The floodgates opened almost immediately after the Beatles breakup with the three-LP set All Things Must Pass. Producer Phil Spector packed the studio with musicians, imbuing the already epic likes of “Isn’t It a Pity,” “Let It Down,” and “Art of Dying” with gargantuan grandeur.  

 Harrison’s next move was to organize the all-star benefit show documented on The Concert for Bangla Desh. Though Bob Dylan and Ravi Shankar are the top performers here, George’s set has plenty of magic. 

 On a purely sonic level, Material World is preferable to All Things Must Pass; you can hear the instrumental details much better without Spector’s wall of sound, and the tunes rank among Harrison’s prettiest. But the atmosphere sometimes gets deflated by overly preachy lyrics.  

 Apparently, no one told George that he shouldn’t make an album while suffering from laryngitis, and so we got Dark Horse, which ruins several decent songs with croaky vocals.  

 Extra Texture starts off well, then runs out of steam midway through.  

 Dipping back into his vat of unreleased Sixties compositions, Harrison pulled out “Beautiful Girl,” one of the many highlights of his upbeat return to pop form, Thirty-Three & 1/3.  

 The Best of George Harrison takes half its contents from Beatles albums, which is a little insulting to his solo career to date. 

 Another Beatles outtake, “Not Guilty,” surfaced on George Harrison. The understated gem “Your Love Is Forever” is the next best track, but elsewhere mellowness overwhelms musicality.  

 Warner Bros. rejected the first version of Somewhere in England, and even the released version is hard to fathom. Why, for example, are there two Hoagy Carmichael songs? And why is “All Those Years Ago,” supposedly a serious tribute to Lennon, so damn bouncy? 

 The dynamic, synth-driven “Wake Up My Love” opens Gone Troppo and the spooky “Circles” (yet another lost Beatles song) closes it, but there ain’t much in between. 

 On Cloud Nine, Harrison sounds rejuvenated. Hooking up with Beatle junkie Jeff Lynne yielded George’s strongest batch of tunes in over a decade, though weirdly enough, the biggest hit, “Got My Mind Set On You,” was a cover of a Rudy Clark song. 

 Following his death from cancer in 2001, some of the tracks he was working on toward the end of his life came out on Brainwashed.  

 Let it Roll is a single-disc best-of that covers Harrison’s whole career; for Beatles songs, it uses live versions from The Concert For Bangladesh.