George Harrison’s best solos with the Beatles
By Sergio Ariza
George
Harrison
was always known as the shy, or the quiet, Beatle;
but he never was when it came to the guitar. As a child he had a real obsession
with the instrument and used to happily draw Gretschs in his notebook while the
teacher gave the lesson. When he was 14 years old Paul McCartney introduced him to John Lennon, who was three years older
than him, he did not hesitate in nailing Raunchy
and gaining a position in the band. Neither did he think twice or remain silent
when Stuart Sutcliffe left the band, as they had to decide who would replace
him. Harrison had it clear "someone
has to be the bassist of the group and it will not be me." And long
before growing into being an incredible composer Harrison was clear that what
he wanted to be was a rock guitarist. Something that he got more than enough of
in the most famous band of all time. So here are 10 of the solos that we like
most from his time in the Fab Four.
Something (1969)
The most famous song of his
career, the one Frank Sinatra said
was his "favorite song by Lennon and
McCartney", is full of his wonderful guitar work, so much so that,
despite being one of the most covered songs in history, nobody has managed to
match the beauty of his melodic solo with 'Lucy', his beloved 1957 Les Paul
Standard; one of the most thrilling of all time.
Let it Be (1970)
There are two different
versions of one of the band’s most famous songs. One is the version that was
released as a single on March 6, 1970 and another is the one that appeared 20
days later on the album of the same name. Both start from the same take,
recorded on January 31, 1969, but contain two totally different solos, recorded
by George Harrison on two subsequent dates. This is because the guitarist had
not especially liked his original solo, recorded with his Strat through a
Leslie, and so he decided to re-record it with his 1968 Telecaster Rosewood,
also through the Leslie, on April 30, 1969. But on January 4, 1970, when the
band was already virtually separated, Harrison, Paul McCartney and Ringo Starr came together again to put
the finishing touches on the track before its release. So Harrison recorded a
new solo again, this time with 'Lucy' his Les Paul Standard. George Martin was in charge of the single’s
production, while Phil Spector was
in charge of the album. Each then chose a different solo: Martin that of April
and Spector that of January. I think the second one is the best of the two,
demonstrating again Harrison’s musicality - which is always at the service of
the song - with a somewhat distorted tone in contrast to the simplicity of the
song. It is melodic and simple, and this version is on fire. In the end he
returns strongly, adding the counterpoint to Paul's voice.
You Never Give Me Your Money (1969)
One of Harrison's best
guitar solos, also through the Leslie, which serves as the musical bridge in
the song between the calm piano part at the beginning and a part in which the
guitars of Harrison and Lennon shine especially, until 'All the children go to heaven ...' part, at which point there is
another spectacular solo by Harrison on his Rosewood Telecaster. A perfect song
to put on for all of those who think that the lad from Liverpool did not know
how to play...
The End (1969)
Recorded in the summer of
1969, Abbey Road was the last album
recorded by the most famous band of all time. They may not have been aware of
it but it is significant that the album ended with this legendary The End, part of a wonderful suite of
songs, along with Golden Slumbers and
Carry That Weight. It was as if they
wanted to confirm the explosive chemistry that came about whenever they played
together; in little more than two minutes there is time for each of the four
members to shine personally. First comes Ringo's only drum solo in the entire
career of The Beatles, then the ‘guitar duel’ with small turns for each of the
remaining three: first enters McCartney with his Epiphone ES-230TD 62, then
Harrison with his Les Paul 'Lucy' and, finally, Lennon with his Epiphone of 65.
Each one has three rounds, which serve to showcase three very different styles.
Harrison's is the most complicated, in the midst of Paul and John, serving as a
bridge between the melodicism of the first and the aggressiveness of the second
in a perfect way, and demonstrating, once again, that his role as lead
guitarist of the band was fully deserved.
A Hard Day's Night (1964)
Even if it was only because
of the initial tinkling chord on his 12-string Rickenbacker 360, this song
would have to be included because of its importance in shaping the sound of the
electric guitar (and if you do not think so ask Roger McGuinn and his Byrds) but it really is in the small
solo that he gives a masterclass with an excellent selection of notes played
twice and crowned with a striking circular effect. The curious thing is that he
found himself stuck with this solo and did not know how to progress it. The
band considered the possibility of Paul recording it but, in the end, he worked
on the solo and showed it to the producer, George Martin, who was so delighted
that he decided to doublé it on the piano himself, while Harrison played
simultaneously and achieved that unique sound.
Til There Was You (1963)
Normally when we think of
Harrison's contributions we think about his electric guitar parts but he also
left exceptional acoustic pieces and, as in this case, with the Spanish guitar.
Swapping his Gretsch for a Ramirez, Harrison put the icing on the cake of this
beautful number, sung by McCartney, with a solo that is, at the same time,
melodic and 'jazzy'. Soon after he would do the same with And I Love Her.
Old Brown Shoe (1969)
Despite appearing only as
the B side of The Ballad of John and
Yoko, Old Brown Shoe is another of Harrison's great songs. With a bluesy
and furious sound, Harrison takes charge of the distorted bass, in addition to
delivering another prodigious solo, one of the best technically of his career.
Octopus Garden (1969)
Ringo’s best song in the history of the Beatles, although it is clear
that the competition is not much, as it is the second, and last, composition
that he contributed to the band. Of course it is a remarkable song, mainly
because of the help given by Harrison, who was much more worried than his other
two partners in lending a hand to his friend when it came to composing and
arranging his own songs. His work on guitar, with a 1961 Strat this time (again through the Leslie),
is a true wonder and excels in the introduction, the end, and the fantastic
solo. As a curiosity it is worth saying that while the solo plays, the voices
of Harrison and McCartney were passed through compressors to make it sound like
they were under water, while Ringo blew a straw in a glass of milk to get the
sound of bubbles effect...
Free As A Bird (1995)
Even if it were just to have
a Beatles song with Harrison's slide in the foreground, it was worth a
reunion of the three living members to work on a Lennon demo. I know there are
a lot of people who do not think it's a great song but it excites me and that
has a lot of it to do with George's excellent work on, how could it be
otherwise: 'Rocky', his 1961 Strat. A true beauty.
Hey Bulldog (1968)
One of the most rocking songs in the band’s history, with a tremendous
riff in which Harrison shines with his cherry SG. The solo is aggressive and
direct which has led some to think that it is Lennon's work, but Geoff Emerick, the engineer on the
recording, remembers that it was recorded by George, using his new Fuzz, and making
his guitar scream.