Customer Reviews

Cloud Nine

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4 star:		(20)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

With the afterglow of my personal discovery of the Beatles in full swing, the release of what would turn out to be George Harrison's penultimate solo album, Cloud Nine, well, put me there. After getting greatest hits albums by Paul McCartney and John Lennon, this was perfect. George had a lot of quality help on this album, including former bandmate Ringo Starr, Eric Clapton, Gary Wright, Elton John, and on the producer's helm, Jeff Lynne.

Most of the material is laid back pop, with George's gentle and understated voice an additional balm. "That's What It Takes" is one such song, on how in order to enjoy the shining world, one has to take all those chances.

However, the great heartfelt ballads are what make Cloud Nine. The tearful piano ballad "Just For Today" is great for those who are very down and need "to get through this day only" and other things somehow: "If just for one night/I could feel not sad and lonely/Not be my own life's problem/Just for one night." It shows that it wasn't just Paul McCartney who could make a universal ballad like "Yesterday." Equally as sad and touching is "Someplace Else" of needing that certain someone during a time of crisis: "And for a while you could comfort me/And hold me for some time/I need you now to be beside me/While all my world is so untidy/Loneliness/Empty faces/Wish i could leave them all in someplace else." Clapton helps out on this song.

The quick "Fish On The Sand" features Jeff Lynne's signature production, that backbeat rhythm synths and guitar also to be present on the Traveling Wilburys' "Handle With Care" and Tom Petty's "I Won't Back Down" and "Learning To Fly." A similar sound is present on the third single, "This Is Love."

Okay, what is "white and black like industrial waste/Pollution of the highest degree"? If you answered the "Devil's Radio," give yourself a hand. George gives a much-needed punch at the gossip magazines, radio, and TV, but oh, with such a fun sound. "It's all across our lives/Like a weed it's spread/'till nothing else has space to grow," sings George of this menace. Clapton lends his bluesy guitar here and also on the brass and piano boogie of "Wreck of the Hesperus." This is how George feels great about himself at present, with some witty repartee: "I'm not a power of attorney/But I can rock as good as Gibraltar/Ain't no more no spring chicken/Been plucked but I'm still kicking."

Naturally, the silly video for the fun and upbeat "Got My Mind Set On You," the song which reached #1 and was George's third chart-topper, after "My Sweet Lord" and "Give Me Love-(Give Me Peace On Earth)" started things off. A song written by Rudy Clark in the 50's, it was first recorded by James Ray in 1962. A brisk rhythm guitar is accompanied by some brass and later sax, which in the video was played by a squirrel!

The next single was George's remembrance of the Beatles. "When We Was Fab" features sounds that harken back to the Beatles' Sgt Peppers and Magical Mystery Tour, including cello, sitar. Even the video had Elton John in a walrus costume a la MMT. Reaching #23, this was George's last Top 40 hit.

As for the bonus tracks, they were songs for the Madonna/Sean Penn bomb Shanghai Surprise. Vicky Brown assists him on vocals on the title track, which has a Chinese aura. "Zig Zag" has a more 30's nightclub jazz feel to it, complete with Armstrong-style trumpet. Harrison himself appeared as a nightclub singer in this turkey, which he co-executive produced!

I was on Cloud Nine when I first heard this, and sent back there once more upon its remastered reissue, and I hope that's where George is now.

