiener@Entex.com> (09.02.2000)

George is still in top form on this recording. Whereas George did not have as much material as on All Things Must Pass, most of it is of prime quality. The opening track, 'Give Me Love', is a thing of beauty. For the most part George balances out soft songs with rockers pretty well. Side 2 slacks off a little but like you said its really hard to duplicate the effort on the previous studio album.

Sergey Zhilkin <sergey_jilkin@mail.ru> (11.09.2000)

I'm glad you've changed your ratings to Living in the material world (as I remember it was 8/10).Though it's not that album which ratings you had to make higher (in my opinion).This was the next studio record after All things and you're right that this effort is worse than previous one.Though it still has connections with All things. 'Give me love', 'The light that has lighted the world', 'Don't let me wait to long', 'The lord loves the one' and 'Try some buy' could easily fit All things. Well, this really sounds like All things must pass 2.Though the tradition that sequel is worse than original didn't change.This album is really soft so use it as background music when you're doing some routine work.But I MUST mention two really great songs here: 'Sue me, sue your blues', 'Living in the material world' (about George's career and life). They DO have drive which really blows my mind. Maybe the first one is about disbanding 'The Beatles' and Paul's deal with 'Apple' or about judgement in general. It doesn't matter, the song is great anyway.Good stuff. Pure 8 out of 10.

Robert Tally <BtheW@aol.com> (28.01.2001)

I see this album as being a major letdown after All Things Must Pass, and shows Harrison as being very uninspired during the late '72 to early '73 period. This becomes glaringly obvious considering that the best song on the album, 'Sue Me, Sue You Blues' (which I really think is great - one of George's best), was released by Jesse "Ed" Davis in early '72, and that the second best song (in my useless opinion, anyway), 'Try Some, Buy Some', had been released by Ronnie Spector in early '71. Of the remaining nine songs, only a few pass muster with me: 'Give Me Love' (which sounds really good, but doesn't pass close scrutiny), 'The Lord Loves The One' (which is pretty solid, but nothing great), 'Living In The Material World' (which somehow is both melodically uninspired and catchy at the same time) and 'Be Here Now' (which is a bit dull, but has some nice touches and a relaxing mood). I really think the remaining songs are a load of crap. 'Don't Let Me Wait Too Long' is about as generic as a pop song can get. 'The Light That Has Lighted The World' has to be the dreariest song ever. Oh, wait, that's right - there's three other songs on this album that are just as dreary: 'The Day The World Gets 'Round', and two overly melodramatic things called 'That Is All' and 'Who Can See It', the latter having about the most ridiculous lead vocal performance I've ever heard. Some of these are compensated somewhat by some brilliant slide guitar playing. I won't go as far as saying this is Harrison's worst album, since there are at least a couple of really good songs (and few passable ones), but it's definitely near the bottom for me.

The completists out there should be on the lookout for a song called 'Miss O'Dell', which had been the B-side of 'Give Me Love', and which is no longer available. It's a pretty good song - one of those folky ones - and would have improved the album had it been included. Especially if Harrison had chosen a take where he wasn't repeatedly laughing uncontrollably (there is a bootleg version where he doesn't laugh). The laughter's okay, though - it adds a little novelty.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (05.03.2001)

In june 1973 ,LITMW was greeted by a tepid critical reaction.Yet,it proved highly successfull,mainly in the USA where it was his second and last number one album.This is a good album,except when Harrison insist too much on the perils of disbelief (like Dylan will do later);thus "the lord loves the one" is almost unbearable.My favorite is the turgid "try some buy some" .This song has a long story.Ronnie Spector(the golden voice of the Ronettes) cut her version in 1971:it was a flop.So Harrison kept the orchestral part and added his voice on it."give me love"and "don't let me wait too long-very spectorian too- are first-order light pop."Be here now" litterally grew on me.And in the title track,G. uses a sitar for the first time since the heyday of psychedelism.

Palash Ghosh <palash7@hotmail.com> (07.03.2001)

Despite some tiresomely preachy lyrics and a few numbers that drag on to slowly, Living In The Material World is actually a very good album –- it shows that George was not completely spent after All Things Must Pass. The title track is unexpectedly rollicking and I LIKE the lyrics (like 'although we started out quite poor, we got Richie on tour'). This and 'Sue me sue you blues' (which sounds more like a barn-dance to me than blues) are my favorite tracks. It's strange, but George was the only ex-Beatle who sang about the group's ugly break-up with some humor (whereas John sang about it with extreme bitterness and Paul didn't really address the break-up at all in song).

'The Light That Has Lighted The World,'' Give Me Love (Give Me Peace On Earth)' and 'Don't Let Me Wait Too Long' are all fine songs as well.

Dan Hogg <dantheman_sg27@hotmail.com> (22.01.2003)

All Things Must Pass was quite a doozy, and George could never top it. Instead, he recorded a lot of low-key albums, like this one, Living in the Material World. It starts with "Give me Love (Give me Peace on Earth)", which is slight and a bit repetitive, but still good. I can't believe it hit #1 back in the day, they never play it on the radio. (Bonus fact: it knocked Macca's "My Love" off the #1 spot in the U.S.) "Don't Let Me Wait Too Long" is better in that regard, the 2nd most perfect pop tune done by Harrison. As far as rockers go, "Sue Me Sue You Blues" reminds us of Harrison's bitterness and steel guitar mastery; the title track is less bitter, but overlong and the sitar breakdowns are awkward. I didn't know "Try Some Buy Some" was "overrated", as I don't see why it would be regarded a classic. Maybe it's the Spector-ish sound, but the pacing is weird. The rest is all strictly religious tunes. "Light That Has Lighted The World" is sor! t of forgettable, but "Who Can See It" reaches some great climaxes. "That is All" is almost as pretty. "Be Here Now", "The Day The World Gets 'Round" and even the upbeat "The Lord Loves the One" are a bit dull. This album may have nice moments, but the dull moments are apparent as well, and it sure ain't no ATMP.

Dmitry Zhilkin <dsj@dialup.ptt.ru> (29.06.2000)

Well, what can I say? Firstly, I liked it much, especially 'Dark Horse' and 'Maya Love'.But when I listened to it I had a feeling that it was VERY familiar to me. Maybe he took some melodies from other popular songs? Actually, my mother is an expert in old-Russian-pop(I mean music that was popular in USSR from the end of 70 to the end of 80) and when I asked her to listen some songs from Dark Horse album she told me that 'Far east man', 'Simply shady', 'Maya love', 'Dark horse' and 'Ding dong, ding dong' were taken by some pop-singers. They didn't change music even a bit - just the words. You didn't hear it and it's better for you. I get sick everytime I hear wonderful music but lyrics about our 'Great country, communism pioneers, new generation and bright future'! Yes, I mean that Harrison's lyrics were substituted by dull text. But it's at the same time a compliment to George because only few singers were 'brought' to USSR.

Sergey Zhilkin <sergey_jilkin@mail.ru> (29.11.2000)

Yes, it's his most underrated album (actually, more than half of George's albums is underrated). George just wanted to make an experiment. Once he ate too much ice cream and got his hoarsy voice (this story reminds me almost the same story of Amanda Lear but in her situation her voice became much better). Then he recorded 'Dark horse'(song) and liked it very much. So 6 more songs were recorded in such way but when George was singing second take of 'Far east man', he realised that his voice was improving so he ..... ate another pack of ice cream and recorded 'Far east man' and 'It is 'he'. Well, I think that this record would be worse without his hoarsy voice cause such changes give some special charm.

