The Worst of George Harrison.
― a regina spektor is haunting europe (Alfred, Lord Sotosyn), Monday, 6 August 2012 15:33 (eleven years ago) link
Pete Prown? I thought that was a 'fakey' name, but it seems not
― Mark G, Monday, 6 August 2012 15:45 (eleven years ago) link
Wonderwall is one very decent soundtrack too.― t**t, Wednesday, June 29, 2011 10:33 AM (1 year ago) Bookmark Flag Post Permalink
Yeah, I'd call it the very definition of "overlooked"― Mark G, Wednesday, June 29, 2011 10:38 AM (1 year ago) Bookmark Flag Post Permalink
OTM. So good.
― Emperor Cos Dashit (Adam Bruneau), Monday, 6 August 2012 16:32 (eleven years ago) link
some of the wonderwall stuff really invent the "wes anderson" vibe, particularly mark devo's stuff on the rushmore soundtrack
― Elrond Hubbard (upper mississippi sh@kedown), Monday, 6 August 2012 16:54 (eleven years ago) link
I don't know what's being particularly identified as "slick and overproduced" about the 1979 self-titled album or why a song like "Love Comes to Everyone" is singled out as an "overt stab at polished LA pop." That album sounds a lot like the production on the other albums from that period to me. Not exactly the same, but nothing radically different.
I also think it's too easy to make assumptions based on his personality that lead to claims about how "alienated by the current pop scene" he was. "Blood from a Clone" strikes me as far less serious than the writer makes it out to be (he says it's "supposedly his savage commentary on the state of popular music") and actually remarkable for how of its time it sounds, at least in Harrison's own way. It's an easy rival of "Coming Up" for eccentric older guy new wave with some cool funky bass.
"Wake Up My Love" from Gone Troppo is another one. The synthesizers on that are like something you'd hear in an Italo tune.
― timellison, Tuesday, 7 August 2012 23:29 (eleven years ago) link
I like "Love Comes to Everyone" and disagree with how he tosses "dated" to signify something he doesn't like. He could've criticized him in other ways.
― a regina spektor is haunting europe (Alfred, Lord Sotosyn), Tuesday, 7 August 2012 23:35 (eleven years ago) link
Just listening to the iTunes clips of the '06 Living in the Material World and it is awfully good sounding.
― timellison, Saturday, 16 March 2013 05:08 (eleven years ago) link
Living in the Material World remaster, I meant to say.
― timellison, Saturday, 16 March 2013 05:09 (eleven years ago) link
Harrison was the third-best songwriter in the Beatles, sort of like Uruguay ranks third in a list of who has the most nuclear devices after the USA and Russia. Proof that McCartney wasn't a control freak is that mewling, turgid pomposity like "While My Guitar Noisily and Repititiously Whines" and "Something"(genius lyric - "I don't kno-o- ow, I-I-I don't know") was allowed on their albums.
― dave q, Thursday, August 30, 2001 8:00 PM (11 years ago)
even after these all years i feel compelled to say Fuck you dave q, fuck yoooooouuuu
― ( ( ( ( ( ( ( (Z S), Saturday, 16 March 2013 05:13 (eleven years ago) link
:)
― t**t, Saturday, 16 March 2013 10:58 (eleven years ago) link
the self-titled is a gorgeous album. such a strong run of simple, beautiful songs on there. it stands up bloody well.
― Esteban Buttiérrez (Autumn Almanac), Saturday, 16 March 2013 11:55 (eleven years ago) link
I just learned "Think For Yourself" on guitar. It's crazy! It's not a song from 1965, it's like something off Nevermind. There some proto-Devo in this as well.
― ©Oz Quiz© (Adam Bruneau), Saturday, 1 November 2014 17:52 (nine years ago) link
The good things that we can have if we close our eyes it's a beautiful world
― ©Oz Quiz© (Adam Bruneau), Saturday, 1 November 2014 17:53 (nine years ago) link
Wonder what it would sound like if he saved it for ATMP.