CLOUD NINE

I walked through 1987 with a great sense of satisfaction around me. The Dark Horse that no one betted on, won the race. He was the first out of the gate (`My Sweet Lord' being the first No.1 hit by a solo Beatle), and he was also the one that finished first in the race (`Got My Mind Set On You' is the last solo Beatle song to reach No.1). Along the way, others overtook him, media jockeys tried to run him off the course, former producers and band-mates derided his work and importance, but he still finished, and won. And this kind of circular event plays throughout Harrison's entire career. The first song to be recorded by The Beatles was Harrison and McCartney's `In Spite of All The Danger'. In this case, no one is willing to say truly how much was Harrison, and how much was McCartney. But these were the days of The Beatles when Harrison was on equal footing with Lennon and McCartney, he was a member of the band, not a sidekick or employee. Or hindrance in some minds. If `In Spite...' was not enough, `Cry For A Shadow' by Harrison and Lennon is the next Beatles original composition to be recorded. There's a trend beginning. And at the end of their RECORDING career, the last song to ever be recorded while all four members were alive, was Harrison's (with help from McCartney) `I Me Mine'. Had Harrison not met Paul McCartney, and knowing how life has many twists and turns, you would never have had The Beatles to begin with. I am suggesting something here. Whether you pick up on it or not, isn't really what I can control. I'm just suggesting that `The Quiet One' was a lot louder in other ways than can be perceived on the surface. There are many circles that run throughout the living of life, and it is quite possible Harrison's circle was quite powerful, and a bit more encompassing than some would like to believe. It doesn't take anyone remarkably observant to note that Harrison is riding the only dark horse in the Penny Lane promo. Nor to notice that as his partners signed away their copyright ownership, he was busy forming his own publishing company. There's quite a bit about Harrison a lot of people underestimate him on, and I think in the end, he's going to surprise a lot of people that look at a puddle, and think because its comprised of water, it's the same as the ocean.

Back to my satisfaction in 1987. Harrison released the triumphant Cloud Nine to a public that had written him off. Not that he cared much, because he walked away very quietly and with little fanfare. He had a garden to tend to, and a son to raise, a wife to devote his time to, a film company that was helping save the British Film industry, and a lawsuit over a nice song with nothing Bright about it, while The Jam played a song that sounded a little too much like a song called `Taxman'. He was still extremely busy without putting out full albums. He also played with Carl Perkins and Ringo Starr, appeared in a movie with Ringo and Eric Clapton, went and tried salvaging what was left of Madonna's and Sean Penn's fiasco ridden Shanghai Surprise, contributed a song to the Porky's soundtrack, performed at The Prince's Trust, received a citation and a cheque of £11,000,000 from UNICEF for his work for Bangladesh, and that money was all the royalties that were accrued when the entire benefit was held up in court. His battles with EMI and the British/American governments over Bangladesh were enough to give him a Knighthood, let alone a citation from those whom he was trying to help. He was a very busy, if not always seen, George Harrison.

When Cloud Nine came out, I was one of those happiest for George's success. We always knew he had it in him; it just took a matter of patience waiting for all the other spectators of the race to notice he had emerged victorious. He's not the richest former Beatle. He's not the martyred former Beatle. But he was the former Beatle that won an altogether different race. One that said all those who walked away from the grounds cursing because they had not bet on the wildcard of being the first and last to do something time and time again in relation to the other `horses', even though they seemed like they were in no way able to lose. They realised, or have yet to realise, the race was not about winning on the sure bet, or The Winnings. The track is a circle, it begins where it ends. And looking at Harrison's history, he seems to always be right there at the beginning, and right there at the end. It barely, if ever, changes. `My Sweet Lord' and `Got My Mind Set On You'. `In Spite of All The Danger' and `I Me Mine'. The first charity single in pop history. The first large scale benefit concert in pop history. The last former Beatle album to be released on the Apple label proper. The first proper solo album while in The Beatles. The first to address social/political commentary in the Beatles catalogue. The first of his peers to fully incorporate Indian instrumentation into Western pop music, by not emulating the Sitar with a Stratocaster, but actually playing the Sitar, and learning it for 2 years with Ravi Shankar. The only Beatle who was able to read and write music, even if it was Indian notation. The first triple album in pop/rock history. One of the first, and few people in 1960's Britain who publicly welcomed the Asian community, and went out of his way to promote their culture, their beliefs and their musicians. One of the first British musicians to own a Moog synthesiser, and one of the first, if not the first, musicians to release an album entirely composed on Moog synthesiser that was not an interpretation of classical music.

The list truly goes on and on, as to why those that were betting should have known to bet on the dark horse.

