George Harrison

Somewhere in England
by George Harrison

June 7, 2021

by Classic Rock Review with One Comment Album Reviews

Somewhere in England was an arduous and frustrating album to produce for George Harrison, taking more than a year to release. The album was critically panned as the material is a bit uneven, ranging from themes of frustration and panic to those of divinity and bliss. However, it is a clear beacon in history as it was recorded shortly before and in the wake of the tragic assassination of Harrison’s former Beatles bandmate John Lennon and it briefly brought together the surviving members of that classic band.

After the Beatles broke up in 1970, Harrison had great solo success with the release of the triple album All Things Must Pass and it’s follow-up, 1973’s Living In the Material World. However, his output during the mid to late 1970s received relatively less critical acclaim and commercial success. Harrison began a gradual retreat from the music business as the decade ended.

Harrison began recording Somewhere in England, his ninth overall solo record, in March 1980. He first delivered it to Warner Bros. Records, his distributor, in late September of that year. However, the initial draft was rejected and Harrison reworked much of the material over the subsequent six months at his Friar Park studio in Henley-on-Thames. During this time three new songs were developed and added to the album while four tracks were cut from the final release.

Somewhere in England by George Harrison
Released: June 1, 1981 (Dark Horse) Produced by: Ray Cooper & George Harrison Recorded: Friar Park Studio, Henley-on-Thames, England, March 1980-February 1981
Side One	Side Two
Blood From A Clone Unconsciousness Rules Life Itself All Those Years Ago Baltimore Oriole	Teardrops That Which I Have Lost Writing’s On The Wall Hong Kong Blues Save The World
Primary Musicians
George Harrison – Lead Vocals, Guitars, Keyboards Neil Larsen – Piano, Keyboards Willie Weeks – Bass Jim Keltner – Drums

Harrison’s frustration is clear on the album’s first two tracks, the Caribbean-flavored, rhythmic “Blood from a Clone”, which critiques the soullessness of the music industry and the upbeat jazz of “Unconsciousness Rules”, which features a signature guitar riff and prominent brass throughout. “Life Itself” follows and is Gospel-like but with Harrison’s signature guitar on top. The spiritual lyrics offer praise to Christ, Vishnu, Jehovah and Buddha, as Harrison believes in the concept of a universal deity.

The obvious indelible track from this album is “All Those Years Ago”, musically built on the fantastic electric piano and synths of Al Kooper along with some fine synths and slide guitars by Harrison. The song was originally written for Ringo Starr to sing on his upcoming solo record and Starr’s version was recorded in November 1980 but he was not quite satisfied with it. After Lennon’s death the following month, Harrison took the track back and rewrote it as a tribute to him. Starr’s drumming on the track was maintained and Paul McCartney and his Wings’ bandmates were brought in to provide backing vocals, making this the first recording on which Harrison, McCartney and Starr all appeared since the Beatles’ “I Me Mine” on 1970’s Let It Be. “All Those Years Ago” was released as the album’s leading single in May 1981 and it instantly became a worldwide hit.

Harrison recorded two 1940s-era songs from jazz-oriented songwriter Hoagy Carmichael. “Baltimore Oriole” features a lead sax right from the top by Tom Scott, counter-balanced by Harrison’s fine slide acoustic guitar, while “Hong Kong Blues” is a short but entertaining Americana jazz/folk composite. Both of these songs were originally featured in the 1944 film To Have and Have Not.

George Harrison

Somewhere in England‘s second side features some diverse listening, starting with the pure 80s pop of “Teardrops”, which was issued as the second single off the album. Two of the more interesting tracks follow, with “That Which I Have Lost” featuring rootsy country acoustic with slide electric riffs and fine fretless bass and “Writing’s on the Wall” having a slight synth organ with a rich musical arrangement. The whimsical, upbeat closer “Save the World” is cut by moody slide guitars and plenty of lyrical moralizing throughout this overall pleasant musical listen.

While Somewhere in England did reach the Top 20 in both the UK and US, it’s chart run was relatively brief. After the follow-up 1982 album, Gone Troppo fared even worse, Harrison retreated from the music industry for half a decade.

Part of Classic Rock Review’s celebration of 1981 albums.

The Beatles in India

April 3, 2020

by Classic Rock Review with No Comment Special Features Web Log

The Beatles with Maharashi

In early 1968, all four members of The Beatles traveled to northern India to attend a Transcendental Meditation training course with Maharishi Mahesh Yogi. While George Harrison, John Lennon, Paul McCartney and Ringo Starr all arrived at the Maharishi’s ashram in Rishikesh in mid-February with optimism and enthusiasm, they departed at different times and with differing opinions of the positivity of the experience. In any case, prolific songwriting took place in India, much of which would be reflected on The Beatles (white album), which was released later in 1968. In that sense, this historic event remains musically significant, no matter the actual merits of the Maharishi or Transcendental Meditation itself.

This trip followed the adventurous and tumultuous year of 1967. That year was the group’s first full year without touring, where they produced and recorded the iconic classic Sgt. Pepper’s Lonely Hearts Club Band, were the centerpiece of a worldwide television special, and starred in their third feature film, Magical Mystery Tour, and its recorded subsequent soundtrack. On the darker side, 1967 saw members of the group heavily experimenting in drug use and losing their long time manager Brian Epstein, which ultimately saw the band to begin fracturing professionally. Before departing for India, in what originally was to be a three month stay, the group recorded a few songs for single release. McCartney’s “Lady Madonna” was chosen as the A-side of the single, beating out Lennon’s “Across the Universe”, a version of which later appeared on Let It Be. The single’s B-side was Harrison’s “The Inner Light”, which was partially recorded with several Indian classical musicians in Bombay, India in January during the sessions for Harrison’s Wonderwall Music soundtrack album. This is notable as the only Beatles studio recording to be made outside Europe and it set a nice vibe as the members publicly departed for India.

Beatles In India

A year earlier, Harrison’s wife Pattie Boyd came across a newspaper advertisement for Transcendental Meditation classes and she and her husband soon became part of this movement. In the summer of 1967, Harrison had recruited the other members of the Beatles to attend a lecture that the Maharishi gave in London, followed by a 10-day Spiritual Regeneration conference in Wales. McCartney reflected that the group had been “spiritually exhausted” and, while at the conference, the group members committed to giving up drugs. However, their stay at the conference was cut short when news of Epstein’s unexpected death reached the group. Before departing Wales, the Maharishi invited the Beatles to stay at his ashram in Rishikesh in the near future.

The group arrived in India in mid-February 1968, along with their wives (or girlfriend in McCartney’s case), along with numerous assistants, reporters, celebrity meditators and even some contemporary musicians like Donovan and Mike Love from The Beach Boys. They flew into Delhi and then rode by taxi the 150 or so miles to Rishikesh, walking to the ashram by crossing a footbridge over the Ganges River and up a hill to the property.

Located in the “Valley of the Saints” in the foothills of the Himalayas, this 14-acre ashram was built 5 years earlier in 1963 and it was funded through a $100,000 donation from American heiress. While there, life was comparable to that of a summer camp, starting with a communal breakfast followed by morning meditation and the occasional lecture from Maharishi. And at the end of the day, the musicians would often jam.

