Asking someone about their favourite Beatle is always a kind of litmus test. Are you more of a John, or a Paul? A George or even a Ringo?
But sometimes, the Beatle you love changes. When I was a younger, angrier man, like an awful lot of people, John Lennon was my favourite Beatle. I listened to the stark anguish of Plastic Ono Band a lot and thought that “God” was like, deep, man. I still love that album and I still love John Lennon, but due to his untimely death, the story of John Lennon’s solo career will always feel a little unfinished to me.
The first Beatle whose solo album I actually bought was George Harrison’s 1987 chart-topping comeback Cloud Nine, with its kitschy-yet-cool bop MTV-friendly “Got My Mind Set On You” all over the place in those days. The rest of the cassette tape I scrounged my pennies together to buy was pretty good, too – it was an optimistic yet contemplative groove, smooth with an ‘80s sheen thanks to producer Jeff Lynne. “When We Was Fab” was a colourful ode to the Beatles whose own work I was just beginning to discover thanks to the CD reissues of their albums, while songs like “That’s What It Takes” and “Fish On The Sand” summed up George’s vibe – searching, yet determined.
It’s twenty years now this year since George left us at the too-young age of 58. These days, I find myself turning to George’s solo work far more than any other of the Fab Four.
Harrison always seemed to be looking for something in this life, and he found it mostly in the embrace of Indian music and an intense spirituality that in some folks’ view helped bring world music to a bigger audience, but other people felt it turned him into a humourless scold.
1970’s All Things Must Pass is widely regarded as the best Beatles solo album, and it’s still a masterpiece of symphonic, elegant and yet deeply personal pop bathed in Phil Spector’s “Wall of Sound”, with Harrison showing once and for all he wasn’t “just” the third Beatle, but an incredible songwriter in his own right. It’s incredibly lush, carrying on all the sweeping soundscapes the Beatles pioneered on albums from Revolver on to Abbey Road and it’s something that few of the other Beatles’ solo albums ever were – epic in its ambition.
Yet when you peak with your first solo album and were once in the biggest band of all time, it’s hard not to have everything else afterward seen as a letdown. And no, Harrison never quite equaled All Things again, but he still put out some stellar solo work, including its immediate followup, Living In The Material World, which continued to explore George’s obsessions – inner peace, giving up your anger, and moving on (and occasional cranky rants, like “Sue Me Sue You Blues”).
The rest of his albums never quite get as noticed now, but even the weakest has a few good tracks to recommend. 1974’s exhausted-sounding and rushed Dark Horse might be his nadir, but an obscurity like the underrated 1982 Gone Troppo has a relaxed, chilling on the beach vibe, harking back to the doo-wop and early rock and roll that the Beatles grew up adoring. The later albums George Harrison and Somewhere In England also marry George’s wry humility with hummable tunes. As he became mired in lawsuits and battles with his record labels, George’s solo career was mainly a product of the 1970s. After 1982, he only released one proper album, Cloud Nine, and the groovy collaborations with the all-star Travelling Wilburys. His long, long in the works next album, the valedictory and blissful Brainwashed, came out in 2002 after his death.
Harrison sometimes has a reputation as the grim, silent Beatle, but many of his albums like Cloud Nine feel bathed in happiness. It felt like George was at peace.
There’s a unified theme amongst his albums, which is something none of the other Beatles really managed in their solo work. McCartney has carried on his quest to write dozens more perfect pop songs but his work is often lacking in a vivid personal voice for me. While he’s been by far the most prolific solo Beatle, the sheer flood of albums dilutes the quality a little too often. Lennon wrestled with the demons of his past in a few great albums, was equally as questing as George but far more self-destructive, too. He then went silent for years, and his promising comeback was cruelly curtailed. Ringo was… well, he was Ringo, good-natured and always keeping the beat.
Lennon inherited the fierce restless intellect and urge for experimentation of the Beatles, while McCartney got the gift for melody and craftsmanship. Harrison represented something else more intangible, something I might even call the Beatles’ heart. In the best of his solo work I find that all-encompassing warm feeling that I get when I hear the heavenly harmonies of “Within You Without You,” the solos that make “Something” soar far higher than most sappy ballads ever could, the distinctive single guitar chord played by George that opens up “A Hard Day’s Night.” In other words, listening to George Harrison makes me feel better about life, the universe and everything.
George Harrison could certainly be preachy, I’ll admit. Harrison was looking for transcendence, and the older I get, the hope in something more to this life seems to resonate. I’m not talking about organised religion, really, but just the idea that you can find a calming peace by letting go of some of your baggage and flowing like water. The world is full of mystery. George Harrison never stopped trying to understand it.
George’s biggest song was “Something,” a tune that sums up his eternal questing and curiosity in its few minutes. Is there something out there? I sure as hell don’t know. But the idea of being at peace with yourself and finding that inner calm that George spent much of his too-short life seeking isn’t the worst goal to have in this life.
Listening to George Harrison makes me feel better about everything, and that’s why in these often-troubled days he’s my favourite Beatle.
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