Editing All Things Must Pass (section)

===Main body===
{{quote box|quote= I went to George's Friar Park&nbsp;... and he said, "I have a few ditties for you to hear." It was endless! He had literally hundreds of songs and each one was better than the rest. He had all this emotion built up when it was released to me.<ref name="Olivia p 282" />|source= – Phil Spector, on first hearing Harrison's backlog of songs in early 1970|width=25%|align=right|style=padding:8px;}}
Spector first heard Harrison's stockpile of unreleased songs early in 1970, when visiting his recently purchased home, [[Friar Park]].<ref name="Olivia p 282">Olivia Harrison, p. 282.</ref> "It was endless!" Spector later recalled of the recital, noting the quantity and quality of Harrison's material.<ref name="MacFarlane p 72"/> Harrison had accumulated songs from as far back as 1966; both "[[Isn't It a Pity]]" and "[[Art of Dying (song)|Art of Dying]]" date from that year.<ref>Spizer, pp. 212, 225.</ref> He co-wrote at least two songs with Dylan while in Woodstock,<ref name="Leng p 52">Leng, p. 52.</ref> one of which, "[[I'd Have You Anytime]]", appeared as the lead track on ''All Things Must Pass''.<ref name="Madinger & Easter p 423">Madinger & Easter, p. 423.</ref> Harrison also wrote "[[Let It Down]]" in late 1968.<ref>Sulpy & Schweighardt, p. 8.</ref>

He introduced the Band-inspired<ref name="Lavezzoli p 186">Lavezzoli, p. 186.</ref> "All Things Must Pass", along with "[[Hear Me Lord]]" and "Let It Down", at the Beatles' ''Get Back'' rehearsals, only to have them rejected by Lennon and McCartney.<ref name="Eds of RS p 187" /><ref>Huntley, p. 21.</ref>{{refn|group=nb|"Isn't It a Pity" was another song passed over during these sessions,<ref>The Editors of ''Rolling Stone'', pp. 38, 187.</ref> having similarly been turned down, by Lennon,<ref>Sulpy & Schweighardt, p. 269.</ref> for inclusion on the Beatles' ''[[Revolver (Beatles album)|Revolver]]'' album (1966).<ref>MacDonald, p. 302fn.</ref>}} The tense atmosphere at Twickenham fuelled another ''All Things Must Pass'' song, "[[Wah-Wah (song)|Wah-Wah]]",<ref name="Harris p 72" /> which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969.<ref name=SLO3c>Leng, p. 85.</ref> Harrison later confirmed that the song was a "swipe" at McCartney.<ref name="White/Musician p 55">Timothy White, "George Harrison – Reconsidered", ''[[Musician (magazine)|Musician]]'', November 1987, p. 55.</ref> "[[Run of the Mill (George Harrison song)|Run of the Mill]]" followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles<ref name="Leng p 91">Leng, p. 91.</ref> amid the business problems surrounding their [[Apple Corps|Apple organisation]].<ref>George Harrison, p. 188.</ref> Harrison's musical activities outside the band during 1969 inspired other songs on the album: "[[What Is Life]]" came to him while driving to a London session that spring for Preston's ''[[That's the Way God Planned It]]'' album;<ref>Andy Davis, Billy Preston ''[[Encouraging Words]]'' CD, liner notes ([[Apple Records]], 2010; produced by George Harrison & Billy Preston).</ref> "[[Behind That Locked Door]]" was Harrison's message of encouragement to Dylan,<ref>Clayson, p. 273.</ref> written the night before the latter's comeback performance at the [[Isle of Wight Festival 1969|Isle of Wight Festival]];<ref>George Harrison, p. 206.</ref> and Harrison began "[[My Sweet Lord]]" as an exercise in writing a gospel song<ref name="Harris p 70" /> during Delaney & Bonnie's stopover in Copenhagen in December 1969.<ref>Leng, pp. 67, 71, 88, 89.</ref>{{refn|group=nb|Soon after the tour, Harrison gave "My Sweet Lord" and "All Things Must Pass" to Preston,<ref>Clayson, pp. 280–81.</ref> who released the songs on his ''[[Encouraging Words]]'' album in September 1970, two months before Harrison's versions appeared.<ref>Castleman & Podrazik, p. 91.</ref>}}