Beatles In India

Donovan taught John Lennon a guitar finger-picking technique that they later used on the songs “Julia” and “Dear Prudence”, the latter of which was a direct narrative about Mia Farrow’s sister who caused concern by locking herself inside and intensely meditating for weeks on end. Starr completed his first solo composition for the Beatles, “Don’t Pass Me By”, which he had begun writing way back in 1963. McCartney was prolific as usual with songs forming from the parody “Rocky Raccoon”, which he wrote to entertain others at dinner, to “Mother Nature’s Son” which was directly inspired by one of the Maharishi’s lectures, to “Back in the USSR” which he wrote in Love’s presence as an interpretation of the Beach Boys style. In fact, plans were briefly discussed for a possible concert in Delhi to feature the Beatles, the Beach Boys, Donovan, and Paul Horn.

Compared to the regular attendees, the Beatles were given some additional perks such as heated tents and on-demand private lessons from the Maharishi. Still, Ringo Starr and his wife Maureen were never quite comfortable with the retreat as Ringo had food allergies and Maureen had a deathly fear of insects. So, after just 10 days, Starr was the first Beatle to leave on 1 March. McCartney and his girlfriend Jane Asher left a few weeks later in mid-to-late March, causing slight derision by Harrison and Lennon who questioned his commitment. Lennon had wanted to invite his new love interest, Yoko Ono, on the trip but feared a confrontation with his then-wife Cynthia and therefore declined to do so. Nevertheless, the Lennons effectively split up on this trip as John moved into his own room about a week into the retreat.

Beatles In India

In early April, the Maharishi announced plans to move the whole retreat to Kashmir, a higher and cooler altitude as the summer months approached. Lennon and Harrison were planning to follow this course to the end, but changed their plans abruptly on April 12th, following rumors of the Maharishi’s inappropriate sexual behavior towards female students. The night before Lennon and Harrison sat up late discussing the Maharishi and decided to leave first thing in the morning. The final two Beatles and their wives left hurriedly and while waiting for their taxis to take the long drive back to delhi, Lennon wrote “Sexy Sadie”, a direct indictment of the Maharishi.

With the Beatles’ quick departure and implicit denunciation of the Maharishi, his rapid rise to fame abruptly ended. Whether or not the rumors about his misconduct were in fact true, remain in dispute to this day. Harrison later apologized for his and Lennon’s abrupt departure and he would later organize a 1992 benefit concert for the Maharishi-associated Natural Law Party. In 2007 McCartney took his daughter to visit the Maharishi, a year before his death in 2008. After a few years of abandonment, the ashram was opened to the public in 2015 and renamed Beatles Ashram.

Since they permanently gave up touring in 1966, this trip to India would be the last time all four Beatles traveled together outside of the UK. While their cohesion as a group began to deteriorate shortly after until they ultimately broke up two years later, the Beatles made a good faith effort to reach a higher understanding. In all, the group members wrote nearly 50 songs in India, some of which were published after the band’s breakup.

Beatles In India

List of songs written by the Beatles in Rishikesh, India 1968

Released on The Beatles (white album) 11/22/68:

“Back in the U.S.S.R.”
“Dear Prudence”
“Ob-La-Di, Ob-La-Da”
“Wild Honey Pie”
“The Continuing Story of Bungalow Bill”
“I’m So Tired”
“Blackbird”
“Rocky Raccoon”
“Don’t Pass Me By”
“Why Don’t We Do It in the Road?”
“I Will”
“Julia”
“Yer Blues”
“Mother Nature’s Son”
“Everybody’s Got Something to Hide Except Me and My Monkey”
“Sexy Sadie”
“Long, Long, Long”
“Revolution” (1)
“Cry Baby Cry”

Released on Abbey Road 9/26/69:

“Mean Mr. Mustard”
“Polythene Pam”

Released on Anthology 3 compilation 10/28/96:

“What’s the New Mary Jane”, recorded during the White Album sessions in 1968
“Teddy Boy”, recorded during the Let It Be sessions in 1969

Released on recordings outside the Beatles:

“Sour Milk Sea” – written by Harrison, released by Apple Records artist Jackie Lomax as a single 8/26/68
“Junk” released on Paul McCartney’s debut solo album McCartney 4/17/70
“Look at Me” released on John Lennon’s album John Lennon/Plastic Ono Band 12/11/70
“Jealous Guy” (originally titled “Child of Nature”) released on John Lennon’s album Imagine 9/09/71
“Circles” released on George Harrison’s album Gone Troppo 11/05/82
“Cosmically Conscious” released on Paul McCartney’s album Off the Ground (The Complete Works) 2/02/93

Unreleased (as of 4/03/20)

“Dehradun” composed by George Harrison
“Spiritual Regeneration/Happy Birthday Mike Love” recorded at Rishikesh by several group members and Donovan 3/15/68

Even In the Quietest Moments by Supertramp

Top 9 Songs of Spring

March 20, 2020

by Alpha Dog with No Comment Special Features Top 9 Lists

With the arrival of Spring, we will look at some of the great rock songs that explicitly mention or implicitly conjure images of Springtime. We countdown this subjective list from #9 to #1.

9. “Even in the Quietest Moments” by Supertramp

The title song of an album with the same name, this 1977 Supertramp album shows a piano out in the snow on its cover. However, with that backdrop, the distant sound of birds accenting the intro swell of this acoustic ballad accented by woodwinds, sets the perfect Spring mood as the world slowly swells awake from the “quietest moments”.

Classic Rock Review of Even In the Quietest Moments
Buy Even In the Quietest Moments by Supertramp

8. “I Melt With You” by Modern English

In much the same vein as the previous song, this 1982 hit from the aptly titled album After the Snow gives off a vibe of vitality and romance. The new wave/pop hit from the early days of MTV may be a perfect allegory for the spring thaw.

Buy After the Snow by Modern English

7. “Waiting For the Sun” by The Doors

The Doors in 1968

“Can you feel it now that Spring has come? That it’s time to live in the scattered sun…”

With this song lacks in peaceful vibe, it more than makes up for in poetry and adventure. That’s not to say that it has no cool vibe – it does – as the musician’s of the band offer musical prowess under Jim Morrison’s dynamic poetry. Robbie Kreiger has a gentle, bluesy guitar while Ray Manzarak and John Densmore offer sharp and biting rhythms.

Buy Morrison Hotel by The Doors

6. “Grantchester Meadows” by Pink Floyd

Pink Floyd in 1969

“Icy wind of night be gone, this is not your domain…”

Roger Waters’ poetic ballad from the 1969 experimental album Ummagumma is far from Pink Floyd’s most popular song. But its vivid portrayal of a pastoral scene, along with sound effects from birds and bees, make it a perfect selection for this season’s vibe.