― ©Oz Quiz© (Adam Bruneau), Saturday, 1 November 2014 17:54 (nine years ago) link
He should have rerecorded all his Beatles songs instead of the "Apple Jam."
― Doctor Casino, Saturday, 1 November 2014 17:58 (nine years ago) link
I could listen to the first four seconds of Think For Yourself over and over.
― pplains, Saturday, 1 November 2014 18:02 (nine years ago) link
Everything on Spotify, including Electronic Sound and Wonderwall. Albums with bonus tracks.
― timellison, Friday, 16 October 2015 22:22 (eight years ago) link
Nice!
Wonderwall really is a treat. Electronic Sounds is.... less entertaining.
― Darin, Saturday, 17 October 2015 14:55 (eight years ago) link
His catalogue is now on Apple Music as well.
― Luna Schlosser, Saturday, 17 October 2015 15:11 (eight years ago) link
Lotta stuff grayed out as unavailable on his overview page, but I started clicking on it and it played anyway.
― Exit, pursued by Yogi Berra (WilliamC), Saturday, 17 October 2015 15:18 (eight years ago) link
Wonderwall is so great. The move is fun too. And I love this nearly lost Harrison-produced masterwork:
https://www.youtube.com/watch?v=DVRmdrM0Mmg
― AdamVania (Adam Bruneau), Saturday, 17 October 2015 17:20 (eight years ago) link
Finally grabbed a cheapie Gone Troppo, after all these years of wondering. Man is it a silly, inessential sort of record. So many songs that just feel like "I'm a musician, I suppose writing songs is what I do, right?" in the most canonical rocker-at-40 sort of way. And yet kind of lovable for precisely that reason? Still, there are these flashes of joy in the playing and singing here and there, amid the sea of forgettable and nearly-hookless songs, so I don't think this will be my last time putting it on. I think the thing I liked the most (besides the title track and "Wake Up My Love," which I already knew) was the instrumental (?) track somewhere on Side One.
― Frump 'n' Dump (Doctor Casino), Saturday, 21 November 2015 19:00 (eight years ago) link
Well, for starters, I might actually think "Dream Away" is the best song he ever wrote. But the record in general is lovable in my opinion - some really good songwriting and a nice production/sound. I like all of Side One. "That's the Way It Goes" is probably the best of the kind of mellow, non-"Dream Away," non-instrumentsl, non-early-'60s-cover tunes he wrote for the album (and there's a really nice version of it on Concert for George). "Mystical One" is probably my second favorite of those, or the title track, if that qualifies.
― timellison, Saturday, 21 November 2015 19:40 (eight years ago) link
Might be my favorite of the Dark Horse albums. That one or 33 1/3.
― timellison, Saturday, 21 November 2015 19:41 (eight years ago) link
Start up the cement mixer.
― timellison, Saturday, 21 November 2015 19:44 (eight years ago) link
I find 33 1/3 to be one of his best post-All Things Must Pass records, and Gone Troppo to be thoroughly awful - the very definition of a contractual obligation record. There's some good moments on most of Harrison's solo records, but my god did he sound like he was phoning it in at times.
― Turrican, Saturday, 21 November 2015 19:55 (eight years ago) link
I haven't heard it, but noticed that "Circles" was written (or started) in 1968. Kind of amazing that in the early 80s he still had Beatles-era songs to pick from to fill out his records.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Saturday, 21 November 2015 20:00 (eight years ago) link
Yeah there's a beatles demo of circles.
― Οὖτις, Saturday, 21 November 2015 20:33 (eight years ago) link
Yup, it's on the White Album demos you'll find floating around the internet somewhere.
― Turrican, Saturday, 21 November 2015 20:37 (eight years ago) link
Isn't McCartney II also a "silly, inessential" record? I like Gone Troppo as much as I like McCartney II.
― timellison, Saturday, 21 November 2015 21:12 (eight years ago) link
I usually found one standout on all the later albums, like Simply Shady on Dark Horse
― Dr X O'Skeleton, Saturday, 21 November 2015 21:28 (eight years ago) link
Yeah, 'Simply Shady' is a good Harrisong, sadly marred by the weak vocal like the entire album.
