George Harrison wasn’t just “the quiet Beatle”—he was a visionary guitarist, songwriter, and spiritual seeker whose solo catalog rivals any artist of his generation. While his Beatles contributions laid the groundwork, his post-Fab Four career revealed an artist unafraid to blend Eastern philosophy, slide guitar mastery, and deeply personal storytelling. These twenty tracks represent Harrison at his most innovative, vulnerable, and musically adventurous, spanning from his groundbreaking triple album debut to his reflective later works.
“My Sweet Lord” – The Spiritual Anthem That Defined a Generation
This 1970 masterpiece remains Harrison’s most recognizable solo achievement, and for good reason. The production layers backing vocals from the Edwin Hawkins Singers into a gospel-meets-mantra arrangement that builds hypnotically around Harrison’s yearning vocal. Phil Spector’s Wall of Sound approach gives the track an almost celestial quality, with slide guitar lines weaving through the mix like prayers ascending. The seamless transition from “Hallelujah” to “Hare Krishna” represented Harrison’s genuine attempt to bridge Western and Eastern spiritual traditions, though it later became entangled in copyright controversy with “He’s So Fine.”
“What Is Life” – Pure Rock Energy and Existential Wonder
Opening with one of the most explosive guitar riffs in Harrison’s catalog, this All Things Must Pass track showcases his ability to marry philosophical questioning with irresistible rock momentum. The production is deliberately dense, with multiple guitar tracks creating a wall of sound that feels urgent and celebratory simultaneously. Pete Drake’s pedal steel adds unexpected texture to what could have been a straightforward rocker, while the horn section punches through the mix with brass-driven exuberance. Harrison’s vocal delivery contains genuine confusion and joy about life’s purpose, making existential philosophy sound absolutely danceable.
“Isn’t It a Pity” (Version One) – Seven Minutes of Heartbreak and Reflection
The longer version of this track demonstrates Harrison’s willingness to let songs breathe and develop organically. Beginning with delicate acoustic guitar and building gradually through orchestral swells and electric guitar passages, the arrangement mirrors the song’s theme of human disconnection and wasted opportunities. The repetitive outro, with its cascading “isn’t it a pity” vocals, becomes almost meditative, forcing listeners to sit with uncomfortable truths about how we treat one another. Spector’s production here shows remarkable restraint in the opening minutes before unleashing the full orchestral power in the song’s second half.
“All Things Must Pass” – The Title Track Philosophy
This quieter album cut often gets overshadowed by the bigger singles, but it encapsulates Harrison’s Buddhist-influenced worldview more completely than perhaps any other composition. The acoustic arrangement feels intentionally sparse, with Dylan’s influence apparent in the talking-blues vocal approach and circular chord progression. The slide guitar responses to each vocal line function almost like a second voice offering comfort and confirmation. When you’re exploring deeper cuts from classic rock albums on quality headphones, this track reveals subtle production details—particularly in how the backing vocals enter almost imperceptibly in the later verses.
“Something” – The Beatles Track That Proved His Songwriting Equality
Though technically a Beatles song from Abbey Road, “Something” belongs in any Harrison retrospective as it established him as a songwriter capable of matching Lennon-McCartney’s melodic sophistication. Frank Sinatra famously called it the greatest love song ever written, and the orchestral arrangement by George Martin elevates Harrison’s already beautiful melody into something transcendent. The guitar solo remains one of rock’s most tasteful and melodic, demonstrating that technical flash matters far less than emotional communication. Harrison reportedly wrote it about Pattie Boyd, though he later suggested it could apply to any form of devotion—romantic, spiritual, or otherwise.
“While My Guitar Gently Weeps” – Eric Clapton’s Uncredited Masterwork
Another Beatles contribution that showcases Harrison’s developing voice, this White Album track features one of rock’s most celebrated guitar solos—performed by Eric Clapton at Harrison’s invitation. The decision to bring in an outsider gave Harrison the gravitas he needed within the group dynamic, and Clapton’s tone (achieved by running his signal through a wobbling Leslie speaker) remains instantly recognizable. The lyrics speak to Harrison’s growing frustration with the interpersonal tensions in The Beatles, though they maintain enough universality to resonate beyond that specific context. Listen closely on decent audio gear and you’ll hear the subtle harpsichord that adds baroque texture to the verses.