Let's get to the songs now. I really don't know which is the best here. 'Maya love' has some energy hidden under music and it seems too short for me (though it last about 4 minutes). I love lyrics of 'Dark horse' with all my heart and 'So sad' is beautiful, too. 'Bye bye, love' was written bt Bryant brothers but I like George's performance more. Well, the album turned out to be real dark horse and I think that everyone can dig into it after a few listens... My rating is 11/15.

Poor old George! His wife married Eric, Dark horse failed and people nearly booed him off the stage during America tour. Fortunately, George didn't turn to be depressed and found new avocation - collecting cars. By the way, do you know that George had fuse pedal instead of brakes?...

Robert Tally <BtheW@aol.com> (05.02.2001)

I find this album to be the very essence of mediocrity - and for two reasons. First, there really aren't any standout songs - a couple of them are better than the others, but still aren't among the very best Harrison songs out there. Secondly, there aren't any real dogs on this album, either. The songs all range from fairly poor to fairly good, which, by definition, makes it a mediocre album. I will hesitatingly select 'Maya Love' as my favorite, since it sounds pretty cool and is generally tuneful. I also like 'Far East Man', which is more soulful than usual for Harrison. 'It Is He' has a fairly infectious melody, and 'Ding Dong, Ding Dong' is somewhat of a guilty pleasure, since it's kind of dumb, but catchy (although I swear Harrison ripped off that melody from my neighbor's doorbell - you wouldn't find McCartney stooping that low, not even if he waited two years). The remaining songs all leave me less than satisfied. 'Simply Shady' and 'Dark Horse' both sound okay, but the melodies don't affect me. 'So Sad' is a good song waiting to happen, that ended up with a weak chorus and bad singing. 'Bye Bye, Love' for some reason just bugs me with that sped-up sound and overly busy vocalizing. And 'Hari's On Tour' seems anticlimactic for being the tune that opened all of those live shows. Which brings me to a dilemma: Is Living In The Material World better than this because it has one or two great songs on it, while this one doesn't? Or is it worse because it has some terrible moments, when this one doesn't? I can't decide, but I tend to think of Dark Horse as Harrison's weakest album simply because none of my favorites are on it.

If you're looking to pick up every official Harrison track, you'll need a song called 'I Don't Care Anymore', which was the US B-side of 'Dark Horse' and the UK B-side of 'Ding Dong, Ding Dong'. It's yet another rural tune with a novelty: this time Harrison starts off by announcing that he's got another B-side to do, and then gives an extremely off-the-cuff and unfocused performance, which incidentally features a Jew's harp boinging away through it. If he had really worked on it, it may have been a fairly good song, but he basically wasted it.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (05.03.2001)

You've got to be into Harrison to like this one.I've got to admit it's not much of an album.It' s a sort of equivalent of Wings Wild life.Both have a cover.Paul butchered Buddy Holly's magnificent "love is strange" as George cheapens the Everly's fine tune (Simon and Garfunkel's version is a cover mind you)Both were made hastily before the stage comeback.Both were panned ruthlessly by an unanimous critic.Both have 8 or 9 tracks.

I know this is a very poor offering and however I like it.I've never understood why.This is the perfect album for brooding :"so sad" "simply shady" (my two favorites),the Xmas song that was a commercial disaster "ding dong" remains a mystery:it was bound to be a big smash and it floundered at the bottom to the charts (when it made them),.

On the other hand ,I' ve never liked "maya love": no tune at all.The B side to "dark horse "(or "ding dong" depending on the country you live in) is intriguing :This "I don't care anymore" is probably about Patti Boyd again.

Glenn Wiener <glennjwiener@hotmail.com> (08.06.2002)

Indeed surprisingly underrated. However, George's vocals really handicap this record in many spots. Truthfully my fave is 'Simply Shady' as on that track George's passion overrides any vocal shortcomings. The title track is a beautiful song. But like you say the vocals kill the effectiveness. 'Maya Love' features a nice blend between the guitars and keyboards. The opening instrumental is pretty cool.

The rest of the material is decent but not spectacular. That is except for the butchered cover version of 'Bye Bye Love'. The rhythm is totally out of synch with the nature of the song and the changed lyrics just do not work. The overall effort is decent but go with Cloud 9, All Things Must Pass, and Living In The Material World before this one.

Dan Hogg <dantheman_sg27@hotmail.com> (23.01.2003)

Hoo boy, is Dark Horse ever ragged upon. Really, I must be the only person on the planet who isn't bothered in the least by George's vocals here. Yeah, his throat was sore, but it could be worse (think Bob Dylan's post 1970's voice). This poor album is unjustly bashed, but I sure don't see it that way. My favorite song is the title track, a nice shuffle that is so catchy I don't even notice Harrison's hoarse vocals. You're right about "Maya Love", the rising sax line during each verse, and piano-guitar tradeoff make this song a treat. "Ding Dong Ding Dong" has some nice holiday sentiments, despite its ripping off of the Westminster chimes in the chorus. "Bye Bye Love" is intentionally bad, so by rule, it's good. "Simply Shady" recalls his personal problems at the time, and sounds good. "So Sad" is redeemed by it's pre-refrain and refrain, since the rest is boring. "Far East Man" is the low-point for me, too slow and lounge-y. "Jai Sri Krishna" is a silly singalong that will get stuck in your head all day. Which leaves the instrumental "Hari's on Tour", an OK but unnecessary instrumental. Oh sure, some poor sap critic might say something snide like "That's the best song on the album, you don't hear George!", but poo to him. I'll defend this album to the end.

Pedro Andino <pedroandino@msn.com> (28.12.2003)

DING DONG MAY REMIND YOU OF THIS 1969 TUNE BY NINA DO YOU KNOW HOW CHRISTMAS TREES ARE GROWN! THE TUNE IS STUCK IN MY HEAD! ANYHOW I HEARD IT WHEN I GOT THE SOUNDTRACK FOR ON HER MAJESTY'S SECRET SERVICE! NAME THE BEST CHRISTMAS TUNE THAT IS NOT A STANDARD: I BELIVE IN FATHER CHRISTMAS BY ELP STEP INTO CHRISTMAS ELTON JOHN. YOU ALREADY KNOW JOHN LENNON'S HAPPY XMAS WAR IS OVER! PRODUCED BY PHIL SPECTOR YOU HEAR EVERY TIME GO INTO A RESTRUANT OR STORE OR MALL. MY CHRISTMAS THEME SHALL BE TONIGHT TONIGHT BY SMASHING PUMPKINS!

Sergey Zhilkin <sergey_jilkin@mail.ru> (24.08.2000)

I think you are wrong about this album.Just look. George suddenly turned out to be piano lover. Did you notice it before? Did you notice it after this album? No! Nine of ten songs (I didn't include 'My guitar') are songs for piano. The melody of 'This guitar' has nothing familiar with 'While my guitar...'(only name).'World of stone' is rather unusual song for Harrison.It's melody changes a little bit near the middle and I like rythmic pupping on piano when it goes with drums.Back vocals are charming. 'The answer at the end' has very good lyrics, 'His name is legs' is stupid but it has really catchy melody. You said that George lost his voice. It's not true, at least I couldn't see it (maybe you meant that he lost his voice on Dark horse (album)? Then I take my words back ) Only one problem: George plays guitar,yeah? But can you find it on piano-songs?

I found out who plays piano.There are 3 men:Russel, Wright and Hopkins. J.Horn plays on horn.Oh, sorry on sax but it really sounds like horn.