Buy Ummagumma by Pink Floyd

5. “Seasons In the Sun” by Terry Jacks

Seasons In the Sun by Terry Jacks

“Goodbye Michelle, it’s hard to die when all the birds are singing in the sky, now that the Spring is in the air with the flowers everywhere, I wish that we could both be there…”

“Seasons in the Sun” is an English-language adaptation of the 1961 song “Le Moribond” by Belgian singer-songwriter Jacques Brel with lyrics later re-interpreted in 1963 by American singer-poet Rod McKuen. The most melancholy song in our countdown is the 1974 smash from one-hit wonder Terry Jacks, which portrays the point of view of a dying man reflecting on the people and moments of his life.

Buy Seasons In the Sun by Terry Jacks

4. “Daydream” by The Lovin’ Spoonful

“It’s one of those days for takin’ a walk outside, I’m blowin’ the day to take a walk in the sun and fall on my face on somebody’s new-mowed lawn…”

There is no doubt this is an unabashed feel-good, happy-go-lucky song. Just look at the pure joy in John Sebastian’s face as he performs the song he wrote with his ex-band, The Lovin’ Spoonful.
Buy Daydream by The Lovin’ Spoonful

3. “The Boys Are Back In Town” by Thin Lizzy

Jailbreak by Thin Lizzy

“That jukebox in the corner blasting out my favorite song, the nights are getting warmer it won’t be long, won’t be long ’til summer comes, now that the boys are here again…”

Obviously, birds aren’t the only species that migrate during the Spring. This chord-driven, hard rock jam by Thin Lizzy celebrates the coming of good times, long days, and wild nights.

Buy Jailbreak by Thin Lizzy

2. “The Rain Song” by Led Zeppelin

Led Zeppelin acoustic set

“It is the Springtime of my loving, the second season I am to know, you are the sunlight in my growing, so little warmth I felt before…”

OK, this is actually more of a “four seasons” song and, at that, “the seasons of emotion”. But the musical vibe of this track is undeniably “Spring” – John Paul Jones’ mellotron, John Bonham’s subtle and tactful drumming and, most especially, Jimmy Page’s duo acoustic/electric strumming of unique, open-tuning guitar chords.

Classic Rock Review of Houses of the Holy
Buy Houses of the Holy by Led Zeppelin

1. “Here Comes the Sun” by The Beatles

Beatles in 1969

“Little darling, I feel that ice is slowly melting. Little darling, it feels like years since it’s been clear, here comes the sun…”

This was a rather easy and obvious choice as our top Springtime song. A beautiful acoustic tune by George Harrison, steeped in Indian philosophy, the song feels like it could have just as easily been a descendent of a Druid celebration at Stonehenge. One of several absolute gems from the Beatles’ final studio album.

Classic Rock Review of Abbey Road
Buy Abbey Road by The Beatles

Well, there you have it. Please add your comments below to tell us what you like or don’t like about our list. Enjoy the Spring!

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February 27, 2019

by Classic Rock Review with No Comment Album Reviews

Buy George Harrison

Released in early 1979, George Harrison’s eponymous studio album is a light and breezy work of bliss and contentment by the ex-Beatle as he started a new family in his late 30’s. Adding to the overall atmosphere, much of this record was composed while on an extended hiatus in Hawaii, which followed a full year away from any activity in the music industry. Since it’s release 40 years ago, George Harrison has generally been received well as may be considered one of this artist’s top solo releases.

Harrison had immediate post-Beatles success with the 1970 triple album All Things Must Pass and, to a lesser extent with 1973’s Living In the Material World. Late in 1974, Harrison became the first ex-Beatle to tour North America in conjunction with the release of the album Dark Horse. However, Harrison considered this the least satisfactory of his three post-Beatles studio albums and this, combined with the demise of the Apple Records label, led Harrison to launch his own label called Dark Horse Records. The 1976 album, Thirty Three & 1/3, became the first album release for this label, and it produced a couple of minor hit singles; “This Song” and “Crackerbox Palace”.

Harrison spent much of 1977 following Formula 1 racing and traveled to Hawaii in early 1978 to begin writing for this album, which he would co-produce with Russ Titelman. Recording for the album took place at both Harrison’s suburban home studio and London’s AIR Studios and the sessions included cameos by contemporary artists Eric Clapton, Steve Winwood and Gary Wright.

George Harrison by George Harrison
Released: February 20, 1979 (Dark Horse) Produced by: Russ Titelman & George Harrison Recorded: FPSHOT, Oxfordshire & AIR Studios, London, 1978
Side One	Side Two
Love Comes to Everyone Not Guilty Here Comes the Moon Soft-Hearted Hana Blow Away	Faster Dark Sweet Lady Your Love Is Forever Soft Touch If You Believe
Primary Musicians
George Harrison – Lead Vocals, Guitars, Dobro, Mandolin, Sitar, Bass Neil Larsen – Piano, Keyboards Willie Weeks – Bass Andy Newmark – Drums

The album begins with the single “Love Comes to Everyone”, a nice fusion of styles between Harrison’s signature slide guitar of the early seventies and the bass-driven bright pop of the late seventies led by Willie Weeks. The whole vibe of this song is accented nicely by Winwood’s sharp synth lead. “Not Guilty” is a track originally written for the Beatles’ White Album a decade earlier with lyrics referring to Harrison’s ever-straining relationship with his band mates following the failed pilgrimage to India to follow the Maharishi. Due to the tense subject matter, the original 1968 completed recording was not included on the Beatles’ double album. The late seventies version features a jazzy electric piano Neil Larsen and an overall feel that justifies giving this one ten years to mature.

George Harrison 1979

Another nod back to his Beatles’ years, “Here Comes the Moon” acts as a natural sequel to “Here Comes the Sun” from the Abbey Road album. This subtle, acoustic track features fine methodical accompaniment including vocal effects and a vocal chorus. Inspired by the hallucinatory effects of some Hawaiian “magic mushrooms”, the good-timey ragtime tune “Hard Hearted Hannah” features a fine acoustic lead and some call and response vocals. Perhaps the finest overall track, “Blow Away” features an exquisite combo of electric piano and slide electric guitar in the lead in along with a very catchy chorus hook and great guitar link back from chorus to verse. The song was the lead single from the album and became a hit in the United States and Canada.

The album’s second side starts with “Faster” an upbeat, celebratory tribute to Formula 1 racing which also served as the early title for this record. Next comes two subtle love songs, “Dark Sweet Lady” with a beautiful Caribbean style and the methodically strummed acoustic of “Your Love Is Forever”. A leftover from Thirty Three & 1/3, “Soft Touch” was re-written in Hawaii with a tropical theme and musical arrangement, while the closing track “If You Believe” wraps things up with an upbeat and positive message.

The feeling of bliss demonstrated on George Harrison would be shocked by reality during the production of Harrison’s follow-up album Somewhere in England, with the murder of former band mate John Lennon in December 1980. Harrison rewrote a track to pay tribute to Lennon and invited the remaining Beatles to play on the track “All Those Years Ago”, a Top Ten hit in 1981.

Part of Classic Rock Review’s celebration of 1979 albums.