Cloud Nine is the most Beatle sounding of any of Harrison's recordings. But this should be no surprise, since so much of the Sonics, the sounds of The Beatles lay so much in his fingers. From the Rickenbacker, to Sitar, to the Synthesiser, to meticulously arranged backwards guitar solos, from Spanish guitar to psychedelic organ, George Harrison was quite simply the man who gave The Beatles `Sound'. One would like to think this is with the George Martin's, or the Geoff Emerick's. But neither of these people told Harrison to get a Rickenbacker. Or play a Sitar. They helped him recreate Fog in music when writing `Blue Jay Way', but did not write what required such an artistic use of effects. Martin only emulated what Harrison's Indian notation told his Indian friends to play. Martin could not communicate to an Indian musician, please play Sa ri ga ma pa dha ni. Harrison could. Martin's orchestration is based more on Harrison's instruction, than Martin's own writing skills, because he was naïve in dealing with Indian music, and Indian musicians. Some might suggest ignorant. Western music is comprised of 12 octaves. Indian music is comprised of 22 octaves. You do not know how large the Piano that would have to be built to play Indian music on a Western instrument would need to be. In Indian music, 12 keys are not enough to make an octave.

Cloud Nine is a joy to listen to, particularly for George's guitar work, the production, Jeff Lynne's collaborations and contributions, and the songs themselves. Each one is a great addition to the Harrison catalogue of great work. The remaster makes an omission or two for no apparent reason, and I have yet to figure out why `Hottest Gong In Town' was not included in the additional tracks. Or 3 songs that were recorded after Cloud 9's release. And one is an absolute must have. All 3 appeared on the Best of Dark Horse collection in 1989, and these songs need to be released again. They are POOR LITTLE GIRL, COCKAMAMIE BUSINESS, and CHEER DOWN (written with Tom Petty). And it's `Cheer Down' of these 3 that ranks among the very best songs Harrison ever wrote, but what is even more magical, is his slide guitar work for this song. I'm a huge fan of the other two songs as well, particularly Cockamamie Business, but Cheer Down is a song that sits amongst Harrison's best work very comfortably. Why they are not included here, along with the glaring omission of `Hottest Gong In Town' is beyond me. And why not, if it couldn't be put on Somewhere In England, include `Lay His Head' on this set, which was the B-side of `Got My Mind Set On You'. Why not the alternate mixes of `Got My Mind Set On You' and `When We Was Fab'? There are a lot of missed opportunities on what is regarded as one of Harrison's biggest successes. But then again, EMI haven't really known what to do with George Harrison. I say this in respect to Olivia, who may have had more to do with this, or not at all. My complaint is not with her, because these albums are out there in the stores because of her, which is where they always belonged.

CLOUD NINE is simply a must have.

Bet on the Dark Horse, you'll get what you invested returned to you, and a lot extra.

First of all, it's a bloody travesty that this album is currently out of print. I know George was supposedly remastering his entire catalog at the time of his death, but that is no excuse for the record companies. They ignore the best of the past and just shovel mass produced garbage down our throats. This is a real artist, with real emotion...unlike todays f--- you so it pays music. All sides of George are presented here: wit, happiness, integrity,spirituality,sadness,recollections of the past, optimism for the future, all in his characteristic style. Beautiful piano, electric and acoustic guitars, nice resonant bass, simple drumming with George's slide work weaving in out out of the melodys...not one weak track here. I love this album because George, regardless of his fame and fortune, seems more human and closer than ever..From Cloud 9 to the upbeat end this is a constant album...besides All Things Must Pass, this is his best in my opinion. Don't worry if its from the 80s either..this is the 80s the way it should have been, with style..In the end the songs are what really matters anyway. Oh one more thing, this album will make you feel good! The majority of the songs are upbeat with a few exceptions but they are just as good anyway..so it's a very positive mature album that will brighten up your day..besides George's work with the Travelling Wilburys (check out Vol. 1) this is the best of 80s George.

