George Harrison was tired. By 1969, the man was basically drowning in the shadow of the Lennon-McCartney songwriting machine, stuck with a backlog of tunes that John and Paul usually brushed aside. But then came Old Brown Shoe. It’s a weird, jagged, frantic piece of rock and roll that somehow got buried on the back of the "The Ballad of John and Yoko" single. Honestly, if you haven't sat down and really listened to the bassline on this track, you’re missing one of the best moments in the entire Beatles discography.
It’s heavy.
Most people think of George as the "Quiet Beatle" who wrote pretty ballads like "Something" or "Here Comes the Sun." That’s a massive oversimplification. Old Brown Shoe is the sound of a man finding his feet, literally and metaphorically, while the biggest band in the world was slowly dissolving into a mess of legal papers and ego trips.
The Mystery of the Missing Bassist
For decades, fans argued about who actually played that blistering, syncopated bass part. It sounds like Paul McCartney. It has his melodic flair, his "lead bass" energy. But here’s the kicker: it’s almost certainly George. During the Anthology 3 sessions and various studio logs from Abbey Road, it became clearer that George tracked a guide vocal and played the rhythm guitar, then overdubbed that insane bassline himself.
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He didn't just play it; he doubled it with his guitar to give it that growling, chunky texture.
It’s a masterclass in duality. The lyrics are all about opposites—"I want a love that's right / But right is only half of what's wrong." It’s very Eastern philosophy meets Liverpool rock. Harrison was deep into his spiritual journey by then, and you can hear him trying to reconcile the material world (the "old brown shoe" he’s stepping out of) with the internal shift he was feeling.
The track was recorded in April 1969. The band was actually in a decent mood that day, which was rare for the Get Back era. You can hear it in the tightness of the performance.
Why the B-side Status Matters
Being a B-side was sort of the Harrison curse. While John and Paul were fighting over which of their songs would be the A-side, George’s contributions were often relegated to the flip side of the 45. In this case, Old Brown Shoe backed a song that was essentially a John and Paul duet.
It’s ironic.
George was writing circles around a lot of his contemporaries at this point. "Old Brown Shoe" has a more sophisticated chord progression than most of the Top 40 hits from 1969. It uses a series of diminished chords and sudden shifts that shouldn't work in a pop song, but they do. It’s got a "shuffling" feel—a ska-adjacent rhythm that feels years ahead of its time.
Breaking Down the Studio Magic
If you look at the session notes from April 16 and 18, 1969, you see a band working with surprising efficiency. They knocked out the basic track in four takes. George’s vocal is particularly gritty here. He’s pushing his range, leaning into the mic with a bit of a snarl.
- George Harrison: Lead vocals, lead guitar, bass, organ.
- John Lennon: Backing vocals.
- Paul McCartney: Backing vocals, piano.
- Ringo Starr: Drums.
Wait, did you catch that? George played the bass and the lead guitar and the organ. He was taking control. He was proving he didn't necessarily need the others to craft a full sound, even though Ringo’s drumming on this track is absolutely essential. Ringo hits those fills with a specific kind of "lazy" precision that defines the late-Beatles sound.
The guitar solo is another highlight. It's short, biting, and perfectly phrased. George wasn't interested in long, indulgent jams. He wanted every note to serve the song. He used a Leslie speaker for the guitar, giving it that swirling, underwater effect that became his signature during the Let It Be and Abbey Road sessions.
The "Apple" Era Tension
You have to remember the context. This wasn't just a recording session; it was a business meeting that happened to have instruments. Apple Corps was hemorrhaging money. Allen Klein was entering the picture. The "old brown shoe" might have been the band itself—something George was ready to step out of to find his own identity.
He wrote the song at the piano, which is why the chords have that specific "clustered" feel. He wasn't a natural pianist, so he approached the keys with a guitarist's brain. That’s often where the best music comes from—someone playing an instrument they haven't quite mastered yet. It forces you to make interesting choices.
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Misconceptions About the Lyrics
Some people think Old Brown Shoe is just a nonsensical throwaway. It’s not. It’s about the "pairs of opposites" (dvandva) in Hindu philosophy.
"Early in the morning / Late as can be."
"Started out a tiger / Finished as a mouse."
George was obsessed with the idea that the physical world is a series of illusions and contradictions. By stepping out of his "old brown shoe," he’s shedding his old persona. He’s moving toward something else. It’s a spiritual manifesto disguised as a bar-room stomper.
Honestly, the lyrics are pretty clever. They’re punchy. They don't waste time.
- The Lead-in: The song starts with that iconic, driving drum beat and the piano stabbing at the chords.
- The Verse: It builds momentum quickly, never letting the listener breathe.
- The Bridge: This is where the song goes "sideways" with a chord shift that feels like a physical jolt.
It’s brilliant.
Where to Hear the Best Version
If you really want to experience Old Brown Shoe, skip the standard mono mix if you can. Find the stereo mix on the Past Masters collection or the 1967-1970 (Blue Album) compilation. The 2023 remix by Giles Martin is actually quite good—it brings the bass and Ringo’s kick drum right to the front, which is where they belong.
You can also hear the demo version on Anthology 3. It’s just George, a guitar, and a much slower tempo. It’s haunting. It shows you how much the band's collaboration (despite the fighting) turned a simple folk-like tune into a rock powerhouse.
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The Legacy of a "Forgotten" Track
Does Old Brown Shoe get the respect it deserves? Probably not by the general public. If you ask a casual fan to name five Beatles songs, this won't be on the list. But if you ask a musician, it usually is.
Gary Brooker of Procol Harum famously covered it. It’s been a staple for George Harrison tribute concerts because it’s so fun to play. It represents the moment George stopped being the "little brother" of the group.
He was done with the old shoes. He was ready for the boots he’d wear on the cover of All Things Must Pass.
Actionable Listening Guide
To truly appreciate the complexity of this track, try this:
- Listen for the bass/guitar unison: Around the 1:20 mark, focus entirely on the low end. Feel how the instruments are locked together.
- Isolate the backing vocals: John and Paul’s "whoops" and harmonies are tucked back in the mix, but they provide the essential "Beatle-ness" that makes the song soar.
- Compare the versions: Listen to the Anthology demo first, then the Blue Album version. It’s a lesson in how a song evolves in the studio.
- Watch the 'Get Back' footage: There are snippets of the band rehearsing this. Look at George's face. He knows he has a winner.
The song is a bridge. It connects the psychedelic experimentation of their mid-period with the raw, "back to basics" rock they were chasing at the end. It's short, it's loud, and it's quintessentially George. Don't let it stay a "forgotten" B-side on your playlist. Turn it up.
Next Steps for the Beatles Enthusiast
Check out the 1967-1970 (2023 Edition) on streaming platforms to hear the most recent Atmos and Stereo remixes. Pay close attention to the separation of the piano and bass, which were previously bunched together in older masters. If you're a musician, look up the tab for the bridge; it uses a unique C#7 to F#7 transition that explains why the song feels like it’s "lifting off." Finally, dive into George’s All Things Must Pass (50th Anniversary) to see how the themes he started in "Old Brown Shoe" fully blossomed just a year later.