All Things Must Pass
Living In The Material World
Dark Horse
Extra Texture
33 1/3
George Harrison
Somewhere in England
Gone Troppo
Cloud Nine
Brainwashed
George’s contributions to the Beatles cannot be underrated, starting with songs like “Taxman” and “Within You Without You” and working his way up to classics like “Something” and “While My Guitar Gently Weeps” (still one of my all-time favorite Beatle tracks). Basically, you got the sense that George was bursting at the seams with ideas and creativity during his final days as a Beatle. His debut double album All Things Must Pass has always been, to me, a breathtaking release of those ideas and all which he had learned from studying Eastern religion. As it stands, it has earned its place in the Rock’n’Roll Hall of Fame.
After ATMP, George released a good number of more low-key albums that retain the religious tone. Admittedly, his views did come off as preachy, and his low-key style did not translate into energetic, overproduced results. People have said that George was well spent after ATMP, and his following work was boring. While I can see their point, I must disagree. He never again went for a bigger sound then on ATMP, but I think subsequent albums represented his personality better. He doesn’t want to force his opinion on you, he just bares it out with a take-it-or-leave-it stance.
For those who like unpredictability and radical ideas, listen to John Lennon. For those who want more polish, Paul McCartney’s for you. Nothing against either artist, it’s just that I realize George won’t get under everybody’s skin. Me, I appreciate George’s laid-back, serious persona. If you like the Beatles but aren’t a George fan, at least get ATMP. For everyone else, give one or two of his other albums (Living in the Material World or Dark Horse) a try. See if he grows on you, like he did on me. God bless, George.
(NOTE: As I am writing this, I have realized that George’s post-1976 discography is finally going to be re-released on Capitol! As a fan of George’s solo work, I’ve been waiting for this moment for years. After Feb. 24, I will be on the lookout for 33 1/3 and George Harrison (1979) first and foremost.
1970
Wow!!!! This is what George had up his sleeve during the final Beatle days? Well, we at least heard an early cut of the title track on the Beatles Anthology. And he certainly gave us hints with “Something” and “Here Comes the Sun.” But after the Beatles had broken up, George came out with this double LP, arguably the strongest statement of the members. I say arguably because it came out after John Lennon’s stunning Plastic Ono Band. But while both albums are very personal, they take different approaches. John was more biting and stark, with minimal backing and angry messages. George used this album as a vehicle for his deep religious beliefs, and brought aboard Phil Spector to apply his wall of sound. Wait, Phil Spector also produced POB. Oh, the many similarities!!
And is that wall-of-sound impressive. George and Phil often used multiple guitars, multiple drums, brass sections, and the whole nine yards on a GIVEN TRACK. The results are epic, bombastic, spiritual, and hits every sense. When the album was reissued in 2000, George admitted to feeling uncomfortable with the huge production, saying that he would have liked to remix the songs. Not surprising, seeing how George was always so humble and low-key. But this is one case where the production is not a problem, especially since George was looking to prove himself outside the Beatles.
Now for CD 1. I own the 2000 reissue, so keep that in mind. Starting off with weaknesses, the only one that comes to mind on CD 1 is “Run of the Mill.” Many people praise it, but I always found it a letdown after all the epics on the CD. I’ve always preferred the almost-country “Behind That Locked Door” as a mellow track. “I’d Have You Anytime” isn’t a standout, but I like the guitar work (Bob Dylan collaborated w/George on that one? Hmmm, couldn’t-a guessed). Even better is George’s amazing interpretation of Dylan’s “If Not For You.”
Moving on the epic side of coin, all three hits off this album are on this side. “My Sweet Lord” deserved to be #1, it’s a mantra that sucks you right in and has an awesome guitar lick at the start. Yes, they say George stole from the Chiffons’ 1963 hit “He’s So Fine,” but I’ve certainly heard worse (Simply Red’s “Sunrise”, anyone?) “Isn’t It a Pity” was the flipside of “My Sweet Lord,” and while “Lord” was uplifting in its repetitiveness, “Pity” is downright depressing. People are so cruel, huh? Sort of the anti-”Hey Jude” in a sense (listen to the fadeout). The more pop “What Is Life” was also a hit, with a lovely melody and the same wall-of-sound.
