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All Things Must Pass is the third studio album by George Harrison. Released as a triple album in November 1970, it was Harrison's first solo work after the break-up of the Beatles in April that year. It includes the hit singles "My Sweet Lord" and "What Is Life", as well as songs such as "Isn't It a Pity" and the title track that had been overlooked for inclusion on releases by the Beatles. The album reflects the influence of Harrison's musical activities with artists such as Bob Dylan, the Band, Delaney & Bonnie and Friends and Billy Preston during 1968–70, and his growth as an artist beyond his supporting role to former bandmates John Lennon and Paul McCartney. All Things Must Pass introduced Harrison's signature slide guitar sound and the spiritual themes present throughout his subsequent solo work. The original vinyl release consisted of two LPs of songs and a third disc of informal jams titled Apple Jam. Several commentators interpret Barry Feinstein's album cover photo, showing Harrison surrounded by four garden gnomes, as a statement on his independence from the Beatles.
Production began at London's EMI Studios in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were Eric Clapton and members of Delaney & Bonnie's Friends band – three of whom formed Derek and the Dominos with Clapton during the recording – as well as Ringo Starr, Gary Wright, Billy Preston, Klaus Voormann, John Barham, Badfinger and Pete Drake. The sessions produced a double album's worth of extra material, most of which remains unissued.
All Things Must Pass was critically and commercially successful on release, with long stays at number one on charts worldwide. Co-producer Phil Spector employed his Wall of Sound production technique to notable effect; Ben Gerson of Rolling Stone described the sound as "Wagnerian, Brucknerian, the music of mountain tops and vast horizons".<ref name=RS1971>Ben Gerson, "George Harrison All Things Must Pass" Template:Webarchive, Rolling Stone, 21 January 1971, p. 46 (retrieved 5 June 2013).</ref> Reflecting the widespread surprise at the assuredness of Harrison's post-Beatles debut, Melody MakerTemplate:'s Richard Williams likened the album to Greta Garbo's first role in a talking picture and declared: "Garbo talks! – Harrison is free!"<ref name="Schaffner, p. 140"/> According to Colin Larkin, writing in the 2011 edition of his Encyclopedia of Popular Music, All Things Must Pass is "generally rated" as the best of all the former Beatles' solo albums.<ref>Larkin, p. 2635.</ref>
During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album's release. After this reissue, the Recording Industry Association of America certified the album six-times platinum. It has since been certified seven-times platinum, with at least 7 million albums sold. Among its appearances on critics' best-album lists, All Things Must Pass was ranked 79th on The TimesTemplate:' "The 100 Best Albums of All Time" in 1993, while Rolling Stone placed it 368th on the magazine's 2023 update of "The 500 Greatest Albums of All Time". In 2014, All Things Must Pass was inducted into the Grammy Hall of Fame.
BackgroundEdit
Music journalist John Harris said George Harrison's "journey" to making All Things Must Pass started when he visited America in late 1968, after the acrimonious sessions for the Beatles' self-titled double album (also known as the "White Album").<ref name="Harris p 68">Harris, p. 68.</ref> At Woodstock in November,<ref>George Harrison, p. 164.</ref> Harrison started a long-lasting friendship with Bob Dylan<ref name="Harris p 68" /> and experienced a creative equality with the Band that contrasted with John Lennon and Paul McCartney's dominance in the Beatles.<ref>Leng, pp. 39, 51–52.</ref><ref>Tillery, p. 86.</ref> He also wrote more songs,<ref name="Leng p 39">Leng, p. 39.</ref> renewing his interest in the guitar after three years studying the Indian sitar.<ref>George Harrison, pp. 55, 57–58.</ref><ref>Lavezzoli, pp. 176, 177, 184–85.</ref> As well as being one of the few musicians to co-write songs with Dylan,<ref name="Harris p 68" /> Harrison had recently collaborated with Eric Clapton on "Badge",<ref>Leng, pp. 39, 53–54.</ref> which became a hit single for Cream in the spring of 1969.<ref>"Artist: Cream", Official Charts Company (retrieved 16 January 2013).</ref>
Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles,<ref>Sulpy & Schweighardt, pp. 1, 85, 124.</ref><ref>Martin O'Gorman, "Film on Four", Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – Jan 1, 1968 to Sept 27, 1970), Emap (London, 2003), p. 73.</ref> Harrison found creative fulfilment in extracurricular projects that, in the words of his musical biographer, Simon Leng, served as an "emancipating force" from the restrictions imposed on him in the band.<ref>Leng, pp. 39, 55.</ref> His activities during 1969 included producing Apple signings Billy Preston and Doris Troy, two American singer-songwriters whose soul and gospel roots proved as influential on All Things Must Pass as the music of the Band.<ref>Leng, pp. 60–62, 71–72, 319.</ref> He also recorded with artists such as Leon Russell<ref>O'Dell, pp. 106–07.</ref> and Jack Bruce,<ref>Rodriguez, p. 1.</ref> and accompanied Clapton on a short tour with Delaney Bramlett's soul revue, Delaney & Bonnie and Friends.<ref>Miles, pp. 351, 360–62.</ref> In addition, Harrison identified his involvement with the Hare Krishna movement as providing "another piece of a jigsaw puzzle" that represented the spiritual journey he had begun in 1966.<ref>Clayson, pp. 206–08, 267.</ref> As well as embracing the Vaishnavist branch of Hinduism, Harrison produced two hit singles during 1969–70 by the UK-based devotees, credited as Radha Krishna Temple (London).<ref>Spizer, p. 341.</ref> In January 1970,<ref>Miles, p. 367.</ref> Harrison invited American producer Phil Spector to participate in the recording of Lennon's Plastic Ono Band single "Instant Karma!"<ref>Rodriguez, p. 21.</ref><ref>George Harrison, in George Harrison: Living in the Material World DVD, Village Roadshow, 2011 (directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).</ref> This association led to Spector being given the task of salvaging the Beatles' Get Back rehearsal tapes, released officially as the Let It Be album (1970),<ref>The Beatles, p. 350.</ref><ref>Spizer, p. 28.</ref> and later co-producing All Things Must Pass.<ref>Schaffner, pp. 137–38.</ref>
Harrison first discussed the possibility of making a solo album of his unused songs during the ill-tempered Get Back sessions, held at Twickenham Film Studios in January 1969.<ref name="Hertsgaard p 283">Hertsgaard, p. 283.</ref><ref name="Spizer p 220" />Template:Refn On 25 February, his 26th birthday,<ref>Miles, p. 335.</ref> Harrison recorded demos of "All Things Must Pass" and two other compositions that had received little interest from Lennon and McCartney at Twickenham.<ref>The Editors of Rolling Stone, p. 38.</ref><ref>Huntley, p. 19.</ref> With the inclusion of one of these songs – "Something" – and "Here Comes the Sun" on the Beatles' Abbey Road album in September 1969, music critics acknowledged that Harrison had bloomed into a songwriter to match Lennon and McCartney.<ref>Clayson, p. 285.</ref><ref>Lavezzoli, p. 185.</ref> He began talking publicly about recording his own album from the autumn of 1969,<ref name="Tillery p 87">Tillery, p. 87.</ref><ref>Clayson, p. 284.</ref> but only committed to the idea after McCartney announced that he was leaving the Beatles in April 1970.<ref>O'Dell, pp. 155–56.</ref> Included as part of the promotional material for McCartney's self-titled solo album, this announcement signalled the band's break-up.<ref>Hertsgaard, p. 277.</ref> Despite having already made Wonderwall Music (1968), a mostly instrumental soundtrack album, and the experimental Electronic Sound (1969),<ref>Huntley, pp. 30–31.</ref> Harrison considered All Things Must Pass to be his first solo album.<ref name="Eds of RS p 180" />Template:Refn
SongsEdit
Main bodyEdit
Template:Quote box 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" 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>Template:Refn The tense atmosphere at Twickenham fuelled another All Things Must Pass 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, November 1987, p. 55.</ref> "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 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;<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>Template:Refn
"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".<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", 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 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 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 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, "George Harrison: All Things Must Pass (Apple)", Rock's Backpages, 2000 (subscription required; retrieved 28 November 2020).</ref>
Apple JamEdit
On the original LP's third disc, titled Apple Jam, four of the five tracks – "Out of the Blue", "Plug Me In", "I Remember Jeep" and "Thanks for the Pepperoni" – are improvised instrumentals built around minimal chord changes,<ref name="Clayson p 292">Clayson, p. 292.</ref> or in the case of "Out of the Blue", a single-chord riff.<ref>Leng, pp. 101–02.</ref> The title for "I Remember Jeep" originated from the name of Clapton's dog, Jeep,<ref name="Spizer p 226">Spizer, p. 226.</ref> and "Thanks for the Pepperoni" came from a line on a Lenny Bruce comedy album.<ref name="Huntley p 60">Huntley, p. 60.</ref> In a December 2000 interview with Billboard magazine, Harrison explained: "For the jams, I didn't want to just throw [them] in the cupboard, and yet at the same time it wasn't part of the record; that's why I put it on a separate label to go in the package as a kind of bonus."<ref name="BB 2000">Timothy White, "George Harrison: 'All Things' in Good Time", billboard.com, 8 January 2001 (retrieved 3 June 2014).</ref>Template:Refn
The only vocal selection on Apple Jam is "It's Johnny's Birthday", sung to the tune of Cliff Richard's 1968 hit "Congratulations", and recorded as a gift from Harrison to Lennon to mark the latter's 30th birthday.<ref name="Madinger & Easter p 432" /> Like all the "free" tracks on the bonus disc,<ref name="Castleman & Podrazik p 94" /> "It's Johnny's Birthday" carried a Harrison songwriting credit on the original UK release of All Things Must Pass,<ref name="Smith/NME">Alan Smith, "George Harrison: All Things Must Pass (Apple)", NME, 5 December 1970, p. 2; available at Rock's Backpages (subscription required; retrieved 15 July 2012).</ref> while on the first US copies, the only songwriting information on the record's face labels was the standard inclusion of a performing rights organisation, BMI.<ref>Spizer, p. 230.</ref> In December 1970, "Congratulations" songwriters Bill Martin and Phil Coulter claimed royalties,<ref name="Madinger & Easter p 432" /> with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.<ref name="Spizer p 226" />
Demo tracks and outtakesEdit
Aside from the seventeen songs issued on discs one and two of the original album,<ref name="Eds of RS p 137">The Editors of Rolling Stone, p. 137.</ref> Harrison recorded at least twenty other songs – either in demo form for Spector's benefit, just before recording got officially under way in late May, or as outtakes from the sessions.<ref name="Badman p 10" /><ref name="Madinger & Easter pp 426-27">Madinger & Easter, pp. 426–27.</ref> In a 1992 interview, Harrison commented on the volume of material: "I didn't have many tunes on Beatles records, so doing an album like All Things Must Pass was like going to the bathroom and letting it out."<ref name="Womack p 26">Womack, p. 26.</ref>Template:Refn
