Thirty Three & 1/3

1. Woman Don't You Cry for Me

2. Dear One

3. Beautiful Girl

4. This Song

5. See Yourself

6. It's What You Value

7. True Love

8. Pure Smokey

9. Crackerbox Palace

10. Learning How to Love You

Thirty Three & 1/3,George Harrison,Warner Bros / Wea,Album Rock,England,Pop/Rock,Popular Music,Psychedelic,Rock,Singer/Songwriter

Average customer rating:

I am not surprised
The George We Love
Correction -- for the editor
Classic Harrison Stays With You
After two speed bumps, George gets back on smoother ground

Thirty Three & 1/3
George Harrison
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Pop | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Singer-Songwriters | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music
Similar Items:

George Harrison
Cloud Nine
Dark Horse
Somewhere in England
Extra Texture

ASIN: B00014TJ6G
Release Date: 2004-02-24

Tracks:

Woman Don't You Cry For Me
Dear One
Beautiful Girl
This Song
See Yourself
It's What You Value
True Love
Pure Smokey
Crackerbox Palace
Learning How To Love You
Tears Of The World (Bonus track)

Customer Reviews:

I am not surprised.......2007-02-15

I am not surprised regards to his magical work of art and music. This album was......SIMPLY MAGICAL. I NEVER get sick of it listening over and over and over everyday, I am getting healthier calmer and happier daily. Thank you George, and his magic continue on.........

The George We Love.......2006-08-04

Thirty Three and 1/3 is George Harrison's first LP on his own Dark Horse label. It comes after a good many months of personal ordeal. Harrison made a concert tour with a show that mirrored The Concert for Bangladesh. East-West music. All the top Indian musicians opened the show, and then George and his band took over after the intermission. A bright highlight of the tour was a visit to the White House, as the guest of Jack Ford, son of Gerald Ford, President. This was perhaps the first visit to the White House by a Beatle.
About half way though the tour his voice was thrashed. He became sick with jaundice. To fulfill his EMI contract, he recorded Extra Texture (Read All ABout It), where he even made a joke at his own expense (Ohnothimagain, Oh, not him again). His wife left him for Eric Clapton. Drank a good amount of brandy. However his association with A & M Records(which was the parent company of Dark Horse Records BEFORE Warner Brothers Records took it under its wing), brought about his meeting Olivia Trinidad Arias, whom he married and had a son, Dhani.
So, this album represents a George whose life had just gone from the lower depths, to heaven, in just a matter of months. Other reviews have already given a good detailed description of the tracks on this album, so I won't try to duplicate those efforts here.
One of the photos that accompanied the original album art was one of Harold Harrison Sr., George's father, with George, posing outside Friar Park. George had his father, as well as his brother Pete, residing with him on his estate in Henley on Thames, just outside London. Pete stills resides there to this day. (12/06)

Correction -- for the editor.......2005-08-08

Hi there: Stupidly wrote in my review that Gary Wright was from Procol Harum -- duhhh, he was from "Spooky Tooth". Please correct. Thanks.

Classic Harrison Stays With You.......2005-08-08

I've just recently come back to this album on CD after *many* years. After 33 1/3 was released on vinyl in 1976 (the title's now a bit silly), I virtually played the grooves off it, finding that tunes like "It's What You Value", "Crackerbox Palace", "This Song", and even the meditational "Dear One" had smart hooks that stuck in my head like crazy. I was then -- and am now -- convinced that this album is a really fine example of Harrison's tunesmithing and production sense. As a working musician, coming back now brings new value. The players here are 1st rank: friends Gary Wright (Procol Harum) and Billy Preston on keyboards along with the late lamented Richard Tee on piano and even the now-legendary David Foster. Willie Weeks lays down great, funk-inspired bass lines (see "Woman Don't You Cry For Me", and Alvin Taylor (Eric Burdon, Frank Zappa, Elton John, etc.) has great rock sense. There are times when the Tom Scott (sax)/Richard Tee duo sound recalls the Saturday Night band sound or Paul Simon's "One Trick Pony" days. This is strong material, beautifully produced, and expertly played. There's also some very interesting Harrison guitar work (e.g. the solo in "Pure Smokey"), as every understated and tasty. Beyond "All Things Must Pass" this is my favourite George Harrison album. Well worth looking at.

