George Harrison: Dark Horse Years 1976-1992

By GRAHAM REID

This year's Oscars were unusual, and not because they recognised fantasy films, or for Nicole Kidman's bizarre shelf-bust. No, what was odd was how lacking in sentiment they were.

Usually you'd expect a veteran favourite like Clint Eastwood to be recognised, or some time-server to get best supporting something. But no, what Rings didn't win went to choices seemingly unmotivated by heart-tugging or vote-rigging.

The Grammys were another matter. Best pop instrumental performance was given to the late George Harrison for Marwa Blues on his posthumous release Brainwashed. It's a pretty enough Indo-fusion track - it was singled out in this column's review of that otherwise ho-hum album - but best pop instrumental? That seemed an excuse to acknowledge a dead Beatle. And one who had faded.

Harrison's solo career started with a bang, although he described his epic triple album debut All Things Must Pass of '70 somewhat more graphically as "diarrhoea" after having so many songs held back during his last years as a Beatle. But his next solo album, Living in the Material World ('73), was a dreary, over-earnest affair elevated only by the single Give Me Love.

In February '74 Harrison formed his own Dark Horse label, although he was still contractually obligated to Apple for Dark Horse ('74) and Extra Texture ('75), which were professionally executed but bereft of gripping songs, notably the latter where he presented watered-down references to his best Beatles songs.

Harrison then released six albums on Dark Horse, but after a flying start with Thirty Three and a Third (which, if it hadn't been delayed, would have been his age as well as the playing speed) there were diminishing returns. The final album released in his lifetime, Live in Japan, recorded on his brief '91 tour, proved his voice, always thin and reedy, was no longer up to it - which made his other Grammy nomination this year, best male pop vocal for Brainwashed, simply laughable.

EMI has acquired Dark Horse and re-issued the six Harrison albums with extra liner notes and minor league bonus tracks. But they also come in a box set with an informative booklet and an excellent 70-minute DVD of interviews, videos (most proving Harrison's humour) and some live clips.

Harrison cracked a surprising number of radio-friendly if not chart-damaging singles: Give Me Love, This Song, Blow Away (which Enya plagiarised for Orinoco Flow), All Those Years Ago and Got My Mind Set on You. They punctuated albums carrying the ballast of his philosophical thoughts.

Thirty-Three and a Third ('76) came out in the context of punk and disco but Harrison's spiritually-inclined MOR country-rock with slide guitars owed nothing to either. It is consistent and contains his tribute to Smokey Robinson (Pure Smokey) alongside his witty This Song (a swipe at Bright Tunes who sued him for plagiarising the chords of My Sweet Lord) and Cole Porter's True Love. Nice one. (Herald rating: * * * * )

George Harrison ('79) has its moments (Love Comes to Everyone, Blow Away,) but lovely though Here Comes the Moon is, it obviously draws inspiration from his Beatles' song Here Comes the Sun. The lame Not Guilty ("for looking like a freak, making friends with every Sikh") dated back to Beatles days. He crafted beautiful melodies but it's lyrically patchy and the start of the artistic decline. (Herald rating: * * * )

Somewhere in England ('81) - reissued in the original but withdrawn cover - opens with a whine about the music business (Blood from a Clone) then wags a finger at party people (Unconsciousness Rules), which were unattractive digs from a man who said he had found contentment. His Save the World was another lecture, and two Hoagy Carmichael covers suggested the songwriting well was drying up. Sole interest rested on McCartney and Ringo contributing to the Lennon tribute All Those Years Ago. Slim pickings. (Herald rating: * * )

Gone Troppo ('82) is conspicuously free of memorable songs and was his only album not to dent the Top 20. Beautifully produced and played, but while some of the songs are jaunty they are weak and empty. A prime offender is the mock doo-wop I Really Love You. (Herald rating: * )

His final studio effort was the much better Cloud Nine ('88). It never strains for effect, there's his loving Sgt Peppers-styled tribute to his former band (When We Was Fab), some customary swipes (talkback on Devil's Radio), the radio hit (his 50s cover Got My Mind Set On You) and some lovely ballads. It was textured and a real return to form. (Herald rating: * * * * )

Harrison talked up the uneven Live in Japan ('92) in media appearances but sales stalled and he retired. (Herald rating: * )

As a solo act - and yes, there was the Traveling Wilburys - that was it until the posthumous Brainwashed a decade later.

This reissue reminds you that Harrison was increasingly a man out of time. His gentle music often sounded slight, while his finger-pointing lyrics were at odds with others which spoke of inner peace.

So, a buyer's guide to solo George Harrison? All Things Must Pass remastered and re-issued two years ago with some extra tracks (ignore the appalling update of My Sweet Lord) is essential. Then it's Cloud Nine and Thirty Three and a Third. After that you'd be taking to Harrison's solo work with a fine-mesh sieve to find any nuggets.

(EMI)