After the sales failure that his 1982 album Gone Troppo was, George Harrison decided to retire 'to be a gardener'. When he came back five years later, he returned with a winner, and a big contender as the best album of his carrer: Cloud Nine (1987), co-produced by Jeff Lynne, features some of his best work, in lyrical terms, adorned by exquisite instrumental ornaments and great production skills.

This is an album in which George Harrison uses positively his Beatles/rock'n'roll background and takes advantage of the innovation on sounds and songwriting that he had been experiencing in the previous years. In lyrical terms, his words are honest as always, talking almost all the time in the first person, singing about that complete love that he defined as "both divine and human", and thus writing precious love songs that can also be thought of as prayers ("That's What It Takes", "This Is Love"), and vice-versa ("Fish On The Sand", "Just For Today"). In other tunes he uses the perfectly acid sense of humour to make criticisms about the modern society, or the lifestyles that he condemned ("Wreck Of The Hesperus", "Devil's Radio"). And in some other tracks he just wants to have fun ("Got My Mind Set On You") or to laugh at himself ("Wreck Of The Hesperus"). Sound-wise, this is a typically 80's album, with a big amount of synthesisers and synchronized drums (played live nonetheless, by Ringo Starr and Jim Keltner). The key is that the instruments are perfectly distributed into each track to make them sound tight and solid. Here, the synthesisers are used as an extra ingredient and not as the main part of the songs, and each track is carefully thought as a radio-friendly track. And it works perfectly: this album had at least three very succesful singles, and made George return to the top 10 albums list after a eight years.

The sincere and simple work of the sincere and special man that George Harrison was is evident throughout the complete album. "Cloud Nine", the album opener, featuring a breath-taking guitar duel between Harrison and friend Eric Clapton, sets the mood with a bluesy pattern, as a very special invitation to the lover ("take my smile and my heart / they were yours from the start"). You can see here the maturity of George, a man who had already lived a lot, and now appreciated the estability and happiness that his family life had brought to him. In "That's What It Takes" (tune co-written with Jeff Lynne and Gary Wright) we have a perfect sample of what great pop music is supposed to sound like, joined in by a gorgeous lyric about the search for spirituality. "Fish On The Sand" and "Wreck Of The Hesperus" both feature interesting rock arrangements, but discuss very different themes: whilst the first one is one of the spiritual/material love duality ballads, the second one is one of the most ironic tunes George ever wrote, laughing at himself and the issues regarding growing old. "Just For Today" features a message to everyone ("don't try to deal with everything all at once", as George said in an interview), and it's one of those emotional tunes, perfectly crafted and produced to make you feel comfortable and moved at the same time. "This Is Love" (co-written with Lynne) is another perfect example of a great pop song, again speaking about the solemnity of earthly love when it's compared to heavenly love, and featuring a mesmerizing slide guitar solo that has to be the best that George ever did, in his calm stlye of course.

Other highlights include the perfect Beatles parody "When We Was Fab" (another Lynne/Harrison collaboration which was a worldwide hit), which uses all the machinery needed to reproduce a Beatles song from the psychedelic years (including elements from songs like "I Am The Walrus", "Magical Mystery Tour" and "Within You Without You" and many meta-references which are just too fun to point out); the very serious (but also tongue-in-cheek) tone of protest against gossiping that "Devil's Radio" is ("gossip is devil's radio -- don't be a broadcaster); the moving ballad "Someplace Else", which was written specifically for the much maligned Shangai Surprise movie featuring Madonna and Sean Penn and has a nice arrangement; and the highly underrated "Breath Away From Heaven", to me, the best song on the album, an overwhelming oriental imagery with bright lyrics ("like an opallescent moon all alone in the sky of a foreign land") and precious musical arrangements.

And to put just a happy ending to all of this you get the latest HUGE solo-Beatle hit, "Got My Mind Set On You", the last #1 single for George Harrison, a cover of an old Rudy Clark tune that had a fantastic vocal/instrumental arrangement, which made it such an unexpected success song all over the globe.

