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George Harrison Extra Texture (Read All About It) Songs

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1975 studio album past George Harrison

Extra Texture (Read All Most It)
Extratexture.jpg
Studio anthology by

George Harrison
Released 22 September 1975 (1975-09-22)
Recorded 21 Apr – nine June 1975, August–September 1974, 2–iii February 1971
Studio A&M, Los Angeles; FPSHOT, Oxfordshire; Abbey Road, London
Genre Stone, soul
Length 41:53
Characterization Apple
Producer George Harrison
George Harrison chronology
Nighttime Horse
(1974) 		Actress Texture (Read All Virtually It)
(1975) 		The Best of George Harrison
(1976)
Singles from Extra Texture (Read All Virtually Information technology)
  1. "You lot"
    Released: 12 September 1975 (UK); 15 September 1975 (Usa)
  2. "This Guitar (Can't Keep from Crying)"
    Released: 8 Dec 1975 (US); 6 Feb 1976 (UK)

Extra Texture (Read All Almost It) is the sixth studio anthology past English musician George Harrison, released on 22 September 1975. Information technology was Harrison's concluding anthology under his contract with Apple Records and EMI, and the last studio anthology issued by Apple. The release came nine months later his troubled 1974 North American tour with Ravi Shankar and the poorly received Dark Horse album.

Among Harrison's post-Beatles solo releases, Actress Texture is the only anthology on which his lyrics are devoid of whatsoever obvious spiritual message. It was recorded mostly in America rather than England, while Harrison was working in Los Angeles in his role as caput of Nighttime Equus caballus Records. Gary Wright, David Foster, Jim Keltner, Jesse Ed Davis, Leon Russell, Tom Scott, Billy Preston and Jim Horn were among the many contributing musicians. The keyboard-heavy arrangements comprise elements of soul music and the influence of Smokey Robinson, signalling a further deviation from the rock and folk-rock audio of Harrison'south popular early-1970s work. Contrasting with the musical content, the album's art design conveys an upbeat mood and includes an unusual die-cut cover with a textured surface.

Although critical reception to the album was largely unfavourable, Actress Texture was certified gold by the Recording Manufacture Association of America within two months of release. It produced a hit single in the Motown-inspired "You", originally recorded in London in 1971 with co-producer Phil Spector. The album besides includes "This Guitar (Can't Continue from Crying)", which was both a sequel to Harrison's 1968 limerick "While My Guitar Gently Weeps" and a rebuttal to his detractors. The anthology was remastered and reissued in September 2014, every bit part of the Harrison box fix The Apple Years 1968–75.

Background [edit]

When I got off the aeroplane and back dwelling house, I went into the garden and I was so relieved. That was the nearest I got to a nervous breakup. I couldn't even get into the house.[1]

– George Harrison, discussing his return to Friar Park afterwards the 1974 North American tour

In its 13 February 1975 outcome, Rolling Stone magazine derided George Harrison's North American tour with Ravi Shankar over November–December 1974, and the accompanying Nighttime Horse anthology, equally "disastrous".[2] [3] Previously viewed every bit "the surprise winner of the ex-Beatle sweepstakes", in the words of writer Nicholas Schaffner[4] – the nighttime horse[5] – Harrison had disappointed many fans of his old group by failing to acknowledge the Beatles' legacy,[6] [seven] both in the content of his 1974 shows and in his dealings with the media.[8] In addition, his commitment to launching his Dark Horse record characterization had left Harrison rushing to finish the album while rehearsing for the concerts;[ix] [x] as a result, he contracted laryngitis[eleven] and sang hoarse on much of the recordings and throughout the tour.[12] While Dark Horse sold well initially in America, information technology failed to place at all on Britain's acme fifty albums chart.[13] [nb 1]

Harrison, US president Gerald Ford and Ravi Shankar at the White House in December 1974, towards the end of the tour

Despite Harrison's claims during the tour that the negative press only made him more determined,[18] the criticism hit him hard,[19] [xx] following the cease of his marriage to Pattie Boyd.[21] In a radio interview with Dave Herman of WNEW-FM in Apr 1975, recorded in Los Angeles,[22] Harrison said that he accepted the validity of professional criticism, only objected when it came continually from "i basic source"; and so, he added, it became "a personal thing".[23] [24] Writer Simon Leng writes that the "bitterness and dismay" Harrison felt manifested itself on his follow-up to Dark Horse, titled Actress Texture (Read All About It),[25] which would be the final studio album issued on the Beatles' Apple record label.[26]

The anthology came most while Harrison was in Los Angeles overseeing projects past some of his Night Horse signings,[27] i of which, Splinter, became unavailable to attend sessions pre-booked for them at A&Thou Studios.[28] Although Harrison was unimpressed with the recording facility,[nineteen] he chose to use the vacated studio time himself.[28] Authors Chip Madinger and Mark Easter suggest that this decision was influenced by his account with A&G Records,[29] who were Dark Horse's worldwide distributor and the company with which Harrison was widely expected to sign as a solo artist, post-obit the expiration of his EMI/Capitol-affiliated Apple contract in January 1976.[30] [31] Having barely written a song in the six months since completing Dark Horse, in late October 1974, he swiftly completed some half-finished compositions and wrote "a couple of new ones".[32] Leng cites these circumstances, together with Harrison's eagerness "to cut a new album equally soon as possible, to extricate himself from the Capitol/EMI contract", every bit part of an expedient quality that defines Extra Texture.[33]

Songs [edit]

Writing for Rolling Stone in 2002, Mikal Gilmore commented that "the crises [Harrison] faced in the mid-1970s changed him", and that low was a cardinal factor.[34] Low permeated many of the songs that Harrison wrote during this period,[35] [36] [37] an issue that was not helped by his continued heavy drinking and cocaine use.[38] [39] While viewing this mindset as an extension of the artist's "unholy coping mechanisms" over 1973–74, writer Robert Rodriguez writes: "What's interesting is how he chose to accost what he'd been grappling with, musically. In the finish, Actress Texture is unique inside the Harrison catalog as essentially an LP-length circuit into soul [music]."[40]

