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When I went to buy that Mississippi Fred McDowell album yesterday, my LRS had a display of imported solo Beatle albums on display. I went home and thought about them, then today I went back and bought two. I used to have Wonderwall Music when I was a teenager, but it didn't appeal to me at the time, so I got rid of it. Now I'm curious: How bad could it really be? Well, the two of them are ranked as George's two worst albums, with Electronic Sound being the very worst.
Here's an online review: "Apple Records officially arrived with an Eastern-flavored Top 50 vanity project that – unlike some of what followed (looking at you, John Lennon) – almost worked. George Harrison oversaw sessions held in England and India at the turn of 1968 that featured both Indian classical musicians, as well as Richie Snare and Eddie Clayton (pseudonyms for Ringo Starr and Eric Clapton, respectively). It ends up feeling unfinished, however, since the abbreviated, very episodic songs were created with a film soundtrack in mind." Today I found it to be pleasant enough, all instrumental, pretty much as I remembered it, something I might play in the background as I read. I remember now: because I was so underwhelmed with it when I was in high school, I never even bought Electronic Sound, which I listened to for the first time today.
Here's an oline review: "Featuring lengthy experiments on the then-new Moog synthesizer, this isn't so much music as it is a journey of discovery – one that took Harrison far outside of his pop-song comfort zone. As such, most rightly view Electronic Sound as a best-avoided musical blind alley. Still, a growing interest in keyboards directly impacted Harrison's next two projects, both of which stand at the pinnacle of his output. He contributed synth to "Because" and "Here Comes the Sun" for the Beatles' Abbey Road, while white-noise experiments like these had a huge impact on John Lennon's "I Want You (She's So Heavy)," also from Abbey Road, and on "I Remember Jeep" from Harrison's All Things Must Pass."
That's fair. The most interesting thing was Geoge's son Dhani explaining his dad's front and back cover paintings (which he still owns) in the liner notes. As bad as Electronic Sound is, it's a masterpiece compared to John Lennon's Two Virgins (which is what the online revierer was undoubtedly referring to above). Just as I never bought Electronic Sound after hearing Wonderwall Music, I never bought Life With the Lions after hearing Two Virgins. Now I'm wondering if I should go back to my LRS yet again to buy Live Peace in Toronto on CD. (Probably not, since I already own it on vinyl.) It's... something. (You can read about it HERE.) Yoko gets side two in its entirety, and she is introduced by John saying, "And now Yoko's going to do her thing... all over you."
JD DeLuzio > Jeff of Earth-JAugust 8, 2026 at 6:48am
The film for which Wonderwall Music is the soundtrack is a truly bizarre piece of its era. I've only heard the music in the context of the film. My thumbnail review from about three years ago, when I finally saw it:
Wonderwall (1968): a late-sixties piece of psychedelia with an experimental soundtrack by George Harrison, the film involves a stuffy professor (Jack MacGowran) in a cluttered apartment who discovers a hole in the wall that permits him to peep into the life of his counterculture neighbour, a model named Penny Lane (Jane Birkin). It has great production design (by the Fool) some good bits and an interesting ending, but it’s far too slow and too interested in surreal and psychedelic flourishes. Oasis took the title for their song but, supposedly, because they knew the Harrison soundtrack album, rather than the film.
As for Live Peace, there's a very watchable documentary about the entire event, one of two oft-forgotten concerts that became known as "Canada's Woodstock," though there wasn't much Canadian content. Never mind. REVIVAL69: The Concert That Rocked the World (2022): Ron Chapman’s remarkable film of the story behind the legendary Toronto concert, and the implausible (and now, probably, impossible) circumstances that brought John Lennon, Eric Clapton, the Doors, the then-unknown Alice Cooper, Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis, Gene Vincent together. Alice Cooper destroys a chicken, the organizer faces death threats, Lennon gets escorted by Toronto police and the Vagabonds (local motorcycle gang), future Rush star Geddy Lee drops acid, Kim Fowley involves himself, and a lot more.
doc photo > Jeff of Earth-JAugust 12, 2026 at 11:33am
The Sonny Boy Williamson version is a classic bit of blues but credit to The Who for their arrangement that transforms it into something totally different.
John Lennon and Paul McCartney wrote this song for the Rolling Stones. They just sat down in a bar somewhere and wrote it in front of them. Legend is, this is what led Mick Jagger and Keith Richards to write their own music. The Beatles later gave the song to Ringo to sing on their second album.
Replies
WONDERWALL MUSIC & ELECTRONIC SOUND:
When I went to buy that Mississippi Fred McDowell album yesterday, my LRS had a display of imported solo Beatle albums on display. I went home and thought about them, then today I went back and bought two. I used to have Wonderwall Music when I was a teenager, but it didn't appeal to me at the time, so I got rid of it. Now I'm curious: How bad could it really be? Well, the two of them are ranked as George's two worst albums, with Electronic Sound being the very worst.