After two speed bumps, George gets back on smoother ground.......2005-06-28

While I have not heard much from 1974's DARK HORSE & 1975's EXTRA TEXTURE, the fact most fans do not hold these albums in very high esteem has already convinced me to hold off purchasing them until further notice. Taking that into consideration, George Harrison probably considered his next album to be a bit of a rebirth, what with a new distribution deal for his Dark Horse label & the voice problems that had marred DARK HORSE the album long gone. Of course, the album was to have been released on his 33 & 1/3rd birthday (in June of 1976), but was delayed until near the end of the year. When it did arrive however, it was clear THIRTY THREE & 1/3 was some of George's strongest work (solo or with the Beatles) in some time.

As some reviewers have rightfully claimed, George did not seem to care very much for chart success, unlike Sir Paul McCartney who owes his status as one of the richest entertainers in the world to constantly shooting for the top of the charts. So while his singles after 1973's #1 "Give Me Love [Give Me Peace On Earth]" only fared modestly well (he would not see the top 10 again for 8 years), we could be sure George was not losing any sleep over it. As long as he made music that reflected his inner being & beliefs, the commercial success was just gravy. That being said, THIRTY THREE & 1/3 just happens to be a personal effort with enough universality to win over the marketplace (evidenced by 2 top 40 hits).

Thanks to the highly insightful liner notes (from George's autobiography I ME MINE, which I must get someday), the songs on THIRTY THREE & 1/3 show just how his ideas for material can come from almost anywhere. The funk-blues of "Woman Don't You Cry For Me" opens things up, and its prominent clavinet would have certainly made it a candidate for Stevie Wonder's 1970s albums. A slight difference in his normal guitar-playing style brought about this song, and the fact it was written & played on a bottleneck slide is more than prophetic. George's 1980s music would feature a heavy amount of slide in his playing to the point where it became a late-period trademark. This song was the prototype.

George the spiritualist gets its obligatory workout on THIRTY THREE & 1/3 with "Dear One". Naturally, George's inspiration in Indian religion is often the make-it-or-break-it part of a fan's admiration of George's music. He can come close to proselytizing in a way that runs directly counter to a listener's more traditional beliefs, and that is often too much for them to bear. However, when you strip away the unconventional religiousness aside, "Dear One" works almost on its engaging instrumentation alone. Gary Wright's keyboards definitely make this song (especially the churchy organ), along with George's not-too-shabby dabbling in synthesizers.

George even began to dig back into his catalog for some unfinished gems to finally polish off. "Beautiful Girl" had originally been written by George for a Doris Troy album, but could not find a way to finish it at the time. Eventually, the tune came back to him, and made it to order on THIRTY THREE & 1/3. The song proves that even George can turn out a devotional love song like Paul, but with not nearly as much sentimentality as him. Even at its most celebratory, it is far from gushing.

1976 was also the year that George finally lost his battles with the publishers of "He's So Fine" with a judge claiming he had "unknowingly" plagiarized the tune for his own "My Sweet Lord". Royalties from "My Sweet Lord" would then be awarded to the publishers and the estate of the songwriter of "He's So Fine" (although I believe some years later, George would eventually win his own song back). With not much left to do but laugh at his troubles, George created the funny-as-hell "This Song", certainly one of the cleverest tunes he (or anyone else) has ever written. Daring to lift obvious melodies from The Four Tops & T. Rex (can you guess which?), it is clear George & crew were having a ball recording this one. Those who owned those songs probably were too busy smiling at the mood of "This Song" to ever think about calling their lawyers. But perhaps it was too clever for the general public, hence its topping out at #25. Surely, it deserved to go higher!

Another lost song rescued from the scrap heap was "See Yourself", George's commentary on the press brouhaha surrounding Paul's admission back in 1967 that he had taken LSD. George had started it at the time, but then forgot about until a decade later when he needed a tune for this album. Pretty sage advice from George saying "It's easier to tell a lie/than it is to tell the truth", showing that sometimes the truth does not necessarily set a person free.