OK.This album is better than Dark Horse but worse than Cloud nine for example.So my rating is 7.5/10.5 (this comment refers to an older version of the review, when my rating was lower - G.S.).

Robert Tally <BtheW@aol.com> (09.02.2001)

Another mediocre album, but I'd rate it higher than Dark Horse, since it includes at least a couple of really good songs. My favorite is 'Tired Of Midnight Blue', one of Harrison's most sophisticated songs (that's some nice piano work by Leon Russell), and probably the only one on the album that I could comfortably put on a 'best of' tape. Actually, though, I might also include 'World Of Stone', which has a strong melody, and maybe 'His Name Is Legs', which is a lot of fun. And, even though it suffers from an unfortunate comparison, 'This Guitar' sounds pretty solid to me, and has some pretty nice guitar work on it. Most of the other songs are fair, but nothing special. 'Ooh Baby' has a nice soul thing going on, but Harrison's the wrong singer for it. 'Grey Cloudy Lies' and 'The Answer's At The End' have a couple of good moments, but are a bit dull. 'Can't Stop Thinking About You' is okay, too, but a little mundane. 'You', and by extension, 'A Bit More Of You', is just a bunch of empty hype. So, basically, Harrison was still in a slump, but things were looking up.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (05.03.2001)

Harrison's credibility was sinking fast at the time,and he tried to repair the breach by releasing a new album very quickly-hardly ten months between horse and texture ,for Harrison it's pdq!"You" doesn't sound spectorian .It actually is!It was produced circa 1971,like 'try some buy some".It's very catchy and you can't resist it,M.Starostin is absolutely right."The answer's at the end "recalls E.John then at his peak."This guitar" doesn't stand the comparison to you-know-what ,but it's a nice tune on its own."oo baby" dedicated to Robinson is rather a track influenced by Wonder.Side 2 is less tuneful .OK but no more.

Eric Rogozin <erogozin@mtu-net.ru> (16.04.2001)

Good album. You're right about it. Not genial, but quite good. Of couse, "This Guitar (Can't Keep From Crying)" can't be compared with "While My Guitar Gently Weeps" (and the melodies of these songs have nothing in common, why do critics call "This Guitar (Can't Keep From Crying)" a sequel to "While My Guitar Gently Weeps"), but nevertheless it's a rather good song. Probably "The Answer's At The End" is the best song here. Like I said before, it's a decent album. Mostly beautiful piano songs. Wonderful soft-rock.

<Jhensy2001@aol.com> (13.05.2002)

With me, the quality question is always: Does a song belong on a "Best of" mix tape? On Extra Texture, there's only one...."You". That's one of the great ShouldaBeenANumberOne tunes of all time. It's only flaw is George's weedy vocal- when he comes in at the start, he sounds like a bleating sheep. But goddamn that song is gorgeous.

Dan Hogg <dantheman_sg27@hotmail.com> (23.01.2003)

Extra Texture was another sacrificial lamb to the critics, or so I hear. This time I won't rush to its rescue as fast as I did with Dark Horse. George's voice was back to normal, and this album sounds closer to LITMW than Dark Horse. This time his religious tunes are weaker. "Answer's at the End" sure has it's moments, especially in the refrain. But "World of Stone" and "Grey Cloudy Lies" float around and do nothing. "Ooh Baby (You Know I Love You)" and "Can't Stop Thinking About You" are dull "soul" tunes that are interchangeable. "Tired of Midnight Blue" and "His Name is Legs" pick up the pace, but the latter is weaker, being hook-less and over-long. "This Guitar (Can't Keep From Crying)" is easy to slam because of its obvious "Guitar Gently Weeps" connection, and it holds no candle to the original. But on its own it's nice and moody, and the 2nd-best song here.

What's the first? "You", of course. I devoted a whole paragraph to this song for a reason. Hell, I could go on all day about it. It has SO MUCH going against it: George's vocals are abnormally high, it takes one minute to say "I love you and you love me", the production is both muddy and Spector-overblown at the same time, and the saxophone. But I love the song to death. Harrison's best pop tune ever. Dang funny at parts too, esp. toward the middle where an army of George's sing "I LOOOOOOOVE" and the whole scene climaxes to...a pinched "youuuu". Gets me every time. I haven't even mentioned the guitar riff, middle eight, and Ronnie Spector-ish fadeout. Man this song does so much with what it has. It makes the whole album for me.

Sergey Zhilkin <sergey_jilkin@mail.ru> (10.10.2000)

Oh, yeah! Finally I got this album. Really nice try which is surely better than Extra texture. Here are not so many songs but you can easily dump some of them on your own compilation Best of George Harrison. This is his truely good average album which even could be Harrison's the most quintessential album. All songs are standart and don't expect any breakthrough from George. Did you notice that George allways 'shows his cards' in the beginning of the song and tune is the same all through it. Well, nothing changes this time: George is still good, George is still calm, George is still enjoyable. I think it's 8/10 but I have only one more thing to say: buy this album only after buying other George's albums. If you enjoy them, you'll certanly enjoy this one.

Robert Tally <BtheW@aol.com> (13.02.2001)

What a relief it was when this album came out. It was starting to look like All Things Must Pass had only been a fluke, and that Harrison might not really be such a great songwriter after all. But with this album, he came up with several choice gems of '70s pop. My favorite is the funkiest in the batch, 'Woman Don't You Cry For Me'. That bass is simply throbbing, and the slide playing is magnificent. Then there's the wondrous hookfests: 'It's What You Value', 'This Song' and 'Crackerbox Palace', which all deserve a place on any 'best of' tape. I'm also very partial to 'Dear One', which makes up for a somewhat uneventful verse by adding on a very catchy chorus with infectious work from the keyboardist(s). 'Serve Yourself' sounds really cool to my ears (I don't mind preaching if I can agree with the essential message, and being an agnostic, it's refreshing to see no mention of God in this one), but the middle part sounds forced, like he was having trouble thinking of a decent melody. 'Pure Smokey' is a nice soulful tribute to Smokey Robinson, and 'Beautiful Girl' is catchy without being too incredible. 'Learning How To Love You' is a little better than usual for a Harrison ballad, which usually tend to be pretty dull. The only song that I can't quite get into is 'True Love', which is actually a good song, but (like 'Bye Bye Love' a couple of years earlier) suffers from some rather liberal vocalizations from Harrison, whose strengths lie elsewhere. Not that his voice doesn't come across well in other songs: one only needs to listen to some of these other tracks to find that out. So this album gave us a breather after an extended period of mediocrity. It would take a surprisingly long time for Harrison to come up with something this good again.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (05.03.2001)

Side one walks a fine line:no weak track!"woman don't you cry " is infectious and catchy."dear one' is hautingly beautiful,with a very original arranfement."Beautiful girl" was intended for all things must pass,and could have replaced "isn'it a pity 2" without tears."This song" ,the single,was however the least interesting track of this side.The very subject of the song blighted the tune."see yourself' tackles the "run of the mill" topic again and pulls it off quite well.

I 'd be more reserved about side 2:First the cover a Bing Crosby/Grace Kelly song -that they crooned in a mediocre movie "high society"- was-it a good choice for Harrison? I have my doubts.The song about what you value has got no hook at all.Neither has "pure smokey",or else it's a "ooo baby" rip -off."Crackerbox palace" is all right,but not particularly memorable.

