In fact, three of his most celebrated albums followed some of his lowest moments: All Things Must Pass (after the Beatles imploded), Thirty Three and 1/3 (after everything else did) and Cloud Nine (after giving up on music altogether). Tracks from those projects play a prominent role in the following list of All 141 George Harrison Solo Songs Ranked Worst to Best. But we also included Traveling Wilburys songs in which Harrison played a key vocal role – either as main singer for the verses or bridge – since he was the de facto leader of that group. Left out were a pair of early experimental albums, 1968's Wonderwall Music and 1969's Electronic Sound, since they weren't really song-based recordings.
We also skipped fragments like "A Bit More of You," which is only a reprise of the hit "You," and "It's Johnny's Birthday," which is only a snippet from a series of Side Five and Six-concluding jams on All Things Must Pass. Here's how the rest lined up on our list of All 141 George Harrison Solo Songs Ranked From Worst to Best. In fact, Paul McCartney is now the only solo. The austere, pontifical tone is gone, and the singer sounds more like a happily eccentric gentleman/mystic than a burningly devout Krishna advocate. The Best of George Harrison was just a slick marketing ploy, but hits packages flooded the market in 1976. These jams are meandering, musically pointless filler material. George Harrison is refreshingly lighthearted. That's really unworthy of concluding such an important album.
With the only saving grace being this half-chuckle of a title. And the fact that sidemen from these sessions eventually coalesced into Derek and the Dominos. Though George Harrison has nothing at all to do with the Seventies, its deft combination of the quaint and the slick makes the Sixties seem a trifle less remote.His heart was certainly in the right place. And the prettiness of the melodies (especially “Love Comes to Everyone,” “Not Guilty,” “Blow Away” and “Your Love Is Forever”) keeps the artist’s comic-book psychobabble, which promises everything to everyone, from sounding hopelessly absurd. “Not Guilty,” “Here Comes the Moon” and “Soft-Hearted Hana” transport us back into psychedelic lotus land, but their tone is so airy and whimsical that the nostalgia is as seductive as it is anachronistic.
The arrangements are the most concise and springy to be found on any Harrison record.
With co-producer Russ Titelman, Harrison has tightened up and pared down his usual voice-from-the-murk style in which chiming, sliding guitars invariably share equal weight with his singing. “All I got to do is to love you/All I got to be is, be happy,” he sings in “Blow Away,” the LP’s strongest track and the one that best typifies its spirit. Though the lyrics occasionally lapse into fulsome syntax (“Breath it’s always taken when it’s new/Enhance upon the clouds around it”), most of these numbers are relaxed and playful. The new album is filled with breezy love songs to the deity and to women - to Harrison, the two seem almost interchangeable. The austere, pontifical tone is gone, and the singer sounds more like a happily eccentric gentleman/mystic than a burningly devout Krishna advocate. George Harrison is refreshingly lighthearted.