Harrison's solo performance for Spector included six compositions that, until their inclusion on the Deluxe editions of the album's 50th anniversary box set, were only available on bootleg compilations, such as Beware of ABKCO!<ref name="Madinger & Easter p 426">Madinger & Easter, p. 426.</ref><ref>Richie Unterberger, "George Harrison Beware of ABKCO!", AllMusic (retrieved 2 March 2016).</ref> The six songs are: "Window, Window", another song turned down by the Beatles in January 1969;<ref>Huntley, pp. 18–19.</ref> "Everybody, Nobody", the melody of which Harrison adapted for "Ballad of Sir Frankie Crisp";<ref name="Madinger & Easter p 426" /> "Nowhere to Go", a second Harrison–Dylan collaboration from November 1968 (originally known as "When Everybody Comes to Town");<ref name=SLO3b>Leng, pp. 52, 78.</ref> and "Cosmic Empire", "Mother Divine" and "Tell Me What Has Happened to You".<ref name="Spizer p 220" /><ref name=RU06b>Unterberger, pp. 286–88.</ref> Also from this performance were two tracks that Harrison returned to in later years.<ref name="Badman p 10" /> He completed "Beautiful Girl" for inclusion on his 1976 album Thirty Three & 1/3.<ref name="Spizer p 220" /> "I Don't Want to Do It", written by Dylan, was Harrison's contribution to the soundtrack for the 1985 film Porky's Revenge!<ref name="Harris p 72">Harris, p. 72.</ref>
During the main sessions for All Things Must Pass, Harrison taped or routined early versions of "You", "Try Some, Buy Some" and "When Every Song Is Sung".<ref>Leng, p. 180.</ref><ref name="Madinger & Easter p 433" /> Harrison offered these three songs to Ronnie Spector in February 1971 for her proposed solo album on Apple Records.<ref>Madinger & Easter, pp. 433, 434.</ref> After releasing his own versions of "Try Some, Buy Some" and "You",<ref>Badman, p. 25.</ref> he offered "When Every Song Is Sung" (since retitled "I'll Still Love You") to former bandmate Ringo Starr for his 1976 album Ringo's Rotogravure.<ref>Leng, p. 198.</ref> "Woman Don't You Cry for Me", written in December 1969 as his first slide-guitar composition,<ref name="Clayson p 280">Clayson, p. 280.</ref> was another song that Harrison revisited on Thirty Three & 1/3.<ref name="IMM p 172" /> Harrison included "I Live for You" as the only all-new bonus track on the 2001 reissue of All Things Must Pass.<ref>Huntley, pp. 305, 306.</ref> "Down to the River" remained unused until he reworked it as "Rocking Chair in Hawaii"<ref>Huntley, pp. 60, 325.</ref> for his final studio album, the posthumously released Brainwashed (2002).<ref>Leng, pp. 292, 303.</ref>
Harrison recorded the following songs during the All Things Must Pass sessions but, until their inclusion on some editions of the 50th anniversary box set, they had never received an official release:<ref name="Unterberger p 288" />
- "Dehradun" (or "Dehra Dun") – written during the Beatles' stay in Rishikesh in early 1968, and unveiled by Harrison in a brief performance on ukulele for the 1995 TV broadcast of The Beatles Anthology<ref name="Badman p 10">Badman, p. 10.</ref>
- "Gopala Krishna" – also known as "Om Hare Om",<ref name="Madinger & Easter p 433" /> with all-Sanskrit lyrics,<ref>Rodriguez, p. 384.</ref> and described by Simon Leng as a "rocking companion" to "Awaiting on You All"<ref name="Leng p 78">Leng, p. 78.</ref>
- "Going Down to Golders Green" – a Sun Records-era Presley parody based on the melody of "Baby Let's Play House".<ref name="Madinger & Easter p 433">Madinger & Easter, p. 433.</ref>
Contributing musiciansEdit
The precise line-up of contributing musicians is open to conjecture.<ref name="Leng p 82fn">Leng, p. 82fn.</ref><ref>Rodriguez, p. 76.</ref> Due to the album's big sound and the many participants on the sessions, commentators have traditionally referred to the grand, orchestral nature of this line-up.<ref>Schaffner, pp. 142, 147.</ref><ref name="Huntley p 51">Huntley, p. 51.</ref> In 2002, music critic Greg Kot described it as "a who's who of the decade's rock royalty",<ref name="Eds of RS p 187" /> while Harris writes of the cast taking on "a Cecil B. De Mille aspect".<ref name="Harris p 72" />
The musicians included Bobby Whitlock, Jim Gordon, Carl Radle, Bobby Keys, Jim Price and Dave Mason,<ref>Spizer, pp. 220, 222.</ref> all of whom had recently toured with Delaney & Bonnie.<ref>Leng, pp. 63, 78.</ref> Along with Eric Clapton, there were also musicians whose link with Harrison went back some years, such as Ringo Starr, Billy Preston and German bassist Klaus Voormann,<ref>Clayson, p. 287.</ref> the latter formerly of Manfred Mann and a friend since the Beatles' years in Hamburg.<ref>Leng, pp. 56, 81.</ref> Handling much of the keyboard work with Whitlock was Gary Wright,<ref name="Leng p 82fn" /> who went on to collaborate regularly with Harrison throughout the 1970s.<ref>Rodriguez, pp. 87–88.</ref>
From within Apple's stable of musicians, Harrison recruited the band Badfinger, future Yes drummer Alan White, and Beatles assistant Mal Evans on percussion.<ref name="Spizer p 222" /><ref name="Huntley p 52">Huntley, p. 52.</ref> Badfinger drummer Mike Gibbins' powerful tambourine work led to Spector giving him the nickname "Mr Tambourine Man", after the Dylan song.<ref name="Harris p 72" /> According to Gibbins, he and White played most of the percussion parts on the album, "switch[ing] on tambourine, sticks, bells, maracas ... whatever was needed".<ref name="Matovina p 90">Matovina, p. 90.</ref> Gibbins' bandmates Pete Ham, Tom Evans and Joey Molland provided rhythm acoustic-guitar parts that, in keeping with Spector's Wall of Sound principles, were to be "felt but not heard".<ref name="Schaffner p 142" /> Other contributors included Procol Harum's Gary Brooker, on keyboards, and pedal steel player Pete Drake,<ref>The Editors of Rolling Stone, pp. 39–40, 187.</ref> the last of whom Harrison flew over from Nashville for a few days of recording.<ref>Harry, p. 161.</ref>
Adding to his and Badfinger's acoustic guitars on some All Things Must Pass tracks, Harrison invited Peter Frampton to the sessions.<ref name="Harry p 180" /> Although uncredited for his contributions, Frampton also played acoustic guitar on the country tracks featuring Drake;<ref name="Harry p 180">Harry, p. 180.</ref> he and Harrison later overdubbed further rhythm parts on several songs.<ref name="Harry p 180" />Template:Refn Orchestral arranger John Barham also attended the sessions, occasionally contributing on harmonium and vibraphone.<ref>Leng, pp. 80, 82fn, 83fn.</ref> Simon Leng consulted Voormann, Barham and Molland for his chapter covering the making of All Things Must Pass and credits Tony Ashton as one of the keyboard players on both versions of "Isn't It a Pity".<ref>Leng, pp. 78, 82fn, 86, 98.</ref>Template:Refn Ginger Baker, Clapton's former bandmate in Cream and Blind Faith, played drums on the jam track "I Remember Jeep".<ref name="Madinger & Easter p 433" />
For contractual reasons, on UK pressings of All Things Must Pass, Clapton's participation on the first two discs remained unacknowledged for many years,<ref name="Huntley p 51" /><ref name="Woffinden p 38">Woffinden, p. 38.</ref> although he was listed among the musicians appearing on the Apple Jam disc.<ref name="Carr & Tyler p 92" /><ref>Harry, p. 13.</ref>Template:Refn A pre-Genesis Phil Collins played congas at a session for "Art of Dying".<ref name="Harris p 72" /> Harrison gave him a credit on the 30th anniversary reissue of the album,<ref name="Huntley p 305">Huntley, p. 305.</ref> but Collins' playing does not appear on the track.<ref>Jordan Runtagh, "10 Things You Didn't Know George Harrison Did", Rolling Stone, 29 November 2016 (retrieved 8 May 2019).</ref><ref>Will Hodgkinson, "Home Entertainment: Phil Collins", The Guardian, 14 November 2002 (retrieved 5 November 2020).</ref> Unsubstantiated claims exist regarding guest appearances by John Lennon,<ref>Rodriguez, p. 24.</ref> Maurice Gibb<ref>Gibb Songs: 1970, Columbia.edu (retrieved 10 November 2011).</ref> and Pink Floyd's Richard Wright.<ref>Cindy Grogan, "George Harrison's 'All Things Must Pass' at 50", CultureSonar, 18 October 2020 (retrieved 11 November 2020).</ref> In addition, for some years after the album's release, rumours claimed that the Band backed Harrison on the country-influenced "Behind That Locked Door".<ref name="Madinger & Easter p 429">Madinger & Easter, p. 429.</ref>
ProductionEdit
Initial recordingEdit
Template:Quote box Music historian Richie Unterberger comments that, typical of the Beatles' solo work, the precise dates for the recording of All Things Must Pass are uncertain, a situation that contrasts with the "meticulous documentation" available for the band's studio activities.<ref name="Unterberger p 288">Unterberger, p. 288.</ref> According to a contemporaneous report in Beatles Monthly, pre-production began on 20 May 1970,<ref name="Madinger & Easter p 426" /> the same day as the Let It Be film's world premiere.<ref name="Schaffner p 138">Schaffner, p. 138.</ref> Authors Chip Madinger and Mark Easter cite this as the probable date for Harrison's run-through of songs for Spector.<ref name="Madinger & Easter p 426" />Template:Refn John Leckie, who worked as an EMI tape operator in 1970,<ref name="Cunningham p 66" /> recalled that the sessions were preceded by a week of Harrison recording demos, accompanied by Starr and Voormann.<ref>Tom Doyle, "John Leckie: A Desk Job", Melody Maker, 3 June 1995; available at Rock's Backpages (subscription required; retrieved 30 January 2021).</ref> The first formal recording session for the album took place at EMI Studios (now Abbey Road Studios) on 26 May,<ref name="Spizer p 220" /><ref name="Madinger & Easter p 426" /> although Unterberger states that "much or all" of that day's recording was not used.<ref name="Unterberger p 288" />
The majority of the album's backing tracks were taped on 8-track at EMI between late May and the second week of June.<ref>Madinger & Easter, pp. 427, 429, 431.</ref> The recording engineer was Phil McDonald,<ref>MacFarlane, pp. 71–72.</ref> with Leckie as his tape operator.<ref name="Cunningham p 66">Cunningham, p. 66.</ref> Spector recorded most of the backing tracks live,<ref name="Leng p 80">Leng, p. 80.</ref> in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists.<ref name="Harris p 72" /><ref name="GH/ATMP 2001" /> In Whitlock's description, the studio space was a "massive roomTemplate:Nbsp... two sets of drums on risers, a piano, organ and other keyboards to the wall on the left, up against the far wall on the right were Badfinger, and in the centre were George and Eric and the guitars".<ref name="Snow/Mojo p 70" /> Molland recalled that, to achieve the resonant acoustic guitar sound on songs such as "My Sweet Lord", he and his bandmates were partitioned off inside a plywood structure.<ref name="Simons/AcousticGuitar">David Simons, "The Unsung Beatle: George Harrison's behind-the-scenes contributions to the world's greatest band", Acoustic Guitar, February 2003, p. 60 (archived version retrieved 6 May 2021).</ref>
According to Voormann, Harrison set up a small altar containing figurines and burning incense, creating an atmosphere in which "everyone felt good."<ref name="Snow/Mojo p 70" /> Having suffered in the Beatles at McCartney's tendency to dictate how each musician should play, Harrison allowed the contributors the freedom to express themselves in their playing.<ref name="Jackson p 19" /> All the participants later recalled the project favourably.<ref name="Jackson p 19">Jackson, p. 19.</ref>Template:Refn
The first song recorded was "Wah-Wah".<ref name="Madinger & Easter p 428" /><ref name="MacFarlane p 73">MacFarlane, p. 73.</ref> During the playback, Harrison was shocked at the amount of echo Spector had added, since the performance had sounded relatively dry through the musicians' headphones.<ref name="Snow/Mojo p 70">Mat Snow, "George Harrison: Quiet Storm", Mojo, November 2014, p. 70.</ref><ref name="Scorsese LITMW" /> Voormann immediately "loved" the sound,<ref name="Snow/Mojo p 70" /> as did Clapton; Harrison later said: "I grew to like it."<ref name="Scorsese LITMW">George Harrison, in George Harrison: Living in the Material World, Disc 2; event occurs between 23:53 and 24:25.</ref><ref>MacFarlane, pp. 73, 157.</ref>