Living In the Material World
by George Harrison

May 30, 2018

by Classic Rock Review with No Comment Album Reviews

Buy Living in the Material World

Living in the Material World was the fourth overall studio album (and second pop/rock release) by former Beatle George Harrison. This long-anticipated 1973 album is distinct in both Harrison’s initial major role as a record producer as well as for its strongly spiritual and philosophical lyrics. The themes were driven by Harrison’s strong devotion to Hindu spirituality in general and to Krishna consciousness in particular, with some songs contrasting the need for inner peace while being a musician with worldwide popularity.

Following the tremendous critical and commercial success of his 1970 triple album All Things Must Pass, Harrison embarked on a humanitarian aid project to raise money for the people of Bangladesh, culminating with two Concert for Bangladesh shows and a subsequent live album. During this same time period (1971-1972), Harrison also produced a few singles for fellow Beatle Ringo Starr and helped promote Raga, the documentary on Ravi Shankar. Finally, in late 1972 he was ready to start recording his next studio album.

In contrast with its predecessor, Living In the Material World featured scaled down production by Harrison. He had originally planned on bringing in Phil Spector to co-produce but once recording sessions got under way, Harrison had gathered a core backing group and was the project’s sole producer. While Harrison performed all the guitar parts on the album, he employed pianist Nicky Hopkins, keyboardist Gary Wright, bassist Klaus Voormann and drummer Jim Keltner for most tracks. These recording sessions in London took a bit longer than expected, resulting in the intended release date being pushed back.

Living In the Material World by George Harrison
Released: May 30, 1973 (Apple) Produced by: George Harrison Recorded: Apple Studios & Abbey Road Studios, London, October 1972-March 1973
Side One	Side Two
Give Me Love (Give Me Peace on Earth) Sue Me, Sue You Blues The Light That Has Lighted the World Don’t Let Me Wait Too Long Who Can See It Living in the Material World	The Lord Loves the One (That Loves the Lord) Be Here Now Try Some, Buy Some The Day the World Gets ‘Round That Is All
Primary Musicians
George Harrison – Lead Vocals, Guitars, Dobro, Sitar Nicky Hopkins – Piano Gary Wright – Organ, Harmonium Klaus Voormann – Bass Jim Keltner – Drums, Percussion

The album commences with the pleasant hit “Give Me Love (Give Me Peace on Earth)”, which features a simple, repeated verse that is expertly accented by Harrison’s lead guitar and a gentle but potent piano by Hopkins. With lyrics he described as “a prayer and personal statement between me, the Lord, and whoever likes it” this track became Harrison’s second #1 song in the US and also reached the Top 10 in several other countries. “Sue Me, Sue You Blues” is much in contrast with the opening track, built on loose piano honky-tonk backing lyrics inspired by Paul McCartney’s lawsuit to dissolve the Beatles’ joint partnership, Apple Corps.

“The Light That Has Lighted the World” is a melancholy piano ballad with weepy lead vocals, acoustic strumming and a fine lead over top, while “Don’t Let Me Wait Too Long” is a bright, upbeat pop love song written for Harrison’s wife, Pattie Boyd. “Who Can See It” returns to the melodramatic devotional featuring a subtle, Leslie guitar lead. The original first side concludes with the upbeat, happy-go-lucky title track with Hopkins’ piano again holding things together along with the thumping bass/drum rhythm. “Living In the Material World” also features strategic stops for slower breaks with much instrumentation including a sitar section and an extended sax lead.

George Harrison in 1973

The second side opens with the excellent composition, “The Lord Loves the One (That Loves the Lord)” with melodic vocals and musical flourishes, leading to climatic slide lead to end the track. Lyrically, Harrison sought feedback about Krishna philosophy, which encouraged him to develop such themes that are unorthodox in popular music. “Be Here Now” is a quiet and surreal acoustic ballad with some earthy and ethereal sounds, as “Try Some, Buy Some” (a leftover from 1970 co-produced by Spector) is a musical waltz built on a descending riff and it reaches for grandiose heights with horns and other “wall of sound” production techniques. Next comes the Beatlesque acoustic ballad “The Day the World Gets ‘Round”, short and sweet but with rich production. The album concludes with the aptly titled “That Is All”, a forotten classic filled with melancholy emotion and musical aptitude, where Harrison really stretches his vocal range with high-pitched sustained notes.

Living In the Material World topped the charts in the US and reached #2 in the UK while achieving Gold record certification. In a continuation of his charitable work, Harrison donated his copyright for most of the tracks to his Material World Charitable Foundation, which ultimately ensured a stream of income for the charities of his choice. Following the album’s release, Harrison became the first ex-Beatle to tour North America when he toured with a large ensemble of musicians starting in 1974.

Part of Classic Rock Review’s celebration of 1973 albums.

Rubber Soul by The Beatles

December 3, 2015

by Jacob Albano with One Comment Album Reviews

Buy Rubber Soul

As the years have gone by, Rubber Soul has distinguished itself more and more from the “typical” early album by The Beatles. While the 14 selections remain pretty much bright and poppy, the underlying lyrical content starts to touch on more mature themes, as its center of gravity migrates from teenage love to young adult sex. More importantly are the compositions, the music and the sound production which feature a stream of creative innovativeness by the group and producer George Martin.

Following the band’s international success in 1964, the year 1965 saw many new achievements and discoveries for the group, ranging from their reception of Members of the Order of the British Empire (MBE) in June to their first experiences with LSD and other drugs later in the year. During the summer of 1965, the motion picture and accompanying soundtrack album Help! were released and continued their phenomenal chart success. The group’s third US tour followed, opening with a then world-record crowd of over 55,000 at Shea Stadium in New York on August 15th, with many more sold out cities to follow. That Fall even saw the premier of an American Saturday-morning cartoon series of the band, the first ever television series to feature animated versions of real, living people.

After the tour, the group had little time to record their sixth album in order for it to hit the markets in time for Christmas. However, due to their second straight year of top-level success, there was little pressure to focus on hit singles, which made this their most cohesive album effort to date. They returned to London in October 1965 and nearly all of the songs were composed and recorded within a four week period into November. The Beatles grew up quite a bit on this album. The harmonies are simple but artfully arranged while the production begins to get a bit “edgy” (without being too revolutionary) but adding more piano and keyboards as well as excess percussion and some non-traditional instrumentation.

Stylistically, the group incorporates contemporary R&B, soul, folk rock, and just a tad of psychedelic music styles. In fact, the album’s title is a play on the slang term “plastic soul”, which some musicians coined to describe Mick Jagger of The Rolling Stones when he attempted to replicate the “soul” singing style.

