As George Harrison embarked on the 1970s, he found himself achieving remarkable success with a multi-platinum album and concluded the 1980s with two more chart-toppers. However, the journey in between was marked by several notable achievements, extended periods of absence, and some clear missteps in his musical career.

Throughout these years, the diversity and unpredictability of his opening tracks stood out prominently.

The monumental All Things Must Pass, released in 1970, opens with a captivating yet modest song, while the title track of Dark Horse from 1974 begins with the only instrumental piece that Harrison released during his lifetime since 1968’s Wonderwall Music and 1969’s Electronic Sound. (Later, the Grammy-winning “Marwa Blues” was featured in the posthumous Brainwashed in 2002.)

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Notably, both Living in the Material World from 1973 and Traveling Wilburys Vol. 1 in 1988 kicked off with massive hit singles. The album Gone Troppo in 1982 aimed to replicate this success with its overly synthesized opening track. Similarly, the first track on Traveling Wilburys Vol. 3 was also the lead single.

Harrison also revisited his archives, unearthing older material for the albums Extra Texture (Read All About It) in 1975 and Thirty Three & 1/3 in 1976. His celebrated comeback in 1987 with Cloud Nine commenced with a nostalgic slide guitar-driven track reminiscent of earlier styles, although he had entered the decade with a bold statement aimed at his record label featured in Somewhere in England from 1981.

Here’s a comprehensive ranking of George Harrison’s opening tracks:

No. 14. “Under the Mersey Wall”
From: Electronic Sound (1969)

Harrison’s second solo endeavor, which was released under Zapple Records, an avant-garde label he claimed the Beatles established to allow creativity to flow freely, is encapsulated in “Under the Mersey Wall.” This side-long track showcases Harrison experimenting with his new Moog 3 modular synthesizer, an innovative instrument that was among the first in the U.K. at that time. As the third synthesizer to reach British shores, its complexity is evident here, reflecting the early stages of synthesizer music.

No. 13. “Microbes”
From: Wonderwall Music (1968)

Harrison ventured to Bombay to record segments of his debut solo project and developed a fascination for an oboe-like instrument known as the shehnai. With the help of Shambhu Das, a sitar student of Ravi Shankar, who introduced Harrison to various musicians during his initial visit to India for lessons, he gathered a talented group of players. The result is a lyrical yet subtle album opener, “Microbes,” which was initially inspired by a Hindu raga.

No. 12. “Hari’s on Tour (Express)”
From: Dark Horse (1974)

Harrison found himself in a tumultuous personal phase shortly after the successful release of All Things Must Pass, the acclaimed Concert for Bangladesh, and a second solo No. 1 single with the hit “Give Me Love (Give Me Peace on Earth)” in 1973. With Dark Horse, he faced a significant mid-decade depression, which impacted his voice and musical direction. Thus, he sought out unconventional collaborations with jazz-rock musicians in Los Angeles during this challenging period.

No. 11. “Blood from a Clone”
From: Somewhere in England (1981)

Harrison’s entry into the 1980s was marked by a fierce conflict with his record label, which he addressed directly through “Blood From a Clone.” The lyrics openly critique meddling and greedy industry executives. He chose to lead his next album with this audacious track, which, despite its biting critique, is an oddball tune that showcases his unique songwriting style. This contrast might explain why Warner Bros. greenlit its release.

No. 10. “She’s My Baby”
From: Traveling Wilburys Vol. 3 (1990)

In the wake of Roy Orbison’s sudden passing, Harrison’s energy and enthusiasm were evident as he reunited the Traveling Wilburys for their second studio project. This vibrancy shines through in the album title and in the opening track. In the accompanying video, Harrison’s broad smile while singing the playful lyrics showcases his joy, prompting laughter from fellow bandmate Bob Dylan. Unfortunately, “She’s My Baby” underperformed on the charts, reaching only No. 79 in the U.K. before the supergroup disbanded.

No. 9. “Any Road”
From: Brainwashed (2002)

Harrison had been refining this song during the early stages of the Traveling Wilburys era, and it retained their signature laid-back vibe. Musically, it radiates a carefree spirit, yet it grapples with more complex themes, as highlighted in the lyrics (“If you don’t know where you’re going, any road will take you there“), inspired by Alice’s Adventures in Wonderland. On “Any Road,” Harrison deftly navigates the balance between lightheartedness and introspection, acknowledging the missteps we all encounter in life.

