Gone Troppo (1982) 


 

  1. Wake Up My Love
  2. That's the Way it Goes
  3. I Really Love You
  4. Greece
  5. Gone Troppo
  6. Mystical One
  7. Unknown Delight
  8. Baby Don't Run Away
  9. Dream Away
  10.Circles

 

Few albums in George Harrison’s catalogue arrived with less fanfare than Gone Troppo. Released in late 1982 to near-universal apathy, the album failed to chart meaningfully, produced no hit singles, and was largely dismissed by both critics and listeners alike. Even Harrison himself appeared disinterested, doing virtually nothing to promote it. The cover art was cartoonish, the title vaguely baffling, and the general air around the record suggested a man no longer trying—or perhaps simply no longer needing—to try. And yet, in one of the stranger twists of post-Beatles solo careers, Gone Troppo may well be Harrison’s most unexpectedly enjoyable record since Thirty Three & 1/3. It is certainly the loosest, and perhaps the most effortlessly listenable.

The first surprise is Wake Up My Love, an energetic, synth-driven opener that flirts with early-’80s production values but resists their excesses. It was released as a single, to little effect, though the track itself is far from disposable. Indeed, the entire album leans heavily on keyboards and electronic textures, but Harrison’s use of them is judicious, more a means of complement than gimmick. His guitar—clean, melodic, unmistakably his—remains the album’s grounding force.

The title track, Gone Troppo. is a delightfully odd centerpiece, lighthearted and rhythmically buoyant, its tropical flavor more implied than overstated. It is catchy without being cloying, and by all rights should be better known. There is no attempt here at grandeur or profundity. It is simply a well-crafted pop tune, and therein lies its charm. Mystical One, the requisite spiritual entry, is gentle and reflective, reaffirming Harrison’s enduring religious convictions without descending into preachiness. His sincerity, by now a hallmark, continues to resonate even in his most casual moments. Likewise, Greece, a semi-instrumental, reminds us that Harrison’s musicality has always extended well beyond his vocal cords. It is a warm, airy piece—more mood than melody—but its placement offers a welcome breath in an already light-footed album.

Not every track succeeds. I Really Love You, a novelty throwback that may or may not feature Harrison impersonating Elvis, lands with a thud. Its charm, if it exists, is buried under layers of affected vocal stylings and self-conscious pastiche. Elsewhere, the album maintains a surprising consistency—never quite brilliant, but never offensively dull.

More than anything, Gone Troppo feels like an artist no longer beholden to either critics or commerce. Harrison had, by this point, stepped fully out of the pop spotlight, and the resulting creative freedom yields something refreshing: a record unconcerned with being important. It is neither statement nor confession. It is simply George—relaxed, amused, and finally free of the mythos.

If its release was ignored, its legacy remains curiously intact for those willing to listen with open ears. Gone Troppo won’t alter any reputations, but it just might redeem a few.

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