With this new album of mine, all I want is to be able to sing the tunes I have and to exercise them as warm and as unproblematic as possible ... You know, I don't see my music anymore as being tiptop 20 somehow ... It matters more to me that I tin can simply sing it better, play it meliorate and, with less orchestration, get over more feeling.[41] [42]

– Harrison to WNEW-FM, April 1975

Lyrically, "The Respond's at the End", "This Guitar (Can't Keep from Crying)", "Earth of Stone" and "Greyness Cloudy Lies" all steer clear of his usual subject thing – Hindu spirituality – and instead appear to ask the listener for pity.[43] [44] Co-ordinate to writer and theologian Dale Allison, Actress Texture is "the sole Harrison album that fails to make whatever positive theological statements".[39] Allison adds that its "confused melancholy" provides a sharp contrast with the "confident religious advocacy" of the artist's previous successes All Things Must Laissez passer (1970) and Living in the Cloth World (1973).[45] Harrison's wavering from his Krishna-conscious path was virtually evident in "World of Stone", writes writer Gary Tillery: "'Such a long way from dwelling house,' he says, but in his autobiography he renders it, 'Such a long way from OM' – confessing inner turmoil at having strayed from his faith."[46] The same despair was evident in "Grayness Cloudy Lies",[35] [47] a runway that Harrison described to Paul Gambaccini in September 1975[48] as "one of those depressing, 4 o'clock in the morning sort of songs".[49] [nb two]

Harrison had begun writing "World of Rock", "Grey Cloudy Lies" and the soul-pop dearest song[53] "Can't Terminate Thinking About Y'all" in 1973.[54] He started "This Guitar (Tin can't Continue from Crying)" in Hawaii over Christmas 1974, while holidaying with his new girlfriend (after his married woman), Olivia Arias,[55] [56] a secretary at Dark Horse'southward LA part.[57] The song is a sequel to Harrison'due south popular Beatles rail "While My Guitar Gently Weeps",[58] and the lyrics serve equally a rebuttal to his critics, particularly Rolling Stone,[59] [sixty] whose savaging of the bout he would never forgive.[61]

Harrison wrote "Tired of Midnight Blue" in Los Angeles, where he continued to be based for much of 1975 on business relating to Dark Horse Records.[33] [nb 3] In his 1980 autobiography, I, Me, Mine, he says that the song's lyrics focused on his "depressed" land following a night in an LA club with "a lot of grayness-haired naughty people".[66] In Tillery's interpretation, with its chorus line "Made me chill correct to the bone", "Tired of Midnight Blue" was Harrison reaching "rock bottom".[67] Every bit the most obvious case of his embracing of soul music on the album, he wrote "Ooh Babe (You Know That I Honey You)" as the first of two tributes to Smokey Robinson, a vocalizer whose work with the Miracles he had admired since the early on 1960s.[68] [69] [nb four]

In addition to these compositions, Harrison revisited two unused recordings: the Motown-styled[71] "You", and "His Proper name Is Legs (Ladies and Gentlemen)", which open up and close the album, respectively.[54] [72] Co-produced with Phil Spector in London,[73] "You" was amidst the basic tracks taped in February 1971 for a planned Apple solo anthology by Spector's married woman, Ronnie,[74] formerly Veronica Bennett of the Ronettes.[75] A reprise of the completed vocal,[76] in the form of a brief instrumental titled "A Bit More than of You lot", besides appears on Extra Texture, opening side two in the LP format.[77] "His Proper noun Is Legs" was recorded at Harrison'south Friar Park studio, FPSHOT, shortly earlier the 1974 bout,[78] with Billy Preston, Tom Scott, Willie Weeks and Andy Newmark.[79] In a private joke that few listeners were able to capeesh,[78] [fourscore] the vocal features a hard-to-decipher monologue[81] performed by "Legs" Larry Smith,[82] formerly a member of Bonzo Canis familiaris Doo Dah Band.[43] The inclusion of these 2 older tracks provided some upbeat material[72] on an album predominantly filled with ballads.[83] [84]

Production [edit]

Recording [edit]

Alone among the studio albums that Harrison released betwixt the interruption-up of the Beatles and his death in 2001,[nb v] almost of the recording for Extra Texture was carried out in the United States.[89] The sessions took identify on role of A&Thousand's block forth La Brea Avenue in Hollywood, where both the studio and the record visitor were based.[90] [91] Throughout the spring and summer of 1975, Harrison regularly attended Dark Horse's part, located in a bungalow shared with A&M-distributed Ode Records,[91] and otherwise became fully involved in the Los Angeles music scene.[92] Shortly before starting work on the album, he was among the guests at Wings' party on the Queen Mary ocean liner, at Long Beach, where a "drawn"-looking Harrison[93] was seen socialising with Paul McCartney for the first fourth dimension since the Beatles' intermission-upward five years before.[94] Often accompanied past Arias,[95] Harrison caught shows by Bob Marley & the Wailers,[96] Smokey Robinson[97] and Santana, socialised with Ringo Starr,[98] and met upwards with Preston and Ronnie Wood backstage subsequently one of the Rolling Stones' concerts at the LA Forum.[99] New friends such as Eric Idle entered Harrison'due south social circle that summer,[100] although the Python'due south influence only extended to Extra Texture 'south quirky artwork and packaging rather than its musical content.[101]

With Norman Kinney as engineer, Harrison recorded the basic tracks for the new songs betwixt 21 April and seven May 1975, outset with "Tired of Midnight Blue" and "The Answer's at the End".[102] Amidst the musicians on the anthology were many of Harrison's previous collaborators and assembly,[103] including Jim Keltner (drums), Gary Wright (keyboards), Jesse Ed Davis (guitar), Klaus Voormann (bass), and Tom Scott, Jim Horn and Chuck Findley (all horns).[104] Forth with Keltner, the most regular participant was a young David Foster, and then the pianoforte player in Keltner's band, Attitudes, while the group'southward bassist and singer, Paul Stallworth, also contributed.[92] On what would turn out to exist a keyboard-dominated sound,[106] [107] Leon Russell and Nicky Hopkins made guest appearances as well.[108]

