Album Review: Living In The Material World [50th Anniversary Deluxe Edition] by George Harrison

Many of his spiritual and political concerns during and after his work that brought about the two benefit concerts in New York featuring, among others, Bob Dylan, Eric Clapton and Ravi Shankar, found their way into his evolving musical ideas that resulted in the release of Living in the Material World in the early summer of 1973. This album, now re-issued in an excellent re-mix by Paul Hicks, and overseen by the Harrison family, brings greater clarity to (and therefore allows our greater appreciation of) Harrison's remarkable musical range. Here are some first rate pop tracks alongside some heartfelt and, in some cases, more musically-complex, socially-aware compositions.

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George Harrison's fourth solo album, the deeply spiritual Living in the Material World, straddles hope and the realities of our bloated needs and wants. Curated and produced by his son Dhani and George's wife Olivia, the half-century edition is a stunning piece of work, delivered with the love and care you would expect. Limited to 5,000 copies, the Super Deluxe Edition box-set features the album on two LPs and two CDs, including a bonus disc with 12 previously unreleased renditions of every original album song.

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“Remember, now, be here now…” who could forget the brilliance or relevance of George Harrison's seminal track 'Be Here Now '. One of the most profound and powerful things that Harrison ever created beyond his work with The Beatles, has been revisited in the 50th anniversary reissue of 1973 album, 'Living in the Material World' . This definitive, expanded edition has been completely remixed from the original tapes of the album which featured Klaus Voorman on bass, Jim Keltner on drums, Nicky Hopkins on piano and Gary Wright on organ.

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More than 50 years after fans first heard Living In The Material World its broader themes of peace, love and understanding are as universally relevant as ever. Listening to the music again, however, tenderly and respectfully tweaked for 21st-century ears, there is a greater sense that, for much of the album, George Harrison is singing to himself. The shadow of the Fab Four still loomed large over in 1973, and although their subsequent careers kept them in the public eye George was noticeably becoming the most reclusive and least reluctant to exploit his past.

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