"What Is Life", versions one and two of "Isn't It a Pity", and the songs on which Drake participated, such as "All Things Must Pass" and "Ballad of Sir Frankie Crisp", were among the other tracks taped then.<ref>Madinger & Easter, pp. 428–31.</ref>Template:Refn Preston recalled that Spector's approach was to have several keyboards playing the same chords in different octaves, to strengthen the sound. Preston said he had reservations about this approach but "with George's stuff it was perfect."<ref>Ribowsky, p. 255.</ref> According to White, a "really good bond" formed among the musicians; the main sessions lasted three weeks and "There was no mucking around."<ref>Joe Bosso, "Alan White from Yes: What the Beatles Mean to Me", MusicRadar, 11 September 2009 (retrieved 11 November 2020).</ref> Badfinger participated in five sessions until early June,<ref name="Matovina p 90" /> when they left for an engagement in Hawaii.<ref name="Badman p 10" /> Molland said they would record two or three songs each day, and that Harrison ran the sessions, rather than Spector.<ref>Matovina, pp. 90–91.</ref> Wright recalls that as the project progressed, the large cast of musicians was pared down.<ref>Melissa Parker, "Gary Wright Interview: The 'Dream Weaver' Gets 'Connected', Tours with Ringo Starr", Smashing Interviews, 28 September 2010 (retrieved 30 October 2020).</ref> He says that the later recording sessions featured a core group of himself, Harrison, Clapton, Starr or Gordon on drums, and Voormann or Radle playing bass.<ref name="Wright/DailyBeast" />
The Apple Jam instrumentals "Thanks for the Pepperoni" and "Plug Me In", featuring Harrison, Clapton and Mason each taking extended guitar solos,<ref>Leng, pp. 100–01.</ref> were recorded later in June, at the Beatles' Apple Studio, and marked the formation of Clapton, Whitlock, Radle and Gordon's short-lived band Derek and the Dominos.<ref name="Madinger & Easter p 427" /> Harrison also contributed on guitar to both sides of the band's debut single, "Tell the Truth"<ref>Castleman & Podrazik, pp. 92, 207.</ref> and "Roll It Over",<ref>Rodriguez, p. 77.</ref> which were produced by Spector and recorded at Apple on 18 June.<ref name="Madinger & Easter p 427" /><ref>Reid, pp. 104, 105.</ref> The eleven-minute "Out of the Blue" featured contributions from Keys and Price,<ref>Castleman & Podrazik, p. 197.</ref> both of whom began working with the Rolling Stones around this time.<ref>Davis, p. 336.</ref> According to Keys in his autobiography Every Night's a Saturday Night, he and Price added their horns parts to songs such as "What Is Life" after the backing tracks had been recorded. He recalls that Harrison and Price worked out the album's horn arrangements together in the studio.<ref>Keys, pp. 102–03.</ref>Template:Refn
Delays and distractionsEdit
In his 2010 autobiography, Whitlock describes the All Things Must Pass sessions as "spectacular in every way", although he says that the project was informed by Harrison's preoccupation with his former bandmates and ongoing difficulties with Klein and Apple.<ref>Whitlock, pp. 74, 77.</ref> Wright recalls Harrison's discomfort when Lennon and Yoko Ono visited the studio, saying: "His vibe was icy as he bluntly remarked, 'What are you doing here?' It was a very tense momentTemplate:Nbsp..."<ref name="Wright/DailyBeast">Gary Wright, "When Gary Wright Met George Harrison: Dream Weaver, John and Yoko, and More (Book Excerpt)", The Daily Beast, 29 September 2014 (archived version retrieved 30 October 2020).</ref> According to Whitlock, Harrison played the couple some of his new music and Lennon "got his socks blown off", much to Harrison's satisfaction.<ref name="Whitlock p 77">Whitlock, p. 77.</ref> The presence of Harrison's friends from the Radha Krishna Temple caused disruption during the sessions, according to Gibbins and Whitlock.<ref>Harris, pp. 72–73.</ref> While echoing this view, Spector cited this as an example of how Harrison inspired tolerance, since the Temple devotees could be "the biggest pain in the necks in the world" yet Harrison "was spiritual and you knew it", which "made you like those Krishnas".<ref>Phil Spector interview, in George Harrison: Living in the Material World, Disc 2; event occurs between 20:54 and 21:13.</ref><ref name="Brown/DT" />
Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete,<ref name="Badman p 6">Badman, p. 6.</ref><ref name="ContraBand/Pity">"It's Really a Pity", Contra Band Music, 15 March 2012 (retrieved 19 January 2013).</ref> recording, overdubbing and mixing on All Things Must Pass lasted for five months, until late October.<ref name="Madinger & Easter p 427">Madinger & Easter, p. 427.</ref><ref>Badman, pp. 6, 10, 15.</ref> Part of the reason for this was Harrison's need to make regular visits to Liverpool to tend to his mother, who had been diagnosed with cancer.<ref name="Eds of RS p 40" /><ref name="Clayson p 289">Clayson, p. 289.</ref> Spector's erratic behaviour during the sessions was another factor affecting progress on the album.<ref name="Harris p 72" /><ref name="Madinger & Easter p 427" /><ref name="Leng pp 80-81">Leng, pp. 80–81.</ref> Harrison later referred to Spector needing "eighteen cherry brandies" before he could start work, a situation that forced much of the production duties onto Harrison alone.<ref name="Harris p 72" /><ref name="Clayson p 289" />Template:Refn At one point, Spector fell over in the studio and broke his arm.<ref name="Leng p 81">Leng, p. 81.</ref> He subsequently withdrew from the project due to what Madinger and Easter term "health reasons".<ref name="Madinger & Easter p 427" />
Early in July, work on All Things Must Pass was temporarily brought to a halt as Harrison headed north to see his dying mother for the last time.<ref>Badman, p. 12.</ref>Template:Refn EMI's growing concerns regarding studio costs added to the pressure on Harrison.<ref name="Leng p 81" /> A further complication, according to Harris, was that Clapton had become infatuated with Harrison's wife, Pattie Boyd, and adopted a heroin habit as a means of coping with his guilt.<ref name="Harris p 72" />Template:Refn
OverdubbingEdit
In Spector's absence, Harrison completed the album's backing tracks and carried out preliminary overdubs, doing much of the latter work at Trident Studios with former Beatles engineer Ken Scott. Harrison completed this stage of the project on 12 August.<ref name="Madinger & Easter p 427" />Template:Refn He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles,<ref name="Spizer p 222">Spizer, p. 222.</ref> and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing.<ref name="Madinger & Easter p 427" /> Among Spector's comments were detailed suggestions regarding "Let It Down",<ref name="Leng p 91" /> the released recording of which Madinger and Easter describe as "the best example of Spector running rampant with the 'Wall of SoundTemplate:'", and an urging that he and Harrison carry out further work on the songs at Trident because of its 16-track recording desk.<ref>Madinger & Easter, pp. 427, 429.</ref> Spector also made suggestions about overdubbing more instruments and orchestration on some tracks, but encouraged Harrison to focus on his vocals and avoid hiding his voice behind the instrumentation.<ref name="Spizer p 222" />
John Barham's orchestrations were recorded during the next phase of the album's production,<ref name="Madinger & Easter p 428">Madinger & Easter, p. 428.</ref> starting in early September, along with many further contributions from Harrison, such as his lead vocals, slide guitar parts and multi-tracked backing vocals (the latter credited to "the George O'Hara-Smith Singers").<ref>Spizer, pp. 212, 222.</ref><ref>MacFarlane, pp. 76, 79.</ref> Barham stayed at Friar Park and created the music scores from melodies that Harrison sang or played to him on piano or guitar.<ref name="Leng p 78" /> Leng recognises the arrangements on "pivotal" songs such as "Isn't It a Pity", "My Sweet Lord", "Beware of Darkness" and "All Things Must Pass" as important elements of the album's sound.<ref name="Leng p 78" />
According to Scott, he and Harrison worked alone for "weeks and months" on the overdubs, as Harrison recorded the backing vocals and lead guitar parts. In some cases, they slowed the tape down to allow Harrison to sing the high-register vocal lines.<ref name="Burns/RBMA" /> Spector returned to London for the later mixing stage.<ref name="Clayson p 289" /> Scott says that Spector would visit Trident for a few hours and make suggestions on their latest mixes, and that some of Spector's suggestions were followed, others not.<ref name="Fanelli/GW">Damian Fanelli, "Interview: Abbey Road Engineer Ken Scott Discusses Recording The Beatles' White Album, Says Sessions Were a 'Blast'", Guitar World, 30 April 2012 (archived version retrieved 14 November 2020).</ref><ref name="Burns/RBMA">Todd L. Burns (host), "Ken Scott: Red Bull Music Academy Lecture (New York)", redbullmusicacademy.com, 2013 (retrieved 14 November 2020).</ref>
Spector has praised Harrison's guitar and vocal work on the overdubs, saying: "Perfectionist is not the right word. Anyone can be a perfectionist. He was beyond that ..."<ref name="Olivia p 282" /> Harrison's approach to slide guitar incorporated aspects of both Indian music and the blues tradition;<ref name="Lavezzoli p 186" /> he developed a precise playing style and sound that partly evoked the fretless Indian sarod.<ref>Tom Pinnock, "George Solo: All Things Must Pass", Uncut Ultimate Music Guide: George Harrison, TI Media (London, 2018), p. 54.</ref> From its introduction on All Things Must Pass, Leng writes, Harrison's slide guitar became his musical signature – "as instantly recognisable as Dylan's harmonica or Stevie Wonder's".<ref name="Leng p 102">Leng, p. 102.</ref>
Final mixing and masteringEdit
Template:Quote box On 9 October, while carrying out final mixing at EMI, Harrison presented Lennon with the recently recorded "It's Johnny's Birthday".<ref>Badman, p. 14.</ref>Template:Refn The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein.<ref name="Madinger & Easter p 432">Madinger & Easter, p. 432.</ref> That same month, Harrison finished his production work on Starr's 1971 single "It Don't Come Easy", the basic track for which they had recorded with Voormann in March at Trident.<ref>Spizer, p. 294.</ref><ref>MacFarlane, pp. 80–81.</ref> Aside from his contributions to projects by Starr, Clapton, Preston and Ashton during 1970, over the following year Harrison would reciprocate the help that his fellow musicians on All Things Must Pass had given him by contributing to albums by Whitlock, Wright, Badfinger and Keys.<ref>Leng, pp. 108, 110, 123.</ref>Template:Refn
On 28 October, Harrison and Boyd arrived in New York, where he and Spector carried out final preparation for the album's release, such as sequencing.<ref name="Spizer p 222" /> Harrison harboured doubts about whether all the songs they had finished were worthy of inclusion. Allan Steckler, Apple Records' US manager, was "stunned" by the quality of the material and assured Harrison that he should issue all the songs.<ref name="Spizer p 220" />
Spector's signature production style gave All Things Must Pass a heavy, reverb-oriented sound, which Harrison came to regret.<ref>A Conversation with George Harrison; event occurs between 0:56 and 1:36.</ref><ref name="Clayson p 291" /><ref name="Harris/Mojo2011" /> Whitlock says that, typical of Spector's Wall of Sound, there was some reverb on the original recordings but the effect was mostly added later.<ref name="Whitlock p 77" /> In music journalist David Cavanagh's description, once abandoned by his co-producer midway through the summer, Harrison had "proceeded to out-Spector Spector" through the addition of further echo and multiple overdubs. Voormann has said that Harrison "cluttered" the album's sound in this way, and "admitted later that he put too much stuff on top".<ref name="Cavanagh/Uncut p 41">David Cavanagh, "George Harrison: The Dark Horse", Uncut, August 2008, p. 41.</ref> According to Leckie, however, the reverb on tracks such as "My Sweet Lord" and "Wah-Wah" was recorded onto tape at the time, because Spector insisted on hearing the effects in place as they worked on the tracks.<ref>Cunningham, p. 67.</ref> Outtakes from the recording sessions became available on bootlegs in the 1990s.<ref>Madinger & Easter, pp. 427–28.</ref> One such unofficial release, the three-disc The Making of All Things Must Pass,<ref>Unterberger, pp. 289–90.</ref> contains multiple takes of some of the songs on the album, providing a work-in-progress on the sequence of overdubs onto the backing tracks.<ref name="Madinger & Easter p 428" />
