George Harrison - Gone Troppo
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CD Details
Artist: George HarrisonEdition: Music CD
Format: Extra tracks, Original recording remastered
CD Release Date: 2004-02-24
Music Label: Capitol
Soundtracks:
- Wake Up My Love
- That's The Way It Goes
- I Really Love You
- Greece
- Gone Troppo
- Mystical One
- Unknown Delight
- Baby Don't Run Away
- Dream Away
- Circles
- Mystical One-Demo Version (Bonus track)
Music reviews of Gone Troppo
Music Review: GONE TROPPO (1982)
Rating: 4 Stars
Presented here, is part one of what has plagued Harrison's career, and the public response to his Art. If one approaches this album much like George approached making it, light-hearted, pleasant, enjoyable and full of Sunshine and Tropic atmosphere, you'll get a lot of out of it. Because it's truly a pleasant album meant to be enjoyed, because Harrison went into recording songs he just wanted to do and have a good time doing so after the bad vibes from `Somewhere In England' (1981). It's pleasant pop. It's what McCartney has been doing for years. But in McCartney's hands, the public would either revile it (critically), but call it Pop Genius. It could be as quaint as apple pie, it would still be called more McCartney Magic. When Harrison produces just pleasant pop tunes, it seriously sounds like a step down from his usual plateau. And that's because he put so many powerful, and meaningful messages in his body of work, that when he produces work like Gone Troppo, it never will compare with something as majestic as All Things Must Pass (1970), as painful as Dark Horse (1974), or as spiritually revealing as Living In The Material World (1973). Or his work on behalf of the Bangladesh people in 1971/1972. Harrison put as much as he was willing to publicly reveal into his work, and albums like Gone Troppo are mainly done for fun, and to please oneself. It cannot compare on a pop level to how much Art is in his career. So try not to be too harsh on the album, because Harrison, even producing enjoyable pop, still puts in a level of craftsmanship, humour, and `Pop Genius' into his most `easy to digest' work.
Part two of what plagued Harrison's career is an altogether strange phenomena. It's called Fame. And Fame is a very strange creature when it comes to the Fan, The Media, and The Artist. Whether you are an actor, a musician, a painter, when you eventually get the chance to show what you're made of, people respond in a natural way. They like what you do, and they want more. In the business end, this turns into dollars and pounds, but also stamps the individual(s) as public property just by right of purchase. So every portion of the artist's life is expected to be `bought' along with whatever they release that got them noticed in the first place. So you're condoned in seeing their wives cheat on them, their houses go up for sale, their dog having fleas, their latest film flopping, all as part and parcel of the product called Human Being No. 1,299,358,601.A (M or F). This is not exactly what these people were asking for in seeking to show what they're talented in. And they also don't come by your house to see who's sleeping with whom, and who ran off with someone's dog the other week.
The `strange' thing that happens is that when an artist starts exposing more of what they believe, what they're opinions are, how they feel being human, no one wants to know. People are interested in the fantasy image of this person, all the gossip and the backstabbing, the imagined trysts, the dreamed up shenanigans. The entire illusion of a person that has been bought as, let's say `The Quiet One'. When that artist, and we'll take The Quiet One (Model No. 24-02-43/Liverpool) starts saying he is not all that quiet, has plenty of things to say about the illusion, fills his art with pieces dedicated to his spiritual beliefs, his concerns, his feelings, his emotions and thoughts, Joe Public doesn't want to know. And Joe Public (and Dan Media) often starts hurling derision toward the artist for messing with the Fantasy they bought. As if this human being is like a CD Player, and the consumer has just found out that tracks 1 - 10 play fine, until they start reading the lyrics, and then feel the product is defective, even though it plays perfectly. If the artist dare complain about Privacy, and that their whole lives are not an Item For Sale, just their music, the public turns their back on them for daring to insinuate respect has been breached. It's a very strange phenomenon. Almost a little sick.