Eric Rogozin <erogozin@mtu-net.ru> (16.04.2001)

It's much better than previous one; well, of course Extra Texture is also a good album, but Thirty Three & 1/3 sounds much more optimistic (if I found a right word) than Extra Texture and it seems to me, than it's better. I think, this album is along the best albums of Harrison. Nice tunes. "Woman Don't You Cry For Me", "Beautiful Girl", "See Yourself", "Pure Smokey", glorious "Crackerbox Palace" and wonderful soft-rock ballad "Learning How To Love You". Good album.

Glenn Wiener <glennjwiener@hotmail.com> (05.07.2001)

Some good, some not so good. 'This Song' is a real catchy rock tune with captivating keyboard and saxaphone solos. 'Crackerbox Pallace' features some good slide guitar work and 'Learning How To Love You' is a pleasant ballad. The cover of 'True Love' is pretty focused and pleasing and 'Woman Don’t You Cry For Me' has a nice blues pattern. The rest of the songs are pretty forgettable as they offer little that is memorable such as hooks or catchy styles.

Sergey Zhilkin <sergey_jilkin@mail.ru> (20.08.2000)

I agree that 'Not guilty' is very good song but NOT the best one on this album. I don't remember melodies of 'Dark sweet lady', 'Your love is forever', 'Soft touch', 'If you believe' and don't really want it. But there is one song I would like to mention - 'Soft hearted Hana'. The lyrics are not very good but this melody! Ooh, I like it. Just listen some men chanting pa-pa-pa-pa! Really the best song from this album. Strange that it wasn't placed on Best of Dark Horse instead of 'Here comes the moon'(very disapointing thing - you expect something of Beatles quality but get err... O.K. forget it.) My rating is 7/10.

Robert Tally <BtheW@aol.com> (19.02.2001)

As usual, there aren't any bad songs on this one, but most of them are nothing special. My favorite would pretty easily be 'Not Guilty', which is sad considering the song was written in '68, and doesn't count toward the picture we have of Harrison's level of inspiration in the '77 to '79 period. This is a mellower version than the Beatles track (which would have been one of my favorite White Album tracks had it been included - and that's saying a lot). Then there are several tunes that are good but not great: 'Soft-Hearted Hana' is a catchy song with some interesting atmosphere; 'Dark Sweet Lady' is a nice, soft island ballad; 'Blow Away' is a catchy ballad with some nice slide work; 'Soft Touch' is another catchy ballad; 'Your Love Is Forever' is another nice ballad. Lotsa ballads here. The rest of the songs are fair: 'Here Comes The Moon' (unlike the other sequel on Dark Horse) doesn't even come close to living up to the original; 'Love Comes To Everyone' and 'If You Believe' both sound like variations of the same kind of generic '70s pop; 'Faster' simply doesn't achieve the kind of imagery I would have expected, and is generally bland. Overall, the album is rather slick-sounding and laid back (hence, the fact that every song could at least loosely fall into the 'ballad' category). It was a letdown after 33 & 1/3, but that wasn't a surprise considering the 'extra horse material' before that.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (06.03.2001)

This is a laid-back album.Some pretty harmless stuff:"blow away" " here comes the moon" "love comes to everyone".the best of the lot , IMHO ,is perhaps "faster" which has got catchy tune and an adequate dramatic string arrangements.Twas the time of the Clash,Blondie,Costello,and Harrison was really passé.Hence his charm.

Eric Rogozin <erogozin@mtu-net.ru> (17.04.2001)

It's a decent album. Well, all Harrison albums fit to definition "good album", except All Things Must Pass and Cloud Nine, which are GREAT. George always has a sense of melody and he's a GENIUS like all The Beatles are after all. "Not Guilty" is Beatles outtake, "Soft Hearted Hana" is funny, "Blow Away" has such an optimistic feeling and I like it, and the best song here is "Soft Touch". It seems to me, that "Soft Touch" is a highlight.

David Goodwin <ksg1-2@yifan.net> (06.08.2001)

I'm setting myself up for a lambasting, but I supposed if I admitted that my favorite song on the album was "Faster," I'd deserve it. I don't find it to be that bland, I love the melody...bah.

GH '79 and 33 1/3rd are weighed pretty equally in my mind...I like large chunks of each, and (to a large extent) enjoy the lack of "genre-fun" on GH '79. It's a nice, peaceful album, even if George didn't look terrifically great during this time period (look at the video for 'Blow Away', if you want proof of that). Tops Extra Texture for me, too.

Oh, and the sound on the CD is *good*, even for a first generation disc...

Bob Josef <Trfesok@aol.com> (13.08.2006)

The album that this one reminds me of, oddly enough, is the Beach Boys' Friends. Not so much in sound, necessarily, but attitude. As with the Beach Boys record, this one finds George in a very content, peaceful place. The problem with this is way too much mellowness all at once. You can also say the same thing about Friends, of course, but that one is only 25 minutes long. This one is over half again as long, so the endless succession of ballads gets to be very unexciting. "Faster" should really have been titled "Only Slightly Less Slow," but it is one of the highlights. The only hint of darkness comes from "Not Guilty." That's not too suprising, since it comes from a dark point in George and the Beatles' history. It adds a needed bit of variety, along with the spacy whimsy of "Soft Hearted Hana." Still, everything is more than listenable and enjoyable on an individual song basis. Except for "Here Comes the Moon," I agree, with those awkward lyrics and that equally clumsy riff, an obvious variation in the riff from "Here Comes the Sun." Sort of embarrassing. Still, despite the good vibes coming from the album, it was clear that the power of ATMP was never going to return.

Sergey Zhilkin <sergey_jilkin@mail.ru> (17.09.2000)

Now I'm gonna get poor George down into toilet.What is it? Pop,pop,pop and again pop? Such pop must die! Whre are great George's tunes? 'Blood from a clone' is awful, 'Baltimore oriole' is a mix of retro sound with f*&^ing pop tune. Trying to inculcate jazz to new generation, yeah, George? Poor boy has low knowledge in history. If not, how can you explain such lyrics :'The Russians have the biggest share/With their long fingers everywhere/And now they've bombs in outer space/With laser beams and atomic waste' in 'Save the world'. I can continue the list of such songs but I'm tired of it.Let's talk about good moments, such as 'All those years ago' and 'Unconsciousness Rules'. Great songs. Without them this album might have been pure crap! George, 'you need some oompa-pah, nothing like Frank Zappa and not New Wave they don't play that crap'.4/10!

Hey! Did you know that 'Teardrops' managed to get second position in British hit-parade. How? Don't ask me about it.

Robert Tally <BtheW@aol.com> (23.02.2001)

The only thing we agree on about this album is that it's not one of Harrison's best.

For me, though, there are at least a few really good songs: 'Save The World' (downright catchy, humorous, entertaining sound effects - probably my favorite on this one); 'Hong Kong Blues' (another entertaining tune and a great melody - written by Hoagy Carmichael); 'Baltimore Oriole' (the other Carmichael tune and another highlight - good thing Harrison did these two songs, or the album would have been awful); 'That Which I Have Lost' (as usual, Harrison comes up with good rural stuff). I also enjoy 'Unconsciousness Rules', which is quite catchy.

The rest of the songs I have a problem with, and that would include the 'classic' 'All Those Years Ago'. Who the hell would even be talking about this uninspired thing if it wasn't about John Lennon and hadn't been released right after his death? Okay, the tune's not bad, but the lyrics are downright sloppy. 'Writing's On The Wall' is a nice ballad, but like most Harrison ballads, it's a bit dull. (Or is it just relaxing? Depends on the mood, I guess.) 'Life Itself' is the other ballad, and perhaps a little too corny in addition to being dull. Let's see, that leaves two songs and they're both among my least favorite Harrison tracks. The only positive thing I can think of to say about 'Blood From A Clone' is that it's vastly superior to 'Teardrops', which is so bad it surprises me. I would have never expected Harrison to do something so banal. This was the first album he had done since Living In The Material World that contained songs that I disliked (there had been several others with songs that I was indifferent to, however). But, since I do actually like some of the others, I'll just place it in the same general category of mediocrity with Dark Horse, Extra Texture, Material World, and George Harrison.