Contributers include producer Jeff Lynne on bass, guitars, keyboards and background vocals; Ringo Starr and Jim Keltner on drums; Eric Clapton on guitar (notably on the title track and "Devil's Radio"); and Elton John and Gary Wright on piano among others. And although the album already had a great, clear sound, this 2004 remaster also helped to make it a little bit better, adding two bonus tracks from the Shangai Surprise movie (the title track, sung by George with Vicki Brown, mother of Sam Brown who sang "Horse To The Water" in the Concert For George tribute in 2003; and the nonsensical crazy instrumental Lynne/Harrison instrumental "Zig Zag" which was used as the B-side to "When We Was Fab"), albeit excluding other tracks from the very same soundtrack (like "Hottest Gong In Town" and alternate versions of "Breath Away From Heaven" and "Someplace Else") and from other contemporary sources ("Cheer Down", "Cockamamie Business" and "Poor Little Girl" from the already out-of-print compilation Best Of Dark Horse 1976-1989; "Lay His Head" from the B-side to "Got My Mind Set On You"). The inclusion of these songs in some other form would be fantastic to music fans and especially for collectors.

But this album is already complete with the primitive soundtrack, which allows the work to be completely developed and delivered to the listener. It's actually a pleasure to one's ears to hear this music, with George in the maturity of his vocals and slide guitar talent skills, and a production of superlative quality. Undoubtedly the best album of the 80's, and of course, a must have.

ALthough it can't match All Things Must Pass in scope, Cloud Nine runs neck and neck with ATMP in terms of the sheer quality of the songs. When Cloud Nine came out, it was a refreshing breath of fresh air. McCartney had tripped and stumbled with the release of a series of questionable albums; Starr was MIA for all intents and purposes and attempting a comeback; Lennon was still dead and hadn't been resurrected by Yoko, the Threatles and Jeff Lynne (with an assist from digital technology).

So George's album was manna from heaven for a Beatles fan. Lynne's production fits George's songs as snug as a glove much like Phil Spector's work did on Harrison's first solo album. The quality of the album is terrific with only one clunker (Breath Away From Heaven). When We Was Fab, Cloud Nine, Devil's Radio, If That's What It Takes, Fish On The Sand and Got My Mind Set On You (the last song was penned by Rudy Clark and not George)all are top drawer Harrison songs.

George was in the process of remastering his back catalog prior to his death. Hopefully Olivia (or Dhani) will continue the work George started. It would be a shame if one of George's finest albums continued to be out of print.

The sound quality of the CD is very good given the time it was issued (1987).

Back in 1987, most of us casual fans had forgotten about George Harrison, while Paul McCartney continued to pour out half cooked albums...I remember a friend running to me and saying: "guesse what George Harrison is number 1!" I could not believe, but turning on the radio there was George with Got My Mind Set On You, a tune so contagious that I've even known a four year old to hum to it...and turning on my TV, back when Vh1 and MTV used to play music videos: there it was: George on video...it was a great time! This album is perhaps a great intro to new fans...because it has a killer line up...there is not one single weak track on the album,,,it is the strongest of all solo Beatle efforts...and I disagree with the above commment that says the weakest tracks are the ballads..."Someplace Else" is beautiful! Beatlefans will also enjoy how George comes to terms with his past in this album...a Beatlefan cannot pass up a great nostalgic song such as When We Was Fab or listen to Fish on the Sand, a track on which George plays the same guitar he used in Ticket to Ride with Ringo holding the backbeat....the album is definitely a return of the eighties into retro, with hits like La Bamba soaring once more...the timing was perfest and the album shot to number one...in fact this is referred to as George Harrison's Cloud Nine comeback...it's kind of funny, George ended up being in the Eighties the most commercially succesful Beatle,,,even Paul was beginning to suggest he would like to write with George again...George was riding the charts all those years ago and many of us fans still await a sequel to Cloud Nine...it's been over ten years now! Anyway, this album is a must have...give it a few a spins and I dare you to find a single weak track on it...you won't!

