George Harrison: Search & Destroy

Destroy: every album b/w Dark Horse and Cloud Nine.

Never mentioned: his production work on Ringo's ace "It Don't Come Easy" and co-writing the fantastic "Photograph"; also, his solo on Belinda Carlisle's "Leave A Light On."

Verdict: With some all-too-obvous exceptions, the man needs collaboraters.

Oh, and as for G.Harrison's lyrics...

(From Love you to)
"I'll make luv to you..
If you want me toooo"

Dawn: Knock yourself out, why don't you...

F that!

George wrote "Something" when he was only 25 years old! It and "Here Comes the Sun": 2 of the greatest Beatles tunes ever, period.

Give Me Love

(but, yeah, I like "This Song" a lot too.)

"If Not for You" is another great one off that album. His voice was perfectly suited to sing those lyrics.

My fave track off ATMP though is I Live for You, another great melody.

I've been reading a few George interviews recently. I really like the turn of phrase he had and his gently cynical perspective.

and no one else on Earth has that sweet sound he got on the slide roundabout 1969.

and no one else on Earth has that sweet sound he got on the slide roundabout 1969 onwards.

The only other one of his I have is Living In The Material World which is one of those records that almost mechanically alternates between tracks that make you want to put it on and tracks that make you keep flipping past in the bin. "Don't Let Me Wait Too Long" is probably the best thing on there, would have slid in to ATMP very very nicely. And of course "Give Me Love (Give Me Peace On Earth)" which is short on lyrics but is lovely and head-sticky, and I like his vocal on it, so hey.

One night I randomly caught the drag-racing-themed video clip for the later "Faster" on VH1 Classic. That's probably worth hearing at least once - the "Faster than a bullet from a gun!" line is really cool, unfortunately the song overall is really aimless and dull. I fear that probably describes a lot of the 70s and 80s Harrison, which is why I haven't really delved much further, and this thread isn't giving me much inspiration to. Surely ILX has at least one rabid defender of Extra Texture?

Oh, and as for his Beatles work: his own compositions are about an even mix of very good ("Taxman," "Something," "Savoy Truffle") and embarassingly bad ("I Need You," "Piggies"). His guitar playing on the other hand is consistently essential, and fun to listen for because you can hear it getting better and better with each successive album. Get to Revolver and he pretty much epitomizes what I think rock guitarists should play like and sound like. Not such a fan of the slide stuff later on but it has its moments.

Unheralded greatness: George as backing vocalist! He's the Michael Anthony of the 60s, the absolutely essential ingredient in so many songs I don't know how to pick an example. "I'm Down" is probably the best use of him as the straight man. His lead vocals are sometimes awkward, sometimes so perfect you can't imagine the song without them - see "Don't Bother Me," "Love You To." Also check "Roll Over Beethoven" as it appears on Live At The Hollywood Bowl, where he has McCartney putting some enthusiasm into backing him up, it's great.

In short - I think the conventional wisdom is right. One great album (near excellent), inconsistent as a songwriter outside of that, but very consistently perfect as guitarist and team-member where-ever he appears.

omg I love love love this song

Thank you, Tim! Don't know if it's because of the horns, acoustic 12 string, sad lyrics or what, but this song has always been my favorite from ATMP.

xpost: kyle, I think this was not George (Martin's) shining moment. I like the slow tremelo Harrison used here, but it seems to be overplayed with at the console. wtf do I know? I do enjoy the song though.

For point of comparison, check out "Another Girl," where he tears it up on the same kind of call-and-response gap. "For I have got" BRANDOWN DA DOWN DOWN... etc. Now obviously "I Need You" is a different sort of song but it just feels as if so little energy was brought to bear on it. In George's defense, I would suspect that this was more for lack of interest from the other Beatles/George Martin than from himself...

Title song from Dark Horse LP
"You" from Extra Texture
whole 33 1/3 LP
whole s/t LP from 1979
"Blood from a Clone" and "All Those Years Ago" and "Teardrops" from Somewhere in England LP (and I wish they'd put out those four tracks that got edited out when the record company had him rework the album - "Lay His Head" and those)
whole Gone Troppo LP

but "love you to" is one of the songs that absolutely spoils revolver for me. the lyric "make love all day long/make love singing songs" makes me laugh uproariously!

Actually, Tim, I believe "Yes It Is" also employs a volume pedal. And I'm pretty sure "Love You To" does as well.

Nice to see the fantastic "What Is Life" get so much love here.

yeah - that lyric's obviously ridiculous when you can get the whole thing over in 20 minutes maximum, including foreplay, right?

