Retro Reviews: George Harrison: Living In The Material World

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

George Harrison: Living In The Material World (1973)

*** ½

Producers: George Harrison, Phil Spector*

Musicians: George Harrison, Nicky Hopkins, Gary Wright, Klaus Voormann, Jim Keltner, Ringo Starr, Jim Horn, Zakir Hussain, John Barham, Leon Russell, Jim Gordon, Pete Ham

Songs: 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 (Who Loves The Lord), Be Here Now, Try Some Buy Some*, The Day The World Gets ‘Round’, That Is All

Reviewed By Matthew Anthony Allair

    George’s new album is out and it was bound to be met with high expectations. From out of the gate of the end of 1970, George had put out the best of the first wave of post Beatles albums. “All Things Must Pass” was gargantuan accomplishment, an album with a cinema scope grandeur sonically, and he had amassed such a range of material that was rejected by the Beatles, that the album enjoyed few weak tracks. He then followed this up with the “Concert for Bangla Desh”, a megastar live event, multiple album set and concert film in 1971. How does this album measure up? Well, it all depends on your point of view and what may have been George’s intention. In truth, it is uneven, but not terrible. It has several great tracks, several good tracks and the rest average.

    It is no surprise that the opening track “Give Me Love (Give Me Peace On Earth)” was the single, it is outstanding, with some spry acoustic guitars, and clever slide guitar harmonies, and a very universal sentiment. The next track is the fun blues slide number, “Sue Me, Sue You Blues”, a serious issue that is taken lightly – and in light of numerous legals with the Beatles – it’s not surprising he is being open about them. “The Light That has Lighted The World” is a fairly earnest, spiritual ballad and demonstrates the major difference between “Must Pass” and this, that album’s focus on spirituality was broader, people could read into the Christian theme, but now George is being more specific about his Khrisna faith. The song has some great keyboard and slide guitar work that is notable.  “Don’t Let Me Wait Too Long” is a more upper tempo number. “Who Can See It” is a lovely, rich ballad, that reveals how George is developing as a writer. Quite emotive. The closing track on side one is the lively “Living In The Material World”, which includes Ringo’s playing and the line “We got Richie on the tour”, a tuneful bridge as well.

    “The Lord Loves The One (That Loves The Lord)” is another fun folk blues infused number, and some good guitar work, another tale about the relativity of karma. “Be Here Now” is an inauspicious guitar and organ number, with a nod to Indian scales in his vocal inflection. “Try Some, Buy Some” is the only actual track that Phil Spector was involved with, a little more dramatic and something that feels like Ronnie Spector could tackle. It also has a little of that grandeur I had mentioned previously, merely an interesting track. “The Day The World Gets ‘Round” seems to mirror the theme of the prior track “The Light” with some dynamic piano. The closer and lovely “That Is All” is another ballad, the album is less demanding on the listener, but should satisfy those in a often mellow mood.

    Let me address the prior point about expectations, it does feel like George is trying to scale down the expectations, and it reminds me of what happened to Dylan after his motorcycle accident circa 1967, his approach and priorities changed, he simply could not keep writing the same material he wrote from 65 and 66. The reality is The Beatles in their 20s had lived five lifetimes in the scale of less than a decade, they had seen it all and done it all, they were in their 30s now and George seems to want to offer his insights. George already may already know he can never repeat the accomplishments of the last record, and he may have proved everything he needed to say with it. Nevertheless, one has to move forward and he seems to be in a different place now. These changing expectations may be a cardinal sin for some music fans. This album doesn’t have such blazing numbers as “The Art Of Dying”, so you will have to take it on its own terms. As far as if that makes for a good listening experience – for some – that is debatable. But the positives outweigh the negatives on this, and I will be curious to see what he comes up with next – if anything. Time will tell. Recommended.