So Gone Troppo was released with little fanfare, no promotion, nothing. It sank without a trace, and Harrison moved on to the Quiet Life of gardening. Until he made a huge splash on the scene with Cloud Nine (1987) 5 years later. But Harrison always had it in him to be `successful'. It's whether he could be bothered or not, and Gone Troppo is Harrison `not bothered' in reaping rewards of cash for tunes. Their just songs written for his enjoyment, and the joy of writing songs.
WAKE UP MY LOVE - Pure synthesizer pop, with a great vocal. In another world, a hit single. Even though it's very 80's sounding, this song wouldn't sound so out of place on 1976's 33 & 1/3. Harrison also plays Bass Guitar on this track, and it's a great bass line.
THAT'S THE WAY IT GOES - Beautiful song, and truly memorable as one of Harrison's best compositions. Probably half of the reason why this is the only song from his 80's output to be performed at The Concert For George. An acerbic look at Greed and Avarice, with upbeat musical accompaniment.
I REALLY LOVE YOU - (Swearingen). A truly successful cover version that really gives no indication of it being Harrison. You wouldn't know it was him, since most of the lead vocal is given to Baritone singer Willie Greene. He would turn `Got My Mind Set On You' into a massive hit single a few years later with the same attitude that goes into this song. The song was originally done by The Stereos in 1961.
GREECE - says instrumental, but it isn't. There is singing done in it. And even though the title speaks of Greece, there is quite a bit of Indian in the slide guitar runs. Indian never truly left Harrison's style just because he no longer played sitar on recordings. It was still there in his slide guitar, which comes close in execution to the way Indian Violin is played. A truly catchy song, probably one of my favourites from the album.
GONE TROPPO - Hawaiian Calypso music. A great song, with a great guitar solo, and it sums up why Harrison made the album in the first place.
MYSTICAL ONE - the remaster also includes the demo of this song, and it is worth it. Another incredibly catchy song amongst the likes of WAKE UP MY LOVE and THAT'S THE WAY IT GOES, Mystical One is one Harrison's best offerings on what is truly an enjoyable album so far.
UNKNOWN DELIGHT - A beautiful ballad, and George was incredibly good at ballads, as `Something' surely testifies. This song, `Your Love Is Forever' (1979), `Never Get Over You' (2002), and `Learning How To Love You' (1976) all stand proud up against that seminal Harrison composition.
BABY DON'T RUN AWAY - welcomes the return of Billy Preston to a Harrison album, and a welcome one it is. Though I love the Mystical One demo, I would be really interested to see if there was an acoustic guitar demo of this song available. This version is very synthesiser orientated, and it would be nice just to hear a simple acoustic rendition of it. Very nice song.
DREAM AWAY - written for Terry Gilliam's Time Bandits film, this song also has some `truthful' telling in its lyrics. It is a veiled reference to the arguments Terry Gilliam and Denis O'Brien (George's Handmade Films partner) were having over the film, and Gilliam is notorious for artistic integrity, always threatening to destroy the master negative of any film he makes, should he not get his way! Gilliam found much relevance in its lyrics in hindsight.
CIRCLES - a song that goes all the way back to 1968. Another lost Harrison track from the days when he couldn't get anything on an album unless he pushed harder than the other two who worked as a team. 2 against 1 is barely fair. But I must say I'm glad CIRCLES waited 14 years to surface, because The Beatles wouldn't have gotten it right. Nothing against their musical talent, but this 1982 interpretation blends the classical with soul & blues. It's one of the most emotional of the songs on Gone Troppo, and is served far better here than if it had appeared on any Beatles album.
Truly worth a purchase. GONE TROPPO is Harrison having fun with music. But if you look closer, there's quite a bit of the Artist still there, who puts depth and insightfulness, even the most pleasant and buoyant songs.
Description of Gone Troppo
Japanese version for the Beatle collector.Track listings are the same as the USA edition.Classic Rock CDs
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