Rubber Soul by The Beatles
Released: December 3, 1965 (Parlophone) Produced by: George Martin Recorded: EMI Studios, London, October-November, 1965
Side One	Side Two
Drive My Car Norweigen Wood You Won’t See Me Nowhere Man Think For Yourself The Word Michelle	What Goes On Girl I’m Looking Through You In My Life Wait If I Needed Someone Run For Your Life
Group Musicians
John Lennon – Guitars, Keyboards. Vocals George Harrison – Guitars, Sitar, Bass, Vocals Paul McCartney – Bass, Piano, Vocals Ringo Starr – Drums, Percussion, Organ, Vocals

The album opener, “Drive My Car”, reaches back to The Beatles’ roots as a pure rocker with little deviation, save for the overdubbed piano during chorus sections and Ringo Starr‘s cow bell throughout. Lyrically, the comical phrases are augmented by the title, which is an old blues euphemism for sex. Rubber Soul‘s next two tracks feature incredible production value. John Lennon‘s, “Norwegian Wood (This Bird Has Flown)”, is where the group takes its first real leap into the unknown as an acoustic folk song with a complementing sitar riff played by George Harrison. This works to gives a mystical feel to this story of what seems to be about a love affair that has lost its spark and the fire that was once warm and welcoming becomes vengeful in the end. Some have credited this song as the conception of the “world music” genre. “You Won’t See Me”, is a somewhat forgotten gem by Paul McCarftney. It is piano driven with fine chord progressions and melodies throughout. The bridge section shows off McCartney’s complex compositional skills, while the three part-harmonies throughout are another highlight to the song.

“Nowhere Man”, features clever lyrics and philosophical commentary by Lennon, all while remaining melodic and pop-oriented. Harrison provides a slight guitar lead after first verse, while McCartney and Starr thumb out good rhythms throughout on this track which reach number 3 on the pop charts in America. “Think for Yourself”, is the first of two compositions by Harrison this album and features an intriguing “fuzz” bass line by McCartney, complemented by a Vox Continental organ played by Lennon, giving it a total mid sixties vibe. While still entertaining, “The Word”, is the first song in the sequence which is not absolutely excellent, as the harmonies seem a bit too forced. However, this track does contain a cool piano backdrop and outstanding drums by Starr. The first side wraps with another unique track, the European folk-influenced, “Michelle”, complete with lyrics partially in French. This melodramatic love song is beautifully produced with rich background harmonies and Chet Atkins-style finger-picked electric guitar by McCartney for great sonic effect. “Michelle”, which was originally written as a spoof on French Bohemians during the Beatles’ early days, was re-written with proper lyrics for Rubber Soul and eventually won the Grammy Award for Song of the Year in 1967.

Side two of the album is not quite as excellent as the first side, but still contains solid songs throughout. “What Goes On”, is Starr’s country and western influenced contribution, in which he sings lead vocals and receives partial compositional credit for the only time on the album. Lennon’s, “Girl”, features great folk rhythms and melodies and previews some of his finer solo works years later. With more fine harmonies, the songs lyrics paint a vivid picture of a character who drives the protagonist crazy but is mesmerizing nonetheless;

Was she told when she was young that pain would lead to pleasure? Did she understand it when they said… That a man must break his back to earn his day of leisure? Will she still believe it when he’s dead?”

Following McCartney’s bright and sparse acoustic pop track, “I’m Looking Through You”, comes Lennon’s masterpiece of this album, “In My Life”. Everything about this two and a half minute ballad showcases the Beatles at their best in 1965, The opening guitar notes, which were written by McCartney but played by Harrison, instantly tug at heartstrings. The poetic lyrics drip with sentimentality and lead to the climatic, Baroque–style piano lead played by Martin, which got a unique effect when the producer recorded it at half speed and found an authentic-sounding harpsichord result when played back at the normal rate. The first of its kind, Lennon wrote the song as a long poem reminiscing on his childhood years, themes which would be further explored by Beatles’ members on future band albums.

“Wait”, features great choruses and a decent bridge by McCartney along with a creative percussive ensemble and pedal-effected guitars, but is otherwise a weak song for this album. This is followed by Harrison’s smooth classic, “If I Needed Someone”, which features deliberate vocals, a sweet guitar and upbeat rhythms. This song was nearly simultaneously recorded and released as a cover by the Hollies and became a minor hit for that group. While Rubber Soul is a bright album overall, it concludes with the dark and violent, “Run for Your Life”, an ode to domestic violence or perhaps the “outlaw country” of 1965, as presented by Lennon. A very far cry from the “Give Peace a Chance” theme of the near future, it is hard to discern if this is serious or dark comedy lyrically, but musically it contains a plethora of guitar textures – from the strummed acoustic, to the slide electric and rockabilly lead – which make it undeniably catchy overall.

Like all albums to that point, Rubber Soul was released with differing British and American versions, with the British version eventually becoming canon (and hence, the one we review here). The album was another commercial success, originally staying on the charts for nearly a year, with several chart comebacks throughout the decades. Within the following year of 1966, The Beatles would continue to accelerate their recording innovations with the follow-up, Revolver ,and give up on touring completely to strictly become a studio-oriented band.

Part of Classic Rock Review’s celebration of 1965 albums.

Help! by The Beatles

August 6, 2015

by Classic Rock Review with One Comment Album Reviews

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Their fifth overall studio album, Help!, is perhaps the final of The Beatles‘ pop-centric, “mop-top” era records released over the course of 30 months. Still, the group did make some musical strides on this album, most particularly a stylistic move towards folk and country on several tracks and the addition of piano and keyboards, performed by John Lennon and Paul McCartney on a few songs. Released in conjunction with their second feature-length film (of the same name), Help!, contains fourteen tracks split evenly between seven that were featured in the film (side one) and seven other 1965 studio tracks on the original second side of the LP.

Already a relentlessly hard working group, The Beatles’ American and worldwide breakthrough in early 1964 only served to expand their schedule as their label and management looked to fully capitalize on their unprecedented popular success. During March and April of 1964, the group members filmed A Hard Day’s Night as they played themselves in a “mock-umentary” about their sudden success where the Beatles showed a knack for comedy. That film was accompanied by their third studio LP with each being very well received. During the summer of 1964, the Beatles embarked on an international tour through Europe, Asia, and Australia, followed by a 30-concert tour of the United States. Returning to Abbey Road studios, the Beatles recorded and released their fourth studio LP, Beatles for Sale in late 1964, which had a much darker tone than any of their previous work.

In early 1965, the group filmed the movie, Help!, which included a much larger budget than the previous year’s A Hard Days Night. As a result, this movie was filmed in color and at many disparate locations including various places in England, the Bahamas, and the Austrian Alps. However, the richer plot and cast served to alienate the band members who stated that they felt like “guest stars” or even extras in their own film, despite the fact that the drummer, Ringo Starr, plays a central part in the plot.

Music for the film and album was produced by George Martin who, for the first time, employed “track bouncing” techniques for overdubbing. Distinct versions of the record were released in the UK and North America (we focus on the long since canonized British LP version in this review). The North American (Capitol Records) release was of EP length and features some orchestral scores produced by Dave Dexter, with omitted songs later appearing on the US versions of Beatle VI and Rubber Soul. On the other end of the spectrum, a few songs that were recorded intended for the film were not used in either the movie or on the album, including the tracks “If You’ve Got Trouble”, “That Means a Lot”, “Yes It Is”, and an early version of, “Wait”, a song re-recorded for Rubber Soul later in the year.

