Not every song by a musical legend is destined for greatness. Even an artist as talented as George Harrison had a few missteps along the way. These tracks, while not terrible, fell short of the magic fans expected.
Harrison’s solo career was filled with creative highs, but not every experiment hit the mark. Some songs lacked the polish or emotional connection that defined his best work. Others struggled to find their place amidst changing musical trends.
Exploring these lesser-loved tracks offers a unique perspective on his artistry. It reveals the challenges he faced and the risks he took as a solo musician, even if not every attempt was a home run.
1. “It’s Johnny’s Birthday”, All Things Must Pass (1970)
“It’s Johnny’s Birthday” is a short and whimsical track lasting just 49 seconds. Sung to the tune of Cliff Richard’s “Congratulations,” it’s a playful homage to John Lennon’s 30th birthday. Harrison added a comic twist to the recording by using varispeed, giving it a quirky, music hall vibe.
The track was presented to Lennon at EMI Studios on October 9, where he was recording “Remember” with Ringo Starr and Klaus Voormann. Despite its humorous intent and the close friendship it symbolized, the song lacked the substance that defined Harrison’s more notable works.
While charming in its simplicity, this lighthearted tune faded into obscurity. It remains a novelty rather than a standout piece in Harrison’s catalog, showcasing his willingness to experiment but not leaving a lasting impression.
2. “That Is All”, Living in the Material World (1973)
“That Is All” closes George Harrison’s 1973 album Living in the Material World with a slow, heartfelt ballad. Blending themes of love and spirituality, the lyrics could be interpreted as directed toward either a romantic partner or a higher power. This duality reflected Harrison’s deep connection to Hinduism at the time, earning it comparisons to a spiritual hymn by Rolling Stone.
The song was recorded in late 1972 in London, following the success of Harrison’s groundbreaking Concert for Bangladesh. Despite its lush orchestration and introspective tone, it didn’t resonate as strongly with audiences. Its subdued production and absence of a memorable hook may have left it overshadowed by other tracks on the album.
Though soothing and reflective, “That Is All” struggled to leave a lasting impression. It stands as an example of Harrison’s deeply personal artistry, even if it didn’t capture widespread acclaim.
3. “Bye Bye, Love”, Dark Horse (1974)
“Bye Bye Love” was originally a 1957 hit by the Everly Brothers, written by Felice and Boudleaux Bryant. George Harrison reimagined the classic for his 1974 Dark Horse album, giving it a deeply personal twist. He altered the lyrics to reflect his feelings about his wife Pattie Boyd leaving him for his friend Eric Clapton.
Despite its emotional backstory, Harrison’s version lacked the spark that defined both the Everly Brothers’ original and his own celebrated works. The track’s reworked lyrics carried weight, but the delivery failed to match the raw intensity of the situation it referenced.
Ultimately, Harrison’s “Bye Bye Love” didn’t resonate with fans. It’s often seen as an experiment that fell flat, unable to capture the energy or emotional pull listeners expected from his music.
4. “This Guitar (Can’t Keep from Crying)”, Extra Texture (Read All About It) (1975)
“This Guitar (Can’t Keep from Crying)” appeared on George Harrison’s 1975 album Extra Texture (Read All About It). Written as a follow-up to his iconic Beatles hit “While My Guitar Gently Weeps,” the song served as a response to harsh criticism Harrison faced after his 1974 North American tour with Ravi Shankar, particularly from Rolling Stone magazine.
While the title hinted at emotional depth and a strong connection to his earlier work, the song struggled to capture the same magic. Its message of resilience and frustration was clear, but the track lacked the musical impact fans had come to expect from Harrison.
Ultimately, “This Guitar Can’t Keep from Crying” faded into the background. Despite its personal significance, it didn’t resonate widely and remains a lesser-remembered entry in his catalog.
5. “Learning How to Love You”, Thirty Three & ⅓ (1976)
“Learning How to Love You” closes George Harrison’s 1976 album Thirty Three & 1/3, his first release under his Dark Horse label. Originally written for Herb Alpert, co-founder of A&M Records, the song was a nod to their professional relationship, which ultimately ended in legal disputes over missed deadlines. Despite the fallout, Harrison included a dedication to Alpert in the album’s liner notes.
