Tucked away in the Blu-Ray/DVD Deluxe Edition of Martin Scorcese’s Living In The Material World, a biopic on Beatle George Harrison, is a 10-track CD made up of acoustic renderings and some early takes of Harrison songs, some of which run through the feature film.

The collection has also been released as a single CD or on vinyl, and is appropriately titled Early Takes Volume 1. The 1 teases at possible subsequent releases in what is presumed to be a series. That’s not guaranteed but has been indicated by Harrison’s widow, Olivia.

This set is nothing short of wonderful. A nice glimpse into George’s world, where he is in the early stages of getting songs down on tape, either purely with acoustic guitar and vocal or with a small backing band. Some of these tunes are so familiar to the Harrison fan that the many instrumental parts we’re all familiar with on songs such as My Sweet Lord, Awaiting On You All and All Things Must Pass, for instance, run through your mind in the background even while listening to the demo versions.

But it’s nice to hear the songs in their raw state. The listener gets a greater appreciation for the singer and the song. And in some cases those bombastic Phil Spector-produced tracks are improved upon in a more primal form.

There are some delightful covers as well, one of Bob Dylan’s Mama You’ve Been On My Mind and the classic early ’60s Everly Brothers ballad Let It Be Me. On Let It Be Me, Harrison delivers simple acoustic guitar accompaniment to his lead and harmony vocal tracks. One of the few times, if ever, Harrison sang a harmony part to himself on tape. The effect is beautiful on this gorgeous melody.

The only other listed musician on the album in Jonathan Clyde on mouth harp for the bluesy Harrison original Woman Don’t You Cry For Me from his solo album 33 1/3.

My Sweet Lord is played as a trio, according to album producer Giles Martin, George’s son, in a recent interview with Harrison on acoustic guitar, Ringo Starr on drums and Klaus Voorman on bass, while Run Of The Mill is a purely acoustic guitar and voice rendering, nice alternatives to the familiar single hit and album track, both from All Things Must Pass. I’d Have You Anytime, a co-write with Dylan, is small ensemble, and as is noted sounds like an early take from the All Things Must Pass sessions with keyboards, what sounds like a 12-string rhythm part and Harrison’s delicate electric guitar fills that run throughout the tune.

Another early take with a small band is Awaiting On You All on which you get a great appreciation for Harrison’s guitar playing as you do on all these tracks. With the simpler instrumentation, the listener can tune in on Harrison’s playing on most tracks and fully take in what an extraordinary rhythm and lead player he was. Always known as the tasteful guitar player in the ’60s in contrast to the great soloists of the decade, he was one of the first players noted for playing the perfect part for a particular song.

Behind That Locked Door has brush drums and the pedal steel that made it to the album take. All Things Must Pass is again small ensemble, acoustic guitar, bass and drums and the closing tune The Light That Has Lighted The World is what sounds to be a 12-string acoustic guitar only with his voice, a poignant, pleading and peaceful ending to a powerful set that says more in its simplicity and sparseness than many releases say in their complexity.