A quarter century before saluting the American Songbook became a standard practice & career-reviver (are you listening, Rod Stewart?), George was doing it occasionally & with a surprising twist often enough. Cole Porter's "True Love" is given a vast rethinking with more syncopation & backbeat than Cole may have originally envisioned, but it actually works fantastically. George obviously knew when to be reverent towards the original article, but not be afraid to bend the rules just a tad.

The gently-bluesy and bouncy (thanks to Tom Scott's horn arrangement) "It's What You Value" is an interesting version of George's long-standing fascination with the materialism of humanity. He wrote it about his friend drummer Jim Keltner, who was asked to fill in during the 1974 Dark Horse tour on the condition that he received no payment for his services. George instead paid Jim by buying him a car, which ticked off the rest of his bandmates who merely got cash. The song seems to have George observing that there are people who value the green stuff, and others who are more practical and would rather have something tangible they can use. Even this early, George's fascination with automobiles was more than evident.

Being the humble guy he always was, George admits that he has been inspired by fellow greats himself. "Pure Smokey" was his tip of the hat to Smokey Robinson, who was certainly more than deserving of a tribute from somebody. Anyone who thinks this was a tribute to smoking drugs have definitely missed the point by a couple miles. As he himself claimed, George was right in saluting Smokey while he was still alive rather than waiting until he passed away, which is the only way to do a tribute song.

The second top 40 hit after "This Song" came with "Crackerbox Palace" (#19), and proves that even George can be a master pop craftsman when he wants to. It practically defines the term "catchy", much in the same way he would prove with "Blow Away" on this album's follow-up. Partly inspired by legendary British comedian Lord Buckley, like "Dear One", its esoteric lyricism is made palatable by a melody that is literally inescapable. The term "Beatlesque" is often bandied about like mad, but "Crackerbox Palace" is one song that is deserving of it through & through.

THIRTY THREE & 1/3 closes out with the steady slow-dance of "Learning How To Love You", that George initially had written for Herb Alpert. Herb had shown with "This Guy's In Love With You" that he can indeed sing well, and George had hoped to create his own Herb vocal classic. Apparently, he liked it so much he kept the song for himself. George had divorced his first wife Patti by this time, so I wonder if he had discovered his new love for Olivia already, for this could definitely have been written for her.

Once again, the bonus tracks on the remasters of George's Dark Horse albums leave a lot to be desired, with the one on THIRTY THREE & 1/3 the most baffling of all. "Tears Of The World" is a fine, thought-provoking tune reflecting George's always-acute sense of world affairs, and was one of the infamous 4 songs that record-company politics forced off of 1981's SOMEWHERE IN ENGLAND. The fact that it is being made available at all for the first time anywhere is commendable, but including it on an album made 5 years before makes hardly any sense. However, it is a song that would certainly feel right at home on SOMEWHERE IN ENGLAND's bouncy, easily-digestible brand of topical pop.

Putting a highly-publicized court battle behind him, George Harrison was clearly ready to move on & get back to the music. THIRTY THREE & 1/3 is an album that certainly does not feature that fraction of top-notch material within. After apparently allowing middle- to bottom-drawer songs make up his previous two albums, George at last appeared to be returning to the peak of his powers.

Average customer rating:

uh, f*ck you guys, I'm going home!
Awesome CD
Something's coming
demons, shadow creatures and doppelgangers
Maybe not for everyone, right away....

Catch Thirty-Three
Meshuggah
Manufacturer: Nuclear Blast Americ
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Progressive Metal | Progressive | Rock | Styles | Music

Alternative Metal | Hard Rock & Metal | Styles | Music

Death Metal | Hard Rock & Metal | Styles | Music

General | Hard Rock & Metal | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

Chaosphere
I
Destroy Erase Improve
Nothing
Nothing

ASIN: B0008GGOBA
Release Date: 2005-05-30

Tracks:

Autonomy Lost
Imprint Of The Un-Saved
Disenchantment
The Paradoxical Spiral
Re-Inanimate
Entrapment
Mind's Mirrors
In Death - Is Life
In Death - Is Death
Shed
Personae Non Gratae
Dehumanization
Sum