After braving critical slings and arrows over his last release "Gone Troppo", George returned full force with his second best solo album "Cloud 9". His last number 1 as a solo artist features some of his most dynamic and commerical music. "Cloud 9" kicks off the album in fine form with nice guitar playing by Harrison and Clapton. The real gem on the album for me, though, is "That's What it Takes" written with Jeff Lynne and Gary Wright. It's got a marvelous melody (one of the catchiest he ever wrote). "Fish on the Sand" continues the streak of winning songs. "Just For Today" has a lovely minor key melody and nice guitar break from George but has never appealed to me.

The funny "When We Was Fab" provides us George's perspective on The Beatle years in humorous fashion. The witty production touches include references to Harrison's "Blue Jay Way", John's "I Am the Walrus", and "Strawberry Fields Forever" and a nice outro that refers to Harrison's "Within You, Without You". "Devil's Radio" provides George with a witty opportunity to focus on the gossip orientated world we live in. The album concludes with the marvelous remake of Rudy Clark's "Got My Mind Set on You" which became a surprise hit on both radio and MTV.

The two bonus tracks from "Shaghai surprise" aren't quite up to the standards of the best material here but the production makes them sound like they fit in. Personally, I would have preferred to see more demos, outtakes and the other three songs from the film but, well, that's not to be.

The remastered sound allows "Cloud 9" to take a major step up and compare well with George's remastered "All Things Must Pass". The packaging includes commentary from Harrison from an interview on the creation of the album and includes photos although no song lyrics.

"Cloud 9" is one of George's three or four essential solo albums.

Till now I have listened 3 Harrison albums and all tof them are great. You should not be surprised because t he albums are "All things must pass", "Brainwashed" & "Cloud nine", three albums that are considered the best by him after four Beatles went their own way. "Cloud nine" contains some of the best tunes he has written supported by Eric Clapton's strings, two things that goes well together.

The original album had 11 tracks, out of which "Just For Today", "Someplace Else", "Breath Away From Heaven" are a little slow and not so rhythmic but they are good songs on their own. The rest of the are very very tuneful, rhythmic and they are the reason this album deserves a full rating of 5 stars. "When we was Fab" sounded so much like Beatles, offcourse he intended to do the song like, more Beatles than Harrison, and it ends with Harrison playing sitar...it was good. Also I need to mention the funny "Gossip...Gossip..." chorus in "Devil Radio", very well done.
But the best songs of the album are
"That's What It Takes", (Just listen to the song & solo at the end)
"Fish On The Sand", (I guess Harrison wanted to describe himself in this song, he often wondered that he is out of place)
"This Is Love", (Wonderful guitar, rhythm and vocal, very touching)
"Got My Mind Set On You" (the hit from the album which has a video Harisson playing & singing the song and all the object of his room are shaking with the rhythm, superb)

Among the bonus tracks "Shanghai Surprise" from the movie of the same is quite good but "Zig zag" is the only let down of the album.

A good introduction to the genious who is no more with us. His last two studio albums (Cloud nine & Brainwashed) were two of the best of his career but wish they were some unreleased material to follow them up. Highly recommended.

On his 1987 release "Cloud Nine", often considered a comeback album for the ex-Beatle, George Harrison again thrust himself into the collective musical consciousness with a set of 11 well-crafted and slickly produced (thanks to fellow ex-Wilbury Jeff Lynne) songs. Often compared to "All Things Must Pass" in terms of quality, it lacks ATMP's sheer scope and vision, but is overall probably an easier recording to listen to and enjoy.

Most people recall the radio hit "Got My Mind Set On You", but the album has so much more to offer. From the introductory guitar riffs of the title track to the music's finale, George's wit and humor permeate the album. Other standout tracks would have to include "Fish on the Sand", "Devil's Radio", "When We Was Fab", "That's What it Takes", and "Just For Today".