“Give Me Love (Give Me Peace on Earth)” – The Living in the Material World Centerpiece
Released in 1973, this single showed Harrison could replicate his earlier commercial success while deepening his spiritual themes. The slide guitar work throughout operates as both rhythm and lead, creating a hypnotic foundation that supports Harrison’s plea for divine connection. The production feels less cluttered than the Spector collaborations, with each instrument occupying clear sonic space—the result of Harrison taking more control over his recordings. The extended outro, with its repetitive mantra-like lyrics, either captivates or frustrates listeners depending on their tolerance for Harrison’s meditative approach to songwriting.
“Here Comes the Sun” – Eternal Optimism in Three Minutes
Written in Eric Clapton’s garden on a spring day when Harrison was playing hooky from Apple business meetings, this Abbey Road track radiates pure joy. The unusual time signature shifts in the bridge give the song sophisticated movement beyond typical pop structure, while the Moog synthesizer burbles provide a futuristic counterpoint to the acoustic foundation. Harrison’s vocal delivery sounds genuinely relieved, as though he’s emerged from literal and metaphorical darkness into light. It’s become one of the most-streamed Beatles songs on modern platforms, proving its message resonates across generations.
“Wah-Wah” – The Breakup Song Disguised as a Rocker
This All Things Must Pass opener functions as Harrison’s kiss-off to The Beatles’ dysfunctional final years, with “wah-wah” referring both to the guitar effect and to the headache-inducing nature of band politics. The arrangement explodes immediately with full band energy, showcasing the Plastic Ono Band-adjacent musicians who would become Harrison’s core collaborators. The guitar tones are deliberately aggressive, with the wah pedal pushing through the dense mix like someone forcing their voice to be heard. It’s Harrison at his most rock-and-roll defiant, proving he didn’t need his former bandmates to create powerful, guitar-driven music.
“Taxman” – The Biting Social Commentary That Opened Revolver
Harrison’s Revolver contribution revealed his emerging interest in political and social issues, specifically Britain’s punitive taxation rates in the 1960s. Paul McCartney actually played the blistering guitar solo, but Harrison’s songwriting and vocal sneer carry the track’s satirical bite. The cowbell-driven rhythm and tight arrangement anticipate punk’s economy more than the psychedelic indulgence that would follow on the rest of the album. The backing vocals listing government officials by name add specificity that makes the complaint feel personal rather than abstract, while the Indian-influenced guitar tonality hints at Harrison’s developing musical interests.
“Blow Away” – The George Harrison Album’s Radio-Ready Gem
By 1979’s self-titled album, Harrison had weathered personal upheavals and Dark Horse Records’ commercial struggles, making this optimistic single feel like genuine emotional recovery. The production incorporates synthesizers and more contemporary production techniques without sacrificing Harrison’s melodic sensibilities. The guitar solo section demonstrates his slide technique had only improved through constant refinement, bending notes with vocal-like expressiveness. For fans seeking Harrison’s best songs across different eras, this track represents his ability to adapt to changing musical landscapes while maintaining artistic identity.
“Beware of Darkness” – The Somber Warning Wrapped in Beauty
This All Things Must Pass deep cut offers perhaps the album’s darkest lyrical content, warning against ego, false prophets, and spiritual deception. The arrangement begins with eerie organ before Harrison’s vocal enters with genuine concern, almost speaking directly to the listener. The tempo remains deliberately slow, forcing attention to the lyrics’ cautionary message rather than providing easy sonic escape. When the full band enters, including Ringo Starr’s distinctive drumming, the song takes on hymn-like qualities—a secular gospel warning about the material world’s dangers.
“Got My Mind Set on You” – The Comeback Single That Surprised Everyone
Harrison’s 1987 cover of James Ray’s 1962 song became his biggest American hit since “My Sweet Lord,” largely on the strength of its playful video and Jeff Lynne’s pristine production. Lynne’s influence brought radio-friendly sheen without neutering Harrison’s vocal personality, and the arrangement updates the original’s R&B foundation with contemporary drum sounds and guitar tones. Purists may prefer Harrison’s earlier, earthier work, but this track demonstrated his relevance in the MTV era and introduced him to audiences who weren’t born during Beatlemania. The tight three-minute runtime shows admirable pop discipline from an artist who frequently indulged in extended arrangements.
