[2] Its writing and recording coincided with a period of domestic contentment for Harrison,[3][4] who married his second wife, Olivia Arias, and saw the birth of his only child, son Dhani, during the sessions for his self-titled album.

[19] Author Simon Leng likens the song's harmony to that in "Far East Man", a 1974 composition in the soul style that Harrison wrote with Faces guitarist Ron Wood.

[29] While Harrison's songs often focus on the Hindu deity Krishna as his idea of God, "Love Comes to Everyone" includes imagery equally typical of Christian teaching.

[35][nb 2] According to author Robert Rodriguez, "Love Comes to Everyone" is the one track on George Harrison that appeared to follow contemporary music trends.

[42] Leng describes Harrison's electric guitar parts on "Love Comes to Everyone" as eschewing the "screaming axes" approach of rock music and instead serving as "smooth, ringing purveyors of elegance".

[23] In a 1996 interview, Titelman recalled that while making the album he came to appreciate the precision and craft Harrison had applied to the Beatles' music, and the "unique" quality of his guitar styles and sounds.

[43] The other musicians on the recording include Steve Winwood (who plays the Minimoog synthesizer solos), Neil Larsen, Willie Weeks, Andy Newmark and Ray Cooper.

[54][nb 4] Inglis views Clapton's participation in this and later Harrison projects as a sign of "the depth of their mutual affection" despite the potential awkwardness of their romantic entanglements.

[73][74] Unlike for "Blow Away" and the UK charity single "Faster", Harrison did not produce a music video for "Love Comes to Everyone",[75][76] and he did limited promotion for the album generally.

[79] The occasion marked the first time that three former Beatles had played live since the band's break-up, as Harrison, Paul McCartney and Ringo Starr were among the musicians who performed on the makeshift stage in Clapton's garden.

[86] The prominent synthesizer sound on the recording later found greater commercial success as a feature of Winwood's 1980 album Arc of a Diver, particularly his 1981 hit single "While You See a Chance".

[98] In Rolling Stone, Stephen Holden found the album "refreshingly lighthearted" and evidence that Harrison "was always a much better tunesmith than priest",[99] and he highlighted the "prettiness" of the song's melody.

Sexton added that he had always liked Harrison's voice and musical arrangements, but with "Blow Away" having soon disappeared from the UK chart, the former Beatle was becoming a "poor man's Paul McCartney" in terms of his songs' longevity.

The reviewer admired the blend of guitar motif, electric piano, tambourine and synthesizer soloing, along with Harrison's "top notch" vocals and "inspirational message".

[102] Writing in 1981, Bob Woffinden of the NME described the track as "joyous" and an example of how, thanks to its creator's happiness as a husband and father, George Harrison was "characterised by many of the positive qualities (consistency, professionalism, confidence, ebullience)" that had distinguished the Beatles' work throughout the 1960s.

[104] Among more recent assessments, AllMusic critic Richard Ginell dismisses the song as a "depressing" choice to open the album, and "a treadmill tune with greeting-card verses".

[107] Harrison biographer Elliot Huntley deems the song a "glorious piece", despite Clapton's "mediocre" guitar intro and the "paper and comb" synthesizer sound, and he considers that its failure to become a hit was "mystifying ... given that it seemed perfect for AOR radio stations the world over".