Incidentally, the two or three other people in the world who like 'Save The World' may be interested in knowing that the 1985 various artists album Greenpeace has a vastly different mix of that song.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (06.03.2001)

This is the first album which contains an horrible horrible horrible song:the last one."Save the world" mixes everything,in an awful hodgepodge(or hotchpotch if you're American or salmigondis if you're French): George takes his best shot with a cracker full of cliches.Boing!No cigar and not even close.Nothing is spared the listener:rains forest and paper towels,destroyed wildlife,whales and dog food,H Bomb,cancer, you name it. M.Zhilkin is a thousand times correct when he complains about the notorious  and  ludicrous lines "the Russians have the biggest share,with their long fingers everywhere".Fortunately we have the Good Fairy America and the nice and pacific UK,France ,Germany,Italy et al to give peace a chance.George should have listened closely to Buffy Sainte-Marie's "universal soldier".

The other songs : "all those years ago" is a rather tepid song not as moving a tribute to JL as Paul's "here today".

"life itself" has a strong melody but haven't we had enough of Krishna,Buddah,Jehovah and co?Plus ça change...

"Blood from a clone" is rather catchy,but here again,the words suck:Harrison's intolerance with the"crappy" new wave is glowing!He really didn't understand that in 1963,the "new wave" was the Beatles.This album is everything but warm.

[Special author note: with all due respect, even if I hate 'Blood From A Clone' as much as anybody, I think that Didier has misunderstood the lyrics. 'They want the oomph-papa, nothing like Frank Zappa, and not New Wave, they don't play that crap' relates to the music industry bosses who suck because they don't play Frank Zappa and New Wave, playing pop crap instead. Granted, it's a little weird to hear Harrison complaining about the prevailing of pop crap from within a crappy pop song himself... then again, maybe that's the point? Hmph. Never considered that before.]

Brendan S. McCalmont <tnahpellee@yahoo.com.au> (13.07.2004)

You know, I don't know what you have against pop. Firstly, pop music is not crap, many pop songs have fantastic melodies and have downright wonderful performance. I get really pissed off [really really angry] when you pick out and song and rubbish it for being a pop song because you don't consider any of the other merits the song might have, for instance, 'Blood from a clone' has a fantastically catchy chorus and actually has a great lyric about beign anti-disco. If you don't like the albm, it's because the record company told him to go back into the studio and record 'more pop-soudning music' four songs in-fact and I think the songs he had to record were 'Teardrops' [my fav here], 'Blood from a clone' and 'Unconsciossness rules', because they all fit in with pop from the time. I hate re-opening this but this is a typical 1981 generic album, and The Fox isn't. Oh by the way those three afforemention songs are my favourite three from this album, closely followed by 'All those years ago'. They are up-tempo, catchy and have interesting lyrics. The instrumentation on this album is just fantastic, I really enjoy all the unusual guitar/synth effects. But then there's also some interesting covers, namely 'Honk Kong blues' and 'Baltimore Oriole'. The only thing I don't like about this album is the production, for the very reason Harrison's voice is buried beneath all the instruments. It's a real shame. At Least Mr.Spector doesn't do that! Perhaps that was to be expected, since Harrison co-produced this with Elton John's percussionist! That being Ray Cooper. But great lyrics and this album really does capture what I think Inner peace would sound like.

Sergey Zhilkin <sergey_jilkin@mail.ru> (20.08.2000)

No doubt that George is burning out.Though it doesn't mean it's bad, crap or as you say an album 'written by an average songwriter in a drug-induced coma'.Well, you're right but only partly. You didn't mention 'Mystical one' with it's wonderful melody when George sings :'I am,yes I am/You know what I feel/You came in my life/Made me more real'.Try to write such song while you're in coma... 'I really love you' is typical beach-song and don't expect something extraordinary from it.You should take this album like Starr's Ringo.Nothing to talk about.Try to turn it on when you're working or doing some other work.Take it as a background ..err..well, not noise but sound.

'Wake up my love' is good to start day with(ain't it a very energetic song?).'Greece' is in my dozen of the best instrumental songs I've ever heard (I don't count classic)

Though the things are not so well.Unlistenable songs like 'Circles', 'Baby don't run away' and 'Unknown delight' are really boring.Well I liked melody of 'Dream away' but can you repeat after George:'Oh Ry In Eye Ay - Oh Ry In Eye Ay/Oh Ry In Eye Key Ooh Lay/ Ka Kay Ooh Lau Ee - Oh Ry In Eye/Say Te Lee Ay Vee Show '? And what does this strange text in my booklet mean:'On a nice sunny day, start the cement mixer. One bucket of water, three shovels of sand to one shovelful of cement (more water if sand is very dry). This is the average mix, and quite normal. If stronger mix is required, repeat the process on a nice sunny day.' O.K. Maybe it's your special humor, George...

Well, I really don't know how to rate it.I like it and hate at the same time and you know the reason.O.K. My rating is half of ten which means 5/10 (or 5 / 8).

Robert Tally <BtheW@aol.com> (28.02.2001)

Another problem album. It seems Harrison likes to do these things in threes. I don't think it's any worse than his other lesser efforts, though. It still has some good points - mostly on side two. My favorite is the catchy 'Dream Away', which would safely make it onto any 'best of' tape for me. I also like 'Unknown Delight' quite a lot, and think it's one of Harrison's best ballads. 'Circles' is a nice, haunting piece of work. I'm also very partial to 'Baby Don't Run Away' with its soulful melody and background harmonies. And I can't leave out 'I Really Love You', the do-wop tune. I can't think of anything bad to say about it. It's pretty enjoyable - and has to be the most unexpected track on any Harrison release. Then there's the rest: 'That's The Way It Goes' and 'Mystical One' both sound like fair MOR tunes; 'Gone Troppo' is infectious but somewhat dumb; and 'Greece' is pleasant but otherwise unexceptional. But the one track on here that I would put on that short list of GH songs that I really don't like is 'Wake Up My Love'. It may have been okay with a different arrangement, but it's rendered totally hideous here with that flimsy synth dominating it. The fact that it opens the album is, I think, a big reason the critics panned it. It's that first impression that keeps people from giving the rest of the songs a chance. He made the same mistake on the previous album (twice - on both sides of the record!).

For those who must have everything, the film Time Bandits has a shorter mix of 'Dream Away' then the one found here.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (06.03.2001)

George ditches politics(save the world,what a joke):ot is it the other way about?The former one,for sure.I must confess,that,although side one leaves me totally indifferent,unlike everybody else,I like -a little- 3  tracks of side the second:"unknown delight" returns to the relaxing mood of the 1979 effort,"baby don't run away" is rather tuneful,and "dream away" -actually a song for children used in the soundtrack of a movie for children-is quite infectious.

"Circles" is a Beatles outtake,and deservedly so.

Ivan Piperov <ivanissimo@gmx.net> (03.12.2001)

Weird! You actually wrote a review with a 4 rating. Then rewrote it and gave it 8. Now 7, why?

Anyway I was way glad that you recognized the album's charme, because nobody did. And I felt so bewildered to read the most destroying reviews.