"[[I Dig Love]]" resulted from Harrison's early experiments with [[slide guitar]], a technique to which Bramlett had introduced him,<ref name="Harris p 70">Harris, p. 70.</ref> in order to cover for guitarist [[Dave Mason]]'s departure from the Friends line-up.<ref name="IMM p 172">George Harrison, p. 172.</ref> Other songs on ''All Things Must Pass'', all written during the first half of 1970, include "[[Awaiting on You All]]", which reflected Harrison's adoption of chanting through his involvement with the Hare Krishna movement;<ref>Allison, p. 47.</ref><ref name="Schaffner p 142" /> "[[Ballad of Sir Frankie Crisp (Let It Roll)]]", a tribute to the original owner of Friar Park;<ref>Inglis, p. 29.</ref> and "[[Beware of Darkness (song)|Beware of Darkness]]".<ref>Madinger & Easter, pp. 426, 431.</ref> The latter was another song influenced by Harrison's association with the Radha Krishna Temple,<ref>Inglis, p. 28.</ref> and was written while some of the devotees were staying with him at Friar Park.<ref>George Harrison, p. 198.</ref>

On 1 May 1970, shortly before beginning work on ''All Things Must Pass'', Harrison attended a Dylan session in New York,<ref>Badman, pp. 6, 7.</ref> during which he acquired a new song of Dylan's, "[[If Not for You]]".<ref name="Harris p 72" /> Harrison wrote "[[Apple Scruffs (song)|Apple Scruffs]]", which was one of a number of Dylan-influenced songs on the album,<ref>Inglis, pp. 28–29.</ref> towards the end of production on ''All Things Must Pass'', as a tribute to the [[Apple scruffs|diehard fans]] who had kept a vigil outside the studios where he was working.<ref name="Schaffner p 142" /><ref name="Clayson p 297">Clayson, p. 297.</ref>

According to Leng, ''All Things Must Pass'' represents the completion of Harrison's "musical-philosophical circle", in which his 1966–68 immersion in Indian music found a Western equivalent in gospel music.<ref>Leng, p. 319.</ref> While identifying [[hard rock]], [[country music|country]] and [[Motown]] among the other genres on the album, Leng writes of the "plethora of new sounds and influences" that Harrison had absorbed through 1969 and now incorporated, including "Krishna chants, gospel ecstasy, Southern blues-rock [and] slide guitar".<ref>Leng, pp. 68, 102.</ref> The melodies of "Isn't It a Pity" and "Beware of Darkness" have aspects of [[Indian classical music]], and on "My Sweet Lord", Harrison combined the Hindu [[bhajan]] tradition with gospel.<ref>Leng, pp. 87, 92, 102, 157.</ref> Rob Mitchum of ''[[Pitchfork (website)|Pitchfork]]'' describes the album as "dark-tinged Krishna folk-rock".<ref name="Pitchfork Top 100" />

The recurrent lyrical themes are Harrison's spiritual quest, as it would be throughout his solo career,<ref>Lavezzoli, p. 197.</ref> and friendship, particularly the failure of relationships among the Beatles.<ref>Huntley, pp. 53, 56, 61.</ref><ref>Leng, pp. 76, 86.</ref> Music journalist [[Jim Irvin]] says that Harrison sings of "deep love – for his faith, for life and the people around him". He adds that the songs are performed with "tension and urgency" as if "the whole thing is happening on the edge of a canyon, an abyss into which the '60s is about to topple".<ref name="Irvin/RBP">Jim Irvin, [https://www.rocksbackpages.com/Library/Article/george-harrison-iall-things-must-passi-apple "George Harrison: ''All Things Must Pass'' (Apple)"], [[Rock's Backpages]], 2000 (subscription required; retrieved 28 November 2020).</ref>