1977 hit "Crackerbox Palace", as an example of "a simple pop ditty ... with his sincere voice cutting through a perky arrangement" and therefore one of the few interesting tracks on the album. The single failed to achieve commercial success. It missed the UK top 75, although Record Mirror included the song in the magazine's inaugural 25 "bubbling under" placings, on 15 August, compiled from the official BMRB/Music Week chart data. On the rival chart compiled by the UK industry publication Record Business, the single placed at number 88. In the US, "Teardrops" was listed at number 102 on the Billboard Bubbling Under the Hot 100 chart and peaked at number 88 on the Cash Box Top 100. On Billboards Rock Albums and Top Tracks chart, measuring radio airplay, the song reached number 51. In November 1981, "Teardrops" was issued on a new single in the US, as the B-side to "All Those Years Ago". Aftermath and retrospective assessments Harrison said that 1980 was the year when he stopped enjoying being a recording artist and "couldn't relate" to contemporary pop music. After completing his 1982 album Gone Troppo, he withdrew from music-making for over four years, partly as a result of the compromises he was forced to make with Somewhere in England, and partly because he had long found his role as a film producer with his company HandMade Films more rewarding. With "Wake Up My Love", the lead single from Gone Troppo, Harrison returned to the pop formula of "Teardrops". According to Alan Clayson, this was a gesture designed to satisfy Warner Bros. in advance, while Harrison otherwise had no interest in the album's commercial performance and, as with Somewhere in England, made no attempt to promote the release. Chip Madinger and Mark Easter say that "Teardrops" was "probably the best of the toe-tappers that George composed for the revised Somewhere in England", and they describe its commercial failure as "inexplicable". Ian Inglis calls the song "a perfectly plausible piece of middle-of-the-road pop" that, through its origins as a purpose-written hit song to satisfy commercial considerations, "lacks Harrison's signature". Harrison biographer Simon Leng similarly describes the track as a "perfectly pleasant ... well-produced power pop tune with a catchy hook and an attractive bridge", but he dismisses it as "hack work" and "the kind of forgettable pop fluff that Harrison had been trying to escape for years". Clayson says