Well now, when George is dead (man did I like him!) perhaps this album won't be so unknown... A shame how  the media work these days. I think this one was released at the wrong time. In september or so. If it was released in the summer with the title track as the lead-off single it would have become a hit.

And George would have become the sunburned cheap-sunglasses-macho we see on the cover of Cloud Nine!

Glenn Wiener <glennjwiener@hotmail.com> (25.09.99)

An excellent comeback for Georgie boy. George knew the power of networking in the rock n roll community as Eric Clapton, Elton John, Jeff Lynne, and Ringo Starr all contribute nicely to this record. The songs all flow nicely as the styles blend in quite nicely from rockers to ballads to special effects numbers.

Mats Fjäll <mats.fjall@telia.com> (13.11.99)

This was the first Harrison-record I bought and it's still one of my favourites!

There's nothing more to add but you should get the Live In Japan album!

It contains all hits and some awsome guitarplaying from E.C.! Just listen to the nearly 8-minutes long "While my guitar gently weeps" when George joins Clapton on the last solo! It's one of the best outros I've ever heard (that solo just blow my mind!)!!!!!!!!!!!

Sergey Zhilkin <sergey_jilkin@mail.ru> (17.09.2000)

Wait, wait, wait!!! 8 out of ten? This album takes third place in my hall of pop albums (the first two are: Help! and The game). Try to ask person who isn't so much inerested in music about George Harrison. The answer will be:'Great guy! It is he who wrote 'Got my mind set on you'! Hm... Actually certain Rudy Clark wrote it for George. So you see many people know about Cloud nine and not too many know about All things must pass (though these who know it think that it is his best album). I think that it is ten (how could you rate it less than Living in the material world?) out of ten. But wait a minute and don't paste baby boy badge near my letter. There're two reasons for me liking it so much. Firstly I bought it day after McCartney's Press to play and Queen's Under pressure. No need to explain you what it is and how I was trying to give them at least one full listen. Then I got home with George's Concert for you-know-what and Cloud nine. For two days I was sitting near my sterio-system as a fool and listening to Cloud 9. Great contrast with Macca or Queen. I know it's pop music but it's wonderful, remarkable, outstanding, splendid one ... Ok, and the second reason is that I got it (I bought it only because of 'Got my mind', shame on me six times) with three bonus tracks: 'Poor little girl', 'Cockamamie business' (tell me what does it mean!) and 'Cheer down' (As you noticed these are songs which were recorded in 1989 so I have no need it 'The best of 'Dark horse').I really love them though I would have never expected such lyrics as in 'Cockamamie business' from George. Great album! I like every song of it (except 'Breath away from heaven') especially 'Cloud 9', 'Got my mind you-know-what set on you-know-whom', 'Wreck of the Hesperus' and 'Someplace else'. Now do you understand why I love it? I hope - yes.

Robert Tally <BtheW@aol.com> (04.03.2001)

This definitely counts as a comeback album, and not only because five years had elapsed. Song for song, it probably isn't Harrison's best, but there's a positive energy going on here that makes it bigger than the sum of its parts. My favorite track would very easily be 'Cloud 9', which is downright sublime; one of his best ever. I also like 'When We Was Fab' quite a lot, with its amusing little psychedelic references. In fact, one of the refreshing things about this album is that Harrison seems to have really come to terms with his Beatles past. 'Devil's Radio' would be a great track if only Eric Clapton had stayed home. He was in a very generic bar-band kind of phase in the late 80s. 'Wreck Of The Hesperus' and 'Fish On The Sand' are both good songs with great riffs, the latter copped right out of 'Any Time At All', but it just might be on purpose. I guess I would say that the rest of the songs are not so essential, but they're generally good: 'Got My Mind Set On You' is upbeat and catchy; 'That's What It Takes' has its good points and fair points; 'This Is Love' is very catchy but a little too poppy; 'Breath Away From Heaven' is kind of interesting in that Far East way; 'Someplace Else' sounds like a standard Harrison ballad to me - not bad but a little dull; the same goes for 'Just For Today', although it has a hell of a slide solo on it. I'd rate this album as Harrison's third best, after All Things Must Pass and Thirty-Three & 1/3.

For those Harrison fans looking for every track, there were plenty of non-album tracks during the late '80s. In 1985, he contributed a decent version of Dylan's 'I Don't Want To Do It' to the Porky's Revenge soundtrack album. There was also an alternate mix released on a single. Harrison also appeared on the live various artists album The Prince's Trust Concert 1987, doing fairly competent versions of 'While My Guitar Gently Weeps' (with some nice lead interplay with Clapton) and 'Here Comes The Sun'. 'Got My Mind Set On You' was released on a 12-inch single in an extended mix with an extra little guitar break. 'When We Was Fab' was released on both 12-inch and CD singles with a 'reverse ending'. They also included a nifty 30s-style semi-instrumental called 'Zig Zag' (the B-side on the 7-inch), and a remix of 'That's The Way It Goes' (from Gone Troppo). If that wasn't enough, there was a book called 'Songs By George Harrison' which included a bonus CD single (or a bonus EP if you were still into vinyl). This included three leftover songs from Somewhere In England, a truly mediocre MOR tune called 'Sat Singing', a slightly better MOR tune called 'Lay His Head' (this had already appeared as the B-side of 'Got My Mind Set On You') and an even better MOR tune (though still not that great) called 'Flying Hour'. It also included a fairly interesting live version of 'For You Blue' from his tour of '74. Also, of course, there was the film Shanghai Surprise in 1986, which featured 'Zig Zag', alternate versions of 'Someplace Else' and 'Breath Away From Heaven', and a rather lame title track.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (06.03.2001)

First of all,Rudy Clark didn't write "got my mind...' FOR George. It's simply a cover of a gospel song that was a hit early sixties for the certain Clark.

Now it's good news because it's really a very worthwhile album.I like all the songs except the title track.

I've never heard harrison happier than on the bouncy "this is love'.'just for today" compares favorably to the pensive "be here now"."When we was fab"  is a welcome blast from the past even if it sounds like ELO trying to sound like their heroes.Never mind,it's a workmanlike job!

Fot he first time.since 1975,G. made the billboard album top 10.And several months after,he scored again with the wilburys.

Eric Rogozin <erogozin@mtu-net.ru> (16.04.2001)

What a glorious comeback! It's the best Harrison album along with All Things Must Pass, it's the album which features the collaboration with such masters like Eric Clapton (of course, it was by far not his first collaboration with George), Jeff Lynne (Jeff was always a good musician and producer), Ringo Starr (maybe because of it Cloud Nine has a special Beatles-feel), Gary Wright and others. In general, solo career of George is very decent, and this record is like a triumph. What else to say? Listen and enjoy!

Dan Hogg <dantheman_sg27@hotmail.com> (23.01.2003)

Thank goodness for used CD bins. I happened to find Cloud Nine in one of them, and for that I'm glad. His big comeback album stands out from Harrison's others by being less preachy and sounding more fuller. Jeff Lynne does a nice job here, I think. The songs themselves? Well, the surprise chart-topper "Got My Mind Set on You" is punchy and upbeat, but I can see why it gets knocked so often. Pop-rockers "Devil's Radio" and "Wreck of the Hesperus" show Harrison's fun side. The riff of "Fish on the Sand" sounds right off of Beatles For Sale, it's great. "When We Was Fab" is faux-psychedelic, and it's nice to know Harrison's recollections of the Beatle experience have lightened. "Someplace Else" and "Just For Today" are standard ballads for George, but "Breath Away From Heaven" mixes things up with Oriental chords. The title track and "That's What it Takes" are solid but no standouts, though the former does have some nice guitar work. Weakest track is the too-poppy "This is Love", which has made its way into department store muzak rotation (even if it's refreshing to hear after Celine Dion). Quite a comeback for the old boy, though it's one of his last.