Nonhits include the rocker “Wah-Wah” decries the Beatles’ stardom, but you can’t tell under that mix of guitars, drums, and who knows what else. The most ‘wall-of-sound’ track on here, could give you a headache if you’re not prepared. “Let It Down” is another cathartic tune with an excellent flow, from quiet and humble to loud and celebratory. And that’s just CD 1, mind you. Most times I only listen to just CD 1 or 2, as the whole album can be too much to take at once.
CD 2 isn’t quite as epic and well-known, and this is where personal preferences differ. I tend to dismiss the lengthy closer “Hear Me Lord,” although it’s possibly George’s most personal song of all. I also have no use for the 2nd version of “Isn’t it a Pity,” as it lacks the resonance of the first. But I do really like the gospel-meets-Spector “Awaiting On You All” and the enigmatic “Ballad of Sir Frankie Crisp (Let it Roll)” really moves me, mostly that graceful melody. I love it.
Most people love the magnificent title track, for good reason. Such a great message and just the right production, as it calls for a less bombastic feel. “Beware of Darkness” feels like a lesser track, but George is delving into some deep territory, lyrically. “Art of Dying” sports an upbeat track to a pretty downbeat tune, about, well, dying. That leaves the two most ‘trivial’ tunes on here, but they are by no means weak points. The harmonica-dominated “Apple Scruffs” salutes the groupies who stood outside Apple studios, and “I Dig Love” has all of four chords and booming drums, but it’s a load of fun anyhoo.
That leaves the bonus tracks on CD 1 and the Apple Jam on CD 2. Of the bonus tracks, “I Live For You” has a good country feel, not unlike “Behind That Locked Door.” You got acoustic run-throughs of “Let it Down” and “Beware of Darkness,” and an instrumental mix of “What is Life” with Dixie horns cluttering things up. “My Sweet Lord 2000” certainly ain’t no, uh, “My Sweet Lord,” but it brings George’s career full-circle (if you don’t count Brainwashed). And the Apple Jam...ehhh, I don’t need it.
Wow, this was one of my wordier reviews. But only such a length could justify this masterpiece of an album. Pomposity usually turns me away, but it only pulls me in here. George never released such a stunning album the rest of his career, as other efforts come off as preachy and recycled. Plus, right when I was getting into CD 2 in Mar. 2001, a close relative of mine died. That makes this album all the more personal to me, as certain points (“Sir Frankie Crisp,” the title track) really spoke to me at the time. Thank you, George. 10 out of 10 easily. Get ATMP today.
1973
Really, how does one top an All Things Must Pass? Really, how do ya? You can’t. But George pursues his solo career anyway. Nothing else in his catalog is as hard-hitting or epic as ATMP, but that’s probably how George liked it. Remember, he was quiet and the Spector styles weren’t truly his personality. So, this here album is more modest and perhaps more preachy that ATMP. But it’s still pretty darn good.
Religious numbers first. For my money, “Who Can See It” is very top-notch, as the quiet verses build up, and up, and UP until BOOM! The chorus ‘My looooove belongs to whoooo can see it’ is beyond gorgeous. I am tearing up just thinking of it. The closer “That is All” really has grown on me, with a nice falsetto at parts. The rest of the sort is a bit of a letdown, but “Light That Has Lightened The World” isn’t bad, nor is the short “The Day The World Gets ‘Round.” Only “Be Here Now” fails my test, a dull mantra that never goes anywhere.
The more upbeat tunes certainly have their moments. Can you believe “Give Me Love (Give me Peace On Earth)” was #1 (knocking off Sir Paul’s “My Love” in the process)? I never hear it on the radio! They’re too busy spinning “Tie a Yellow Ribbon ‘Round the Old Oak Tree.” Blah. Back to “Give me Love,” it’s fine religious pop, just a wee tedious. I actually prefer “Don’t Let Me Wait Too Long,” one of the most perfect pop tunes to ever come out of Georgie. THAT should’ve been the #1! How come no one mentions it” and “Sue Me Sue You Blues” reminds us of George’s bitterness over the messy breakup of the Beatles. Damn fine steel guitar too.