Help! by The Beatles
Released: August 6, 1965 (Parlophone) Produced by: George Martin Recorded: EMI (Abbey Road) Studios, February–June 1965
Side One	Side Two
Help! The Night Before You’ve Got to Hide Your Love Away I Need You Another Girl You’re Going to Lose That Girl Ticket to Ride	Act Naturally It’s Only Love You Like Me Too Much Tell Me What You See I’ve Just Seen a Face Yesterday Dizzy Miss Lizzy
Group Musicians
John Lennon – Guitar, Piano, Vocals Paul McCartney – Bass, Piano, Keyboards Vocals George Harrison – Guitars, Vocals Ringo Starr – Drums, Percussion, Vocals

The title track storms in with a sudden vocal explosion of the distinct intro section of “Help”. Written by Lennon to express his personal difficulties with the Beatles’ sudden success, the song contains a desperate message lyrically but an excited and frantic approach musically and tonally, making for a strange but effective mix of emotions throughout. The descending bass and guitar line during the chorus is the most effective and interesting element of this fine track which became the group’s tenth #1 pop hit. McCartney’s, “The Night Before”, features a nice mixture of guitars and electric piano, adding an overall twang effect to the background. The sharp beat and rhythm is kind of boilerplate Beatles at this point in their career but this song does feature a unique, duo guitar lead by McCartney and George Harrison.

“You’ve Got to Hide Your Love Away” is a loose tribute to Bob Dylan which features a tremendous sound that is at once simple but still fills the room. Lennon constructed this not as a lovey-dovey song, but as an introspective track where he delivers totally distinct vocals and gives early Beatles fans a glimpse into what group would the later become. Aside from Lennon’s strummed acoustic, the song musically features simple, layered percussion and an earthy, ending flute solo by guest John Scott. “I Need You” is an early, forgotten gem by Harrison that features sweet sounds, such as a cool guitar pedal effect, and somber vocals.

Later on the first side, the Beatles revert back to some of their traditional styles. “Another Girl” includes some bluesly slide guitars, possibly influenced by Brian Jones, as well as a nice little solo lead at the very end. But otherwise, the track was garden variety and had not ever been played live by any Beatle until April 2015, over 50 years after it was recorded. Lennon’s “You’re Going to Lose That Girl” was a bit more popular, in somewhat the same vein of the female vocal groups of the day, with its backing vocal chorus call-and-response. “Ticket To Ride” is not only the only track to exceed three minutes in length, but may well be the finest overall song on the album. There are inventive and entertaining blends of sound throughout and droning rhythms with steady but interesting drum patterns by Starr during the verse/chorus sections that work seamlessly with Harrison’s ringing guitar riff and Lennon and McCartney’s harmonized melodies. The song transitions to a few upbeat bridge sections which transition back with a slight solo guitar flourish. Lyrically, the song caught some controversy due to its sexual connotations, but nonetheless topped the charts on both sides of the Atlantic when it was released ahead of the album in April 1965.

The album’s second side features two tracks which made up one of the oddest inverted 45 singles ever. The cover “Act Naturally”, with lead vocals by Starr is a country-flavored acoustic track and complete change of pace for the group, which was originally issued as a single with McCartney’s “Yesterday” occupying the ‘B’ side. Of course, “Yesterday” became one of the most popular songs in music history, even though its solo performance by McCartney with string quartet and non-rock-n-roll approach was considered a significant risk by the band at the time. It is a song that hits every note in your emotions and a universal song that makes one feel a little nostalgic no matter what age. McCartney says he received the entire melody in a dream and hurried to a piano to play the tune before he forgot it, using the filler theme “Scrambled Eggs”.

The remaining songs on side two are relatively lesser known, albeit interesting. “It’s Only Love” is a short blend of Byrds-meet-Roy Orbison with a slight preview of the psychedelic flower-power English pop to come. Harrison’s “You Like Me Too Much” is another retro-sounding tune with a hi-hat and double piano holding the beat and a bridge section which features trade-offs between lead guitar and piano by Lennon and Martin. On “Tell Me What You See”, complex percussion rules the day through the first two verses and an electric piano section at end. “I’ve Just Seen a Face” features a great intro with dueling acoustic guitars, fantastic vocals by McCartney, and a fast-paced skiffle beat throughout. If anything, this track shows how the Beatles can take common instruments, voices and tools to make unique and divergent sounds. The Larry Williams cover, “Dizzy Miss Lizzy” concludes the album as a groovy early sixties jam which, if anything, shows that this is still the “Beatles” after the unconventional track, “Yesterday”. This song is also notable as the final cover song on a Beatles album until 1970’s Let It Be, which included the traditional folk song, “Maggie Mae”.

Beyond spawning three #1 singles, Help! became an album chart-topper as well as a multi-platinum seller worldwide. Following the album’s release, The Beatles embarked on their third US tour, which opened with the classic Shea Stadium performance on August 15, 1965 that shattered all previous attendance records. Following the tour, the group took some time to focus on their next album, which would become the classic Rubber Soul late in 1965.

Part of Classic Rock Review’s celebration of 1965 albums.

Let It Be by The Beatles

June 23, 2015

by Classic Rock Review with 4 Comments Album Reviews

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Released less than a month after the announcement of their breakup, Let It Be was a unique release by The Beatles on several fronts. First, the bulk of the album was recorded over a year earlier (and before the recording and release of 1969’s Abbey Road) and was slated to be released twice in 1969 as different incarnations of an album called Get Back. Also, after it was finally released, there was debate over the enriched production added by Phil Spector, which ultimately led to a 2003 re-mixed version called Let It Be Naked.

The idea for this project was sparked by Paul McCartney who wanted to use these sessions to “get back” to the rock basics of the band’s early years. McCartney was also eager to play live again and wanted simplify the band’s sound, which had gotten increasingly complex in the studio. As an added dimension, the rehearsals and recording sessions would be filmed as part of a planned documentary showing the group prepare for a return to playing live.

Starting in late 1968, the project was marred by confusion in purpose and production duties and, ultimately, led to strong animosity within the band itself. In fact, George Harrison temporarily quit the band and agreed to return only if plans for a live tour were nixed (the band ended up playing a single “show” on the roof of Apple Studios). Still, the band was incredibly prolific in rehearsing over a hundred songs during these sessions, which included early incarnations of songs which would end up on Abbey Road and several early solo albums by individual band members.

An originally intended release date for Get Back was set for the summer of 1969, but the group members were dissatisfied with the mix and the project was temporarily shelved while they worked on Abbey Road. Early in 1970, a second version was attempted, again to less-than satisfactory results. Finally, Spector was brought in to “save” the project in March 1970 and finished the album which now had a new title and new status as the final album by the world’s most popular rock band.

Let It Be by The Beatles
Released: May 8, 1970 (Apple) Produced by: Phil Spector & George Martin Recorded: Abbey Road, Twickenham & Apple studios, London, February 1968-April 1970
Side One	Side Two
Two of Us Dig a Pony Across the Universe I Me Mine Dig It Let It Be Maggie Mae	I’ve Got a Feeling One After 909 The Long and Winding Road For You Blue Get Back
Group Musicians
John Lennon – Guitars, Bass, Vocals George Harrison – Guitars, Tambora, Vocals Paul McCartney – Bass, Keyboards, Guitar, Vocals Ringo Starr – Drums, Percussion

“Two of Us” was written by McCartney about a driving adventure with his future wife, Linda. While early incarnations were electric guitar-driven, the final album version was mostly acoustic with harmonized vocals by McCartney and John Lennon. “Dig a Pony” was composed and sung by Lennon, almost as a counterpart to the opener as it was inspired by his future wife, Yoko. This song was also the first of several to feature guest Billy Preston on electric piano.

