This 42-minute, eight-song live album, cut at Croydon late in 1969, is not only the peak of Delaney & Bonnie's output, but also the nexus in the recording and performing careers of Eric Clapton and George Harrison. On Tour features Clapton performing the same blend of country, blues, and gospel that would characterize his own early solo ventures in 1970. He rises to the occasion with dazzling displays of virtuosity throughout, highlighted by a dizzying solo on "I Don't Want to Discuss," a long, languid part on "Only You Know and I Know," and searing, soulful lead on the beautifully harmonized "Coming Home." Vocally, Delaney & Bonnie were never better than they come off on this live set, and the 11-piece band sounds tighter musically than a lot of quartets that were working at the time, whether they're playing extended blues or ripping through a medley of Little Richard songs.

Teaming with legendary Beatles obsessive Jeff Lynne, George Harrison crafted a remarkably consistent and polished comeback effort with Cloud Nine. Lynne adds a glossy production, reminiscent of ELO, but what is even more noticeable is that he's reined in Harrison's indulgences, keeping the focus on a set of 11 snappy pop/rock numbers. The consistency of the songs remains uneven, but the best moments – "Devil's Radio," "Cloud 9," "Just for Today," "Got My Mind Set on You," and the tongue-in-cheek Beatles pastiche "When We Was Fab" – make Cloud Nine one of his very best albums.

In 1986, Duane recorded with Art of Noise, a collaboration that brought a new twist to his 1960 best seller, "Peter Gunn." The song was a Top Ten hit around the world, ranking #1 on Rolling Stone Magazine's dance chart for six weeks that summer. As further confirmation of it's success, "Peter Gunn" won the Grammy for Best Rock Instrumental of 1986. The following year, a new album, the self-titled Duane Eddy, was released on Capitol. As a tribute to his influence and inspiration to so many young players, a crowd of unbelievable talent came along to be a part of this project. Tracks written by Paul McCartney, Jeff Lynne, and Ry Cooder were recorded. The "band" included Cooder, McCartney, George Harrison, John Fogerty, James Burton, David Lindley, Steve Cropper, and original Rebels, Larry Knechtel and Jim Horn.

1970' includes 74 previously unreleased studio recordings from 1970, most taken from the sessions for the "New Morning" and "Self Portrait" albums. Also included are the nine songs from the legendary session with George Harrison.

1993 digitally remastered domestic U.S. Apple / Capitol CD reissue of the pop-soul legend's 1970 record album produced by George Harrison. Features 15 tracks including 2 George Harrison covers, 'My Sweet Lord' & 'All Things (Must) Pass' & 1 Lennon/McCartney cover, 'I've Got a Feeling', as well as 2 bonus tracks, the previously unreleased 'As Long As I Got My Baby' & 'All That I've Got (I'm Gonna Give It To You)'.

George Harrison's albums have been notoriously uneven, but despite the rough patches, his talent for songcraft never really left him, as the compilation The Best of Dark Horse (1976-1989) proves. A 15-song retrospective covering five albums, The Best of Dark Horse contains nearly every gem from 33 1/3, George Harrison, Somewhere in England, Gone Troppo, and Cloud Nine, including "Crackerbox Palace," "All Those Years Ago," "Got My Mind Set on You," "Cloud 9," "When We Was Fab," and the lovely "Blow Away." For most casual fans, the record will be a welcome summation of a hit-and-miss era of Harrison's career.

In honour of its 50th Anniversary, George Harrison’s Living In The Material World is being celebrated with a suite of new releases overseen by Dhani & Olivia Harrison and featuring a stunning new mix of the classic album by Grammy Award-winning mixer/engineer Paul Hicks that elevates the album with a sonic upgrade, delivering a sound that’s brighter, richer, and more dynamic than ever before. Living In The Material World 50th Anniversary will be available November 15th via Dark Horse Records / BMG

In 1971, hearing Ravi Shankar’s distress, George helped organize the Concert for Bangladesh at Madison Square Garden. At that time, the country was ravaged by floods, famine and civil war, which left 10 million people — mostly women and children — fleeing their homes. The Concert for Bangladesh was one of the most ambitious humanitarian efforts in rock music history, and focused global attention on the crisis in Bangladesh while raising new awareness of UNICEF and its role in the developing world.
In the tradition established by George Harrison and Ravi Shankar, The George Harrison Fund for UNICEF continues to support UNICEF programs in Bangladesh while expanding its influence to include other countries in crisis where children are at risk.