Sergey Zhilkin <sergey_jilkin@mail.ru> (12.10.2000)

Another great live album. When I didn't know anything about Traveling Wilburys I wondered why it was held so late after Cloud 9. Now I understand everything. O.K let's return to the concert. George again has great band with Eric Clapton and same backup girls who helps him when George breaks down. Unfortunaly it occurs here. George's voice isn't so good as on Concert for Bangla Desh and it's a little bit hoarsy. But there's a big surprise waiting for you: 'Dark horse' is wonderful, George's voice is good and guitars are certanly better. Hey! I didn't mention that George did great job while changing lyrics (do you remember Paul is live and Tripping the live fantastic where sir Paul didn't even change a word. It looks like he's just came out from plane and was immediately put on the stage, you know...). This changings made me listen to 'Taxman' for ten times more. Well, 'Piggies' is good, too. But there's one embarrassment. I mean the beginning. First part with 'I want to tell you', 'Old brown shoe' and 'Taxman' is charming but why did George performed 'Give me love ...' and 'If I needed someone'. They aren't his best songs... When I listened to them I was afraid that he would be booed off the stage. Fortunately it didn't happened... Surely this concert isn't so good as Concert for Bangla Desh but it doesn't mean it's bad. My rating is 8/10.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (06.03.2001)

IT makes a better best of than the best of Dark Horse.Forget Clapton and you have here  a well-chosen menu.The whole George history from "if I needed someone' to "cloud nine".I've always loved "piggies" and I'm delighted to be able to hear the whole song."While my guitar gently weeps " has a clearer and  harder sound than on the Bangla-Desh concert.Too bad G. had to end with a C.Berry song even if the B. covered it.He should have picked one of hiswhy not "apple scruffs".After all,that's what we are,we Beatles and ex-B  fans,nothing but "apple scruffs"!

Robert Tally <BtheW@aol.com> (20.03.2001)

A very enjoyable live album from someone who hardly ever appears on stage. The band is tight and punchy, perhaps even a little too professional. Harrison's leads are generally good, and for all his virtuosity, Clapton doesn't achieve the same level of character in his playing (although I really enjoy him on 'While My Guitar Gently Weeps'). There are plenty of old favorites here, with 'Piggies' being perhaps the most unexpected. I think the best performances tend to be the newer stuff, though, with 'Cloud 9', 'Cheer Down' and 'Devil's Radio' all sounding pretty solid here. In at least a couple of cases ('I Want To Tell You' and 'Dark Horse'), I actually prefer these versions over the originals. Not everything's great, though. Harrison seems to struggle with a lot of the vocals, and the extra verses on 'Taxman' and 'Piggies' just sound out of place. The worst for me, though, is 'Roll Over Beethoven', which is played in that typically updated lifeless way you'd expect from Paul McCartney on one of his early 90s live albums. Completists should be on the lookout for the live duet version of 'Homeward Bound' with Paul Simon on the Nobody's Child various artists album. There was also a book called 'Songs By George Harrison 2' with a bonus disc including the following: a demo version of 'Life Itself' (complete with drum machine); a live (and very rushed) version of 'Hari's On Tour' from the tour of '74; a fair MOR leftover from Somewhere In England called 'Tears Of The World'; and a very good 30s-style tune from the film Shanghai Surprise called 'Hottest Gong In Town'. Harrison also appeared (with son Dhani and Ravi Shankar) on a various artists album called Bunbury Tails singing a children's raga tune called 'Ride Rajbun'. And last but not least, Harrison takes the stage on the various artists album Bob Dylan - 25th Anniversary Concert Celebration to perform an enjoyable version of 'Absolutely Sweet Marie' and also joins others on a very enjoyable rendition of 'My Back Pages'.

Matt Carney <homersimpson_1997@yahoo.com> (08.09.2001)

Unfortunately, I did not purchase this album when it was originally released here in the US. That was unfortunate because I searched and searched for it on CD for a few years. Finally, I found one at a great value. It was a Russian legitimate release (or at least that's how I was informed) that combined both Live in Japan with Beware of Abkco--another "bootleg" album that I had been looking for. Although it was a great value, and a great find for these three CD's (in their original packaging) combined on only 2 cd's, there is a real problem: it's simply that Live in Japan just isn't very good.

Sure there is a plethora of great, if underappreciated songs on here "Isn't it a Pity", "Something", "Got My mind Set on You" and a bunch more. But overall, these versions sound much better in their original forms. This might sound strange since George had such a great band with him, including the legend of Eric Clapton. However, I think that the inclusion of such a great band shows the overall album's flaw: it's way too slick. There's no life to any of these songs. George might change a few words or verses here and there, and stretch a few songs out with some longer guitar solos (Which are interesting to some degree), but where's the emotion? Unfortunately George forgot that there's more to playing live than just playing live: going through the motion. Since he and his band don't do any real substantial improvisation, and George's voice is a bit shaky throughout, the album is a huge let down. There are still a few great versions on here that spare this live album from being atrocious. For instance, "Dark Horse" is an improvement, "Got My Mind Set on You" and "Cloud Nine" are probably a hair better than the originals, and the entire album is performed very well. Therefore my only recommendation for this album would be for those who don't have the original songs: the album is a pretty good collection of hits. However, if you have the originals already, there really is no need for this. Live in Japan, is solidly performed but WAY TOO SLICK AND REHEARSED to be really worthwhile. Overall I'd rate it a 5 star rating out of a possible 10. But if you can find it with Beware of Abkco (Which is incredible), the album would be an 8 out of 10 as a whole.

Didier Dumonteil <dbdumonteil@wanadoo.fr> (06.03.2001)

G. is not that much generous.15 tracks is not enough -the songs are rather short by large- when a CD  can include 75 minutes + of music .(see the JL collection)The "new " tracks are third-rate.The selection doesn't include the dreadful"save the word" ,God bless G.!

Sergey Zhilkin <sergey_jilkin@mail.ru> (08.03.2001)

And what did you want instead? A compilation with half of songs taken from All things must pass? 'My sweet lord', 'Isn't it a pity' and 'What is life'? On the other hand, this record isn't 'the best of...' compilation. I wonder if any these singles had hit 10 top. Too many songs are taken from Harrison's black spots which marred his career much - George Harrison and Somewhere in England. And, what is worse, the songs which are taken from these albums are bad (except 'All those years ago') or, in best case, mediocre: Plus, we have three new songs here - 'Poor little girl' (which could be terrific if not made 5 minutes long), 'Cockamamie business' that has unbelievably stupid lyrics and 'Cheer down' song from a film. All these three songs are commercial and without a single message.

Fortunately, one third of the compilation is quite strong - songs from Cloud 9 rules and 'Crackerbox palace' is great, too.

Average listener may say that 'T.B.of D.H' is the worst compilation ever made and, in fact, he has reasons for this but for such George's fans like me it's great. Why? Because even weak moments here make me want to relisten Gone troppo and George Harrison again (by the way, I've changed my opinion about Gone troppo - it's really entertaining). Strange nostalgitic feeling.

PS. This postscript doesn't fit the main letter well, but still the information is really interesting: George will be back in the end of this year!!! The material is almost ready so as soon as George rests from his 58-th Birthday he will be in studio recording album, mostly consisting from new song! And it WON'T be called 'Portrait of one leg' as some rumors said.