The track takes on a reflective tone, showcasing Harrison’s softer side and his exploration of love’s complexities. However, it fell short of captivating listeners, lacking the dynamic melodies and intricate lyrics that defined his strongest compositions.
Although heartfelt in intent, “Learning How to Love You” didn’t leave a lasting mark. It remains an understated piece in Harrison’s catalog, overshadowed by the more memorable works that solidified his legacy.
6. “Here Comes the Moon”, George Harrison (1979)
“Here Comes the Moon” appeared on George Harrison’s 1979 self-titled album. Written during a vacation in Maui, the song was inspired by the serene beauty of the moon rising as the sun set. Its lyrics focused on this natural phenomenon, offering a tranquil and reflective tone.
While it served as a spiritual follow-up to Harrison’s beloved Beatles hit “Here Comes the Sun,” the track struggled to recapture the same magic. The serene atmosphere, though soothing, lacked the uplifting energy and universal appeal of its predecessor.
Despite its peaceful charm, “Here Comes the Moon” faded into obscurity. It remains a modest entry in Harrison’s body of work, appreciated by some but far from achieving the iconic status of the song that inspired it.
7. “Baltimore Oriole”, Somewhere in England (1981)
“Baltimore Oriole,” originally penned in 1942 by Hoagy Carmichael with lyrics by Paul Francis Webster, found its way into George Harrison’s 1981 album Somewhere in England. As a devoted admirer of Carmichael’s work, Harrison included this track alongside another of the composer’s songs, “Hong Kong Blues.”
Diverging from his usual style, Harrison ventured into a jazzy territory with this cover. While his appreciation for Carmichael’s artistry was evident, the song’s distinctive sound didn’t align with the expectations of his fanbase. The result was a track that felt out of place in Harrison’s catalog.
“Baltimore Oriole” remains an overlooked piece of Harrison’s repertoire. Its experimental nature didn’t leave a lasting impression, making it one of the more obscure songs from his post-Beatles career.
8. “Mystical One”, Gone Troppo (1982)
“Mystical One” appears as the sixth track on George Harrison’s 1982 album Gone Troppo. The song’s lyrics reflect a serene and introspective mood, with Harrison expressing happiness and finding peace in a “sweet serenity.” The identity of the inspiration—be it God, family, or a combination of both—remains open to interpretation.
While the song’s tranquil tone showcased Harrison’s reflective side, it struggled to resonate with audiences. Its understated composition lacked the captivating spark that defined many of his other spiritually infused works.
Despite its heartfelt sentiment, “Mystical One” didn’t leave a strong impression. It remains a lesser-discussed track, overshadowed by the more compelling songs in Harrison’s extensive catalog.
9. “Breath Away From Heaven”, Cloud Nine (1987)
“Breath Away From Heaven” is the tenth track on George Harrison’s 1987 album Cloud Nine. Originally written for the film Shanghai Surprise, which Harrison co-produced, it was one of two songs on the album that emerged from the movie’s troubled production.
Harrison expressed mixed feelings about the project, admitting in an interview that the difficult experience with the film influenced his decision not to release a full soundtrack album. He described the track as having “nice words” but chose not to include its lyrics in the album, feeling that practice had become outdated.
Despite its gentle melody, the song’s dated production and lack of distinctiveness made it difficult for “Breath Away From Heaven” to shine. It remains a subtle entry in Harrison’s discography, overshadowed by the stronger tracks on Cloud Nine.
10. “Never Get Over You”, Brainwashed (2002)
“Never Get Over You” is the ninth track on George Harrison’s final studio album, Brainwashed. A tender love song, it showcases Harrison’s ability to craft deeply emotional lyrics, with lines like, “Your eyes pierce through my heart / Your smile tears me apart,” capturing raw vulnerability.
While the track had the potential to stand alongside Harrison’s strongest post-Beatles ballads, it struggled to achieve the same impact. Its understated arrangement and lack of a standout hook left it overshadowed by other songs on the album.
Though sincere and reflective, “Never Get Over You” didn’t resonate with listeners as strongly as some of Harrison’s other romantic works. It remains a subdued entry in his remarkable musical legacy.