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Unequivocally, the answer is yes." Coleman praised Harrison's vocals on this "fine album" and likened the quality of his melodies to that on the Beatles' 1965 album Rubber Soul.
In a review that author Michael Frontani terms "particularly laudatory", Richard Meltzer of The Village Voice described Harrison's new work as "his best LP since All Things Must Pass and on par with, say, [Bob Dylan's] Blood on the Tracks".
as a result of his late delivery of the album's master tapes.
Among other misfortunes affecting its creation, Harrison suffered hepatitis midway through recording, and the copyright infringement suit regarding his 1970–71 hit song "My Sweet Lord" was decided in favour of the plaintiff, Bright Tunes Music.
Harrison undertook extensive promotion for the album, which included producing comedy-themed video clips for three of the songs, two of which were directed by Monty Python member Eric Idle, and making a number of radio and television appearances.
Among the latter was a live performance with singer-songwriter Paul Simon on NBC-TV's Saturday Night Live.
Billboard magazine described the release as "a sunny, upbeat album of love songs and cheerful jokes that is his happiest and most commercial package, with least high-flown postures, for perhaps his entire solo career".
Harrison spent the early part of 1976 involved in activities other than music-making.while New Zealand Herald critic Graham Reid writes that Harrison got off to "a flying start" on his new label and he notes the consistent quality across the album, which includes "a more than decent treatment of Cole Porter's True Love".In his review of Harrison's 2014 Apple/EMI reissues, Alex Franquelli of Pop Matters cites Thirty Three & ⅓ as an example of how "Harrison's artistic output remained coherent with itself" following All Things Must Pass, and he describes the album as "well above the average pop songwriting".As part of an all-American line-up of musicians at the sessions, other participants included bassist Willie Weeks, drummer Alvin Taylor, keyboard players Richard Tee and David Foster, and jazz percussionist Emil Richards.
According to authors Chip Madinger and Mark Easter, one of the few items of recording Harrison was able to do over the summer months was an overdubbed acoustic guitar solo on the ballad "Learning How to Love You".Michael Gross wrote in Swank magazine that Harrison "seems with 33 1/3 to have come unstuck", adding: "If the new record company, new girlfriend ...