ArtworkEdit
Harrison commissioned Tom Wilkes to design a hinged box in which to house the three vinyl discs, rather than have them packaged in a triple gatefold cover.<ref name="Spizer p 226" /> Apple insider Tony Bramwell later recalled: "It was a bloody big thing ... You needed arms like an orang-utan to carry half a dozen."<ref name=autogenerated1 /> The packaging caused some confusion among retailers, who, at that time, associated boxed albums with opera or classical works.<ref name=autogenerated1>Harris, p. 73.</ref>
The stark black-and-white cover photo was taken on the main lawn at Friar Park<ref name="Schaffner p 142" /> by Wilkes' Camouflage Productions partner, Barry Feinstein.<ref name="Spizer p 226" /> Commentators interpret the photograph – showing Harrison seated in the centre of, and towering over, four comical-looking garden gnomes – as representing his removal from the Beatles' collective identity.<ref name="Clayson p 293">Clayson, p. 293.</ref><ref>Leng, p. 95.</ref> The gnomes had recently been delivered to Friar Park and placed on the lawn;<ref>Dennis McLellan, "Barry Feinstein dies at 80; rock music photographer", Chicago Tribune, 21 October 2011 (retrieved 22 November 2014).</ref> seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band.<ref name=autogenerated1 /> Author and music journalist Mikal Gilmore has written that Lennon's initial negativity regarding All Things Must Pass was possibly because he was "irritated" by this cover photo;<ref name="Eds of RS p 40" /> Harrison biographer Elliot Huntley attributes Lennon's reaction to envy during a time when "everything [Harrison] touched turned to gold".<ref name="Huntley p 64">Huntley, p. 64.</ref>Template:Refn
Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window.<ref>Spizer, pp. 221, 226.</ref> Wilkes had designed a more adventurous poster, but according to Beatles author Bruce Spizer, Harrison was uncomfortable with the imagery.<ref>Spizer, pp. 226–28.</ref>Template:Refn Some of the Feinstein photographs that Wilkes had incorporated into this original poster design appeared instead on the picture sleeves for the "My Sweet Lord" single and its follow-up, "What Is Life".<ref name="Spizer p 226" />
ReleaseEdit
ImpactEdit
EMI and its US counterpart, Capitol Records, had originally scheduled the album for release in October 1970, and advance promotion began in September.<ref name="Madinger & Easter p 427" /> An "intangible buzz" had been "in the air for months" regarding Harrison's solo album, according to Alan Clayson, and "for reasons other than still-potent loyalty to the Fab Four".<ref>Clayson, pp. 293–94.</ref> Harrison's stature as an artist had grown over the past year through the acclaim afforded his songs on Abbey Road,<ref name="Woffinden p 37">Woffinden, p. 37.</ref><ref name="Ingham p 127">Ingham, p. 127.</ref> as well as the speculation caused by his and Dylan's joint recording session in New York.<ref>The Editors of Rolling Stone, pp. 179–80.</ref> Noting also Harrison's role in popularising new acts such as the Band and Delaney & Bonnie, and his association with Clapton and Cream, NME critic Bob Woffinden concluded in 1981: "All in all, Harrison's credibility was building to a peak."<ref name="Woffinden p 37" />
Template:Quote box All Things Must Pass was released on 27 November 1970 in the United States, and on 30 November in Britain,<ref name="Badman p 16">Badman, p. 16.</ref> with the rare distinction of having the same Apple catalogue number (STCH 639) in both countries.<ref name="Castleman & Podrazik p 94">Castleman & Podrazik, p. 94.</ref> Often credited as rock's first triple album,<ref name="Eds of RS p 40">The Editors of Rolling Stone, p. 40.</ref> it was the first triple set of previously unissued music by a single act, the multi-artist Woodstock live album having preceded it by six months.<ref name="Clayson p 289" /> Adding to the commercial appeal of Harrison's songs, All Things Must Pass appeared at a time when religion and spirituality had become a trend among Western youth.<ref>Clayson, p. 294.</ref><ref>Jackson, p. 28.</ref> Apple issued "My Sweet Lord" as the album's first single, as a double A-side with "Isn't It a Pity" in the majority of countries.<ref>Rodriguez, pp. 254–55.</ref> Discussing the song's cultural impact, Gilmore credits "My Sweet Lord" with being "as pervasive on radio and in youth consciousness as anything the Beatles had produced".<ref name="Eds of RS p 40" />
Another factor behind the album's first weeks of release was Harrison's meeting with McCartney in New York,<ref name="Badman p 16" /> the failure of which led to McCartney filing suit in London's High Court to dissolve the Beatles' legal partnership.<ref>Doggett, pp. 148–49, 153–54.</ref><ref>MacFarlane, p. 80.</ref> Songs such as "Wah-Wah", "Apple Scruffs", "Isn't It a Pity" and "Run of the Mill" resonated with listeners as documents of the group's dysfunction.<ref>Doggett, pp. 141–42.</ref> In the fallout to the break-up, according to journalist Kitty Empire, Harrison's triple album "functioned as a kind of repository for grief" for the band's fans.<ref>Kitty Empire, "Paul McCartney Leaves the Beatles", The Guardian, 12 June 2011 (retrieved 6 December 2019).</ref>
Commercial performanceEdit
"My Sweet Lord" was highly successful,<ref name="Ingham p 127" /> topping singles charts around the world during the first few months of 1971.<ref name="Schaffner p 142">Schaffner, p. 142.</ref> It was the first solo single by a former Beatle to be number 1 in the UK or the US,<ref>Champ, p. 150.</ref> and became the most performed song of that year.<ref name="Clayson p 295">Clayson, p. 295.</ref>Template:Refn Issued in February 1971, the second single, "What Is Life" backed with "Apple Scruffs",<ref>Spizer, p. 231.</ref> also became an international hit.<ref name="Clayson p 296">Clayson, p. 296.</ref>
All Things Must Pass was number 1 on the UK's official albums chart for eight weeks, although until 2006, chart records incorrectly stated that it had peaked at number 4.<ref name="last" />Template:Refn On Melody MakerTemplate:'s national chart, the album was also number 1 for eight weeks, from 6 February to 27 March, six of which coincided with "My Sweet Lord" topping the magazine's singles chart.<ref>Castleman & Podrazik, pp. 340–41.</ref> In America, All Things Must Pass spent seven weeks at number 1 on the Billboard Top LP's chart, from 2 January until 20 February, and a similarly long period atop the listings compiled by Cash Box and Record World;<ref name="Spizer p 219" /> for three of those weeks, "My Sweet Lord" held the top spot on the Billboard Hot 100.<ref>Castleman & Podrazik, pp. 352, 362.</ref> In Canada the album hit number 1 on just its 3rd week, was number 1 for 9 weeks, and was on the charts for 31 weeks, ending July 17, 1971.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The extent of Harrison's success surprised the music industry and largely overshadowed Lennon's concurrently released Plastic Ono Band album, which Spector also co-produced.<ref>Ribowsky, pp. 255–56.</ref>Template:Refn Writing in the April 2001 issue of Record Collector, Peter Doggett described Harrison as "arguably the most successful rock star on the planet" at the start of 1971, with All Things Must Pass "easily outstripping other solo Beatles projects later in the year, such as [McCartney's] Ram and [Lennon's] Imagine".<ref>Peter Doggett, "George Harrison: The Apple Years", Record Collector, April 2001, p. 37.</ref> Harrison's so-called "Billboard double" – whereby one artist simultaneously holds the top positions on the magazine's albums and singles listings – was a feat that none of his former bandmates equalled until Paul McCartney and Wings repeated the achievement in June 1973.<ref name="C&P pp 353, 364">Castleman & Podrazik, pp. 353, 364.</ref>Template:Refn At the 1972 Grammy Awards, All Things Must Pass was nominated for Album of the Year and "My Sweet Lord" for Record of the Year, but Harrison lost out in both categories to Carole King.<ref name="1972Grammys" /><ref>"1971 Grammy Champions", Billboard, 25 March 1972, p. 6 (retrieved 17 September 2014).</ref>
All Things Must Pass was awarded a gold disc by the Recording Industry Association of America (RIAA) on 17 December 1970<ref>Castleman & Podrazik, p. 332.</ref> and it has since been certified seven times platinum by the RIAA.<ref name="Spizer p 219">Spizer, p. 219.</ref><ref name="riaa">Gold & Platinum Database Search: "Harrison", Recording Industry Association of America (retrieved 12 February 2013).</ref> In January 1975, the Canadian Recording Industry Association announced that it had been certified as a platinum album in Canada.<ref>"Certified for Canadian Gold" (CRIA trade advertisement), RPM, 11 January 1975, p. 6 (retrieved 12 May 2021).</ref>Template:Refn According to John Bergstrom of PopMatters, as of January 2011, All Things Must Pass had sold more than Imagine and McCartney and Wings' Band on the Run (1973) combined.<ref name="PopMatters review 135411">John Bergstrom, "George Harrison: All Things Must Pass" Template:Webarchive, PopMatters, 14 January 2011 (retrieved 10 March 2012).</ref> Also writing in 2011, Lennon and Harrison biographer Gary Tillery describes it as "the most successful album ever released by an ex-Beatle".<ref name="Tillery p 89">Tillery, p. 89.</ref> According to Hamish Champ's 2018 book The 100 Best-Selling Albums of the 70s, in the US, All Things Must Pass is the 33rd-best-selling album from the 1970s.<ref>Champ, pp. 150–51.</ref>
Critical receptionEdit
Contemporary reviewsEdit
All Things Must Pass received almost universal critical acclaim on release<ref>Chris Hunt (ed.), NME Originals: Beatles – The Solo Years 1970–1980, IPC Ignite! (London, 2005), p. 22.</ref> – as much for the music and lyrical content as for the fact that, of all the former Beatles, it was the work of supposed junior partner George Harrison.<ref name="Schaffner, p. 140">Schaffner, p. 140.</ref><ref name="Clayson p 291">Clayson, p. 291.</ref><ref name="Badman, p. 24">Badman, p. 24.</ref> Harrison had usually contributed just two songs to a Beatles album;<ref>Howard, p. 36.</ref> in author Robert Rodriguez's description, critics' attention was now centred on "a major talent unleashed, one who'd been hidden in plain sight all those years" behind Lennon and McCartney. "That the Quiet Beatle was capable of such range", Rodriguez continues, "from the joyful 'What Is Life' to the meditative 'Isn't It a Pity' to the steamrolling 'Art of Dying' to the playful 'I Dig Love' – was revelatory."<ref name="Rodriguez p 147">Rodriguez, p. 147.</ref> Most reviewers tended to discount the third disc of studio jams, accepting that it was a "free" addition to justify the set's high retail price,<ref name="Clayson p 292" /><ref name="Carr & Tyler p 92">Carr & Tyler, p. 92.</ref> although Anthony DeCurtis recognises Apple Jam as further evidence of the album's "bracing air of creative liberation".<ref name="RS2000" />Template:Refn
Ben Gerson of Rolling Stone deemed All Things Must Pass "both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty"<ref name=RS1971/> and referenced the three-record set as an "extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the War and Peace of rock 'n' roll".<ref>Greene, p. 182.</ref> Gerson also lauded the album's production as being "of classic Spectorian proportions, Wagnerian, Brucknerian, the music of mountain tops and vast horizons".<ref name=RS1971/><ref>Huntley, p. 62.</ref> In the NME, Alan Smith referred to Harrison's songs as "music of the mind", adding: "they search and they wander, as if in the soft rhythms of a dream, and in the end he has set them to words which are often both profound and profoundly beautiful."<ref name="Smith/NME" /> BillboardTemplate:'s reviewer hailed All Things Must Pass as "a masterful blend of rock and piety, technical brilliance and mystic mood, and relief from the tedium of everyday rock".<ref name="BB review/google">"Album Reviews", Billboard, 19 December 1970, p. 50 (retrieved 28 November 2012).</ref>