Amazon.com

On their thirteenth release, Meshuggah got a little experimental. Not that the band hasn't always pushed the boundaries of their metal (likely one of the reasons they were picked to open for Tool on tour), but this album is more than the usual departure. For this, they have come up with an extremely rewarding album. Unlike like the full-throttle assault of Lamb of God and Shadows Fall, and more in line with bands such as Isis and Mastodon, Catch Thirty-Three contains fewer rapid-fire time changes and lets tone take over. It is an experiment in sustained riffs, rhythms, and progressions, making the hypnotic feel come across as conceptual. Some tracks are crafted to blend seamlessly with one another and others are nothing more than a simple, repetitive chords. Make no mistake; this is still one of the more brutal albums you will hear all year--the vocals are death-defying and the onslaught is pummeling. Just that this album uses repetition and silence in a way previous albums haven't. This is extreme trance music and likely one of the best metal albums of 2005. --Robert Arambel

Album Description

Sweden's metal mathematicians return with their highly anticipated new studio effort. The band refuses to rest on their laurels and pushes the boundaries of any and all genres they've been cast in. Packaged with a specially embossed O-card with foil.

Customer Reviews:

uh, f*ck you guys, I'm going home!.......2007-06-22

To bad there is no 'zero stars' option...
Meshuggah is not "crazy" . Would some one please tell me how to say mundane, lightweights in Yiddish. First of all that singer/screamer needs a good firing; then maybe I can hear the half-*ss music a little better.
It's all been done before. Your waters are stagnant and filthy... and your ability to truly agitate is nul and void.
The off beat,polyrythimc or whatever musical-scientific-technical term you want to use is a sorry excuse for sucks.
Other than that, if this is what Meshuggah was TRYING to accomplish... then awesome, They ROCK!
And to all you Meshuggah fans out there: Please EVOLVE already!

Awesome CD.......2007-06-22

original technical brutal noise
this cd just plain rocks
buy it right now

Something's coming.......2007-04-12

Meshuggah produces a scarily confident wall of sound. Never have I experienced such heavy music that at once possesses such meditative qualities. And Meshuggah has a thesis statement; they tell an unsettling and compulsive story. Aesthetically they are a perfect unit of dissonance, a harmonic institution of violent carnality, a hyperballad planet swirling cunningly around stray meteors; a militant family, self-assured. Catch 33 is a gruesome and determined hymn about the end of a dream of a world. The music persists as if it has absorbed a great fate and has been sent back as messenger. Catch 33 is a giant black train that lays its own track, coarsing through the cardboard metropolis of man's vanity and confidence. The percussion fits under the body like an extraterrestrially-fitted generator; the bass sustains the machine like a grinding steel fortress of diabolic devotion; one guitar is an enduring coal furnace while the other either a vibrating platform of atoms or a wily, snaking banner of sick electrical motivation; the suffering, wailing voice slams the message into the lower atmosphere like a warning thunder-horn rattling a frantic countryside. As the message evolves, the rhythm delicately bends back and forth like a peanutbutter&jelly sandwich--it is God's hand, or something, folding the planes of existence. This band has been programmed with flawless data that can only be figuratively decoded with multiple listens.

It's also great to treadmill to.

demons, shadow creatures and doppelgangers.......2007-03-29

I honestly cannot detract from this record at all.

This album is freaking awesome; and after repeated listens it remains freaking awesome; and after listening to it way to much it becomes even more freakishly astounding, and beyond that once you've listened to it so much you should be hating it, then you might begin to connect some of the Meshugga dots, and I swear upon my mother that when you do connect the dots your mind will open up and your soul will discover some deep rooted philosophical concept buried under a morass of your sick, perverted, insane, infinitely looped, mental circuts.

For me 33 was a voyage in deep, fresh, wrenching, intricate, mathematical but somehow smooth and absolutely un-corny metal, with an underlying twisted philosophical path paved with FREAKING AWESOME lyrics.

There you have it.

Maybe not for everyone, right away...........2007-03-19

I have been into Meshuggah for quite awhile, there have been people before me. I was brought in with Destroy.Erase.Improve. by a friend who played in a hardcore band with me. At first I thought these guys were Sweden's answer to Fear Factory. But after future releases, that was slowly pushed down. We decided after Nothing that Meshuggah stays about 10 years ahead of what they would be doing if they a normal band. Thankfully, they do what they do, and write the way the write.

