sound whitewash of its predecessor, but its flow and elegance are unmistakable". Perry admired Harrison's slide guitar playing and rated the album an "underrated, classic record". Writing for Uncut in 2008, David Cavanagh described Material World as "a bit full-on, religion-wise" but "the album to play if you want musicianship at its best". Living in the Material World was listed as the fifth best Beatles solo album by Paste in 2012. In their similar lists, Ultimate Classic Rock ranks it at number 7 and The Independent at number 6. 2014 appraisal and legacy Reviewing the 2014 reissue, Blogcritics' Chaz Lipp writes that "this chart-topping classic is, in terms of production, arguably preferable to its predecessor", adding: "The sinewy 'Sue Me, Sue You Blues,' galloping title track, and soaring 'Don't Let Me Wait Too Long' rank right alongside Harrison's best work." Alex Franquelli of PopMatters refers to it as "a worthy successor" to All Things Must Pass and an album that "raises the bar of social awareness that had only been touched on lightly in the previous release". Franquelli concludes: "It is a work that enjoys a more elaborate dynamic development, where layers are kept together by Harrison’s clever work behind the mixing desk." In another 2014 review, for Classic Rock, Paul Trynka writes: "All these years on, it's his most overtly spiritual album that sparkles today … The well-known songs, such as 'Sue Me, Sue You Blues' (dedicated to the rapacious Allen Klein), stand up well, but it's the more restrained tracks – 'Don't Let Me Wait Too Long', 'Who Can See It' – that entrance: gorgeous pop songs, all the more forceful for their restraint." Trynka goes on to describe "Be Here Now" as the album's "towering achievement" and "a masterpiece". Among Beatles biographers, Alan Clayson approves of Material Worlds "self-production criterion closer to the style of George Martin", after the "looser abundance" of All Things Must Pass. Within the more restrained surroundings, Clayson adds, Harrison laid claim to the title "king of rock 'n' roll slide guitar", in addition to giving perhaps his "most magnificent [vocal] performance on record" on "Who Can See It". Rodriguez also approves of a production aesthetic that allows instruments to "sparkle" and "breathing space" for his melodies, and rates Harrison's guitar playing as "stellar" throughout. Peter Lavezzoli describes the album as "a soulful collection of songs that feature some of Harrison's finest singing,