Melody MakerTemplate:'s Richard Williams summed up the surprise many felt at Harrison's apparent transformation: All Things Must Pass, he said, provided "the rock equivalent of the shock felt by pre-war moviegoers when Garbo first opened her mouth in a talkie: Garbo talks! – Harrison is free!"<ref name="Schaffner, p. 140"/> In another review, for The Times, Williams opined that, of all the Beatles' solo releases thus far, Harrison's album "makes far and away the best listening, perhaps because it is the one which most nearly continues the tradition they began eight years ago".<ref name="Badman, p. 24"/>Template:Refn William Bender of Time magazine described it as an "expressive, classically executed personal statement ... one of the outstanding rock albums in years", while Tom Zito of The Washington Post predicted that it would influence the discourse on "the [real] genius behind the Beatles".<ref name="Frontani pp 155, 166">Frontani, p. 158, note 19 (p. 266).</ref>
In The New York Times, Don Heckman deemed the album "a release that shouldn't be missed"<ref name="Frontani pp 155, 166" /> and outlined his "complex" reaction to being presented with a sequence of Harrison songs for the first time: "amazement at the range of Harrison's talents; fascination at the effects of Phil Spector's participation as the album's producer; curiosity about the many messages that waft through the Harrison songs".<ref>Don Heckman, "Pop: Two and a Half Beatles on Their Own", The New York Times, 20 December 1970, p. 104 (retrieved 3 November 2020).</ref> John Gabree of High Fidelity described it as "the big album of the year" and a "unified yet tremendously varied" work. In response to rumours that the Beatles were due to reunite, Gabree said that, on the strength of the Harrison and Lennon solo albums, "I, for one, don't care if they ever do."<ref>John Gabree, "The Heaviest Beatles of Them All", High Fidelity, March 1971, pp. 70–71.</ref>
Retrospective assessmentsEdit
Template:Music ratings An album that sounded contemporary in 1970 was viewed as dated and faddish later in the decade.<ref name="Woffinden p 38" /> Village Voice critic Robert Christgau, having bemoaned in 1971 that it was characterised by "overblown fatuity" and uninteresting music,<ref>Robert Christgau, "Living Without the Beatles", robertchristgau.com (retrieved 8 February 2014).</ref> wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981) of the album's "featurelessness", "right down to the anonymity of the multitracked vocals".<ref name="Christgau p 171">Christgau, p. 171.</ref> In their book The Beatles: An Illustrated Record, Roy Carr and Tony Tyler were likewise lukewarm in their assessment, criticising the "homogeneity" of the production and "the lugubrious nature of Harrison's composing".<ref name="Carr & Tyler p 92" /> Writing in The Beatles Forever in 1977, however, Nicholas Schaffner praised the album as the "crowning glory" of Harrison's and Spector's careers, and highlighted "All Things Must Pass" and "Beware of Darkness" as the "two most eloquent songs ... musically as well as lyrically".<ref>Schaffner, pp. 138, 142.</ref>
AllMusic's Richie Unterberger views All Things Must Pass as "[Harrison's] best ... a very moving work",<ref name=AllMusic/> and Roger Catlin of MusicHound describes the set as "epic and audacious", its "dense production and rich songs topped off by the extra album of jamming".<ref name="Graff & Durchholz 529">Graff & Durchholz, p. 529.</ref> Unterberger has also written that while the Beatles' break-up remains a source of sorrow for many listeners, "it's impossible not to rejoice in George's greatest triumph" and that, as further evidenced in the bootlegs of outtakes from the sessions, Lennon, McCartney and Beatles producer George Martin undervalued not just Harrison's songwriting abilities but also his talent as a producer.<ref>Unterberger, p. 291.</ref> Q magazine considers the album to be an exemplary fusion of "rock and religion", as well as "the single most satisfying collection of any solo Beatle".<ref name="Qmag"/> Filmmaker Martin Scorsese has written of the "powerful sense of the ritualistic on the album", adding: "I remember feeling that it had the grandeur of liturgical music, of the bells used in Tibetan Buddhist ceremonies."<ref>Olivia Harrison, p. 7.</ref> Writing for Rolling Stone in 2002, Greg Kot described this grandeur as an "echo-laden cathedral of rock in excelsis" where the "real stars" are Harrison's songs;<ref name="Eds of RS p 187">The Editors of Rolling Stone, p. 187.</ref> in the same publication, Mikal Gilmore labelled the album "the finest solo work any ex-Beatle ever produced".<ref>The Editors of Rolling Stone, p. 42.</ref>
In his 2001 review for Mojo, John Harris said that All Things Must Pass "remains the best Beatles solo album ... oozing both the goggle-eyed joy of creative emancipation and the sense of someone pushing himself to the limit".<ref>John Harris, "George Harrison All Things Must Pass", Mojo, March 2001, pp. 86–87.</ref> In another 2001 review, for the Chicago Tribune, Kot wrote: "Neither Lennon nor McCartney, let alone Ringo Starr, ever put out a solo album more accomplished than All Things Must PassTemplate:Nbsp... In subsequent years, Lennon and McCartney would strive mightily to scale the same heights as All Things Must Pass with solo works such as Imagine and Band on the Run, but they would never top it."<ref>Greg Kot, "All Things Must Pass", Chicago Tribune, 2 December 2001 (retrieved 3 November 2020).</ref>Template:Refn Nigel Williamson of Uncut said that the album includes some of Harrison's best songs in "My Sweet Lord", "All Things Must Pass" and "Beware of Darkness", and stands as "George's finestTemplate:Nbsp... and arguably the best post-Beatles solo album of them all".<ref name="Williamson/Uncut" />
In The Rolling Stone Album Guide (2004), Mac Randall writes that the album is exceptional, but "a tad overrated" by those critics who tend to overlook how its last 30 minutes comprise "a bunch of instrumental blues jams that nobody listens to more than once".<ref>Brackett & Hoard, p. 367.</ref> Unterberger similarly cites the inclusion of Apple Jam as "a very significant flaw", while recognising that its content "proved to be of immense musical importance", with the formation of Derek and the Dominos.<ref name=AllMusic/> Writing for Pitchfork in 2016, Jayson Greene said that Harrison was the only former Beatle who "changed the terms of what an album could be" since, although All Things Must Pass was not the first rock triple LP, "in the cultural imagination, it is the first triple album, the first one released as a pointed statement."<ref name="Greene/Pitchfork" />
LegacyEdit
Template:Quote box Author Mark Ribowsky says that All Things Must Pass "forged the seventies first new rock idiom",<ref>Ribowsky, p. 256.</ref> while music historian David Howard writes that the album's combination of expansive hard rock and "intimate acoustic-confessionals" made it the touchstone for the early 1970s rock sound.<ref>Howard, p. 37.</ref> Another Rolling Stone critic, James Hunter, commented in 2001 on how All Things Must Pass "helped define the decade it ushered in", in that "the cast, the length, the long hair falling on suede-covered shoulders ... foretold the sprawl and sleepy ambition of the Seventies."<ref>James Hunter, "George Harrison All Things Must Pass 30th Anniversary reissue", Rolling Stone, 29 March 2001.</ref>
In his PopMatters review, John Bergstrom likens All Things Must Pass to "the sound of Harrison exhaling", adding: "He was quite possibly the only Beatle who was completely satisfied with the Beatles being gone."<ref name="PopMatters review 135411" /> Bergstrom credits the album with heavily influencing bands such as ELO, My Morning Jacket, Fleet Foxes and Grizzly Bear, as well as helping bring about the dream pop phenomenon.<ref name="PopMatters review 135411" /> In Harris' view, the "widescreen sound" used by Harrison and Spector on some of the tracks was a forerunner to recordings by ELO and Oasis.<ref>John Harris, "What Did George Harrison Ever Do for Us?Template:Nbsp...", Q, January 2002, pp. 34–35.</ref>
Among Harrison's biographers, Simon Leng views All Things Must Pass as a "paradox of an album": as eager as Harrison was to break free from his identity as a Beatle, Leng suggests, many of the songs document the "Kafkaesque chain of events" of life within the band and so added to the "mythologized history" he was looking to escape.<ref>Leng, pp. 76, 103.</ref> Ian Inglis notes 1970's place in an era marking "the new supremacy of the singer-songwriter", through such memorable albums as Simon & Garfunkel's Bridge Over Troubled Water, Neil Young's After the Gold Rush, Van Morrison's Moondance and Joni Mitchell's Ladies of the Canyon, but that none of these "possessed the startling impact" of All Things Must Pass.<ref name="Inglis p 23" /> Harrison's triple album, Inglis writes, "[would] elevate 'the third Beatle' into a position that, for a time at least, comfortably eclipsed that of his former bandmates".<ref name="Inglis p 23">Inglis, p. 23.</ref>
Writing for Spectrum Culture, Kevin Korber describes the album as a celebration of "the power that music and art can have if we are free to create it and experience it on our own terms", and therefore "perhaps the greatest thing to come out of the breakup of the Beatles".<ref>Kevin Korber, "Best Solo Beatles Album Ever: All Things Must Pass", Spectrum Culture, 4 September 2019 (retrieved 12 November 2020).</ref> Jim Irvin considers it to be "a sharper clutch of songs than Imagine, more individual than Band on the Run" and concludes, "It's hard to think of many bigger-hearted, more human and more welcoming records than this."<ref name="Irvin/RBP" />
All Things Must Pass features in music reference books such as The Mojo Collection: The Greatest Albums of All Time,<ref>Irvin, pp. 238–39.</ref> Robert Dimery's 1001 Albums You Must Hear Before You Die<ref>Template:Cite book</ref> and Tom Moon's 1,000 Recordings to Hear Before You Die.<ref>Moon, pp. 345–46.</ref> In 1999, All Things Must Pass appeared at number 9 on The GuardianTemplate:'s "Alternative Top 100 Albums" list, where the editor described it as the "best, mellowest and most sophisticated" of all the Beatles' solo efforts.<ref>Tom Cox, "The alternative top 10", The Guardian, 29 January 1999 (retrieved 17 August 2012).</ref> In 2006, Pitchfork placed it at number 82 on the site's "Top 100 Albums of the 1970s".<ref name="Pitchfork Top 100">"Top 100 Albums of the 1970s", Pitchfork, 23 April 2006 (archived version retrieved 14 October 2014).</ref> It was ranked 433rd on Rolling StoneTemplate:'s list of the "500 Greatest Albums of All Time" in 2012<ref>"500 Greatest Albums of All Time: George Harrison, 'All Things Must Pass'", Rolling Stone (retrieved 12 June 2012).</ref> and 368th on the 2020 updated list.<ref>"The 500 Greatest Albums of All Time: 368. George Harrison, 'All Things Must Pass'", rollingstone.com, 22 September 2020 (retrieved 30 October 2020).</ref> All Things Must Pass has also appeared in the following critics' best-album books and lists, among others: the Paul Gambaccini-compiled Critic's Choice: Top 200 Albums (1978; ranked number 79),Template:CN The TimesTemplate:' "100 Best Albums of All Time" (1993; number 79),Template:CN Allan Kozinn's The 100 Greatest Pop Albums of the Century (published in 2000),Template:CN QTemplate:'s "The 50 (+50) Best British Albums Ever" (2004),Template:CN MojoTemplate:'s "70 of the Greatest Albums of the 70s" (2006),Template:CN the NMETemplate:'s "100 Greatest British Albums Ever" (2006; number 86),Template:CN Paste magazine's "The 70 Best Albums of the 1970s" (2012; number 27),Template:CN and Craig Mathieson and Toby Creswell's The 100 Best Albums of All Time (2013).<ref>Template:Cite book</ref>