My guess is that George was already becoming well-immersed in Indian art and traditions by this time. In Indian art you can indeed see conjoined couples singing to each other. And the Kama Sutra, of course...

Not mentioned so far: Search: his lead playing on a lot of the Hamburg album, really tough jagged lines, like he's using a razor blade instead of a pick, the best he ever sounded.

That lyric reminds me of those mid-late 90s sex instruction shows that were suddenly everywhere on UK TV, with presenters like Toyah Wilcox (no, really) saying things like:

"Why not try singing to your partner when you make love?

It used to popular in indian culture - we're trying to bring it back."

The Trypes did a really good version of this. In typical Feelies format, the lyrics kind of blend into the rest of the song.

"Love You To" > "Within You Without You"

No love for "don't bother me"?

https://www.rollingstone.com/music/music-features/george-harrison-living-in-amaterial-world-1234737644/

Fantastic album - his quietude as rewarding as it ever was. Even the funny stuff (Sue Me Sue You Blues) works, which can't be said so much for e.g. Extra Texture.

Talk about a forgotbuster: #1 for weeks in the summer of 1973, not spoken of much ever since. Unavailability on CD until the early '90s didn't help.

Cover looks modern, out of time with 1973

Yeah, the cover is pretty good - it's now the logo for his foundation too.

Talk about a forgotbuster: #1 for weeks in the summer of 1973

People were still on a Beatles high, especially in the US — hell, Ringo had more top 10 singles through 1975 than John and George combined, and only two fewer than Paul. Any Major Release by any of them was cause for excitement in the moment: “Are they getting back together? Are there hidden clues in this record suggesting they might get back together? Will any of them tour? Oh wait…hm, this record is kind of boring, actually…”

This was also when the Beatles blue record came out, heavy on George songs; it wouldn't be too long before he was being treated a lot worse in the press than he was used to.

"don't let him rate too long," the press declared.

Not even Material World always had the best reviews. What I can never get my head around was Dark Horse then going on to miss the UK top 50 entirely, after two conseuctive mega albums (three including Bangladesh). That's insane for a Beatle.

His 1974 tour is generally held to be a disaster, with his voice shot and his persona at his most spiritually hectoring. That can't have helped.

The live clips aren't bad at all, and I sorta admire how he forced his audience to listen to Ravi Shankar.

The tour was US-only, besides which I think a lot of the tour went without an issue IIRC.

(US and Canada*)

I’ve been obsessed with “Give Me Love (Give Me Peace On Earth)” for about the last week – I literally haven’t been able to get it out of my head for more than an hour or so at a time.

Ha - I had that phase a few months ago.

It’s a little surprising because I wouldn’t call myself a giant fan of Harrison’s—there’s a persistently sour feeling I find hard to dismiss—and while I suppose I’ve known this song forever I’ve never really thought much about it one way or another.

But there’s something undeniable about the circular chord sequence, modulations and slide guitar harmonies that collectively feel like they could go on forever. And now, I’m realizing at least two songs I wrote 25 years ago were influenced by it? Strange.

Got really into All Things Must Pass again this week for some reason, particularly enjoying the Art of Dying which would have been an ace Beatles track, though the released version is obviously amazing too (wish Clapton would tone it down a little though). Have been poking around at other solo Beatles things I'd not given attention to in years, including Ringo's Rotogravure, which I had on vinyl as a kid (and liked! because I didn't know any better), and remembered that Harrison's track on that record was by far the standout:
https://www.youtube.com/watch?v=NXg45wYBCcg

Harrison wrote this back during the ATMP era (or earlier? dunno) and recorded it for the album, but apparently never came up with a satisfactory take. All I've been able to find is this:

https://soundcloud.com/harrisonstories/george-harrison-whenever-ill

A real lost opportunity with this one.

I think not intended for ATMP:

https://forums.stevehoffman.tv/threads/george-harrison-legal-action-against-ringo-over-ill-still-love-you.1100437/

ah, didn't see that. it's weird there is so little documented truthful information about this song; when harrison recorded, whether there was or was not some lawsuit. it's kind of rare in beatles quarters for something to remain a total mystery like this.

Happy birthday, bro!

https://www.youtube.com/watch?v=VI4xzwvaTWU

Been listening to some of the albums I never loved. I think, even when it's not my favorite stuff, he didn't really indulge in just creating filler. Like on Extra Texture, I feel like I kinda get what he was going after with those songs and that there always seems to be some degree of musicality to the compositions that I find interesting at least.

Somewhere in England sounding pretty good to me lately.