I bought Catch 33 the day it came to shelves and as soon as I was in my car I had it in the CD player and was ready to be blown away once again. After listening to a song that seemed to be 12 or 15 minutes long I looked to see that it was actually not on track 1 anymore. I skipped around and it seemed like my CD was improperly copied to disc. As strange as the new CD seemed to me, my Meshuggah buzz hadn't been killed so I just went back to listening to Chaosphere and I.

5 months later the opening riff on the Catch 33 disc was always on my mind while at work. So I just grabbed the CD and decided to listen on my way to work. Work is 40 minutes away, so there wasn't time for the whole album. But after that one day, the cd stayed in that player for 3 months. I was drawn into each piece. Instead of paying attention to track number, I listened to each part until it reached it's breakdown or pattern shift.

To me "Mind's Mirrors" is a standout part. I always came to a certain point in my trip to work when this is playing(and I work at 2am so it's a night drive, and i'm the only car on a 30 miles stretch of highway most of the time). And the "In Death is Death" is the best in my opinion. The longest track containing the most interesting parts. A very brutal and well timed start, followed by a strange jazz sounding breakdown, back to a heavy section of music and then crashes and winds down into one of the most haunting sounding pieces of music I have ever heard.

So the album makes these sweeps from Brutal, to strange, back to brutal, haunting, epic, brutal and then BIG epic, and closes with a calm quiet reprise of a guitar version of the vocals part in Mind's Mirrors. When you stand back and look at all of that, it's really amazing how the album all comes together, Aside from being an epic in itself. Just because it's musically and technically a masterpiece, doesn't mean YOU will like it. People are different. It took some time for me to get into this one, and I am a Meshuggah fan. I didn't have to learn to like them, it just happened like that. Some people probably heard this CD and loved it right outta the plastic. Some people probably gave the CD away to a homeless person to burn and keep warm(Shudder at the thought). So if you are reading reviews to decide if you want to buy it or not, people can't tell you that you'll love or hate it based on any one thing. So it's better to have a description that's honest and comparitive to help out.

The sound is closer to "Nothing" as is the tempo. But the structure is closer to "I". There are some parts that sound like they belong in "D.E.I." But like most (paid)critics say about it sounding like a continuation of "Nothing", that's not very true at all. This album goes places "Nothing" did not, and leaves all the solos hanging in the closet for the most part. This time around they are attacking with a different technical strategy, using a few parts from thier other creations. Like most fans have been saying, it is one that you should listen to start to finish uninterrupted. The fans seem to know more than critics, so why are they paid? And why is thier opinion sought after? Listen to the fans, but decide for yourself.

Average customer rating:

happiness takes place in small piano tunes
Cacaphonic Harmonious

Gurdjieff's Music for the Movements

Manufacturer: Channel Crossings
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music
Similar Items:

Thomas de Hartmann: Music for Gurdjieff's '39 Series'
Gurdjieff, Tsabropoulos: Chants, Hymns and Dances
Seekers of the Truth: The Complete Piano Music of Georges I. Gurdjieff and Thomas de Hartmann, Volume One
Sacred Hymns
Heart without Measure: Gurdjieff Work with Madame de Salzmann

ASIN: B00003CK7L
Release Date: 1999-12-14

Customer Reviews:

happiness takes place in small piano tunes.......2001-07-24

these short piano pieces are simple, but absolutely not boring. gurdjieff and de hartmann wrote some of the most thoughtful and sincere music you'll ever hear. I found this CD over a year ago and it's one I return to over and over again.

Cacaphonic Harmonious.......2001-07-15

Truly an exposition of beautiful "objective" listening. This music will not put you to sleep. Transitions are abrupt and engaging throughout the score's entirity. I play the music whenever I find myself searching for something to do or am bored. This music will consume all negativity and poke the listner to begin a stirring sensation in their own mentation. The music is not sophisticated or eligant by no means, but has a way about it which will intrige one to listen again and again.

Average customer rating:

Thirty Three [Box Set Version]

Manufacturer: Virgin Records
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Miscellaneous | Styles | Music
Similar Items:

Tonight Tonight
Bullet With Butterfly Wings
1979
Zero

ASIN: B0009EUA4S

Product Description

6 track version from the box set. Tracks: Thirty Three, Last Song, Aeroplane Flys High, Transformer, Bells, My Blue Heaven.