― Turrican, Saturday, 21 November 2015 22:02 (eight years ago) link
That OPP Dark Horse comp from 1989 creates the impression that those albums are stronger than they are; nevertheless, I still like "That's The Way It Goes" though. "Wake Up My Love" stinks of I-need-a-hit-what's-this-synth desperation.
― The burrito of ennui (Alfred, Lord Sotosyn), Saturday, 21 November 2015 22:13 (eight years ago) link
Yeah I'm loathe to assign motives to artists, but from the sound of the records, it doesn't seem like he had much respect for new wave at all, cf Paul
― brimstead, Saturday, 21 November 2015 23:01 (eight years ago) link
what's-this-synth desperation
I think you're projecting. He made a Moog album before the Beatles broke up. He's credited as playing synthesizer on "Dear One" and "Crackerbox Palace," Billy Preston as playing one on "Beautiful Girl," and both Preston and Gary Wright credited as playing them on "See Yourself," all on 33 1/3. Steve Winwood and Neil Larsen are credited as playing Moogs on the self-titled album from '79. Five people are credited as playing synthesizers on the Somewhere in England album: Harrison, Larsen, Gary Brooker, Al Kooper, and Mike Moran. Moran may have been the big synth guy on Gone Troppo, too, though Harrison and Preston are also credited with playing them.
― timellison, Sunday, 22 November 2015 00:53 (eight years ago) link
What's this post desperation
― The burrito of ennui (Alfred, Lord Sotosyn), Sunday, 22 November 2015 04:18 (eight years ago) link
What's that supposed to mean? Looks like an anti-intellectual gesture to me. And a denial of your silly characterization.
― timellison, Sunday, 22 November 2015 04:24 (eight years ago) link
Here Comes the Sun got synth all over it
― AdamVania (Adam Bruneau), Sunday, 22 November 2015 05:39 (eight years ago) link
I'm just messing with you, Tim. I'm aware that Harrison's used synths before, but "Wake Up My Love" sounds like a desperate attempt to be current, a limp "Gloria" (Laura Branigan, not Van Morrison).
― The burrito of ennui (Alfred, Lord Sotosyn), Sunday, 22 November 2015 12:37 (eight years ago) link
I could believe that there was maybe some kind of record company push to get a more "contemporary" sound, rather than Harrison not having an interest in synths as such. It's an okay song IMO but definitely a one-riff deal without a lot to say. To be fair, he scored a huge hit on a similar formula with "Got My Mind Set On You" so who knows. Listening to the album through again, louder this time, to see if anything else jumps out at me.
― Doctor Casino, Tuesday, 24 November 2015 16:11 (eight years ago) link
http://orig09.deviantart.net/aead/f/2011/191/7/d/droppo___321_by_futuredami-d3lkztm.png
DroppoGone DroppoDroppoIt's time you know I gone DroppoOh!
― Doctor Casino, Tuesday, 24 November 2015 16:24 (eight years ago) link
I could believe that there was maybe some kind of record company push to get a more "contemporary" sound
Warners initially rejected Somewhere in England, so it wouldn't be surprising if they kept the pressure on for this one. Equally unsurprising for Harrison to be all, "You want contemporary? Here ya go, some cheesy synths! Have fun trying to promote my lack of effort!"
It was also apparently the inspiration for this:https://www.youtube.com/watch?v=sxxhb34_iGg
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 24 November 2015 16:31 (eight years ago) link
lol
― Doctor Casino, Tuesday, 24 November 2015 16:33 (eight years ago) link
Yeah, idk, I feel okay about calling this inessential - and unfortunately in the bad way. I love a lot of inessential McCartney records but George just doesn't have the tune-finding knack or range of oddball arrangements to make otherwise hookless (if amiable and well-intentioned) songs interesting or easy on the ear. Most of this just goes by without me noticing at all. Several times he seems to hope that if he repeats the chorus enough it'll become memorable or powerful. It works on "Dream Away" but not the others I fear. YMMV though!