Finally, we have the Spector-produced “Try Some Buy Some,” which for reasons I don’t comprehend is a favorite to many. I just think it’s too clumsy and muddy. “The Lord Loves the One” is both dull and catchy, so I’m divided on that ‘un. And the overlong title track has actually grown OFF me over time, with its awkward breakdowns, but I still like the feel and the message, preachy as it is.
All things considered, Living in the Material World is still pretty good, and probably much more George than ATMP, if you know what I’m saying. But I made the mistake of starting with ATMP, which gives the rest of George’s solo stuff an inferiority complex. But don’t jump to dismiss this album, as it’s fine enough.
1974
The proverbial crap really hit the fan for George around this time. His voice took a turn for the worst, he was splitting with wife Patti, the album got its fair share of abuse, and his Dark Horse tour was an unmitigated disaster (wasn’t he being pelted with stuff at one point?). But to tell you the truth, I don’t see a drop-off anywhere. George tones down the preachiness for the most part, the arrangements are different, and get this - George’s sore voice does not sour my milk. Really, if you rag on his voice and praise Dylan for HIS special delivery, you’re not making any sense. Heck, I prefer it to Dylan’s whining tone during the ‘80s. I will not treat this poor album mean.
As usual for George, he only has one low point: “Far East Man.” It’s not that low, just sounds a bit lounge-y and overly P.C. Well, I’m not the biggest supporter of the instrumental “Hari’s on Tour (Express).” Was this a show opener on his debacle of a tour? If so, it's kind of odd to include a memento of bad times. Then again, the said tour was in support of this album. So forget that.
But the rest is all right! The title track will not sound pretty to you at first, as George’s vocals are at their ‘worst.’ But if you can ignore it like I did, you’ll find an endearing, maddeningly catchy shuffle where George changes his identity. Starostin’s personal favorite “Maya Love” rocks out quite well, with rising sax lines and great piano/guitar tradeoff. I’ve always been fond of “Simply Shady,” a moody tune detailing George’s personal problems. “So Sad” sits quietly for a minute until ‘and he feels/so alone/with no love/of his ooooooown!/So Sad!!’ Once again, George proves he is the master of the build-up! It saves the song.
The other three certainly could be viewed as weak spots, but not by me. The Everly Brothers cover “Bye Bye Love” is intriguing, it sounds nothing like the original, and it has that so-bad-it’s-good feel. It deals with buddy Eric Clapton stealing his Patti, of course, and some lyrics are redone to reflect that. “It Is ‘He’ (Jai Sri Krishna)” is ridiculous chant, but it will live in your brain for days, it’s that catchy. And the seasonal “Ding Dong Ding Dong” is pretty murky and repetitive, but a load of fun when its on. Yeah, the ‘ding dongs’ in question are merely the Westminster chimes. Still, it’s better than Paul’s gimmicky “Wonderful Christmastime.”
In closing, Dark Horse is pretty darn underrated. His voice will come as a shock to you at first, but if you get past that, you’ll get an enjoyable album. I’m perfectly fine giving this a 7, as it’s a bit too cute compared to Living in the Material World.
1975
Those who don’t consider Dark Horse being George’s ultimate low point usually give that unenviable title to Extra Texture. George fully returns to his Krishna preaching ways and regains most of his voice. The big difference here is the sound: it’s the most dreary, downbeat album George has had. I suppose the now-present piano and lush arrangements contribute, but George does retain some of the jazz stylings present on Dark Horse. Song after song is slow and moody.
But not the opener “You.” and let me tell ya now, I could write a graduate thesis on this track. There is so much going against it: George’s abnormally high vocals, sparse lyrics (takes him a minute to say ‘I love you and you love me’), the production is both murky and Spector-overblown, and the saxophone is prominent. Oh yes, it could have very well been the worst track that a Beatle ever recorded. But guess what? It works like a charm! It’s so upbeat and poppy, and downright hilarious at times, when George comes in after the sax break and climax with a pinched ‘youuuu.’ Man!!! Crazy! I haven’t even mentioned the middle eight, guitar riff, and George’s “Be My Baby” nod at the tail end. Best Harrison pop tune ever. Hit the Top 20 too, not surprising since Springsteen’s Spector-ish “Born to Run” was also on the charts at the time.