In January 2014, All Things Must Pass was inducted into the Grammy Hall of Fame,<ref>Kyle McGovern, "Grammy Hall of Fame 2014 Inductees: U2, Neil Young, Run-D.M.C., Rolling Stones, and More", Spin, 3 December 2013 (retrieved 3 March 2015).</ref> an award bestowed by the Recording Academy "to honor recordings of lasting qualitative or historical significance that are at least 25 years old".<ref name="Grammy HofF" /> Colin Hanks titled his 2015 film All Things Must Pass: The Rise and Fall of Tower Records after the album and, with the blessing of Harrison's widow, Olivia Harrison, used the title track over the end credits.<ref name="Kubernik/MusicConnection">Harvey Kubernik, "George Harrison 'All Things Must Pass' 50th Anniversary", Music Connection, 10 November 2020 (retrieved 12 November 2020).</ref>
Subsequent releasesEdit
2001Edit
To mark the 30th anniversary of the album's release, Harrison supervised a remastered edition of All Things Must Pass, which was issued in January 2001, less than a year before his death from cancer at the age of 58.<ref>Tillery, p. 146.</ref>Template:Refn Ken Scott engineered the reissue,<ref name="ATMP 2001 bk" /> which was remastered by Jon Astley.<ref>Huntley, pp. 305–06.</ref> Harrison and Scott were shocked at the amount of reverb they had used in 1970<ref>MacFarlane, p. 157.</ref> and were keen to remix the album, but EMI vetoed the idea.<ref name="Burns/RBMA" />
The reissue appeared on Gnome Records, a label set up by Harrison for the project.<ref>Leng, p. 284.</ref> Harrison also oversaw revisions to Wilkes and Feinstein's album artwork,<ref name="Huntley p 305" /> which included a colourised "George & the Gnomes" front cover<ref name="Huntley p 305" /> and, on the two CD sleeves and the album booklet, further examples of this cover image showing an imaginary, gradual encroachment of urbanisation on the Friar Park landscape.<ref name="Spizer p 228" />Template:Refn The latter series served to illustrate Harrison's dismay at "the direction the world seemed headed at the start of the millennium", Gary Tillery observes, a direction that was "so far afield from the Age of Aquarius that had been the dream of the sixties".<ref>Tillery, p. 147.</ref>Template:Refn Harrison launched a website dedicated to the reissue, which offered, in the description of Chuck Miller of Goldmine magazine, "graphics and sounds and little Macromedia-created gnomes dancing and giggling and playing guitars in a Terry Gilliam-esque world".<ref>Chuck Miller, "Collectormania!: Death and Silly Prices – All Things Must (and Will) Pass", Goldmine, 25 January 2002, p. 26.</ref> As a further example of his willingness to embrace modern media,<ref>Huntley, pp. 308–09.</ref> Harrison prepared an electronic press kit, which he described as "not exactly an EPK but it is a threat to world order as we know it".<ref name="Reid/Elsewhere">Graham Reid, "George Harrison Revisited, Part One (2014): The dark horse bolting out of the gate", Elsewhere, 24 October 2014 (retrieved 2 March 2016).</ref>
Titled All Things Must Pass: 30th Anniversary Edition, the new album contained five bonus tracks, including "I Live for You",<ref>Ingham, p. 133.</ref> two of the songs performed for Spector at EMI Studios in May 1970 ("Beware of Darkness" and "Let It Down") and "My Sweet Lord (2000)", a partial re-recording of Harrison's biggest solo hit.<ref>Leng, pp. 284–85.</ref> In addition, Harrison resequenced the content of Apple Jam so that the album closed with "Out of the Blue", as he had originally intended.<ref name="BB 2000" /><ref name="Huntley p 305" /> Assisting Harrison with overdubs on the bonus tracks were his son, Dhani Harrison, singer Sam Brown and percussionist Ray Cooper,<ref name="BB 2000" /> all of whom contributed to the recording of Brainwashed around this time.<ref>Leng, pp. 299, 304.</ref> According to Scott, Harrison had suggested they include a bonus disc containing recollections from some of the album's contributors, starting with Ringo Starr. The idea was abandoned since Starr could not remember playing on the sessions at all.<ref name="Burns/RBMA" />
With Harrison undertaking extensive promotional work, the 2001 reissue was a critical and commercial success.<ref>Huntley, pp. 307–08.</ref> Having underestimated the album's popularity, Capitol faced a back order of 20,000 copies in America.<ref>Huntley, p. 307.</ref> There, the reissue debuted at number 4 on BillboardTemplate:'s Top Pop Catalog Albums chart<ref name="BB Pop Cat 2001">"Billboard Top Pop Catalog Albums", Billboard, 10 February 2001, p. 13 (retrieved 11 February 2013).</ref> and topped the magazine's Internet Album Sales listings.<ref name="USchart" /> In the UK, it peaked at number 68 on the national albums chart.<ref name="UKchart">"Artist: George Harrison" > Albums > "All Things Must Pass: Chart Facts", Official Charts Company (retrieved 3 March 2016).</ref> Writing in Record Collector, Doggett described this success as "a previously unheard-of achievement for a reissue".<ref>Peter Doggett, "Editorial: The Virtues of Vinyl?", Record Collector, April 2001, p. 2.</ref>
Following Harrison's death on 29 November 2001, All Things Must Pass returned to the US charts, climbing to number 6 and number 7, respectively, on the Top Pop Catalog and Internet Album Sales charts.<ref name="BB charts 2002">"Billboard charts", Billboard, 26 January 2002, p. 66 (retrieved 11 February 2013).</ref> With the release on iTunes of much of the Harrison catalogue, in October 2007,<ref>Jonathan Cohen, "George Harrison Catalog Goes Digital", billboard.com, 10 October 2007 (retrieved 10 December 2014).</ref> the album re-entered the US Top Pop Catalog chart, peaking at number 3.<ref name="BB charts 2007">"Billboard Top Pop Catalog", Billboard, 27 October 2007, p. 78 (retrieved 11 February 2013).</ref>
2010Edit
For the 40th anniversary of All Things Must Pass, EMI reissued the album in its original configuration, in a limited-edition box set of three vinyl LPs, on 26 November 2010.<ref name="Second Disc" /><ref name="Glide/40Anniv">"George Harrison 40th Anniv 'All Things Must Pass' 3 LP Collection", Glide Magazine, 4 November 2010 (retrieved 7 December 2015).</ref> Each copy was individually numbered.<ref>Daniel Kreps, "George Harrison's 'All Things Must Pass' to Be Reissued" Template:Webarchive, rollingstone.com, 20 October 2010 (retrieved 22 November 2014).</ref><ref>Emily Costantino, "In the News: Robert Pollard, The Pains of Being Pure at Heart, Massive Attack, Smashing Pumpkins, George Harrison, INXS, Bad Religion and more", Magnet, October 2010 (retrieved 16 November 2014).</ref> In what Bergstrom views as a contrast with the more aggressive marketing campaign run simultaneously by John Lennon's estate, to commemorate Lennon's 70th birthday,<ref name="PopMatters review 135411" /> a digitally remastered 24-bit version of the album was made available for download from Harrison's official website.<ref name="Second Disc">Mike Duquette, "All Things Come to Pass", theseconddisc.com, 19 October 2010 (retrieved 16 November 2014).</ref><ref name="Glide/40Anniv" /> The reissue coincided with the Harrison estate's similarly low-key<ref name="Marchese/Second Disc">Joe Marchese, "Review: Ravi Shankar and George Harrison, 'Collaborations'", theseconddisc.com, 8 November 2010 (retrieved 10 March 2015).</ref> release of the Ravi Shankar–George Harrison box set Collaborations<ref name="TimeOutNY">Sophie Harris, Jay Ruttenberg & Mikael Wood, "Even though the Beatles are finally on iTunes, you'll want these groovy sets", Time Out New York, 22 November 2010 (archived version retrieved 28 September 2017).</ref> and East Meets West Music's reissue of Raga, the long-unavailable documentary on Shankar that Harrison had helped release through Apple Films in 1971.<ref>News: "8/15/10 Raga DVD", eastmeetswest.com, 15 August 2010 (archived version retrieved 12 August 2014).</ref><ref>Jeff Kaliss, "Ravi Shankar Raga: A Film Journey into the Soul of India", Songlines, 26 November 2010, p. 85 (archived version retrieved 10 March 2015).</ref>
2014Edit
All Things Must Pass was remastered again for the eight-disc Harrison box set The Apple Years 1968–75,<ref name="Grow/RSonline" /> issued in September 2014.<ref name="Horowitz/AmSong">Hal Horowitz, "George Harrison: The Apple Years, 1968–75", American Songwriter, 23 September 2014 (retrieved 4 October 2014).</ref> Also available as a separate, double-CD release, the reissue reproduces Harrison's 2001 liner notes<ref name="Marchese/Review">Joe Marchese, "Review: The George Harrison Remasters – 'The Apple Years 1968–1975'", theseconddisc.com, 23 September 2014 (retrieved 4 October 2014).</ref> and includes the same five bonus tracks that appeared on the 30th anniversary edition.<ref name="Grow/RSonline">Kory Grow, "George Harrison's First Six Studio Albums to Get Lavish Reissues" Template:Webarchive, rollingstone.com, 2 September 2014 (retrieved 4 October 2014).</ref> In addition, the box set's DVD contains the promotional film created for the 2001 reissue.<ref name="Marchese/SecondDisc">Joe Marchese, "Give Me Love: George Harrison's 'Apple Years' Are Collected On New Box Set", theseconddisc.com, 2 September 2014 (retrieved 4 October 2014).</ref>
2020–2021Edit
On 27 November 2020, the Harrison family released a stereo remix of the song "All Things Must Pass" to mark the album's 50th anniversary. Dhani Harrison described it as a prelude to further releases related to the anniversary.<ref>Emily Tan, "George Harrison Estate Releases Stereo Mix of 'All Things Must Pass'", Spin, 27 November 2020 (retrieved 27 November 2020).</ref> That same month, as part of its Archive on 4 series, BBC Radio 4 broadcast "All Things Must Pass at 50", a one-hour special presented by Nitin Sawhney.<ref>"All Things Must Pass at 50", BBC Online, 21 November 2020 (archived version retrieved 29 November 2020).</ref>
On 10 June 2021, the release of a 50th anniversary edition was officially announced for 6 August.<ref name="Friedman/Paste" /> The reissue is available in seven varieties, from Standard vinyl and CD editions up to an Uber Deluxe Edition box set.<ref name="Sinclair/SDE">Paul Sinclair, "George Harrison / All Things Must Pass 50th anniversary editions", Super Deluxe Edition, 10 June 2021 (retrieved 14 June 2021).</ref> The most extensive editions contain 70 tracks across 5 CDs/8LPs, including outtakes, jams and 47 demos, 42 of which are previously unreleased,<ref name="YouTube All Things Must Pass 50th Anniversary Official Trailer">"All Things Must Pass 50th Anniversary (Official Trailer), George Harrison at YouTube, 10 June 2021 (retrieved 11 June 2021).</ref> and a scrapbook containing archival notes and track-by-track annotation curated by Olivia Harrison.<ref name="Sinclair/SDE" /> The Uber Deluxe set adds a 44-page book on the creation of the 1970 triple album,<ref name="Friedman/Paste">Jason Friedman, "George Harrison's All Things Must Pass Getting 50th Anniversary Deluxe Reissue", Paste, 10 June 2021 (retrieved 10 June 2021).</ref> along with scale replica figurines of Harrison and the Friar Park gnomes, an illustration by Voormann, and Paramahansa Yogananda's text "Light from the Great Ones", among other extras.<ref name="Sinclair/SDE" />
On Metacritic, the Super Deluxe Edition has an aggregate score of 92 out of 100, based on eight reviews – indicating what the website defines as "universal acclaim".<ref>"All Things Must Pass [50th Anniversary Super Deluxe Edition] (Box Set)", Metacritic (retrieved 2 October 2021).</ref> The release received maximum scores from Mojo, The Times, The Daily Telegraph, the Daily Mail, the Daily Express, Uncut and American Songwriter.<ref name="UMeCatalog">"George Harrison's 'All Things Must Pass' Returns to Top 10 as 50th Anniversary Edition Debuts at #7 on Billboard 200", umgcatalog.com, 17 August 2021 (retrieved 3 October 2021).</ref> It peaked at number 6 in the UK and number 7 on the Billboard 200 in the US; in other Billboard charts, it topped the listings for Top Rock Albums, Catalog Albums and Tastemaker Albums, and placed at number 2 on Top Albums Sales. The 50th anniversary release also peaked at number 2 in Germany and number 3 in Switzerland, among other top-ten international chart placings.<ref name="UMeCatalog" /> In 2022, the 50th anniversary box set won the Grammy Award for Best Boxed or Special Limited Edition Package.<ref>"2022 Grammy Awards: The full list of nominees and winners", npr.org, 3 April 2022 (retrieved 5 April 2022).</ref>
Track listingEdit
All songs written by George Harrison, except where noted.