Voormann, a close friend of Harrison's since 1960, found the atmosphere at the sessions unpleasant; he later cited the heavy drug use typical of the LA music scene,[109] and the ex-Beatle's "frame of mind when he was doing this album".[92] [nb half dozen] Keltner, who described his own friendship with Harrison equally "like brothers",[111] has similarly spoken of Los Angeles as an unsuitable surround for Harrison during this catamenia, while commenting that Arias "came into the picture at but the right time, a crazy, dark time".[110] With Voormann choosing to absent himself,[112] Harrison played some of the anthology's bass parts himself, using either ARP or Moog synthesizer.[72] [113]

Where on previous records George was living at home in Friar Park, in LA he was staying in a hotel and he was a big bargain. Too many people wanted to get to him, too many bad things were available. He should never take made a tape exterior Friar Park.[110]

– Jim Keltner, commenting on the Los Angeles recording sessions

Overdubbing and mixing [edit]

Later on a few weeks' suspension, the overdubbing phase began at A&Thousand on 31 May. That day, instruments were added to the 1971 basic rail for "You", including a saxophone solo (played by Horn), extra keyboards and a 2d pulsate part.[28] Over 2–iii June, Scott and Findley overdubbed horns on "Ooh Baby" and "His Proper name Is Legs".[54] The Foster-arranged strings for "This Guitar", "The Answer'southward at the Cease" and "Tin't Stop Thinking About You" were recorded between 6 and ix June.[28] Last mixing of the album'due south ten songs lasted through July and possibly into August.[29]

Betwixt June and October 1975, Preston's It's My Pleasure anthology, Peter Skellern's Hard Times and Splinter's Harder to Live were released,[114] and sessions took place in August for Scott's New York Connection.[115] All of these albums include guitar cameos from Harrison (oft credited to his pseudonym "Hari Georgeson"),[116] [117] yet his playing on Actress Texture was surprisingly minimal.[118] [119] Harrison'due south signature musical instrument since 1970,[120] the slide guitar, appeared significantly on "Tired of Midnight Blueish" only,[121] and in his extended solo on "This Guitar",[122] on which he shared the lead guitarist'south role with Jesse Ed Davis.[123]

Harrison'due south voice had fully recovered from the furnishings of laryngitis,[124] allowing him to attain falsetto[125] and indulge in gospel-style scat singing.[126] In author Alan Clayson's estimation, with Harrison adopting a new, "shut-miked" soft song fashion, much of Actress Texture reflected "the more feathery emanations from Philadelphia by the likes of The Stylistics and Jerry Butler".[127] [nb seven] Leng considers that Harrison "was clearly targeting the mainstream U.S. audience" and adds: "At that place were few spiritual lyrics and absolutely no references to Krishna, while his much-criticized vocals were stronger, only recorded at a depression level, as if the goal was to create a Harrison soul album for lovers."[106]

Album artwork and title [edit]

Inner-sleeve picture of Harrison, taken by 1974 tour photographer Henry Grossman; copyright Apple Records

The album'southward art design was credited to Capitol's in-house designer, Roy Kohara.[78] Harrison supplied sketches for each item of the artwork,[130] which adopted a humorous, "wacky" theme throughout the packaging.[29] The vivid-orange front embrace featured a die-cut design effectually the words "Extra TEXTURE", through which an inner-sleeve, blue-tinted picture of Harrison was visible.[131] Some vinyl editions presented the words as simple blueish text on an orange groundwork, however, doing abroad with the expensive cut-out detail.[132] In keeping with the album title, the thin paper-thin used for the LP comprehend was similar in texture to the "fauna skin used on a football", co-ordinate to Beatles author Bruce Spizer.[78] The front cover included an Om symbol, positioned beneath the angled title text and also coloured bluish.[131] On the back of the inner sleeve, at that place was a second Henry Grossman bout photograph of Harrison, enjoying himself on stage.[133] [134]

Seen every bit a joke referencing the demise of the Beatles' record label,[135] the Apple logo was styled on Extra Texture equally an eaten-away apple tree cadre.[136] In addition, the blue inner-sleeve photo of Harrison – "grin like a Monty Python choirboy", in the words of music critic Robert Christgau[137] – was captioned "OHNOTHIMAGEN" ("Oh non him over again"), which was Harrison's self-deprecating accept on his dwindling popularity in 1974–75.[35] [101] The album'southward full title referenced the media outcry during and immediately subsequently his US tour;[138] it was a pun on the slogan that street-corner paperboys would yell out to sell tardily-breaking news editions of their newspapers: "Extra! Actress! Read all almost it!"[28] [39] Harrison had intended to call the album Ohnothimagen,[139] until a studio discussion with Paul Stallworth suggested an alternative.[28] According to Harrison, just as he himself was talking about an overdub needing something "actress", Stallworth happened to say the give-and-take "texture".

