George Harrison Finally Reveals The 6 Bands He Hated The Most!
1. The Monkees: Manufactured Pop
The first band on George Harrison’s list was the Monkees—a pop band that was often accused of being a manufacturedgroup put together by television producers. While the Monkees had some catchy hits, like “I’m a Believer,” they were criticized for not being an actual band in the traditional sense. They didn’t write most of their songs or play their own instruments, which was something Harrison deeply valued in music.
Harrison was known to have a sharp disdain for the Monkees because of their lack of authenticity in the music industry. In a 1976 interview, he admitted that he found their rise to fame to be artificial.
“They were just put together for TV. They weren’t a real band,” Harrison said. “It was all for the sake of commercialism. I couldn’t stand it.”
While he respected the individual talents of the Monkees, he viewed their success as an example of the kind of fakenessthat was creeping into the music industry at the time.
2. The Bee Gees: Disco Overload
Next up, Harrison expressed his distaste for the Bee Gees, particularly during the height of their disco phase in the late 1970s. The Bee Gees were known for their signature falsetto vocals and dance hits like “Stayin’ Alive” and “Night Fever,” which became anthems of the disco era.
Harrison, who was more inclined toward rock and roll and spiritual music, despised disco and saw the Bee Gees’ music as emblematic of what he believed to be the commercialization of art.
“I could never really get into their stuff. The disco thing just wasn’t for me,” Harrison once confessed. “It was all about being in the limelight and the music was more about the beat than the soul.”
For Harrison, the Bee Gees represented an era of superficiality that clashed with his own focus on meaningful and authentic expression in music.
3. The Rolling Stones: “Unoriginal” and “Self-Centered”
Despite sharing the stage with The Rolling Stones during their early years, George Harrison was known to have a strained relationship with Mick Jagger and the band as a whole. While both bands rose to prominence around the same time, Harrison grew increasingly disillusioned with the attitude and ego of the Rolling Stones.
In his later years, Harrison criticized the Stones for being too self-centered and unoriginal, particularly during the late 1960s and early 1970s.
“They were too focused on their image. They were always about the fame and not about the music,”Harrison remarked. “They played good songs, sure, but there was something about their whole approach that rubbed me the wrong way.”
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It wasn’t just their behavior that bothered him, but also what he saw as a lack of depth in their music, especially compared to the spiritual exploration he was pursuing through his own work. This rivalry between the Beatles and the Stones became well-known, and while Harrison had respect for their earlier work, he ultimately found their direction less appealing.
4. The Doors: Too Dark and Dour
Another band Harrison was never particularly fond of was The Doors. Although they had some musical brilliance in their unique blend of psychedelic rock and poetry, Harrison never quite warmed to their dark and introspective style. He felt their approach was overly mystical and self-indulgent, a stark contrast to the positive and introspective music he was more drawn to.
“I couldn’t understand what all the fuss was about. It felt too dark and heavy to me. I much preferred music that uplifted the spirit,” Harrison said in an interview.
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His aversion to the band likely stemmed from the fact that their music often focused on gloom and existential despair, which didn’t resonate with his own more optimistic and spiritual worldview.
5. The Sex Pistols: Punk as Noise
During the late 1970s, the punk rock movement exploded with bands like The Sex Pistols leading the charge. While many embraced the raw energy and anti-establishment attitude of punk, George Harrison was highly critical of this genre, particularly the Sex Pistols.
Harrison viewed punk music as little more than chaos and noise, lacking the emotional depth or musicianship that he valued in music. He also didn’t share the political anger that fueled many of the punk bands.
“It was just a lot of noise to me. They were all about tearing things down, but I didn’t see much substance to it,” Harrison remarked.
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Harrison, known for his spiritual exploration and dedication to creating meaningful music, didn’t connect with the angst-ridden and often disruptive energy of punk rock, particularly when it was done for shock value rather than musical innovation.
6. ABBA: Too Much Glamour, Not Enough Substance
Though George Harrison is known for having a profound respect for the creative genius of bands like The Beatles and even some of the greatest classical musicians, he had a peculiar disdain for ABBA. While their catchy tunes and perfect harmonies won over millions of fans worldwide, Harrison found their manufactured pop and overly polished image to be off-putting.
“It’s all too polished, too slick. The music is nice, but there’s no soul behind it. It’s just the perfect pop machine,” Harrison once commented.
For Harrison, ABBA represented an era of artifice and commercialized music, where the image and presentation overshadowed the authenticity of the artist’s inner expression.
Conclusion: George Harrison’s Complex Views on Music
George Harrison’s opinions on other bands reflect his deeply personal philosophy about music, authenticity, and the soul of art. While he had the utmost respect for musicians who created meaningful, genuine work, he couldn’t get behind bands he believed lacked depth, authenticity, or true emotional connection.
Harrison’s critique of these six bands doesn’t diminish their place in music history, but rather highlights Harrison’s unwavering commitment to his own artistic journey. He always believed that music should be about much more than fame and popularity—it should be about expression, soul, and a deeper connection to the listener. His criticism was not about dismissing the artists themselves, but rather about the kind of music that spoke to him personally.
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