“If I Needed Someone” – The Byrds-Influenced Rubber Soul Contribution
Harrison’s Rubber Soul track wears its Roger McGuinn influence proudly, with jangly Rickenbacker guitars creating the Byrds’ folk-rock shimmer. The vocal harmonies showcase The Beatles’ group chemistry, even on a Harrison composition, while the chord progression demonstrates his growing sophistication as a songwriter. The lyrics maintain appropriate emotional distance—offering love conditionally based on current circumstances rather than eternal devotion—which feels mature compared to the era’s typical romantic declarations. The guitar tone Harrison achieved on his 12-string Rickenbacker became widely imitated throughout mid-60s rock.
“Behind That Locked Door” – The Bob Dylan Tribute Hidden in Plain Sight
Written for Dylan during his recovery from a 1966 motorcycle accident, this All Things Must Pass track adopts a country-soul feel that mirrors Dylan’s Nashville Skyline period. Harrison’s slide guitar work here serves the song’s sentiment rather than showcasing technical prowess, providing gentle encouragement through instrumental voice. The lyrics offer friendship without prying, respecting Dylan’s privacy while extending genuine concern—a delicate balance Harrison manages with uncommon grace. For listeners appreciating country-rock crossover moments, this track pairs well with similar explorations from The Band and Flying Burrito Brothers.
“When We Was Fab” – The Playful Beatles Nostalgia Trip
From 1987’s Cloud Nine, this Jeff Lynne collaboration embraces Beatles mythology with humor and affection rather than bitterness. The production deliberately incorporates backward guitars, orchestral flourishes, and vocal effects that reference specific Beatles recordings, creating a sonic scavenger hunt for fans. Ringo Starr’s drumming adds authentic connection to that era, while the sitar brings Harrison’s Indian music period into the pastiche. The video, featuring Elton John and Ringo in cameos, treats Beatles history as celebration rather than burden—a healthy perspective Harrison had finally achieved two decades after the breakup.
“This Song” – The Copyright Lawsuit Response Set to Music
Harrison’s tongue-in-cheek response to the “My Sweet Lord” plagiarism case turned legal frustration into genuine entertainment. The lyrics directly reference musical theory and copyright concepts while the arrangement deliberately plays with chord progression similarities, almost daring critics to find infringement. Tom Scott’s saxophone provides jazzy sophistication, and the overall mood stays remarkably light considering the serious financial and reputational consequences of the lawsuit. The music video features a courtroom setting with Billy Preston, adding visual comedy to the legal satire.
“I’d Have You Anytime” – The Dylan Co-Write That Opens All Things Must Pass
Co-written with Bob Dylan during a 1968 visit to Woodstock, this gentle opener establishes All Things Must Pass‘s emotional tone before the bigger rockers arrive. The melody showcases Harrison’s gift for memorable, singable phrases, while the lyrics express openness and vulnerability. Dylan’s influence appears in the conversational phrasing and the chord changes’ unexpected resolutions. The production keeps things relatively sparse by album standards, allowing Harrison’s acoustic guitar and vocal to communicate intimacy. It functions as the perfect gateway into Harrison’s solo world, welcoming listeners with warmth rather than overwhelming them with production density.
“Ding Dong, Ding Dong” – The New Year’s Anthem
This 1974 single embraces pure pop celebration, with Harrison explicitly writing about new beginnings and leaving the past behind. The production features prominent piano and horn charts that give the track a party atmosphere, complete with actual party sounds in the mix. While critics sometimes dismiss it as lightweight, the song’s infectious optimism serves an important purpose in Harrison’s catalog—demonstrating he could write straightforward celebration without constant spiritual or political messaging. The extended outro, with multiple soloists and backing vocalists, creates genuine festive energy that makes its New Year’s association entirely appropriate.