― Doctor Casino, Tuesday, 24 November 2015 17:36 (eight years ago) link
I love a lot of inessential McCartney records but George just doesn't have the tune-finding knack or range of oddball arrangements to make otherwise hookless (if amiable and well-intentioned) songs interesting or easy on the ear.
Yeah, that's the key difference between them. McCartney can just whip up a delightful (if utterly inconsequential) tune like it's nothing, but George seemed to treat songwriting like a chore.
Similarly with their approaches to the guitar: McCartney could tear off a blinding solo without breaking a sweat, while George would labor for hours over creating The Perfect Solo (in the case of "While My Guitar Gently Weeps," he spent eight hours trying to get a "weeping" backwards guitar effect only to say, "Nuts to this, I'll just get Eric Clapton.")
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 24 November 2015 17:47 (eight years ago) link
Well, tbh I can dig spending a working day trying to figure out the sound/form of a guitar solo! But yeah in general George doesn't strike me as someone that just thinks of great new songs every day; often it feels more like he has something he wants to say and is looking for a song to do it in. Which is also fine! Just that when he doesn't have something he wants to say you start to wonder why he's even in the studio. Whereas McCartney is clearly in love with the idea of being a rock musician, making albums and recording things, often to the point where he annoys the shit out of his collaborators (including, notably, George, though of course there are other issues between them). My impression of George's solo career benefits enormously from that first big, excellent record, significantly formed as everyone knows out of songs slowly accumulated on the backburner over a half-decade span. I don't mean this as a slam; some people's talents and way of approaching music just don't align with the very specific and arbitrary task of cranking out an LP every year.
― Doctor Casino, Tuesday, 24 November 2015 17:55 (eight years ago) link
he spent eight hours trying to get a "weeping" backwards guitar effect
I find this endearing myself but then I am also a Kevin Shields fan
― Οὖτις, Tuesday, 24 November 2015 17:59 (eight years ago) link
You guys, I'm listening to "Crackerbox Palace" right now and the arrangement on this is so freaking amazing.
I won't keep arguing the point about "Wake Up My Love" other than to say that I don't recall reading anything about continued record label pressure after Somewhere in England or about it being a reaction. I don't think it's a stretch to say that it's in the vein of things like "Crackerbox Palace."
― timellison, Tuesday, 24 November 2015 18:54 (eight years ago) link
Several times he seems to hope that if he repeats the chorus enough it'll become memorable or powerful.
Totally otm. Just count how many times he repeats the chorus of Blow Away next time you hear it. George was pretty economical when hitting those three-minute quotas.
― Darin, Tuesday, 24 November 2015 20:42 (eight years ago) link
But yeah in general George doesn't strike me as someone that just thinks of great new songs every day; often it feels more like he has something he wants to say and is looking for a song to do it in. Which is also fine! Just that when he doesn't have something he wants to say you start to wonder why he's even in the studio.
George's not regarding his career as a job is one of his most charming qualities. The periods when he released unfocused, indifferent albums were brief (1974-1975 and 1981-1982 really). Forced to think of record making as a career, he wilted, as one might when the sullenness that served as a muse stopped rewarding the audience's attention, and the Indian philosophy that brought him peace couldn't inspire many good songs. In my youth George was my favorite Beatle because he was stifled, unappreciated, whatever; I adore Cloud Nine and the Wilburys records, especially since they validate the claim made by Tom Petty and others that George was a riot to be around; that it took the presence of Paul and Beatle chatter to provoke the sour, rather nasty guy beneath the surface (Cubans call this sort of person pesado).
When it came to collaborations, however, George deserves credit: as producer and enabler for Ringo’s best singles and Badfinger’s “Day By Day” and "Sour Milk Sea"; as player of solos as scabrous as his wit on John Lennon’s “How Do You Sleep.” With the exception of his great friend Bob Dylan, the sixties never produced a less sentimental relic(“in Beatles lore alone, he’s something of a relief,” Bill Wyman wrote in 2011).
― The burrito of ennui (Alfred, Lord Sotosyn), Tuesday, 24 November 2015 22:19 (eight years ago) link