"Cloud Nine" showed George in the studio making great music and having a blast doing it. It's hard to believe that this was the last studio album he actually released during his lifetime. (his final recording "Brainwashed", released about fifteen years later, was only made available posthumously). It is awesome to have this gem remastered and again available for purchase. Thank you Dhani, for putting forth the effort to get this music back in print. It is very much appreciated. Pop it in, remember, and enjoy.

Review of George Harrison's Cloud Nine

by Mel C. Thompson.

Typically Harrison's albums have maybe one hit, or even no hits, then maybe one or two good songs, and then a lot of pretty iffy material.

Of course All Things Must Pass was an exception. It was, by far, the best post-Beatles album produced by any of the Beatles, and remains, by the way, the best selling of all the post-Beatle albums.

Cloud Nine was, however, a total breakout album for a few reasons. Firstly, the album had one smash hit, Got My Mind Set On You. This hit had such staying power and came so late in Harrison's career that it got Harrison a huge non-Beatles audience, so much so that I met young kids at the time who did not know or believe Harrison had been in the Beatles and simply liked him as a solo artist. That kind of comeback is a very rare achievement for any artist.

But also, the album has two minor hits, The Devil's Radio, and also, the best song on the album, When We Was Fab, a song that not only pokes some lighthearted and serious fun at Harrison's Beatle years, but has a tremendous musical style parody of their psychedelic era, calling to mind arrangements similar to I Am The Walrus and Strawberry Fields. It takes several listenings to really get what a masterpiece that song is.

The Devil's Radio is great because it has a profound spiritual message without leaning in the specific doctrinal tenants of Harrison's Hinduism. I say this with mixed feelings, since I am a Buddhist-Hindu and really enjoy a lot of his very doctrinal and propagandistic works. (True critics need to be human enough to "fall for things," even if they can be poked fun at artistically. In Harrison's case, his religion was a two-edged sword, it provided the inspiration and insight that made him a major and unique influence in the Anglo pop scene, but it also sometimes made him a bit sloppy and complacent.

Cloud specifically said in one interview that he did not want Cloud Nine to be dominated by spirituality, and he succeeded by having the album uplifted by his religion without it being heavy handed. (All that being said, I still like the heavy-handed stuff sometimes too.) The point is, in terms of the worldwide audience, Cloud Nine was perfect for absolutely mass consumption and platinum proportions while still retaining the great philosophical insights Harrison always benefitted from.

It also helps that he had the greatest backup band of all time. While George Harrison sang, played guitar and produced, he had Geoff Lynne coproduce and sing and play instruments, (he was the former create front-man for the Electric Light Orchestra who themselves had a massive career). Furthermore, on drums was his co-Beatle Ringo Starr. And if that weren't enough, Eric Clapton was the lead guitarist and Elton John was the Pianist (with regular contributions by Eighties Mega-Star, now often forgotten, Gary Wright). Given that backup band, it's hard to imagine how the album could go wrong.

Cloud Nine was a masterwork of marketing timing, producing, arranging, personnel management, spirituality and good old quality pop-rock. In some sense, given that Harrison had become a pretty successful film producer by then, in his own right, Cloud Nine probably represents the real Zenith of the solo career of Harrison, because, although All Things Must Pass will always remain the truly immortal work of Harrison's, it was still very much done in the supernova halo of the Beatles. Cloud Nine had proved with time and distance Harrison was a viable artist, and probably, the most important solo artist to come from the Beatles.

For a time it seemed that McCartney would have been by far the most important of the post-Beatles, however he fell far out of critical favor, and his solo work remains very dated and his following rather faded. Harrison fans hang on with a fervor that McCartney could not match. True, Double Fantasy represented a similar victory to Cloud Nine for John Lennon, a true breakout. And while Imagine remains Lennon's Immortal work, it too was also produced in the halo of the Beatles' recent breakup. Lennon's assassination may have prevented him from becoming the preeminent post-Beatle, since he said at the time of making Double Fantasy, that he felt like he'd just begun again and that "nothing's even been done yet."