Every bit on Dark Horse, Harrison listed contributing musicians for each song, on the LP'south back comprehend,[140] but this fourth dimension with an boosted listing for those not actualization.[101] The commencement of these is guitarist Danny Kortchmar, the fourth fellow member of Attitudes; others include Derek Taylor, Eric Idle, Peter Sellers and Dark Horse executive Dino Airali.[92]

Release [edit]

Actualization nine months later Nighttime Horse,[84] Actress Texture (Read All Near It) was completed more chop-chop than whatsoever of Harrison's previous post-Beatles solo albums.[136] The haste with which it was made was out of character for Harrison,[136] and apparently symbolic of a wish to redeem himself with his audience before he left EMI for A&Chiliad Records.[81] Preceded by its advance single, "Yous" backed with "World of Stone",[134] the album was issued on 22 September 1975 in America (as Apple SW 3420) and on 3 Oct in Britain (Apple PAS 10009).[141] [142] Coinciding with the release of Extra Texture, Harrison'due south interview with Herman was broadcast on many stations around the United states.[143] [nb 8]

In another departure from past form, Harrison undertook promotion for his new album in Britain.[144] 1 of these activities, broadcast on 6 September, was his runway-past-track give-and-take with Paul Gambaccini on the BBC Radio 1 show Rockweek.[48] The same day, Melody Maker published an interview with Harrison, the magazine's embrace declaring: "George Bounces Back!"[129] Although he later admitted to being "in a real down place" while making the album,[145] the Melody Maker interview found Harrison in good humour, pointing the way to a return in form the post-obit year; "I'd rather be an ex-Beatle than an ex-Nazi!" he joked, referring to his recent uneasy experience with the musical John, Paul, George, Ringo … and Bert.[129] [146] Harrison'southward other activities in late 1975 besides centred on comedy, beginning with his production of Monty Python's single "The Lumberjack Song", released in November,[147] [148] and including a humorous star turn, again with Eric Idle, on Rutland Weekend Tv 's Christmas special.[149]

Extra Texture peaked at number 8 on the Billboard Top LPs & Tape chart on 25 October, holding the position for three weeks,[150] and was certified gold by the Recording Industry Association of America on 11 Nov.[151] The album marked a welcome, though brief, return for Harrison to the official UK Albums Nautical chart (now a top sixty), reaching number 16 there in late October.[152] "You" peaked at number twenty on Billboard 's Hot 100 singles listings,[153] while in the Uk, despite the song receiving substantial airplay on Radio 1,[154] its highest position was number 38,[155] equalling that of his Dark Equus caballus unmarried "Ding Dong, Ding Dong".[156] As the follow-upwards to "You", Apple issued "This Guitar (Can't Keep from Crying)" backed by the 1974 album rails "Māya Love", in December,[157] with a UK release post-obit in February 1976.[158] Apple'due south final unmarried in its original incarnation, "This Guitar" failed to chart in either America or Britain,[159] a fate that Rodriguez partly attributes to a lack of promotion from a label that was "[r]unning on fumes".[160]

Reissue [edit]

Actress Texture (Read All Nearly Information technology) was remastered for CD release in January 1992.[161] The anthology was remastered again and reissued in September 2014, equally both a split up release and as office of the Harrison box set The Apple Years 1968–75.[162] The 2014 reissue includes a liner note essay past radio producer and author Kevin Howlett, and adds a new version of "This Guitar", based on a demo that Harrison recorded in 1992 for Dave Stewart.[163] Previously issued just as a digital download for the latter'southward Platinum Weird project, in 2006,[164] the track features overdubs from Stewart, Harrison'southward son Dhani, Ringo Starr and singer Kara DioGuardi.[163] Previewing the release on georgeharrison.com, Olivia Harrison spoke of the "stiff melodies and thought-provoking lyrics" of many of the songs on Extra Texture, calculation: "They are moody and personal and some of my favourites."[165]

Critical reception [edit]

Contemporary reviews [edit]

Discussing the album's reception in his 1977 book The Beatles Forever, Nicholas Schaffner wrote: "Harrison'southward worldly critics, who had long institute his sermons insufferable, responded like bulls to a red flag to Actress Texture, which contains a number of treatises on how reviewers always 'miss the betoken.'" Even Harrison'south loyal "disciples", Schaffner connected, tended to view the album equally "plodding and aimless".[136] Rolling Stone 's reviewer, Dave Marsh, highlighted "You" as a return to All Things Must Pass-style grandeur, and "Tin can't Stop Thinking Nearly You" and "Tired of Midnight Blueish" as "the most effective 9 minutes of music" the artist had made since 1970. Generally, on an album that was "sketchy at best", however, Marsh bemoaned the over-reliance on "merely competent" keyboards and Harrison's "affectingly feeble vocalism", before concluding: "Harrison is no longer a Beatle, equally he has reminded u.s.a. more than than we have asked. But if he learned nothing else from his experience in that organization, information technology ought to have been that a good guitar player isn't worth much without a ring."[121]

In the NME, Neil Spencer wrote that "Though Extra Texture isn't the Harrison revival that many might have hopes for, it's yet several leagues superior to Hari'due south more recent efforts; and just equally All Things Must Pass would have made a neat single album, then Actress Texture would make a more than than commendable single side." Spencer described the album's content as "the customary mournful and doom-laden Harrison we've come to know and fear, only this time the rigours of dearest take precedence over matters spiritual", and he advised his readers: "I've played it, I don't mind information technology ... Hari fans tin anticipate purchase with glee. Others arroyo with cautious optimism."[166] [167] Reviewing for Melody Maker, Ray Coleman described it every bit "splendid" and canonical of Harrison's return to his 1960s musical influences. Coleman especially admired the first 3 songs and said that the album was a "re-statement of the fundamentals we should all cherish".[168]

In the 1977 edition of their volume The Beatles: An Illustrated Record, Roy Carr and Tony Tyler described Extra Texture as "another lugubrious offer" and concluded: "the needle of the listener'due south personal Ecstatograph points sullenly towards goose egg throughout."[119] Harrison'southward pleas for tolerance and agreement, like his self-deprecation on the album sleeve, seemed to backfire.[119] [169] [nb 9] Writing in 1981, Bob Woffinden constitute that the album showed signs that Harrison was "no longer so scornful of his audition" compared with Nighttime Equus caballus. Woffinden wrote of the songs that "plead plaintively with critics not to gauge too severely": "In this different context, such pleas are more sympathetic. Very well, then, nosotros volition not. Extra Texture wasn't actually very practiced musically ... but it did have some highly-seasoned qualities, and barely whatsoever bellicose ones."[81]

Retrospective reviews and legacy [edit]