Robert Tally <BtheW@aol.com> (10.03.2001)

I guess we agree and disagree at the same time here, George. On the one hand, I also think that the track listing could have been a lot better. Only two previously released songs ('Cloud 9' and 'Crackerbox Palace') are among my favorite Harrison tracks. Most of the others range from fair to good, with only 'Wake Up My Love' really hitting the bottom for me. On the other hand, I disagree as far as the three new tracks go. 'Cheer Down' is one of my all-time favorite Harrison tunes. The slide guitar is amazing, but the song itself is downright solid, too. I also like 'Cockamamie Business' quite a lot, though it seems a little funny that there's six verses with only a little instrumental refrain to break them up. And with 'Poor Little Girl', I like the verse quite a lot (particularly the saxes), but I'm somewhat indifferent to the middle part, which gets repeating way too many times towards the end. At least this album seems to have a little more integrity than the earlier one, The Best Of George Harrison, with its side one of Beatles and side two of solo stuff (although it might be a little better song-for-song).

Aaron Shawn Hadsock <thewalrus@popstar.com> (28.03.2001)

For starters, I love your reviews on albums. I only wish I could find the time to do the same, as I love to praise and or razz and album now and then. Anyway, my comment is in regards to George Harrison's Best Of Dark Horse 1976-1989. Although I will agree then some of his later sons "Cockamamie Business", etc. are little lame lyrically, I must send my disagree agreement about your thoughts on "Here Comes The Moon". It was that song which actually gave me an excuse to venture into George's solo work. Mind you, I have been a Beatle fan since 1986, and have countless vynil, cd's memorabilia, etc. including solo work, I never really gave George much credit sololy <---(is that even a word?)

So one day I was listening to The Best of Dark horse, and was planning to skip that song; I've never been one for aging rockstars trying to do something desparate like sequels to past hits, (e.g. While My Guitar Gently Weeps -> This Guitar Can't Keep From Cryin', and Here Comes The Sun -> Here Comes The Moon).

But instead I found a song very soothing and almost Disney movieish. Now mind you, I don't really like Disney movies soudtracks, but this song just seem to be like Demorol for the ears... not meaning that it makes you unconscious, just meelows you out.

Anyway, that's my little bit o' shit. And again, I love your reviews, they're seem very honest, unlike many magazine and tv critics.

Matt Carney <homersimpson_1997@yahoo.com> (11.09.2001)

I don't normally review compilation albums: but I'll make an exception for this one, because it's justified. For a person who began his solo career so masterfully and strong with All Things Must Pass. George Harrison sure fell to the bottom of the ranks quickly. He never did (or has at least, to be fair) approached even one side of that triple-albums greatness since, although Living in the Material World is a pretty strong but in no means revolutionary follow-up. Still though, George did manage to plod along for almost twenty years releasing albums from time to time as a side project to his other projects (mainly producing films). His albums after the first two (All Things and Living) have been terribly shoddy affairs, however for the most part, each contain at least one gem. Therefore it should have been simple to compile a best of the "dark" period for George.

Unfortunately this record's compilers failed completely. I mean, typically a greatest hits compilation is supposed to be comprehensive enough for the interested party to buy, so that he or she does not need to purchase the entire artist's collection, but this album definately leaves the listener waiting for more. My first point is this, didn't the Dark Horse label start with the disapointing album entitled Dark Horse? That's what I thought at least. Why then not start this greatest hits from '74 at least, and cut off all the excess slack from this one. I mean who really needs to hear "Crackerbox Palace", "Poor Little Girl" and several of the other one's on here. There's plenty of other poor songs on here. "Here Comes the Moon" at least starts off really cool, with the somewhat pyschedelic verse, before being completely overblown by the chorus. Other misfires include "Gone Troppo" which was so poor that nobody heard it the first time, and understandably so. "That's the way it goes",and "Cockamamie Business" aren't anything to write home about either. Still though, this disc does have some merit. The rest of the songs prove that not all was lost in George's musical creed during the Dark Horse era..... The Jeff Lyne material on here is exceptional to say the least, even if a bit too poppy. There's "When We Was Fab"--a brilliant little poppy ditty, that hardly sounds dated today. "All Those Years Ago"--his Lennon tribute, which is as moving and heartfelt as it is classic. The great soundtrack rarity "Cheer Down" with Tom Petty is one of his best solo songs, although unfortunately only a rarity. The cheesy-but-infectious "Blow Away" is a true gem. Finally, everyone knows the classic cover, and poppiest number here "Got My Mind Set on You". These songs give the greatest hits some credibility, however, I'll list my idea for a better greatest hits collection of this era: (1) Dark Horse--a great song even with his raspy voice, (2) You--probably Harrison's best full-fledged pop number and single (3) This Guitar (Can't Keep From Crying) (4) So Sad (5) Woman Don't You Cry For Me (6) Not Guilty (7) Blow Away (8) All Those Years Ago (9) Love Comes to Everyone (11) Cloud 9, (12) When We Was Fab, (13) Got My Mind Set On You, (14)Cheer Down, and as bonus tracks (15)* Bangla-Desh, (16)*Give Me Love.

This would be a bit more cohesive, chronological, and it would remove some of the frill from this average release. Still though as the greatest hits stands, I'd give it about a weak 5/10 ( the 5 only for the highlights listed above). You still need to purchase a few of these--tough to find Dark Horse--albums to get a good idea of him as a solo artist in this period. You also should check out his classic All Things Must Pass, and solid follow-up Living In the Material World before you right George off as rubbish.

Dan Hogg <dantheman_sg27@hotmail.com> (23.01.2003)

Best of Dark Horse 1976-1989 was another used-CD bin find. With the status of the re-release of all Harrison albums in that period still in question, this is the best I have for now. The three new tracks are OK: I like "Poor Little Girl" more than I should, it's catchy but repetitive, and the two main melody lines don't segue into one another well (mainly the bridge to the main chorus). "Cockamamie Business" sucks lyrically, and "Cheer Down" sounds too soundtrack-ish, for obvious reasons. Elsewhere, I won't coment on the Cloud Nine selections. "Crackerbox Palace" is quite likable, but why oh WHY is "This Song" omitted??? It's a brilliant satire of the whole lawsuit issue, and it was the biggest hit of the same album! Yeesh. "Blow Away" is very pleasant, but "Love Comes to Everyone" bores. "Here Comes the Moon" has a good riff, but that's it. "Life Itself" is sloooow, but "All Those Years Ago" is a quite cheerful tribute to the late John Le! nnon. "Thats the Way it Goes" is a bit less annoying than "Cockamamie Business," and "Gone Troppo" is good for a laugh. "Wake Up My Love" is BEYOND cheesy, but so darn happy I can't help but bop to it. Maybe not the best representation of Harrison's less fruitful chart years, I'll see when/if they re-release those other albums...

Bob Josef <Trfesok@aol.com> (18.08.2006)

Actually, the first George release on Dark Horse records was 33 and 1/3, so that's where this now out-of-print compilation picks up. A little of post-ATMP George goes a long way, so this is a more than adequate selection of nice material from that period. I do agree that "Here Comes the Moon" was a dumb inclusion. Instead, "This Song" should be here. It was his first Dark Horse single, and a bigger hit than all but two or three of the songs here. Otherwise, a good way to introduce somebody to latter day George, if you can find a copy. However, the Dark Horse catalogue has now been licensed to Capitol/EMI, so maybe we'll eventually get a more comprehensive collection of his solo work.