particularly the gorgeous Roy Orbison-esque ballad 'Who Can See It'". Leng has named Living in the Material World as his personal favourite of all of Harrison's solo albums. According to Leng, with its combination of a defiant "protest" song in "The Day the World Gets 'Round", the anti-stardom "The Lord Loves the One", and "perfect pop confections" in "Give Me Love" and "Don't Let Me Wait Too Long", Living in the Material World was the last album to capture the same clear-sighted, utopian spirit that characterised the 1960s. Eder likewise welcomes Material Worlds bold idealism, saying: "Even in the summer of 1973, after years of war and strife and disillusionment, some of us were still sort of looking – to borrow a phrase from a Lennon–McCartney song – or hoping to get from them something like 'the word' that would make us free. And George, God love him, had the temerity to actually oblige ..." Reissues 2006 While solo works by Lennon, McCartney and Starr had all been remastered as part of repackaging campaigns during the 1990s and early 21st century, Harrison's Living in the Material World was "neglected over the years", author Bruce Spizer wrote in 2005, an "unfortunate" situation considering the quality of its songs. On 25 September 2006, EMI reissued the album in the UK, on CD and in a deluxe CD/DVD package, with Capitol Records' US release following the next day. The remastered Material World featured two additional tracks, neither of which had previously been available on an album: "Deep Blue" and "Miss O'Dell", popular B-sides, respectively, to the 1971 non-album single "Bangla Desh" and "Give Me Love (Give Me Peace on Earth)". The CD/DVD edition contained a 40-page full colour booklet that included extra photos from the inner-gatefold shoot (taken by Mal Evans and Barry Feinstein), liner notes by Kevin Howlett, and Harrison's handwritten lyrics and comments on the songs, reproduced from I Me Mine. The DVD featured a concert performance of "Give Me Love", recorded during Harrison's 1991 Japanese tour with Eric Clapton, and previously unreleased versions of "Miss O'Dell" and "Sue Me, Sue You Blues" set to a slideshow of archival film. The final selection consisted of the album's title track playing over 1973 footage of the LP being audio-tested and packaged prior to shipment. While Zeth Lundy found that the deluxe edition "bestows lavish attention upon a record that may not exactly