Professional ratings
Review scores
Source Rating
AllMusic [101]
Blender [171]
Christgau's Record Guide C− [137]
Encyclopedia of Pop Music [172]
Mojo [122]
MusicHound 2/5[173]
Music Story [174]
OndaRock 6/10[175]
The Rolling Stone Album Guide [176]
Uncut [177]

In his volume subtitled The Beatles' Solo Years, 1970–1980, Robert Rodriguez features Extra Texture in a chapter dedicated to the worst solo albums released by the iv ex-Beatles between 1970 and 1980 – the only one of Harrison'southward albums to be included there.[178] [nb 10] Rodriguez writes: "To be sure, Extra Texture boasted several fine cuts ... but the remainder of the collection was well-nigh entirely weary in tone, amounting to a prolonged buzz kill."[84] Nick DeRiso of the music website Something Else! includes information technology on his list of the 5 worst solo albums by either John Lennon, McCartney or Harrison, and describes it every bit a "grinding, relentlessly downbeat album, where even the name Extra Texture has come to experience similar a barbarous joke".[180]

Several Harrison biographers likewise hold Extra Texture in low esteem, with Alan Clayson describing it as his "artistic nadir" and "a bedsit record rather than a dancing i".[181] Simon Leng writes that Harrison's mail-Dark Horse "rehabilitation disc" came way too soon, resulting in an uncharacteristically passionless work, with its singer sounding "punch boozer".[182] Aside from the uplifting "You", both authors place "Tired of Midnight Bluish" every bit the only saving grace.[154] [183] Gary Tillery notes the "darkly sarcastic" album championship for a drove total of such "downbeat" tracks, the darkest of which is "Grey Cloudy Lies".[47] Harrison himself rated Extra Texture every bit his worst solo release of the 1970s.[184] Speaking to Musician magazine in 1987, he dismissed it as "a grubby anthology"[185] and added: "The product left a lot to be desired, as did my performance ... Some songs I similar, but in retrospect I wasn't very happy about it."[135] [186]

The album has its admirers. Writing in a Rolling Stone Press tribute book, Greg Kot labels Actress Texture as "something of a return to class for Harrison".[187] AllMusic'due south Richard Ginell views "Y'all", "The Answer's at the Finish" and "This Guitar (Can't Keep from Crying)" as some of Harrison's best post-Beatles compositions and identifies other "musical blossoms" on a collection that stands up relatively well to the passing of time.[101] Writing in the 2004 Rolling Stone Album Guide, Mac Randall considered it to exist an album that "starts off well, then runs out of steam midway through",[188] while John Harris, in his 2011 review for Mojo, described it as "a classic case of contractual obligation" but still a "decided comeback" on Dark Horse.[122] More than impressed, Harrison biographer Elliot Huntley admires the album as "a welcome return to class" that offers "some gorgeous love songs, a truly commercial lead single, and flashes of the sense of humor that ascertain George Harrison as a songwriter".[103]

Reviewing the Apple Years box set for Blogcritics, Seattle-based critic[189] Chaz Lipp opines of Extra Texture: "Though not without a few notable tracks, it's the least satisfying anthology of Harrison'due south entire career ... The essential cut is the grooving 'Tired of Midnight Blue.'"[190] In his review for Classic Rock, Paul Trynka writes that the album "boasts neither the highs nor lows of its predecessors" and is "the work of a man wounded by criticism". In Trynka's assessment, whereas "Yous" "sounds dull today", "confessional songs" such as "World of Stone", "Tired of Midnight Blueish" and "Grayness Cloudy Lies" "have worn well".[191] Writing for the website Vintage Rock, Shawn Perry similarly considers "You lot" to exist "out of sync", and he highlights "This Guitar" and "Grey Cloudy Lies" on "a creative and introspective album that's aged well".[192]

In another 2014 review, for the Lexington Herald-Leader, Walter Tunis writes: "[Extra Texture (Read All About It)] is a delight from the start of the brightly orchestrated pop of 'Yous' to a series of light soul-savvy reveries that culminate in the playful 'His Name is Legs'. The tape places the secular and spiritual concerns of Harrison's music in animated residuum to close out The Apple Years in a land of hapless harmony."[193] Writing in Mojo, Tom Doyle concedes that, being the final album in the box fix, "Information technology's peradventure a downbeat note to end on", simply welcomes the reissue for "let[ing] united states time to dig for the diamonds in the dirt".[194]

Track list [edit]

All songs written past George Harrison.

Side i

  1. "You lot" – 3:41
  2. "The Answer's at the Finish" – v:32
  3. "This Guitar (Can't Keep from Crying)" – four:11
  4. "Ooh Babe (You lot Know That I Dearest You)" – 3:59
  5. "World of Rock" – four:twoscore

Side ii

  1. "A Bit More of Yous" – 0:45
  2. "Tin can't Stop Thinking Near Yous" – four:xxx
  3. "Tired of Midnight Bluish" – 4:51
  4. "Grey Cloudy Lies" – iii:41
  5. "His Proper noun Is Legs (Ladies and Gentlemen)" – 5:46

2014 remaster bonus rail

  1. "This Guitar (Tin can't Keep from Crying)" (Platinum Weird version) – 3:55

Personnel [edit]

Rails numbering refers to CD and digital releases of the album.