Nowhere on the rest of the album does George sound that assured and happy. It’s all gloomsville from here on out. In fact, an brief instrumental snippet of “You” is placed in the middle, probably to wake the listener up. But I still see highlights. “The Answer’s at the End” is your typical Harriballad, with questionable lyrics but gut-wrenching music. “This Guitar (Can’t Keep From Crying)” is actually very effective unless you can’t stop comparing it to “While My Guitar Gently Weeps.” On it’s own it’s a nice, moody tune. And “Tired of Midnight Blue” has an oddly upbeat jazz feel, even if it’s still pretty gloomy.
Don’t really care for the rest. The soul tunes “Ooh Baby (You Know I Love You)” and “Can’t Stop Thinking About You” are embarrassing and interchangeable. “World of Stone” and “Grey Cloudy Lies” have nothing going for them. Well, “World of Stone” has a good melody, I guess. “His Name is Legs” is supposed to be comedy, but there are no hooks, no laughs, just a bizarre shuffle. Wow, I’m pretty glad “You” was on here, or Extra Texture would have gotten a 5. As it is, a 6 for this album, and I hope to find out if 33 1/3 was any better.
1976
Yippee!!! George Harrison’s late solo career albums came out!! I was able to snatch this one and his self titled one on the first day, and got the other three the next week. After the depressing state of Extra Texture, George was able to snap out of his depression and become more secure. This album really shows it. The music is livelier than Texture, even though some people find it a bit too ‘70s (much like Lennon’s Walls and Bridges). Even so, it’s lightweight and the religious themes are toned down for those who don’t like that aspect of George.
Where do we start, hmmm? How about the awesome opener “Woman Don’t You Cry For Me”? Kind of bluesy, but not in the traditional 12-bar variety. More about rocking out, I say. I even don’t mind the quasi-disco backing. “It’s What You Value” is a fun ode to race car driving, one of George’s favorite pastimes. Musically, you gotta love the piano and sax tradeoffs, much like “Maya Love.” The secular pop-ballad “Beautiful Girl” is simply amazing, for no special reason. And the semi-hit “Crackerbox Palace” is a nice little pop tune in itself.
My favorite just might be “This Song” has a retro feel, but the lyrics ain’t that. You see, this was written right after the “My Sweet Lord”/”He’s So Fine” stink, as a way for George to exorcise his demons and look at it humorously. He e’en pulls in some Monty Python dudes (forgive me, I forget who exactly) to mutter ‘Could be “Sugar Pie, Honey Bunch”!!’ “NOOOO! Sounds more like “Rescue Me”!’ It does have the same bassline as the aforementioned Four Tops hit. But I love the tune, and the video, even though I saw it but once.
But what’s a George Harrison album without religion? For that you have the meditative “Dear One,” with a seemingly endless verse but refreshing ‘my spirit sings to you now’ chorus. I find nothing terribly wrong with “See Yourself.” The words must be based off some mantra, but I adore that melody. That leaves the closing “Learning How to Love You,” which doesn’t do a lot for me. Melody isn't bad, just doesn't move me.
Oh yeah, I forgot about the other two. I’ve never heard Cole Porter’s “True Love” before, but George renders it so it sounds like anything else on this album. It’s OK I guess, but I prefer “Pure Smokey,” which is a good tribute to the great Smokey Robinson. Miles ahead of the similar “Ooh Baby.” 33 1/3 is certainly a minor rebound for George, as it’s more upbeat and not as overly religious. Or maybe I’m more generous towards this because of the long wait for this album. Only time will tell.
P.S. The bonus track is an inoffensive tune “Tears of the World,” apparently left off Somewhere in England along with 3 others. I’ll get to them when I get to SIE.