The oldest composition on Let It Be, “Across the Universe” was written by Lennon in 1967 and originally recorded in early 1968. The song’s vibe was heavily influenced by the transcendental meditation the band was studying at the time, and its melodic flow make it one of the most enjoyable tracks on the album. “I Me Mine” was Harrison’s first songwriting contribution to the album with lyrics that mock the bickering within the band. Late on the album’s first side are a couple of filler tracks, each less than a minute in duration. “Dig It” is credited to all four group members (giving Ringo Starr a rare songwriting credit), while “Maggie Mae” is a traditional British skiffle tune.

McCartney’s title ballad was Billboard’s highest debut single to that date and the final single before the band’s breakup announcement. The song was sparked by a dream he had about his mother (Mary), who had died when Paul was a teenager and its title and theme served as a call for serenity in the face of the band’s breakup.

Beatles on Sound Stage 1969

The album’s second side begins with “I’ve Got a Feeling”, a fusion of two unfinished songs, along with John Lennon’s “Everybody Had a Hard Year”, which may have been one of the last true collaborations between the famous songwriting team. McCartney’s guitar-driven and upbeat rock theme fuses nicely with Lennon’s mellow folk lines to make a unique tune. In contrast, “One After 909” was a song written a full decade earlier in 1960, as one of the first Lennon–McCartney compositions. It was recorded here as a symbolic gesture to signify the band’s return to “good ol’ rock n’ roll”. “The Long and Winding Road” became the group’s twentieth and final number one song as a mature and philosophical piano ballad by McCartney. After production modifications by Spector, which included orchestral strings Richard Anthony Hewson and a choral arrangement by John Barham, McCartney expressed outrage at the enhancements without his input.

Harrison’s “For You Blue” features Lennon playing lap steel guitar with McCartney playing an intentionally dulled piano, which act as the only “bass” on the track. The album closer, “Get Back”, was the earliest single from the album, released over a year before the album as a single credited to “The Beatles with Billy Preston.” The album’s version is a different mix of the song. The song’s evolution was fully documented on film and the album’s version ends with the ironic quote by Lennon,

“I’d like to say thank you on behalf of the group and ourselves,
and I hope we passed the audition…”

Let It Be topped national charts in a half dozen countries worldwide and won an Academy Award for the Best Original Score for the songs in the film. Beatles fans still debate whether this is truly their final studio album or more of a posthumous release of tracks from an unfinished project. In any case, it is a quality addition to the band’s portfolio.

Part of Classic Rock Review’s celebration of 1970 albums.

All Things Must Pass
by George Harrison

May 15, 2015

by Classic Rock Review with One Comment Album Reviews

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We start our three part mini-series called “Life After Beatles” with All Things Must Pass, the triple LP album which George Harrison the month the Beatles officially broke up. However, much of the material on this album dates back to later Beatles projects (usually as material rejected by the band) as well as personal contemporary influence from artists like Eric Clapton and Bob Dylan. For the Beatle who was often relegated to a supporting player with one or few compositions per album, this was a massive break out for Harrison as he firmly established his own musical identity and introduced methods like his signature slide guitar technique. The result was a critical and commercial success and some consider this to be the best of all the former Beatles’ solo albums.

Harrison previously recorded two experimental solo albums called Wonderwall Music and Electronic Sound, both of which made use of early synthesizers. Following the release of The Beatles’ White Album in late 1968, Harrison took a trip to America, which included a stop at Dylan’s residence in Woodstock, NY as The Band was working on their self-titled sophomore album. Inspired by the songwriting methods of Dylan and his protégés and a renewed fascination with the guitar, Harrison began writing prolifically, and contributed songs to artists Billy Preston, Doris Tory, an Cream. Harrison also briefly toured with Clapton and his group Delaney & Bonnie and Friends. Although he began to openly discuss recording a solo album in 1969, it was not until The Beatles’ break-up in the Spring of 1970, that Harrison moved forward with the project.

Producer Phil Spector was invited to listen to Harrison’s growing library of unreleased compositions, some of which dated back as far as 1966. These diverse songs ranged in sub-genres from rock to country, Motown, Gospel and Indian music, as well as many hybrid fusions of these styles. Even though there was enough finished material to release a triple-length album, Harrison reportedly made demos of at least twenty other songs, most of which have yet to be released. Due to Spector’s rich “wall of sound” recording method, it is hard to discern exactly who played what on which track. However, this album did employ an incredible roster of talented rock musicians to back Harrison. Along with Clapton and Preston, these included fellow Beatle Ringo Starr, Dave Mason, Alan White, Phil Collins, and all four members of the group Badfinger.

All Things Must Pass by George Harrison
Released: November 27, 1970 (Apple) Produced by: George Harrison & Phil Spector Recorded: Abbey Road, Trident, & Apple Studios London, May–October 1970
Side One	Side Two
I’d Have You Anytime My Sweet Lord Wah-Wah Isn’t It a Pity	What Is Life If Not for You Behind That Locked Door Let It Down Run of the Mill
Side Three	Side Four
Beware of Darkness Apple Scruffs Ballad of Sir Frankie Crisp Awaiting on You All All Things Must Pass	I Dig Love Art of Dying Isn’t It a Pity (version 2) Hear Me Lord
Side Five	Side Six
Out of the Blue It’s Johnny’s Birthday Plug Me In	I Remember Jeep Thanks for the Pepperoni
Primary Musicians
George Harrison – Lead Vocals, Guitars, Keyboards Eric Clapton – Guitars Klaus Voorman – Bass Ringo Starr – Drums

All Things Must Pass starts with the ballad “I’d Have You Anytime”, a song co-written by Harrison and Dylan in Woodstock in November 1968. This opener features a fine guitar lead by Clapton, although he was not originally credited due to contractual concerns. The first minute and a half of the hit “My Sweet Lord” is quite brilliant in its approach. But this song does get quite repetitive and the backing religious chants wear thin later on in the song. The song turned out to be a mixed blessing as Harrison’s biggest pop hit (number one for four weeks) but also controversial due to the lawsuit for copyright infringement due to this tracks similarity to the sixties pop hit “He’s So Fine”.

“Wah-Wah” is a track with great sonic texture and arrangement that was written during Harrison’s brief departure from the Beatles in early 1969. It was the first track recorded for the album and includes a great performance by Badfinger in backing Harrison. “Isn’t It a Pity” is even older, dating back to the 1966 Rubber Soul sessions. Two distinct versions of this melancholy ballad were included on the album, with the seven-minute side one closer being the more popular version, which reached the top of the charts in Canada.