  • George Harrison – vocals (1–five, 7–x), electric and acoustic guitars (ane–10), ARP synthesizer (3, 9), Moog synthesizer (9), piano (10), bankroll vocals (1, 2, 7–10)
  • David Foster – piano (2, 3, 5, ix), organ (1, 6), ARP string synthesizer (1, 5, 6), electrical piano (7), tack piano (10), string system (2, iii, 7)
  • Gary Wright – organ (2, five), electric piano (1, 4, 6), ARP synthesizer (3, 7)
  • Jim Keltner – drums (i–nine), percussion (8)
  • Jesse Ed Davis – electric guitar (3–5, 7, 9)
  • Klaus Voormann – bass (4–5, 7)
  • Paul Stallworth – bass (2, 8), background vocals (7)
  • Leon Russell – piano (1, 6, 8)
  • Tom Scott – saxophones (4, ten)
  • Chuck Findley – trumpet (4, x), trombone (x)
  • Nicky Hopkins – piano (vii)
  • Jim Horn – saxophone (i, six)
  • Jim Gordon – drums (one, 6), percussion (1, 6)
  • Carl Radle – bass (1, 6)
  • Billy Preston – electrical piano (10)
  • Willie Weeks – bass (x)
  • Andy Newmark – drums (x)
  • "Legs" Larry Smith – vocal (10)
  • Ronnie Spector – vocal (1)
  • Norm Kinney – percussion (2)
Supplementary credits for 2014 reissue (rail 11)
  • George Harrison – vocals, audio-visual guitars
  • Dave Stewart – electric guitars, bass, organ
  • Dhani Harrison – acoustic guitar
  • Ringo Starr – drums
  • Kara DioGuardi – bankroll vocals

Chart positions [edit]

Chart (1975–76) Position
Australian Kent Music Study[195] 36
Canadian RPM Superlative Albums[196] 63
French SNEP Albums Chart[197] 19
Japanese Oricon LP Chart[198] 9
Norwegian VG-Lista Albums[199] viii
UK Albums Chart[15] 16
Us Billboard Summit LPs & Tape[200] 8
US Cashbox Top 100 Albums[201] ix
US Record Earth Album Nautical chart[202] nine

Certifications [edit]

Notes [edit]

  1. ^ By contrast, all of Harrison's album releases over 1970–73 – All Things Must Pass, The Concert for People's republic of bangladesh and Living in the Material World – had either topped or peaked at number 2 on both the UK's official albums nautical chart[14] [15] and the US chart compiled past Billboard magazine.[16] [17]
  2. ^ The lyrics to "Greyness Cloudy Lies" include the lines "At present I just want to exist / With no pistol at my brain",[50] a statement that Allison and author Ian Inglis interpret as a reference to Harrison's possibly suicidal frame of mind.[51] [52]
  3. ^ After Splinter and Ravi Shankar had inaugurated the label, in May 1974,[62] [63] Harrison had signed the US-based acts Jiva, Stairsteps, Henry McCullough and Attitudes to Dark Horse.[64] [65]
  4. ^ The 2d Robinson tribute was "Pure Smokey", which Harrison went on to record for his 1976 anthology Thirty Three & one/3.[70]
  5. ^ The posthumously issued Brainwashed (2002) was finished at producer Jeff Lynne's studio in Los Angeles in 2002,[85] [86] after the main recording had taken identify at FPSHOT and in Switzerland.[87] Otherwise, except for this 1975 release, the majority of the work on all Harrison albums since 1970 took place at either FPSHOT or other studios in England.[88]
  6. ^ Recalling the Extra Texture sessions in 2014, Voormann told music journalist Mat Snow: "In LA I was not happy about the way George was developing, and I think he felt embarrassed almost that. When they do as well much cocaine, people lose their reliability ... It was non the former George."[110]
  7. ^ During this catamenia, Harrison cited Smokey Robinson as a major influence, and Stevie Wonder and Bob Marley as other examples of his preferred listening.[128] [129]
  8. ^ The interview was sufficiently popular to proceeds release as a bootleg record, titled A Conversation with George Harrison (Hear All Most It).[143]
  9. ^ Harrison himself acknowledged in a January 1976 BBC interview: "People who were never really keen on me just really hate my guts right at present. It has go complete opposites, completely black and white."[170]
  10. ^ By comparison, Rodriguez includes iv albums past McCartney and two each by John Lennon and Starr.[179]

References [edit]