Average customer rating:

Excellent
"The aeroplane flies high ( looks left, turns right )"

Thirty Three
Smashing Pumpkins
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Indie Rock | Indie & Lo-Fi | Alternative Rock | Styles | Music

Post Grunge | American Alternative | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | CD Singles | Pop | Styles | Music

Alternative Rock | Imports | Stores | Music

Rock | Imports | Stores | Music
Similar Items:

Zero
Tonight Tonight
1979
Thirty Three
Bullet With Butterfly Wings

ASIN: B000005ROG
Release Date: 1996-12-16

Tracks:

Thirty-Three
The Bells
My Blue Heaven

Album Details

Tracks Include: Thirty Three, Bells and My Blue Heaven.

Customer Reviews:

Excellent.......2002-02-11

This isn't a bad buy for a single. Some gorgeous work from Mr. Corgan on these B-sides. "Transformer" is really groovy. "Aeroplane Flies High", another epic 8 minute plus tune, is good dark metal. And last but certainly not least "Last Song" is guaranteed to make any fan cry at least once.

"The aeroplane flies high ( looks left, turns right )".......1998-08-06

... appears on this cd, it's a classic, 8 minute+ piece that at once is both typically pumpkinish and new. The Last Song is also quite good, a slower, lilting piece. Transformer is a pretty straight forward rock song that sounds like it's off Pisces Iscariot (which isn't such a bad thing). The Bells has Iha doing the vocals and is pretty. My Blue Heaven sounds lame even when the Pumpkins do it though.

Average customer rating:

Heifetz Collection,Vol.40

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music
ASIN: B000003FJF
Release Date: 1997-06-17

Tracks:

Prlds: I. Allegro ben ritmato e deciso
Prlds: II. Andante con moto e poco rubato
Prlds: III. Allegro ben ritmato e deciso
Porgy and Bess: Summertime
Porgy and Bess: A Woman Is a Sometime Thing
Porgy and Bess: My Man's Gone Now
Porgy and Bess: It Ain't Necessarily So
Porgy and Bess: Bess, You Is My Woman
Porgy and Bess: Tempo di Blues
Garden Scene (from Much Ado About Nothing, Op.11)
Oriental Sketch, Op.2, No.2
Daisies, Op.38, No.3
March (from The Love for Three Oranges) - Jascha Heifetz/Brooks Smith
Ave Maria, D.839 - Jascha Heifetz/Emanuel Bay
Sabre Dance (from Gayne) - Jascha Heifetz/Brooks Smith
Alt Wien (Triakontameron No.11)
On Wings of Song, Op.34, No.2
Hora Staccato (featured in the film Of Men and Music)
La plus que lente
Valse Bluette (Air de ballet No.2)
Presto in B flat
Estrellita
Zapateado, Op.23, No.2 (Dana espanola No.6)
Vocalise, Op.34, No.14
Banjo and Fiddle
Hebrew Melody, Op.33
Scherzo-tarantelle (featured in the film Of Men and Music - Jascha Heifetz/Emanuel Bay

Average customer rating:

the beginning of a new era in Harrison's musical career
A new beginning for George
Better than I remembered for some reason
Inexplicable
Classic Harrison

Thirty Three & 1/3
George Harrison
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Singer-Songwriters | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Singer-Songwriters | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music
Similar Items:

George Harrison
Extra Texture
Somewhere in England
All Things Must Pass [DIGI-PAK EDITION]
Ringo

ASIN: B000002LPG
Release Date: 1991-06-25

Tracks:

Woman Don't You Cry for Me
Dear One
Beautiful Girl
This Song
See Yourself
It's What You Value
True Love
Pure Smokey
Crackerbox Palace
Learning How to Love You