1979
Oooh, I’m treading in some difficult territory here. This self-titled album is decidedly less edgy than 33 1/3, as Harrison really mellows out here. It’s so mellow that many web reviewers hit a brick wall reviewing it. Starostin struggled but got through, while CapnMarvel digressed into an anti-religion tirade. GH is indeed borderline adult-contemporary (shudder), but Harrison has enough melodic ideas to keep the album respectable.
For an opener, “Love Comes to Everyone” really doesn’t cut the cake. It’s a tasteful performance, with Clapton on guitar and Stevie Winwood on organ, but it’s just one stately bore. Even worse is “Here Comes the Moon,” which really shows a lack of ideas. The fade-in strumming is nice, the guitar riff is refreshing, and even the dumb chorus is all right (I keep thinking I hear Paul and Linda McCartney on backing vocals!). But all three elements are repeated over and over, especially that once-good riff, enough to put me in a stupor. So its failure has nothing to do with the title resemblance of “Here Comes the Sun.”
On the bright side, “Blow Away” is a really solid pop single, even though it’s soft rock to the core. The toe-tappin’ “Soft-Hearted Hana” also sticks out, as George goes for a country sound. And “Not Guilty,” as y’all know, dated back to the Beatles’ White Album sessions in ‘68. I’m still getting acclimated to the soft version here, as I miss the electric geetar on the Anthology 3 cut. But the good melody and defensive lyrics are still intact, so I still like the song.
I shall take my place in the minority when I name my favorite song off here: ‘tis “Faster.” So it isn’t as clever or groovy as his other racing song “It’s What You Value.” So it’s the prime example of adult comtemporary. I dig it man. It’s so naive and anthemic in its own right, and it’s the closest to rock that George got on GH. I still may prefer this to “Value” but I may not. Either way, I can’t help but smile at George’s bright-eyed line ‘he’s the master of going faster.’
Now for that infamous 4-song stretch at the end that took the life out of poor Starostin. “Dark Sweet Lady” is George on ballad cruise control, but I like the melody. The other ballad “Your Love is Forever” ain’t as memorable. “Soft Touch” has nice use of descending notes, on the riff and the bridge. And George tries to achieve an All Things Must Pass sound on “If You Believe,” but it ends up soggy and preachy.
So yeah. Overall, GH is pretty sedate, and it doesn’t reach the highs that ATMP or 33 1/3 did. But the 6 it gets is a rather high 6, since it does leave a better impression on me than Extra Texture, which also got a 6. Whereas Extra Texture was dirge-like and depressing, at least GH shows Harrison in a more contented state of mine. Almost too content, maybe.
1981
Things got worse for George Harrison here. His formula is slightly tweaked, but not for the better. No, the sound of the day is pop, the boring MOR kind in the late ‘70s to early ‘80s before MTV livened up the scene. That and George just wasn’t up to writing good melodies and sometimes good lyrics. Even if “All Those Years Ago” was his biggest hit in years, Somewhere in England pretty much went unnoticed at the time. Not that anyone missed much.
Upon hearing the opener “Blood From a Clone,” red flags fly up. I’m not sure what George was going for here, new-wave/disco/pop, but it sounds dorky. Yet at the same time, his music-industry bashing lyrics could be much worse, and the repetitive riff make me give it a reluctant thumbs-up. So it’s more of a guilty pleasure for me.
The next three songs are better, as in I don’t feel bad for endorsing ‘em. The aforementioned hit “All Those Years Ago” was written BEFORE John Lennon was murdered, but was reworded after the fateful event. The melody won’t make you cry, but it’s still a nice little tribute. “Unconsciousness Rules” is just another fun little rocker in the tradition of “It’s What You Value” and “Maya Love.” and I used to dog on “Life Itself” when I first heard it on the out-of-print Best of Dark Horse, saying it was a total bore. Well, compared to what surrounds it, it’s a nice, simple guitar-laced ballad. Funny how some tunes look better when put in bad company.
But after those are done with, the rest of Somewhere ain’t worth a Hoover Dam. Well, the cute country number “That Which I Have Lost” is enjoyable. But not the jazz covers “Baltimore Oriole” (MAN the production sucks!!!) and “Hong Kong Blues” (not quite as bad, but not memorable in the least). “Writing’s On the Wall” is as anonymous Harriballad as they come, right out of his last album. “Save The World” sure doesn’t inspire me to become an activist, not with that boring ‘melody.’