Nicknamed "the Quiet Beatle" at the height of Beatlemania, George Harrison did indeed seem somewhat reserved compared to the other members of the Fab Four. He favored wry wit to Ringo Starr's clowning, and he never indulged in either John Lennon's penchant for controversy or Paul McCartney's crowd-pleasing antics. He preferred sly provocations to larger-than-life bravado. Harrison's measured, considered persona was reflected in his music, particularly his clean, composed lead guitar parts but also in his earliest songs for the Beatles where he didn't seem to waste a line. With the introduction of psychedelics, spirituality, and Indian music in the mid-'60s, George's horizons expanded considerably and he started to come into his own as a musician, releasing a pair of experimental albums on Apple's Zapple offshoot before settling into a songwriting style that spliced Dylanesque introspection with his natural pop grace, while also developing a unique slide guitar technique that owed nothing to the blues. Later Beatles albums hinted at this flowering of talent; The Beatles and Abbey Road contained some of his strongest work, with the latter including the standard "Something," a song Frank Sinatra called "the greatest love song of the past 50 years." Still, it wasn't until the 1970 release of All Things Must Pass, the post-Beatles triple album that was effectively his solo debut, that the general audience appreciated the depth of his talents.

One of the greatest figures of the 20th century, Bob Dylan helped shape the sound and form of popular music in the rock & roll era. Dylan emerged from the Greenwich Village folk scene in the early 1960s, earning a reputation as a perceptive, powerful songwriter, equally capable of penning a protest anthem or a romantic love song. His flair for impressionistic, stream-of-conscious lyrics marked a shift within folk music, an evolution Dylan also introduced to rock & roll when he picked up an electric guitar in 1965. Over the course of 18 months, he released Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde, a trio of records that broadened the vocabulary of rock & roll, placing Dylan at the cutting edge of popular culture.

George Harrison's albums for Dark Horse drifted out of print in the late '90s as his contract with Warner Brothers expired. Over the half-decade, they fetched high prices on the collector's market, as any relatively rare Beatles-related item does, and the demand for these records - along with the Traveling Wilburys albums, which were part of Harrison's Dark Horse/Warner contract - never diminished. At the time of his death in November 2001, the albums were being prepared for reissue, but his passing delayed them for a few more years, and it wasn't until February 2004 that the albums - Thirty Three & 1/3 (1976), George Harrison (1979), Somewhere In England (1981), Gone Troppo (1982), Cloud Nine (1987), and Live in Japan (1992) - were reissued, both individually and as part of the lavish box set Dark Horse Years 1976-1992. All five of the studio albums have been remastered and are graced with a bonus track or two.

This is an afternoon studio session between George Harrison, Bob Dylan and somefriends at Columbia Studio B (NYC) on May 1, 1970 while Bob was drumming up material for his New Morning project. The sound quality is absolutely perfect in every respect. T are a few remarkable performances , particularly “Da-Doo-Run Run” (Bob & George duet), the Everly Brothers' classic “All I Have To Do Is Dream,” “Song To Woody,” and the Beatles' “Yesterday” (which is hard to believe he actually sang!) Overall, it's a very enjoyable way to spend an hour.

Arriving ten years after The Dark Horse Years: 1976-1992, The Apple Years: 1968-75 offers the first act of George Harrison's solo career presented in a handsomely produced, impeccably remastered box set. The outside packaging mirrors The Dark Horse Years but the discs housed inside the box show a greater attention to detail than the previous set: each of the albums is presented as a paper-sleeve mini-LP replicating the original album art (Extra Texture does indeed have extra texture on its sleeve), while the brief hardcover book contains perhaps the glossiest paper to ever grace a rock music box set. Better still, the remastering of all six albums is superb. Supervised by Harrison's son Dhani, the team mastermind by Paul Hicks, who worked on the acclaimed 2009 Beatles remasters, and featuring Gavin Lurssen and Reuben Cohen, bring The Apple Years to the same sonic standard as the 2009 Beatles remasters and the results are rich, deep, and alluring…

George Harrison went quiet not long after the second Traveling Wilburys album, surfacing only for the Beatles' Anthology in the mid-'90s. He was recording all the while, yet he died before completing the album that would have been the follow-up to 1987's Cloud Nine. His son, Dhani, and his longtime friend/collaborator Jeff Lynne completed the recordings, released late in 2002, nearly a year after George's death, as Brainwashed. Given its baggage it's easy to be suspicious about the merits of Brainwashed prior to hearing it. Posthumous efforts often feel incomplete, Harrison's albums were frequently inconsistent, and Lynne favors ornate, cinematic productions that run contrary to George's desire for this project to be simple and low key - nothing that would suggest that Brainwashed would be a success…

George Harrison En qualité de guitariste des Beatles, les contributions de George Harrison ont brillé par leur mélange d'efficacité et de sobriété, reflétant une personnalité discrète cachant des trésors d'inventivité comme en témoignent ses compositions pour le quatuor comme "While My Guitar Gently Weeps", "Here Comes the Sun" ou "Something". En solo, c'est en 1970 et avec All Things Must Pass, triple album produit par Phil Spector, qu'Harrison ouvre enfin en grand les vannes de sa créativité, marquant les esprits avec des titres comme "My Sweet Lord" ou "Isn't It a Pity" avant de revenir en 1973 avec Living in the Material World pour ne retrouver la lumière des projecteurs qu'en 1987 avec Cloud Nine et le hit "Got My Mind Set on You" ainsi que via sa participation au projet all-stars The Traveling Wilburys en 1988, treize ans avant son décès en 2001 à l'âge de 58 ans.