Original releaseEdit
Side one
- "I'd Have You Anytime" (Harrison, Bob Dylan) – 2:56
- "My Sweet Lord" – 4:38
- "Wah-Wah" – 5:35
- "Isn't It a Pity (Version One)" – 7:10
Side two
- "What Is Life" – 4:22
- "If Not for You" (Dylan) – 3:29
- "Behind That Locked Door" – 3:05
- "Let It Down" – 4:57
- "Run of the Mill" – 2:49
Side three
- "Beware of Darkness" – 3:48
- "Apple Scruffs" – 3:04
- "Ballad of Sir Frankie Crisp (Let It Roll)" – 3:48
- "Awaiting on You All" – 2:45
- "All Things Must Pass" – 3:44
Side four
- "I Dig Love" – 4:55
- "Art of Dying" – 3:37
- "Isn't It a Pity (Version Two)" – 4:45
- "Hear Me Lord" – 5:46
Side five (Apple Jam)
- "Out of the Blue" – 11:14
- "It's Johnny's Birthday" (Bill Martin, Phil Coulter, Harrison) – 0:49
- "Plug Me In" – 3:18
Side six (Apple Jam)
- "I Remember Jeep" – 8:07
- "Thanks for the Pepperoni" – 5:31
2001 remasterEdit
Disc one
Sides one and two were combined as tracks 1–9, with the following additional tracks:
- "I Live for You" – 3:35
- "Beware of Darkness" (acoustic demo) – 3:19
- "Let It Down" (alternate version) – 3:54
- "What Is Life" (backing track/alternate mix) – 4:27
- "My Sweet Lord (2000)" – 4:57
Disc two
Sides three and four were combined as tracks 1–9, followed by the reordered Apple Jam tracks.
- "It's Johnny's Birthday" (Martin, Coulter, Harrison) – 0:49
- "Plug Me In" – 3:18
- "I Remember Jeep" – 8:07
- "Thanks for the Pepperoni" – 5:31
- "Out of the Blue" – 11:16
2021 50th Anniversary Super Deluxe BoxEdit
Disc one – Remixed (2020) versions of sides 1 and 2.
Disc two – Remixed (2020) versions of sides 3 and 4, remastered versions of sides 5 and 6.
Disc three
- "All Things Must Pass" (Day 1 Demo) – 4:38
- "Behind That Locked Door" (Day 1 Demo) – 2:54
- "I Live for You" (Day 1 Demo) – 3:26
- "Apple Scruffs" (Day 1 Demo) – 2:48
- "What Is Life" (Day 1 Demo) – 4:46
- "Awaiting on You All" (Day 1 Demo) – 2:30
- "Isn't It a Pity" (Day 1 Demo) – 3:19
- "I'd Have You Anytime" (Day 1 Demo) (Harrison, Dylan) – 2:10
- "I Dig Love" (Day 1 Demo) – 3:35
- "Going Down to Golders Green" (Day 1 Demo) – 2:24
- "Dehra Dun" (Day 1 Demo) – 3:39
- "Om Hare Om (Gopala Krishna)" (Day 1 Demo) – 5:13
- "Ballad of Sir Frankie Crisp (Let It Roll)" (Day 1 Demo) – 3:41
- "My Sweet Lord" (Day 1 Demo) – 3:21
- "Sour Milk Sea" (Day 1 Demo) – 2:28
Disc four
- "Run of the Mill" (Day 2 Demo) – 1:54
- "Art of Dying" (Day 2 Demo) – 3:04
- "Everybody-Nobody" (Day 2 Demo) – 2:20
- "Wah-Wah" (Day 2 Demo) – 4:24
- "Window Window" (Day 2 Demo) – 1:53
- "Beautiful Girl" (Day 2 Demo) – 2:39
- "Beware of Darkness" (Day 2 Demo) – 3:20
- "Let It Down" (Day 2 Demo) – 3:57
- "Tell Me What Has Happened to You" (Day 2 Demo) – 2:57
- "Hear Me Lord" (Day 2 Demo) – 4:57
- "Nowhere to Go" (Day 2 Demo) (Harrison, Dylan) – 2:44
- "Cosmic Empire" (Day 2 Demo) – 2:12
- "Mother Divine" (Day 2 Demo) – 2:45
- "I Don't Want to Do It" (Day 2 Demo) (Dylan) – 2:05
- "If Not for You" (Day 2 Demo) (Dylan) – 1:48
Disc five
- "Isn't It a Pity" (take 14) – 0:53
- "Wah-Wah" (take 1) – 5:56
- "I'd Have You Anytime" (take 5) (Harrison, Dylan) – 2:48
- "Art of Dying" (take 1) – 2:48
- "Isn't It a Pity" (take 27) – 4:01
- "If Not For You" (take 2) (Dylan) – 2:59
- "Wedding Bells (Are Breaking Up That Old Gang of Mine)" (take 1) (Sammy Fain, Irving Kahal, Willie Raskin) – 1:56
- "What Is Life" (take 1) – 4:34
- "Beware of Darkness" (take 8) – 3:48
- "Hear Me Lord" (take 5) – 9:31
- "Let It Down" (take 1) – 4:13
- "Run of the Mill" (take 36) – 2:28
- "Down to the River (Rocking Chair Jam)" (take 1) – 2:30
- "Get Back" (take 1) (John Lennon, Paul McCartney) – 2:07
- "Almost 12 Bar Honky Tonk" (take 1) – 8:34
- "It's Johnny's Birthday" (take 1) (Martin, Coulter, Harrison) – 0:59
- "Woman Don't You Cry for Me" (take 5) – 5:01
PersonnelEdit
The following musicians are either credited on the 2001 reissue of All Things Must Pass<ref name="ATMP 2001 bk">Booklet accompanying All Things Must Pass reissue (Gnome Records, 2001; produced by George Harrison & Phil Spector).</ref> or are acknowledged as having contributed after subsequent research:<ref>Leng, pp. 78, 82–102.</ref>
- George Harrison – vocals, electric and acoustic guitars, Dobro, harmonica, Moog synthesizer, harmonium, backing vocals; bass guitar (2001 reissue only)
- Eric Clapton – electric and acoustic guitars, backing vocals
- Gary Wright – piano, organ, electric piano
- Bobby Whitlock – organ, harmonium, piano, tubular bells,<ref>Whitlock, pp. 75–76, 79–82.</ref> backing vocals
- Klaus Voormann – bass guitar, electric guitar on "Out of the Blue"Template:Refn
- Jim Gordon – drums
- Carl Radle – bass guitar
- Ringo Starr – drums, percussion
- Billy Preston – organ, piano
- Jim Price – trumpet, trombone
- Bobby Keys – saxophones
- Alan White – drums, vibraphone
- Pete Drake – pedal steel
- John Barham – orchestral arrangements, choral arrangement,<ref>Harry, p. 24.</ref> harmonium, vibraphone
- Pete Ham – acoustic guitar
- Tom Evans – acoustic guitar
- Joey Molland – acoustic guitar
- Mike Gibbins – percussion
- Peter Frampton – acoustic guitar<ref name="Harry p 180" />
- Dave Mason – electric and acoustic guitars
- Tony Ashton – piano
- Gary Brooker – piano
- Mal Evans – percussion, vocal on "It's Johnny's Birthday", "tea and sympathy"
- Ginger Baker – drums on "I Remember Jeep"
- John Lennon – handclaps on "I Remember Jeep"
- Yoko Ono – handclaps on "I Remember Jeep"
- Al Aronowitz – unspecified contribution on "Out of the Blue"
- Eddie Klein – vocal on "It's Johnny's Birthday"
- Dhani Harrison – acoustic guitar, electric piano, backing vocals (2001 reissue only)
- Sam Brown – vocals, backing vocals (2001 reissue only)
- Ray Cooper – percussion, synthesizer (2001 reissue only)
AccoladesEdit
Grammy AwardsEdit
Template:Awards table |- | width="35" align="centre" rowspan="2"|1972 || All Things Must Pass || Album of the Year<ref name="1972Grammys">"Grammy Awards 1972", awardsandshows.com (retrieved 17 September 2014).</ref> || Template:Nom |- | "My Sweet Lord" || Record of the Year<ref name="1972Grammys" />|| Template:Nom |- | width="35" align="centre" rowspan="1"|2014 || All Things Must Pass || Hall of Fame Award<ref name="Grammy HofF">"Grammy Hall of Fame", grammy.org (archived version retrieved 7 July 2015).</ref> || Template:Won |- | width="35" align="centre" rowspan="1"|2022 || All Things Must Pass || Best Boxed or Special Limited Edition Package<ref>"2021 Grammy Winners", grammy.com (retrieved 7 April 2022).</ref> || Template:Won |-
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ChartsEdit
Weekly chartsEdit
Template:Col-begin Template:Col-2 Original release
| Chart (1970–1971) | Peak position | |
|---|---|---|
| Australian Go-Set Top 20 Albums<ref>"Go-Set Australian charts – 3 April 1971" Template:Webarchive, poparchives.com.au (retrieved 22 February 2017).</ref> | 1 | |
| Australian Kent Music Report<ref name="auchart">David Kent, Australian Chart Book 1970–1992, Australian Chart Book (St Ives, NSW, 1993).</ref> | 1 | |
| Canadian RPM 100 Albums<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
1 |
| Dutch MegaCharts Albums<ref name="nlchart">"George Harrison – All Things Must Pass", dutchcharts.nl (retrieved 12 September 2011).</ref> | 1 | |
| Japanese Oricon LP Chart<ref name="jpchart" /> | 4 | |
| Norwegian VG-lista Albums<ref name="norchart">"George Harrison – All Things Must Pass", norwegiancharts.com (retrieved 12 September 2011).</ref> | 1 | |
| Spanish Albums Chart<ref>Fernando Salaverri, Sólo éxitos: Año a año, 1959–2002, Fundación Autor-SGAE (Spain, 2005; Template:ISBN).</ref> | 1 | |
| Swedish Kvällstoppen Chart<ref name="swechart">"Swedish Charts 1969–1972/Kvällstoppen – Listresultaten vecka för vecka" > Februari 1971 > 9 Februari (in Swedish), hitsallertijden.nl (retrieved 13 February 2013). Note: Kvällstoppen combined sales for albums and singles in the one chart; All Things Must Pass topped the albums listings for six weeks from 2 February to 9 March 1971.</ref> | 1 | |
| UK Albums Chart<ref name="UKchart" /> | 1 | |
| US Billboard Top LPs<ref name="USchart">"All Things Must Pass" > Charts & Awards > Billboard Albums, AllMusic (archived version retrieved 16 November 2020).</ref> | 1 | |
| US Cash Box Top 100 Albums<ref>"Cash Box Top 100 Albums", Cash Box, 9 January 1971, p. 21.</ref> | 1 | |
| US Record World Album Chart<ref>Frank Mitchell (ed.), "The Album Chart", Record World, 16 January 1971, p. 30.</ref> | 1 | |
| West German Media Control Albums<ref name="dechart">"Album – George Harrison, All Things Must Pass", charts.de (retrieved 11 February 2013).</ref> | 10 |