No. 8. “Wake Up My Love”
From: Gone Troppo (1982)

This album’s opening track is emblematic of the era, reminiscent of other Beatles-related releases from the 1980s, including Paul McCartney’s “Spies Like Us.” Released as the lead single from Gone Troppo, “Wake Up My Love” bears a striking resemblance to the earlier “Teardrops” from Somewhere in England in both tone and commercial performance. Neither track managed to penetrate the Top 40 in the U.S. and both went unranked in the U.K. Nevertheless, beneath its dated synthesizer riff, there lies a solid song yearning to break free.

No. 7. “Cloud 9”
From: Cloud Nine (1987)

After a five-year hiatus following the release of Gone Troppo, Harrison aimed to make a strong comeback, collaborating with Jeff Lynne. A dedicated fan of the Beatles, Lynne encouraged Harrison to revisit earlier themes and sounds, such as “When We Was Fab,” while also reviving the sounds of his vintage 12-string Rickenbacker. Harrison embraced the slide guitar once more, showcasing his collaboration with Eric Clapton on the powerful title track of Cloud Nine. He had successfully navigated his way out of a challenging musical landscape.

No. 6. “Woman Don’t You Cry for Me”
From: Thirty Three & 1/3 (1976)

The creation of “Woman Don’t You Cry for Me” began during Harrison’s guest appearance on a tour with Delaney and Bonnie that took place after the release of Abbey Road but before the Beatles officially disbanded. The song was initially considered for inclusion in All Things Must Pass but was shelved for several years. By the time it was revisited, Harrison had innovatively incorporated slide guitar into his work, marking a significant milestone in his musical evolution.

No. 5. “You”
From: Extra Texture [Read All About It] (1975)

By the time he reached Extra Texture, Harrison had returned to a lifestyle involving alcohol and drugs, leading to a stark departure from the spiritual essence that characterized his earlier solo records. This Top 20 U.S. hit, which actually originated from a discarded 1971 album intended for Ronnie Spector, takes listeners back to earlier times. It is noteworthy that the standout track on this album is essentially a leftover, highlighting the highs and lows of Harrison’s creative journey.

No. 4. “Love Comes to Everyone”
From: George Harrison (1979)

Harrison drew from personal experiences to create this uplifting and optimistic song in early 1978, following a relatively brief interlude away from music. During the recording sessions for his self-titled comeback album, he got married to Olivia Arias and welcomed their son, Dhani. The presence of notable musicians such as Eric Clapton and Steve Winwood in his home studio during this time contributed to the song’s vibrant energy and message of love.

No. 3. “I’d Have You Anytime”
From: All Things Must Pass (1970)

“I’d Have You Anytime,” featuring a distinctively Beatle-esque guitar motif and co-written with Bob Dylan, stands as a poignant piece comparable to earlier masterpieces like “Something.” The collaboration between Harrison and Dylan began during a visit to Woodstock in November 1968. Unlike many tracks on the expansive triple album, this song is refreshingly straightforward, lacking the extensive instrumentation and vocal arrangements typical of Phil Spector’s productions, making it a bold choice to kick off such an ambitious project.

No. 2. “Handle With Care”
From: The Traveling Wilburys’ Vol. 1 (1988)

The clever and resilient tune “Handle With Care” was initially conceived as a B-side, but with a stroke of luck and label intervention, it transformed into a hit. Harrison reached out to Jeff Lynne, who was collaborating with Roy Orbison at the time, leading to a collaboration that included Bob Dylan and Tom Petty. This unexpected partnership resulted in one of rock’s greatest supergroups, and fortunately, their first release was not relegated to the back of the album, shooting up to No. 2 on the charts.

No. 1. “Give Me Love (Give Me Peace On Earth)”
From: Living in the Material World (1973)

The trajectory of Harrison’s career took a more intimate turn with “Give Me Love,” as he transitioned from the expansive success of “My Sweet Lord” and the grand scale of the Bangladesh benefit concert to a more personal and focused project. This song, characterized by Harrison’s expressive slide guitar work, emphasized themes of faith and forgiveness with clarity. He described “Give Me Love” as “a prayer and personal statement between me, the Lord, and whoever likes it,” and its universal appeal resonated deeply with audiences, leading it to become a chart-topping hit.

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