  1. ^ Harrison, p. 69.
  2. ^ Leng, p. 174.
  3. ^ Jim Miller, "George Harrison: Dark Horse (LP Review)" Archived eleven November 2017 at the Wayback Machine, Rolling Rock, 13 February 1975, pp. 75–76 (retrieved 6 May 2015).
  4. ^ Schaffner, p. 160.
  5. ^ Huntley, pp. 105–06.
  6. ^ Greene, pp. 214–15, 219.
  7. ^ Tillery, pp. 114–15.
  8. ^ Woffinden, pp. 83–84.
  9. ^ Lavezzoli, p. 195.
  10. ^ Snowfall, p. 72.
  11. ^ Leng, p. 166.
  12. ^ The Editors of Rolling Stone, pp. 44, 188.
  13. ^ Huntley, pp. 112, 113.
  14. ^ "Number ane Albums – 1970s", Official Charts Company (archived version dated ix February 2008 retrieved 13 May 2015).
  15. ^ a b "Creative person: George Harrison" > Albums Archived four Jan 2013 at the Wayback Machine, Official Charts Company (retrieved 13 May 2015).
  16. ^ Spizer, pp. 219, 239, 254.
  17. ^ "George Harrison: Awards", AllMusic (archived version retrieved 1 February 2021).
  18. ^ Huntley, p. 117.
  19. ^ a b Leng, p. 178.
  20. ^ Greene, pp. 216, 217–19.
  21. ^ Rodriguez, pp. 58, 199.
  22. ^ Badman, p. 158.
  23. ^ Herman; event occurs betwixt 22:59 and 23:42.
  24. ^ Kahn, pp. 208–09.
  25. ^ Leng, pp. 178, 179.
  26. ^ Rodriguez, p. 249.
  27. ^ Rodriguez, pp. 247–48.
  28. ^ a b c d e f Spizer, p. 274.
  29. ^ a b c Madinger & Easter, p. 451.
  30. ^ Clayson, pp. 345, 348.
  31. ^ Woffinden, p. 85.
  32. ^ Madinger & Easter, pp. 443, 451.
  33. ^ a b Leng, pp. 178–79.
  34. ^ The Editors of Rolling Rock, p. 46.
  35. ^ a b c Leng, p. 185.
  36. ^ Harrison, pp. 300, 312.
  37. ^ Clayson, pp. 349–50.
  38. ^ Rodriguez, p. 424.
  39. ^ a b c Allison, p. 7.
  40. ^ Rodriguez, pp. 58, 384–85.
  41. ^ Herman; events occurs between 31:37 and 32:25.
  42. ^ Kahn, p. 213.
  43. ^ a b Clayson, p. 350.
  44. ^ Leng, pp. 181–82, 183, 185, 186.
  45. ^ Allison, pp. 7–8.
  46. ^ Tillery, pp. 116–17.
  47. ^ a b Tillery, p. 116.
  48. ^ a b Badman, p. 165.
  49. ^ George Harrison interview, Rockweek, "George Harrison explains 'Grayness Cloudy Lies'" Archived 23 May 2014 at the Wayback Motorcar (retrieved 1 July 2012).
  50. ^ Harrison, p. 273.
  51. ^ Allison, pp. 7, lxxx–81, 143.
  52. ^ Inglis, pp. 53–54.
  53. ^ Leng, pp. 184, 186.
  54. ^ a b c Madinger & Easter, pp. 452, 453.
  55. ^ Badman, p. 144.
  56. ^ Dave Thompson, "The Music of George Harrison: An anthology-by-album guide", Goldmine, 25 Jan 2002, p. 17.
  57. ^ Tillery, pp. 115–16, 120.
  58. ^ Huntley, p. 124.
  59. ^ Inglis, p. 51.
  60. ^ Leng, pp. 181–82, 186.
  61. ^ Rodriguez, p. 59.
  62. ^ Badman, p. 125.
  63. ^ Woffinden, pp. 85–86.
  64. ^ Clayson, pp. 347–48.
  65. ^ Huntley, p. 106.
  66. ^ Harrison, p. 308.
  67. ^ Tillery, p. 117.
  68. ^ Leng, p. 182.
  69. ^ Clayson, p. 358.
  70. ^ Madinger & Easter, pp. 452, 455.
  71. ^ Leng, p. 180.
  72. ^ a b c Spizer, pp. 274, 275.
  73. ^ Spizer, p. 342.
  74. ^ Badman, p. 25.
  75. ^ Clayson, pp. 100, 281.
  76. ^ Madinger & Easter, p. 452.
  77. ^ Inglis, p. 53.
  78. ^ a b c d Spizer, p. 275.
  79. ^ Madinger & Easter, p. 453.
  80. ^ Rodriguez, pp. 184–85.
  81. ^ a b c Woffinden, p. 86.
  82. ^ Huntley, pp. 127–28.
  83. ^ Clayson, pp. 348–fifty.
  84. ^ a b c Rodriguez, p. 184.
  85. ^ Tillery, pp. 150, 168.
  86. ^ Nick Hasted, "From Here to Eternity: George Harrison Brainwashed", Uncut, December 2002, p. 134.
  87. ^ Leng, pp. 289, 291, 293.
  88. ^ Leng, pp. 75, 124, 147, 190, 199, 211, 229, 245.
  89. ^ Kevin Howlett's liner notes, Extra Texture (Read All About It) CD booklet (Apple tree Records, 2014; produced past George Harrison), p. four.
  90. ^ Leng, pp. 166, 178.
  91. ^ a b Olivia Harrison, "The History of Dark Horse Records", The Nighttime Horse Years 1976–1992 DVD booklet (EMI, 2004), pp. 2, five.
  92. ^ a b c d Leng, p. 179.
  93. ^ Sounes, p. 320.
  94. ^ Badman, p. 156.
  95. ^ Rodriguez, pp. 247, 424.
  96. ^ Clayson, p. 325.
  97. ^ Kevin Howlett'due south liner notes, Extra Texture (Read All About It) CD booklet (Apple Records, 2014; produced by George Harrison), p. six.
  98. ^ Hunt, p. 101.
  99. ^ Badman, pp. 163, 164.
  100. ^ Harrison, p. 65.
  101. ^ a b c d e Richard S. Ginell, "George Harrison Extra Texture", AllMusic (retrieved 15 April 2012).
  102. ^ Spizer, pp. 274–75.
  103. ^ a b Huntley, p. 122.
  104. ^ Inglis, p. l.
  105. ^ a b Leng, pp. 179–80.
  106. ^ Rodriguez, p. 385.
  107. ^ Huntley, pp. 122–23.
  108. ^ Rodriguez, pp. 83, 85.
  109. ^ a b c Snow, p. 73.
  110. ^ Lavezzoli, p. 200.
  111. ^ Rodriguez, p. 85.
  112. ^ Leng, pp. 179, 181, 185.
  113. ^ Castleman & Podrazik, pp. 152, 370.
  114. ^ Badman, pp. 163–64.
  115. ^ The Editors of Rolling Stone, pp. 192, 194.
  116. ^ Castleman & Podrazik, pp. 208, 377.
  117. ^ Leng, pp. 186, 187, 194.
  118. ^ a b c Carr & Tyler, p. 117.
  119. ^ Lavezzoli, p. 186.
  120. ^ a b Dave Marsh, "George Harrison Actress Texture" Archived 20 September 2017 at the Wayback Machine, Rolling Stone, twenty November 1975, p. 75 (retrieved 2 August 2014).
  121. ^ a b c John Harris, "Beware of Darkness", Mojo, November 2011, p. 82.
  122. ^ Rodriguez, p. 280.
  123. ^ Rodriguez, p. 384.
  124. ^ Huntley, p. 126.
  125. ^ Leng, pp. 181, 186–87.
  126. ^ Clayson, pp. 348–49.
  127. ^ Clayson, pp. 325–26.
  128. ^ a b c Badman, p. 164.
  129. ^ Extra Texture (Read All About Information technology) CD booklet (Apple Records, 2014; produced by George Harrison), pp. 8, xvi.
  130. ^ a b Spizer, pp. 275, 276.
  131. ^ Tim Neely, "George Harrison Solo Discography", Goldmine, 25 January 2002, pp. xv, 19.
  132. ^ The Editors of Rolling Stone, p. 102.
  133. ^ a b Spizer, p. 271.
  134. ^ a b Huntley, p. 128.
  135. ^ a b c d Schaffner, p. 182.
  136. ^ a b Christgau, Robert (1981). "George Harrison: Extra Texture". Christgau'south Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN0899190251 . Retrieved 30 October 2018.
  137. ^ Kahn, p. 191.
  138. ^ Kevin Hewlett's liner notes, Actress Texture (Read All About It) CD booklet (Apple Records, 2014; produced by George Harrison), p. 9.
  139. ^ Spizer, pp. 265, 275.
  140. ^ Castleman & Podrazik, p. 369.
  141. ^ Madinger & Easter, pp. 632, 633, 635.
  142. ^ a b Kahn, p. 192.
  143. ^ Ray Coleman, "Dark Horse", Melody Maker, 6 September 1975, p. 28.
  144. ^ Allison, p. 22.
  145. ^ Hunt, pp. 101, 102.
  146. ^ Castleman & Podrazik, p. 372.
  147. ^ The Editors of Rolling Stone, p. 194.
  148. ^ Leng, p. 189.
  149. ^ Castleman & Podrazik, p. 366.
  150. ^ Badman, p. 171.
  151. ^ Huntley, p. 129.
  152. ^ Castleman & Podrazik, p. 355.
  153. ^ a b Clayson, p. 349.
  154. ^ Badman, pp. 169, 171.
  155. ^ Peter Doggett, "George Harrison: The Apple Years", Tape Collector, April 2001, p. 40.
  156. ^ Madinger & Easter, pp. 443, 633.
  157. ^ Badman, p. 172.
  158. ^ Spizer, p. 277.
  159. ^ Rodriguez, pp. 280–81.
  160. ^ Badman, p. 473.
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  164. ^ "Announcing The Apple tree Years 1968–75 Box set – Released 22nd September" Archived 3 September 2014 at the Wayback Machine, georgeharrison.com, 2 September 2014 (retrieved 13 May 2015).
  165. ^ Hunt, p. 103.
  166. ^ Neil Spencer, "George Harrison Extra Texture (Apple)", NME, 20 September 1975, p. 23.
  167. ^ Ray Coleman, "Extra Texture: Back to the Sixties!", Melody Maker, half dozen September 1975, p. 30.
  168. ^ Leng, pp. 185–87.
  169. ^ Clayson, p. 351.
  170. ^ Paul Du Noyer, "Back Catalogue: George Harrison", Blender, April 2004, pp. 152–53.
  171. ^ Larkin, p. 2650.
  172. ^ Graff & Durchholz, p. 529.
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  178. ^ Rodriguez, pp. 178–93.
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Sources [edit]