Template:Col-2 Reissue
| Chart (2001) | Peak position |
|---|---|
| French SNEP Albums Chart<ref name="snep">"Tous les Albums classés par Artiste" > Choisir un Artiste dans la Liste (in French), infodisc.fr (archive version retrieved 13 February 2013).</ref> | 68 |
| Japanese Oricon Albums Chart<ref name="jpchart">"George Harrison: Chart Action (Japan)" Template:Webarchive, homepage1.nifty.com (retrieved 11 February 2013).</ref> | 46 |
| UK Albums Chart<ref name="UKchart" /> | 68 |
| US Billboard Top Pop Catalog Albums<ref name="BB charts 2007"/> | 3 |
50th anniversary edition
Template:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chart| Chart (2021) | Peak position | |
|---|---|---|
| Australian Top Albums<ref>"George Harrison – All Things Must Pass (album)", australiancharts.com (retrieved 3 October 2021).</ref> | 9 | |
| Finnish Albums (Suomen virallinen lista)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
26 |
| Italian Albums (FIMI)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
38 |
| New Zealand Albums (RMNZ)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
36 |
| Swedish Albums (Sverigetopplistan)<ref>{{#invoke:citation/CS1|citation | CitationClass=web
}}</ref> |
13 |
| US Billboard 200<ref>Keith Caulfield, "George Harrison's 'All Things Must Pass' Album Returns to Top 10 on Billboard 200 Chart After 50th Anniversary Reissue", billboard.com, 16 August 2021 (retrieved 28 August 2021).</ref> | 7 |
Year-end chartsEdit
| Chart (1971) | Position |
|---|---|
| Australian Kent Music Report<ref name="auchart" /> | 5 |
| Dutch Albums Chart<ref>"Jaaroverzichten – Album 1971", dutchcharts.nl (retrieved 10 March 2015).</ref> | 11 |
| US Billboard Year-End<ref name="USYearend">"Billboard 1970's Album Top 50 (Part 1)" > 1971 Template:Webarchive, 7 December 2007 (retrieved 13 February 2013).</ref> | 18 |
CertificationsEdit
Template:Certification Table Top Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Entry Template:Certification Table Bottom
NotesEdit
ReferencesEdit
SourcesEdit
- Dale C. Allison Jr., The Love There That's Sleeping: The Art and Spirituality of George Harrison, Continuum (New York, NY, 2006; Template:ISBN).
- Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; Template:ISBN).
- The Beatles, The Beatles Anthology, Chronicle Books (San Francisco, CA, 2000; Template:ISBN).
- Nathan Brackett & Christian Hoard (eds), The New Rolling Stone Album Guide (4th edn), Fireside/Simon & Schuster (New York, NY, 2004; Template:ISBN).
- Roy Carr & Tony Tyler, The Beatles: An Illustrated Record, Trewin Copplestone Publishing (London, 1978; Template:ISBN).
- Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; Template:ISBN).
- Hamish Champ, 100 Best-Selling Albums of the 70s, Amber Books (London, 2018; Template:ISBN).
- Robert Christgau, Christgau's Record Guide: Rock Albums of the Seventies, Ticknor & Fields (Boston, MA, 1981; Template:ISBN).
- Alan Clayson, George Harrison, Sanctuary (London, 2003; Template:ISBN).
- A Conversation with George Harrison, Discussing the 30th Anniversary Reissue of "All Things Must Pass" (interview with Chris Carter, recorded Hollywood, CA, 15 February 2001), Capitol Records, DPRO-7087-6-15950-2-4.
- Mark Cunningham, Good Vibrations: A History of Record Production, Sanctuary (London, 1998; Template:ISBN).
- Stephen Davis, Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones, Broadway Books (New York, NY, 2001; Template:ISBN).
- Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; Template:ISBN).
- The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; Template:ISBN).
- Michael Frontani, "The Solo Years", in Kenneth Womack (ed.), The Cambridge Companion to the Beatles, Cambridge University Press (Cambridge, UK, 2009; Template:ISBN), pp. 153–82.
- Gary Graff & Daniel Durchholz (eds), MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999; Template:ISBN).
- Joshua M. Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; Template:ISBN).
- John Harris, "A Quiet Storm", Mojo, July 2001, pp. 66–74.
- George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; Template:ISBN).
- Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; Template:ISBN).
- Bill Harry, The George Harrison Encyclopedia, Virgin Books (London, 2003; Template:ISBN).
- Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles, Pan Books (London, 1996; Template:ISBN).
- David N. Howard, Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings, Hal Leonard (Milwaukee, WI, 2004; Template:ISBN).
- Elliot J. Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; Template:ISBN).
- Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; 2nd edn; Template:ISBN).
- Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; Template:ISBN).
- Jim Irvin (ed.), The Mojo Collection: The Greatest Albums of All Time, Mojo Books (Edinburgh, 2001; Template:ISBN).
- Andrew Grant Jackson, Still the Greatest: The Essential Solo Beatles Songs, Scarecrow Press (Lanham, MD, 2012; Template:ISBN).
- Bobby Keys with Bill Ditenhafer, Every Night's a Saturday Night: The Rock 'n' Roll Life of Legendary Sax Man Bobby Keys, Counterpoint (Berkeley, CA, 2012; Template:ISBN).
- Colin Larkin, The Encyclopedia of Popular Music (5th edn), Omnibus Press (London, 2011; Template:ISBN).
- Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; Template:ISBN).
- Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; Template:ISBN).
- Ian MacDonald, Revolution in the Head: The Beatles' Records and the Sixties, Pimlico (London, 1998; Template:ISBN).
- Thomas MacFarlane, The Music of George Harrison, Routledge (Abingdon, UK, 2019; Template:ISBN).
- Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; Template:ISBN).
- Dan Matovina, Without You: The Tragic Story of Badfinger, Frances Glover Books (2000; Template:ISBN).
- Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; Template:ISBN).
- Tom Moon, 1,000 Recordings to Hear Before You Die, Workman Publishing (New York, NY, 2008; Template:ISBN).
- Chris O'Dell with Katherine Ketcham, Miss O'Dell: My Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan, Eric Clapton, and the Women They Loved, Touchstone (New York, NY, 2009; Template:ISBN).
- Jan Reid, Layla and Other Assorted Love Songs by Derek and the Dominos, Rodale (New York, NY, 2006; Template:ISBN).
- Mark Ribowsky, He's a Rebel: Phil Spector – Rock and Roll's Legendary Producer, Da Capo Press (Cambridge, MA, 2006; Template:ISBN).
- Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; Template:ISBN).
- Patricia Romanowski & Holly George-Warren (eds), The New Rolling Stone Encyclopedia of Rock & Roll, Fireside/Rolling Stone Press (New York, NY, 1995; Template:ISBN).
- Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; Template:ISBN).
- Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; Template:ISBN).
- Doug Sulpy & Ray Schweighardt, Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster, St. Martin's Griffin (New York, 1997; Template:ISBN).
- Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; Template:ISBN).
- Richie Unterberger, The Unreleased Beatles: Music & Film, Backbeat Books (San Francisco, CA, 2006; Template:ISBN).
- Bobby Whitlock with Marc Roberty, Bobby Whitlock: A Rock 'n' Roll Autobiography, McFarland (Jefferson, NC, 2010; Template:ISBN).
- Richard Williams, Phil Spector: Out of His Head, Omnibus Press (London, 2003; Template:ISBN).
- Bob Woffinden, The Beatles Apart, Proteus (London, 1981; Template:ISBN).
- Kenneth Womack, The Beatles Encyclopedia: Everything Fab Four, ABC-CLIO (Santa Barbara, CA, 2014; Template:ISBN).
Further readingEdit
- Sam Buntz, "The Cathedral and the Shrink's Office: 'All Things Must Pass' vs. 'Plastic Ono Band'", PopMatters, 13 May 2015.
- John Harris, "How George Harrison Made the Greatest Beatles Solo Album of Them All", Classic RockTemplate:Hair space/loudersound.com, 27 November 2016.
- Randy Lewis, "George Harrison's 'All Things Must Pass' Still Inspires 45 Years Later", Los Angeles Times, 24 November 2015.
- Jody Rosen, "Luxuriating in the Sprawl of That Early 70's Sound", The New York Times, 29 July 2001, S2 p. 25.
- Kenneth Womack, "The Hope and Wisdom of George Harrison's 1970 Solo Album 'All Things Must Pass'", Salon, 18 April 2020.
External linksEdit
- Template:Official website
- Template:Discogs master
- Portion of Phil Spector's notes on Harrison's early mixes
- Producer David Hentschel's recollections of working on the album
Template:George Harrison Template:All Things Must Pass Template:Phil Spector