Customer Reviews:

the beginning of a new era in Harrison's musical career.......2004-11-09

It's kind of unbelievable that this came out less than a year & a half after the previous album "Extra Texture (Read All About It)", because it sounds a heck of a lot different than its predecessor. Whereas "Extra Texture" has a very muddy, hazy, grey feel & feels largely like a toss-off, this album sounds bright & carefully recorded. The production is remarkably slick--remember, this came out originally in 1976. I'm just guessing that George, being as rich as he was, had access to the some ultra-state-of-the-art recording gear which he used, contributing to the slick, almost "early-'80s sound" of the album--a huge turnaround from the previous album. It's fitting then that this was his first album released on his own Dark Horse label (distributed by A&M Records at the time the album was first released). Despite the changes, & the general "goes down easy" quality of this material, there's the feeling of George just contently doing his own thing on this album, which was released in the wake of his notorious "My Sweet Lord" case--one gets the feeling that, unlike Paul, George didn't really give a damn about commercial success. Look at how he slips in a Harrison-ized take on Cole Porter's "True Love". It seems he was clearly enjoying himself while making this album, & that he was mostly in an upbeat mood, opposed to the somber tone that dominated "Extra Texture". Now, this album is certainly pleasant, & there aren't any really bad songs on here, but there aren't any truly great ones either. It's excellent background music, which I don't really mean to sound like an insult, but that's what it is. Track after track is nicely tuneful with lots of enjoyable slide guitar from Harrison, but the album is super laid-back in such a way that it`s sorely lacking in emotional impact. That laid-back-ness goes even the uptempo slap-bass laden opening track "Woman Don't You Cry For Me" (which isn't rousing--it's like all the rough edges have been sandpapered away), & the lyrically bitter, yet thoroughly easy-riding, mid-tempo "See Yourself" (written about the media in the light of their response to when Paul McCartney admitted to having taken LSD). Still, that's not to say album isn't enjoyable--certainly it IS enjoyable, with upbeat pop-rock tracks like the lyrically witty "Crackerbox Palace" (with prominent use of phasing), & "Beautiful Girl" (which dates back to the "All Things Must Pass" era, though I'm not sure when he completed writing the tune). "Pure Smokey" is part 2 of the previous album's "Ooh Baby (You Know That I Love You)"--the 2 tracks are remarkably similar musically (partly identical even--unsurprisingly, George admitted he wrote both tunes at the same time), yet they do manage to have a different feel. Unlike the previous tune which he merely dedicated to Smokey Robinson, here he mentions him by name ("Pure Smokey" was a title of one of Smokey's albums). The previous tune had a very hazy, sad feel, while this one is enjoyably laidback like so much of the rest. The one other track that strongly recalls the previous album is the soothing ballad "Learning How To Love You". Despite the good-but-not-great evenness of the album, that's not to say all the songs are of equal quality, or that there aren't any annoyances. The uptempo, jokey "This Song" is a hugely sarcastic response to the plagiarism-themed "My Sweet Lord" case--musically, it starts off sounding like a merger of "I Can't Help Myself (Sugar Pie Honey Bunch)" & "Bang A Gong (Get It On)". The "Sugar Pie Honey Bunch" nod was obviously intentional, because there's a mid-song spoken aside (spoken by Eric Idle) saying the song "could be 'Sugar Pie Honey Bunch'". I know it's supposed to be a humorous song, but musically it goes overboard with its good-timey, party atmosphere, & it ends up being annoyingly in-your-face. "It's What You Value" has a sound that strongly recalls Steely Dan, but the song, with its "cautionary" lyrics, features both an annoying, listless verse melody AND a pretty annoying (though not entirely hookless) chorus. The acoustic guitar + organ ballad "Dear One" is okay, but a little ponderous (featuring some synthesizer that bizarrely (for lack of a better term) foreshadows the Pointer Sisters 1983 hit "Jump"). There are also some unattractive synthesizer overdubs on "Beautiful Girl" & "See Yourself". Still, on the whole, the album is engagingly pleasant, but unless you're in love with the casual, laid-back, easy-to-tune-out style, don't expect a masterpiece, because you'll be setting yourself up for a big disappointment. To put it simply, it's an album that really doesn't rub you very much one way or the other.

Although Capitol has put out a remastered version of this album at this point (which contains the song "Tears of the World" as a bonus track), the sound quality is very strong on this older version of the CD as well.

A new beginning for George.......2004-06-03

Thirty-Three And A Third (1976.) George Harrison's fifth solo album.

Following the release of his 1975 solo album, Extra Texture, George Harrison formed his own record label - Dark Horse Records. Now, he could release albums on his own label, and not have to worry about contractual obligations and things like that that had plagued the earlier days of his solo career. The first album that Harrison released as a part of the new label was 1976's Thirty-Three And A Third, so named because he released it on his thirty-three and a third birthday. Read on for my review of this album.