But the true nadir has to be the abysmal “Teardrops,” where George plunges into the most off-putting MOR pop possible. My goodness, this is best suited for Christopher Cross! Throughout George’s catalogue, only “Brainwashed” is worse than this one. Considering his career was very consistent with few lows, Somewhere is his worst album yet, though it’s still worthy of a 5. A shaky 5 at that.
1982
Well, this is an improvement But not much. The anonymous MOR vibe from Somewhere has been replaced with a weird vibe here on Gone Troppo. Somebody’s bass vocals (John Entwhistle? Nahhh) pop out quite a bit, and the whole feel is somewhat lightweight, tropical I guess. Much like 33 1/3, you’ll tolerate it if you don’t like the overt religious aspect of Georgie. If that doesn’t give you a good idea about the album, well, it’s because it’s hard to assimilate.
No hits came from Troppo., even if the opener “Wake Up My Love” was a single. And like “Blood From a Clone,” it must have left confused listeners tossing their vinyl/tape/8-track upon hearing it. Only this is much better. The ‘80s synths are so in-your-face, so boldly cheesy, that you can’t help but grin. See, whereas “Blood” was a bit tentative in its dorkiness, “Wake” makes no apologies. Plus the melody itself is nice. My personal fave off this album.
Other goodies include the simple “That’s The Way it Goes,” with nice slide guitar and the first of those crazy loooow vocals. The funny title track, of course, is an ode to both going on a tropical vacation and going batters. I dunno, those minor chords that pop up now and then put me in the mind of an ‘I-am-in-my-happy-place’ mood, when someone is super stressed. “Dream Away” may be as MOR as “Teardrops,” but did “Teardrops” have that endearing ‘oh rye in nye ay oh rye in nye ay’ chorus? No! It was too busy sucking! “Dream Away” trumpz it. And “Circles” has a great atmospheric melody, though I prefer the Revolver-era(?) demo that I...found somewhere. “Mystical One” is...nice. I guess.
On the other hand, I have absolutely no idea what to make of the doo-wop cover “I Really Love You,” it’s so weird and novelty-like. I don’t hear much George here, I hear more of Mr. Lownote again! “Unknown Delight” is another one of those Harriballads that I just can’t get excited about after enduring George Harrison. “Greece” might be a fine instrumental with good slide parts, but...what else can one say about such songs? “Baby Don’t Run Away” is the nadir of the album, as those computer vocals and oddly-placed Syreeta backing vocals make the song un-Harrison-like .
OK, this review of mine must suck. But when some songs on Gone Troppo are anonymous and whatnot, reviews of that album tend to stink. Anyway, it’s not a bad album, just rather unremarkable. But we all know George was more concerned working on movies (like that certain Madonna-Sean Penn bomb) and auto racing at the time. So he took some time off for those and came back five years later with a great one.
1987
Long before the latter-day George Harrison catalogue was reissued, I found Cloud Nine in a used bin. Long live used bins! Cloud Nine turned out to be quite a comeback for George, after keeping a low profile for most of the ‘80s with other projects. He brought aboard Eric Clapton, Ringo Starr, Elton John, and Jeff Lynne as well! Lynne produces the album, by the way. I don’t have a problem with his polished, upfront sound, but even if YOU do, you gotta admit George’s songs here are among his most consistent ever. Not a lot of ‘ole time religion,’ and more or less pop, so that’s no excuse not to like it.
Now Georgie managed to have a #1 single in “Got My Mind Set On You,” which is catchy and nice but subject to a lot of flak over the years, namely the repetitiveness and the loud drum machine. I’ll concede the drum part, which is instantly dated. But if you have a problem with repetitiveness, take it up with the original composer Rudy Clark, not George! The repetitiveness is fine with me, at least it ain’t as bad in that department as, say, “Two Princes.” But I prefer the lesser hit “When We Was Fab,” which is somewhat clumsy but in a cool, nostalgic way. Good to know that George had laid that Beatle animosity to rest by then.