“Handle With Care” – The Traveling Wilburys Supergroup Showcase
Though technically a Traveling Wilburys track, Harrison’s role as the group’s founder and this song’s co-writer earns its inclusion. The collaboration with Dylan, Tom Petty, Roy Orbison, and Jeff Lynne created accidental magic when they needed a B-side and ended up with something too good to waste. Each vocalist takes verses, but Harrison’s opening lines set the song’s gentle, weary tone about life’s accumulated damage. The production stays appropriately loose, capturing the garage jam session circumstances of its creation. Testing this track through various audio equipment reveals how well the five distinct voices blend despite their different timbres and styles.
Frequently Asked Questions
What was George Harrison’s biggest solo hit?
“My Sweet Lord” remains George Harrison’s most commercially successful solo recording, reaching number one in both the US and UK in 1970-1971. The song’s appeal stemmed from its universal spiritual message and memorable melody, though it later became embroiled in a plagiarism lawsuit over similarities to The Chiffons’ “He’s So Fine.” Despite legal complications, it continues to be Harrison’s signature solo track and has been covered by numerous artists. The posthumously re-released version in 2002 also achieved significant chart success, introducing the song to new generations.
Which George Harrison songs did he write while still in The Beatles?
Harrison contributed several classics during his Beatles tenure, including “Something” and “Here Comes the Sun” from Abbey Road, “While My Guitar Gently Weeps” from the White Album, and “Taxman” from Revolver. His contributions increased in later Beatles albums as Lennon and McCartney began allowing more space for his songwriting. Other notable Beatles-era Harrison compositions include “If I Needed Someone,” “I Want to Tell You,” “Within You Without You,” and “Piggies.” His growing confidence as a songwriter during this period laid the groundwork for his successful solo career.
How did George Harrison’s spiritual beliefs influence his music?
Harrison’s exploration of Indian spirituality, particularly through his relationship with Ravi Shankar and Transcendental Meditation, profoundly shaped his songwriting from the mid-1960s onward. Songs like “My Sweet Lord” directly reference Hindu mantras, while tracks like “All Things Must Pass” embody Buddhist concepts of impermanence. His use of Indian instrumentation, particularly sitar and tabla, introduced millions of Western listeners to Eastern musical traditions. Even his more secular songs often contained spiritual undertones about consciousness, ego, and the search for meaning beyond material success.
What made George Harrison’s guitar playing style distinctive?
Harrison’s slide guitar technique became his sonic signature, influenced by Hawaiian steel guitar traditions and blues practitioners. His approach emphasized melody over speed, with each note carefully chosen for emotional impact rather than technical display. The “crying” quality of his bends and his use of the volume knob for dynamic swells created instantly recognizable phrasing. His Rickenbacker 12-string jangle on Beatles tracks influenced countless guitarists, while his later Stratocaster and Telecaster tones on solo work demonstrated tasteful restraint and tonal sensitivity that prioritized serving the song.
How did Jeff Lynne’s production affect George Harrison’s later work?
Jeff Lynne’s collaboration with Harrison on Cloud Nine (1987) and the Traveling Wilburys project brought contemporary production polish to Harrison’s classic songwriting. Lynne’s meticulous approach to layered vocals and crisp drum sounds gave Harrison radio relevance in the late 1980s without compromising his essential musical identity. The partnership resulted in commercial success, particularly with “Got My Mind Set on You” and “When We Was Fab,” though some purists preferred the rawer sound of Harrison’s 1970s output. Lynne’s influence continued through posthumous projects, including completing Harrison’s final album Brainwashed.
Why is “All Things Must Pass” considered George Harrison’s masterwork?
The 1970 triple album represented Harrison’s creative liberation after years of operating in The Beatles’ shadow, with Phil Spector’s Wall of Sound production matching the ambition of his songwriting. The sheer volume of high-quality material—much of it written during Beatles years but rejected for group albums—proved Harrison’s equality as a songwriter. The album’s commercial and critical success (six-time platinum certification) validated his artistic vision, while its spiritual themes established his solo identity distinct from Lennon’s politics or McCartney’s romanticism. Its influence on rock, folk, and spiritual music continues to resonate over five decades later.