I was never a big fan of George Harrison's final solo album released on Capitol, Extra Texture, and I can honestly say that Thirty-Three And A Third is, for the most part, a step in the right direction. We finally find George playing his music in an upbeat mood again, as opposed to his previous album. This is a much more melodic pop-styled album than his previous ones, but it's still a good album, even if it lacks the rock and roll stylings that made some of his earlier albums so good. Two hits emerged from this album, the rather silly Crackerbox Palace, which became a huge hit in America, and the less popular but no less excellent track, This Song. Both of these songs are worthy of the popularity they have gained over the years. And, of course, we have the underrated songs. Dear One, Beautiful Girl, Pure Smokey, and Learning How To Love You are all excellent examples of this. Even the often-debated cover of Cole Porter's True Love is excellent. And who could forget Woman Don't You Cry For Me, a track that features some of the best slide work that Harrison ever did? In the end, this isn't one of Harrison's stronger solo albums, although it is marginally better than its predecessor, Extra Texture. However, even the weaker George Harrison albums put the so-called "strong" albums by most artists to shame.

The "Dark Horse Years" albums released by George Harrison (those studio/live albums released from 1976-1992) have been rereleased, remastered, and in some cases, given bonus tracks. However, I feel that the choices of bonus tracks was very poor in some cases. For example, the bonus track featured on this album is Tears Of The World, which is actually a 1981 song (FIVE YEARS LATER!) that was rejected from the "original" version of Harrison's Somewhere In England album from that same year. Why would you put a 1981 rarity on a 1976 album as a bonus track? That really doesn't make any sense.

In the end, Thirty-Three And A Third is a good album through and through. It's not the place to start if you're new to Harrison's solo work - if you're new to it, start with his first solo effort, 1970's All Things Must Pass. But if you're a fan of Harrison's solo material, don't hesitate to pick this album up - I think you'll be pleasantly surprised.

Better than I remembered for some reason.......2004-04-08

For some reason, I had it in my mind that this was not that good of a cd, so I recently listened to it again just to make sure I wasn't doing it an injustice. This cd is much better than I remember. I'm not a huge fan of Harrison's solo work, outside of the commercial successful pieces such as All Things Must Pass, Living in the Material World, and Cloud Nine. In this regard, I guess you can call me a follower, but none of his other stuff really impressed me that much. In fact, most of his other things, in my opinion, are kind of bland. This one, for some reason, really stuck out the last time I put it in. It's not nearly as bad as I remember, and in fact, I'll even call it good. I kept waiting for a bad song, but never found one. Some of the songs get a little redundant soundwise, but it's still an impressive little collection of songs. I might just have to pull out his other cds I have and give them a listen. If you are expecting the depth of All Things Must Pass, look elsewhere; if you are looking for a slight collection of pretty catchy pop tunes, this is it.

Inexplicable.......2003-10-14

I continue to be astonished as to why this album has never been released on CD. I have the vinyl edition from when it first came out (and even wrote a review for my high school newspaper back in the '70s). While Harrioson wrote greater songs on many of his albums, only two really rank above it as complete packages: "All Things Must Pass" and "Cloud Nine."
What stands out are the lyrics, especially the self depreciating and ironic "This Song." I could go on and on. I suggest fans be patient. Eventually the record company will see sense and reissue it. I hope. Eventually. Maybe one day ...

Classic Harrison.......2003-09-30

As with a lot of his catalogue, it's hard to fathom why this great album from 1976 is out of print. (you can even tell it's the bicentennial by looking closely at the goofy glasses he wears on the album's cover) One of George's best and most underrated albums, it features several solid songs and is great disc to just chill out and listen to.

The biggest hit off the disc is probably "Crackerbox Palace", but even that didn't get the airplay it deserved. Other very strong offerings are the opening track "Woman Don't Yu Cry For Me", the touching "Dear One", "Pure Smokey", and "Beautiful One". "33&1/3" is another fine example of George's magnificent guitarwork coupled to lyrics that are both witty and meaningful (and yes, sometimes even funny). I can't stress enough the quality of all the songs here, and many of them don't appear on any of the Harrison collections that are floating around.