by Bruce EderHow does an instant multimillion-selling album become underrated? George Harrison's follow-up to All Things Must Pass was necessarily a letdown for fans and critics, appearing after a two-and-a-half-year interval without the earlier album's backlog of excellent songs from which to draw. And it does seem like Harrison narrowed his sights and his vision for this record, which has neither the bold expansiveness nor the overwhelming confidence of its predecessor. And some of the most serious songs here, such as "The Light That Has Lighted the World," seem dirge-like. What Living in the Material World shows off far better than the earlier record, however, is Harrison's guitar work -- he's the only axeman on Material World, and it does represent his solo playing and songwriting at something of a peak. Most notable are his blues stylings and slide playing, glimpsed on some of the later Beatles sessions but often overlooked by fans. "Don't Let Me Wait Too Long" is driven by a delectable acoustic rhythm guitar and has a great beat. The title track isn't great, but it does benefit from a tight, hard band sound, and "The Lord Loves the One (That Loves the Lord)," despite its title, is the high point of the record, a fast, rollicking, funky, bluesy jewel with a priceless guitar break (maybe the best of Harrison's solo career) that should have been at the heart of any of Harrison's concert set. Vocally, he isn't as self-consciously pretty or restrained here, but it is an honest performance, and his singing soars magnificently in his heartfelt performance on "The Day the World Gets Round." Perhaps a less serious title would have represented the album better, but nobody was looking for self-effacement from any ex-Beatle except Ringo (who's also here, natch) in those days.