George Harrison and Eric Clapton in 1970 The fantastic rocker “What Is Life” is one of Harrison’s most indelible tunes, driven by a rich guitar riff, great melody, and strategic horns, all of which helped make it a top-ten hit in the United States. Originally, the song was a concerted effort at “blue-eyed soul” but the result is much closer to heavy rock/pop. Written solely by Dylan, “If Not for You” is a bright pop song with slight Caribbean elements and the only song not at least partially composed by Harrison. “Behind That Locked Door” follows as a Country-waltz with some steel guitars in distance, while “Let It Down” was one of a few presented to the Beatles during the Let It Be sessions, but ultimately rejected by the other band members. “Run of the Mill” starts with blissful blend of guitars while the lyrics express some frustration with the circumstances surrounding the Beatles’ business practices.

The album’s fine third side begins with the slow drudge and subtle, building intensity of “Beware of Darkness”. The lyrics of this song reflect Eastern philosophy and the wariness of corrupting influences. A light tribute to rock fans, “Apple Scruffs” is dominated by harmonica, upbeat strummed acoustic, and rich harmony vocals. The clicking percussion by Mal Evans gives it a feeling of spontaneity. “Ballad of Sir Frankie Crisp (Let It Roll)” contains some good melodies and great sonic feel as a distant slide guitar and near piano work well together, while “Awaiting On You All” is a Gospel rock revival that is almost too richly produced for its own good.

The excellent title ballad is filled with rich instrumentation and a great overall vibe. First recorded with The Beatles, the song was originally released by Billy Preston on his Encouraging Words album. Harrison was influenced by The Band’s communal music-making with the lyrics drawing from Timothy Leary’s poem “All Things Pass”. “I Dig Love” has a raw sound and catchy groove – repetitive but in useful way, while “Art of Dying” contains more great rock elements. The side four closer “Hear Me Lord” is an explicit prayer asking for help in becoming a better person, with a strong chorus in background and a very animated piano throughout.

George Harrison

The final two sides of the album is known collectively as “Apple Jam”, with four of the five tracks being improvised instrumental tracks. The best of these is the long droning “Out of the Blue”, a two-chord jam with decent sax lead early on and subtle piano and organ motifs later. “I Remember Jeep” contains some synthesized effects overdubs and features former Cream and Bind Faith drummer Ginger Baker, while “Thanks for the Pepperoni” is the most roots-rock oriented jam. The only vocal track on these two sides is “It’s Johnny’s Birthday”, which was recorded as a gag to present to John Lennon on his 30th birthday.

All Things Must Pass launched a long and respectable solo career for George Harrison, concluding with his 15-year final project Brainwashed. Still, few dispute that this first post-Beatles release is Harrison’s true masterpiece that would never be equaled.

Part of Classic Rock Review’s celebration of 1970 albums.

Traveling Wilburys Vol. 3
by Traveling Wilburys

April 18, 2015

by Classic Rock Review with One Comment Album Reviews

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As heralded and popular as the Traveling Wilburys 1988 debut album was, the 1990 follow up Traveling Wilburys Vol. 3 was relatively ignored. In part, this was the fault of the group members themselves who took their penchant for inside jokes a bit too far by naming this second Traveling Wiburys release “Volume 3”. Further confusing to fans was the adoption of completely new “Wilbury” pseudonyms by the four remaining group members. All this being said, the music on this album is excellent and entertaining.

The untimely death of Roy Orbison in December 1988 (while Traveling Wilburys Vol 1 was hitting its peak popularity) instantly reduced the super-group to a quartet. While the mainly spontaneous debut album was loose and fun, the vibe on this second album seems more business-like. Further, George Harrison, the originator and unofficial band leader, has a much lighter presence on Traveling Wilburys Vol. 3.

Stepping in to fill the void are Bob Dylan and Tom Petty, who each have a much stronger presence up front than on the debut album. On a note of consistency, the album was once again produced by Harrison and Jeff Lynne, who offered up exquisite sonic quality throughout the album.

Traveling Wilburys Vol. 3 by Traveling Wilburys
Released: October 29, 1990 (Warner Bros.) Produced by: Clayton Wilbury & Spike Wilbury Recorded: April–May 1990
Track Listing	Primary Musicians
She’s My Baby Inside Out If You Belonged to Me The Devil’s Been Busy 7 Deadly Sins Poor House Where Were You Last Night? Cool Dry Place New Blue Moon You Took My Breath Away Wilbury Twist	Spike Wilbury (George Harrison) Guitars, Mandolin, Sitar, Vocals Boo Wilbury (Bob Dylan) Guitars, Harmonica, Vocals Clayton Wilbury (Jeff Lynne) Guitars, Bass, Keyboards, Vocals Muddy Wilbury (Tom Petty) Bass, Guitars, Vocals Jim Keltner Drums, Percussion

The opener “She’s My Baby” is a harder rocker than practically anything on the previous album. A driving musical riff with booming drums by Jim Keltner and, most importantly, the blistering lead guitar of guest Gary Moore, all work to make this a totally unique Wilburys track. “Inside Out” reverts back to the group’s conventional acoustic driven folk style. The lead vocals are by Dylan during the verses with other Wilburys taking some sections and the lyrics offer a clever play on words. “If You Belonged to Me” is a bright, multi-acoustic track with intro harmonica (and later harmonica lead) by Dylan. Petty takes the vocal helm on “The Devil’s Been Busy”, with Harrison adding some sparse but strategically placed sitar in the verses, followed by a full-fledged, electrified sitar solo later in the song. The track also contains good melodies and harmonies to the profound lyrics,

“While you’re strolling down the fairway, showing no remorse / Glowing from the poisons they’ve sprayed on your golf course / While you’re busy sinking birdies and keeping your scorecard, the devil’s been busy in your back yard…”

“7 Deadly Sins” is a fifties style doo-wop with multi-vocal parts and a nice, growling saxophone by Jim Horn. Entertaining enough, but perhaps a bridge too far in the Wilburys penchant for retrospection. “Poor House” starts with Harrison’s signature, weeping guitar. Beyond that, the song sticks to basic blue grass arrangement with harmonized lead vocals and a nice lead guitar by Harrison. “Where Were You Last Night?” has a cool descending acoustic riff throughout and appears to be Dylan parodying his own caricature. With a plethora of acoustic instruments and phrases, “Cool Dry Place” is entertaining musically and classic Petty lyrically with his cool insider lines;

“We got solids and acoustics and some from plywood board, and some are trimmed in leather, and some are made with gourds / There’s organs and trombones and reverbs we can use, lots of DX-7s and old athletic shoes…”

“New Blue Moon” is not much lyrically, but fun, entertaining and sonically interesting nonetheless, while “You Took My Breath Away” is a moderate acoustic ballad where Lynne’s production does add some depth to the overall feel. It all concludes with the wild frenzied rocker of “Wilbury Twist”, which somewhat mocking, while at once a tribute of the dance crazes through the years. Each member takes a turn at lead vocals, making this a fitting end to the album and the Traveling Wilburys short career.

By the early 2000s, Traveling Wilburys Vol. 3 were out of print and did not resurface in any form until The Traveling Wilburys Collection, a box set including both studio albums with bonus tracks was released in 2007.

Part of Classic Rock Review’s celebration of 1990 albums.