Here's an online review: "Apple Records officially arrived with an Eastern-flavored Top 50 vanity project that – unlike some of what followed (looking at you, John Lennon) – almost worked. George Harrison oversaw sessions held in England and India at the turn of 1968 that featured both Indian classical musicians, as well as Richie Snare and Eddie Clayton (pseudonyms for Ringo Starr and Eric Clapton, respectively). It ends up feeling unfinished, however, since the abbreviated, very episodic songs were created with a film soundtrack in mind." Today I found it to be pleasant enough, all instrumental, pretty much as I remembered it, something I might play in the background as I read. I remember now: because I was so underwhelmed with it when I was in high school, I never even bought Electronic Sound, which I listened to for the first time today.
Here's an oline review: "Featuring lengthy experiments on the then-new Moog synthesizer, this isn't so much music as it is a journey of discovery – one that took Harrison far outside of his pop-song comfort zone. As such, most rightly view Electronic Sound as a best-avoided musical blind alley. Still, a growing interest in keyboards directly impacted Harrison's next two projects, both of which stand at the pinnacle of his output. He contributed synth to "Because" and "Here Comes the Sun" for the Beatles' Abbey Road, while white-noise experiments like these had a huge impact on John Lennon's "I Want You (She's So Heavy)," also from Abbey Road, and on "I Remember Jeep" from Harrison's All Things Must Pass."
That's fair. The most interesting thing was Geoge's son Dhani explaining his dad's front and back cover paintings (which he still owns) in the liner notes. As bad as Electronic Sound is, it's a masterpiece compared to John Lennon's Two Virgins (which is what the online revierer was undoubtedly referring to above). Just as I never bought Electronic Sound after hearing Wonderwall Music, I never bought Life With the Lions after hearing Two Virgins. Now I'm wondering if I should go back to my LRS yet again to buy Live Peace in Toronto on CD. (Probably not, since I already own it on vinyl.) It's... something. (You can read about it HERE.) Yoko gets side two in its entirety, and she is introduced by John saying, "And now Yoko's going to do her thing... all over you."
The film for which Wonderwall Music is the soundtrack is a truly bizarre piece of its era. I've only heard the music in the context of the film. My thumbnail review from about three years ago, when I finally saw it:
Wonderwall (1968): a late-sixties piece of psychedelia with an experimental soundtrack by George Harrison, the film involves a stuffy professor (Jack MacGowran) in a cluttered apartment who discovers a hole in the wall that permits him to peep into the life of his counterculture neighbour, a model named Penny Lane (Jane Birkin). It has great production design (by the Fool) some good bits and an interesting ending, but it’s far too slow and too interested in surreal and psychedelic flourishes. Oasis took the title for their song but, supposedly, because they knew the Harrison soundtrack album, rather than the film.
As for Live Peace, there's a very watchable documentary about the entire event, one of two oft-forgotten concerts that became known as "Canada's Woodstock," though there wasn't much Canadian content. Never mind. REVIVAL69: The Concert That Rocked the World (2022): Ron Chapman’s remarkable film of the story behind the legendary Toronto concert, and the implausible (and now, probably, impossible) circumstances that brought John Lennon, Eric Clapton, the Doors, the then-unknown Alice Cooper, Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis, Gene Vincent together. Alice Cooper destroys a chicken, the organizer faces death threats, Lennon gets escorted by Toronto police and the Vagabonds (local motorcycle gang), future Rush star Geddy Lee drops acid, Kim Fowley involves himself, and a lot more.
I've never heard anything about the film Wonderwall, so thanks for that. (I don't think I'll be seeking it out any time soon, however.)
The Concert That Rocked the World sounds interesting, though.
I suspect that these are good decisions.
COMPARISONS #6-7 - Leadbelly:
COMPARISONS #8-9 - Robert Johnson
COMPARISON #10 - Blind Willie Johnson
COMPARISON #11- Sonny Boy Williamson
Which cover do you prefer?
The Sonny Boy Williamson version is a classic bit of blues but credit to The Who for their arrangement that transforms it into something totally different.
What's the difference between the "Mods" and the "Rockers"?
COMPARISONS #12-14:
REPORTER: Are you a "Mod" or a "Rocker"?
RINGO: I'm more of a "Mocker."
John Lennon and Paul McCartney wrote this song for the Rolling Stones. They just sat down in a bar somewhere and wrote it in front of them. Legend is, this is what led Mick Jagger and Keith Richards to write their own music. The Beatles later gave the song to Ringo to sing on their second album.
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