George Harrison on Bass: A Hidden Thread in The Beatles’ Studio Tapes
George Harrison is celebrated as The Beatles’ lead guitarist, a spiritual seeker, and the writer behind timeless classics like “Something” and “While My Guitar Gently Weeps.” But tucked away in the band’s sprawling recording sessions are moments when “the quiet Beatle” put down his guitar and picked up the bass — usually a Fender Bass VI — stepping in for Paul McCartney when necessary or simply exploring sonic textures in the studio. While McCartney was undeniably the band’s bass virtuoso, Harrison’s forays into bass playing reveal a surprising layer to his musical versatility.
Here’s a closer look at the Beatles tracks where George Harrison is reported or rumored to have played bass:
1. “Back in the U.S.S.R.” (The Beatles, 1968)
Ringo Starr had temporarily quit the band, prompting Harrison and Lennon to fill in on drums and bass. Though the bassline is typically attributed to McCartney, it’s widely believed Harrison played bass on one or more takes, possibly contributing to the final track. The layered approach makes authorship murky, but George was in the mix.
2. “Rocky Raccoon” (The Beatles, 1968)
This folk-western pastiche primarily features acoustic instrumentation. Harrison is thought to have played the six-string Fender Bass VI, adding to the rustic, plodding rhythm. Though McCartney likely handled the initial bass ideas, Harrison may have laid down the actual track.
3. “Honey Pie” (The Beatles, 1968)
On this 1920s-style music hall tune, McCartney focused on piano and vocals, leaving Harrison to handle bass duties. Again, the Fender Bass VI likely made this switch seamless for George, and the bass part here is simple but effective, supporting the jazzy arrangement.
4. “Maxwell’s Silver Hammer” (Abbey Road, 1969)
With McCartney occupied on piano and vocals (and perhaps exhausting the patience of the rest of the band), Harrison is believed to have played bass on this track. While it isn’t conclusively credited, studio chatter and session notes suggest George filled in using the Bass VI during early takes.
5. “Oh! Darling” (Abbey Road, 1969)
Another piano-driven track with a powerful McCartney vocal. Some reports suggest Harrison played bass on early takes, allowing Paul to focus on vocals and piano. The final version likely features McCartney on bass, but Harrison’s involvement in the process remains part of the lore.
6. “Golden Slumbers” / “Carry That Weight” (Abbey Road, 1969)
As part of the iconic Abbey Road medley, both songs were tracked with flexibility. Harrison likely played bass on some takes, especially when McCartney was handling piano. However, Paul may have overdubbed the final basslines later. Harrison’s role in the rhythm section during the recording of this medley is well documented.
7. “Good Day Sunshine” (Revolver, 1966)
This one is a bit of a mystery. While McCartney composed and sang the song, some researchers and engineers have speculated that Harrison played bass during tracking. The session logs don’t confirm this directly, but given the instrument-switching common in that era, it remains a possibility.
8. “She Said She Said” (Revolver, 1966)
This is one of the clearest examples: McCartney walked out during the session, so Harrison stepped in to play bass. The line is notably sparse but fits the psychedelic mood of the track. Harrison later confirmed his role, and the stripped-down arrangement confirms it.
9. “Two of Us” (Let It Be, 1970)
McCartney and Lennon sang and played acoustic guitars, leaving Harrison to handle bass, once again using the Fender Bass VI. His playing is supportive and restrained, keeping the arrangement light and airy.
10. “Hey Jude” (Single, 1968)
While McCartney is credited as the main bassist, there’s speculation that Harrison may have overdubbed or doubled some of the bass parts during the extended coda. Given the track’s lengthy outro and layering, it’s possible — though not definitively proven — that Harrison contributed bass lines.
11. “Maggie Mae” (Let It Be, 1970)
This short, humorous traditional Liverpudlian folk snippet was captured during loose jam sessions. With instruments being picked up spontaneously, it’s believed that Harrison grabbed the bass while Lennon took guitar and McCartney played piano or sang. The casual vibe suits Harrison’s no-frills playing style.
12. “Old Brown Shoe” (B-side, 1969)
A Harrison-penned track, this is one of the few songs where Harrison himself played the main bassline, and not just as a fill-in. In fact, Paul played piano on the track while George delivered one of the most complex and lively basslines in The Beatles’ catalog. Using the Fender Jazz Bass, Harrison’s playing here was melodic, agile, and funky — showing he had a real handle on the instrument when inspired.
Conclusion: A Subtle but Significant Contribution
While George Harrison was not the bassist of The Beatles, these tracks highlight his adaptability and his quiet role in shaping the sonic character of many later-period Beatles songs. Often stepping in on bass when Paul was focused elsewhere or the band was experimenting, Harrison’s contributions helped maintain momentum in the studio — and at times, as in “Old Brown Shoe,” elevated the music with flair.
George may have been The Beatles’ lead guitarist, but his temporary shifts to bass proved he was more than just a soloist — he was a team player with an underrated rhythmic sensibility.
