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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".The reviewer rated the production "top-notch" before concluding: "And Harrison's often-spectacular melody writing gift gets brilliant display here." In Melody Maker, Ray Coleman remarked on Warner Bros.' need to re-establish Harrison, adding: "The question is merely whether the music [on Thirty Three & ⅓] merits it.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".The album was remastered in 2004 as part of the Dark Horse Years 1976–1992 reissues following Harrison's death in 2001.In May 1974, George Harrison signed a five-year distribution agreement for Dark Horse Records with A&M Records.For no individual track really presents itself as typifying a New Harrison Approach – and yet the impression left by the album as a whole is definitely of a more balanced, poised and devil-may-care Hari ..." gave Thirty Three & ⅓ the highest rating of all the ex-Beatle's solo albums thus far, with a "B–".
The two tracks form the center of the guitarist's strongest collection since his solo debut." Having interviewed Harrison for Guitar World magazine in 1987, Rip Rense praised the solos on tracks such as "Learning How to Love You" and "Beautiful Girl", while opining of Harrison's "underrated solo [career]": "his work is my choice for best among the ex-Fabs for being the most substantial in melody, structure, and content.
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In addition to other Dark Horse artists, the contract called for four solo albums from Harrison, the first of which was due by 26 July 1976, following the expiration of the Beatles' recording contract with EMI in January that year.
Harrison spent the early part of 1976 involved in activities other than music-making.