  • Dale C. Allison Jr, The Dearest There That'due south Sleeping: The Fine art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ISBN 978-0-8264-1917-0).
  • Keith Badman, The Beatles Diary Volume 2: After the Break-Upwardly 1970–2001, Omnibus Press (London, 2001; ISBN 0-7119-8307-0).
  • Nathan Brackett & Christian Hoard (eds), The New Rolling Stone Anthology Guide (4th edn), Fireside/Simon & Schuster (New York, NY, 2004; ISBN 0-7432-0169-8).
  • Roy Carr & Tony Tyler, The Beatles: An Illustrated Record, Trewin Copplestone Publishing (London, 1978; ISBN 0-450-04170-0).
  • Harry Castleman & Walter J. Podrazik, All Together At present: The Kickoff Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ISBN 0-345-25680-8).
  • Alan Clayson, George Harrison, Sanctuary (London, 2003; ISBN i-86074-489-iii).
  • The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ISBN 0-7432-3581-9).
  • Gary Graff & Daniel Durchholz (eds), MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999; ISBN 1-57859-061-2).
  • Joshua Yard. Greene, Here Comes the Sun: The Spiritual and Musical Journeying of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ISBN 978-0-470-12780-3).
  • George Harrison, I Me Mine, Relate Books (San Francisco, CA, 2002; ISBN 0-8118-3793-9).
  • Dave Herman, "A Conversation with George Harrison", WNEW-FM, 24 May 1975 (recorded 26–27 Apr).
  • Chris Hunt (ed.), NME Originals: Beatles – The Solo Years 1970–1980, IPC Ignite! (London, 2005).
  • Elliot J. Huntley, Mystical I: George Harrison – After the Break-upwardly of the Beatles, Guernica Editions (Toronto, ON, 2006; ISBN 1-55071-197-0).
  • Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ISBN 978-0-313-37532-iii).
  • Ashley Kahn (ed.), George Harrison on George Harrison: Interviews and Encounters, Chicago Review Printing (Chicago, IL, 2020; ISBN 978-1-64160-051-4).
  • Colin Larkin, The Encyclopedia of Popular Music (5th edn), Autobus Press (London, 2011; ISBN 978-0-85712-595-8).
  • Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ISBN 0-8264-2819-iii).
  • Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ISBN 1-4234-0609-5).
  • Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.ane Productions (Chesterfield, MO, 2000; ISBN 0-615-11724-4).
  • Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ISBN 978-one-4165-9093-four).
  • Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ISBN 0-07-055087-5).
  • Mat Snow, "George Harrison: Repose Storm", Mojo, November 2014, pp. 66–73.
  • Howard Sounes, Fab: An Intimate Life of Paul McCartney, HarperCollins (London, 2010; ISBN 978-0-00-723705-0).
  • Bruce Spizer, The Beatles Solo on Apple tree Records, 498 Productions (New Orleans, LA, 2005; ISBN 0-9662649-five-ix).
  • Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ISBN 978-0-8356-0900-5).
  • Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ISBN 0-906071-89-5).

External links [edit]

  • Actress Texture (Read All About It) at Discogs (list of releases)
  • Harrison'due south Apr 1975 WNEW-FM interview at Paste 's website (archived version)

hernandezpaind1973.blogspot.com

Source: https://en.wikipedia.org/wiki/Extra_Texture_(Read_All_About_It)

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