Nonhits? “Devil’s Radio” and “Wreck of the Hesperus” are funny rockers that add a bit of levity. The title track has that eerie minor-key feel, accentuated by Clapton’s top-notch gee-tar lines. And that guitar riff in the driving “Fish on the Sand” is the coolest thing on the record!!! It’s like “Anytime at All” meets “I Should Have Known Better” meets “No Reply”! Yes, George, I too love the Beatles! Ballads “Just For Today” and “Someplace Else” are nothing special, but certainly pleasant. “Breath Away From Heaven” beats both, with nice Oriental chords.
Closing things off, “That’s What it Takes” is a bit overproduced and the melody’s kind of blurry, but is still OK. “This is Love” is my least favorite, being too poppy and with a dorky chorus (‘this is la-la-la-la-love’). I’ve actually heard it whilst working at department stores, so maybe hearing it after crap by Faith Hill/Phil Collins/Simply Red detracted from the experience. Either way, Cloud Nine is still one of the best albums Harrison came up with. And without this record, there wouldn’t be no Traveling Wilburys. Right?
P.S. Almost forgot the two bonus tracks. The title track to the 1986 Madonna-Sean Penn movie Shanghai Surprise is pretty embarrassing, but not as abominable as McCartney’s theme to Spies Like Us (another ‘86 stinker). From the same flick, the instrumental “Zig Zag” is a little better, as it captures a ‘30s sound rather than ‘80s.
2002
Up until his death, George Harrison did have a few demos or whatever of songs that he had written. In fact, he recorded the vocals to of an unreleased “Horse to the Water” just weeks prior to his Nov. 2001 death. A year later, Brainwashed came out as a posthumous release. George’s vocal-and-guitar demos were touched up and fleshed out by, you guessed it, Jeff Lynne. But it’s considerably different from Cloud Nine. Harrison’s lyrics are more resigned, as if he accepted that he would not recover from cancer and was prepared to meet his maker. This makes it a harder listen, as is the overriding mid-tempo pace blurs songs together.
The first three songs are among the best here. The most chipper track is undoubtedly the opener “Any Road.” I’m guessing it dated back to the Wilbury days, as it sounds vaguely like “If You Belonged To Me.” The chorus ‘if you don’t know where you’re going, any road will take you there’ most certainly is in inspiration-type books. I’m also partial towards the slow “Pisces Fish,” with pleasant and funny lyrics, like about Canadian geese ‘crapping’ along the banks. Ha! Not sure what to make of the punchy “P2 Vatican Blues,” is it a knock on Catholicism? References to the Vatican, the Holy Rosary, and all that. Whatever.
That middle section of three songs are almost identical, with that mid-tempo, looking-back-on-life vibe. It’s hard to pick out highlights, but I’ll give props to “Looking For my Life” and “Run So Far.” Maybe their hooks are the best developed. Oh heck, I like “Stuck Inside a Cloud” too. “Rising Sun” takes too long to get started, and I’m indifferent to his love song to wife Olivia “Never Get Over You.” The rare instrumental “Marwa Blues” will melt the heart of any steel-guitar lovers.
Unfortunately, the album runs out of steam. “Rocking Chair in Hawaii’ and the cover “Between the Devil and the Deep Blue Sea” go in one ear and out the other for me. And that title track seems to be a summation of why people DON’T like listening to George. I mean, George can be preachy, but never before has he been so unsubtle and in-your-face. “God God God.” If that wasn’t bad enough, the song grinds to a halt and someone inserts a religious quote and gives the book and page number of that quote. Wha?? What’s next, a Works Cited page? My vote for Harrison’s worst solo song. I hope Starostin gets this album so I can hear his thoughts on this one.
Oh, once again I ended the album on a down note. Gotta stop doing that. Brainwashed is still a solid album, just not an album to put on unless you’re in a reflective mood. Plus the sound is too uniform and that title track brings things down. I say the album should have been called Pisces Fish. Because the title track on an album shouldn’t be the worst. Right, Paul? Why Driving Rain, and not Lonely Road?