StrawberryWalrus said said Recently fallen in love with this album all over again. I know Spector gets shit for the sound on some of the songs, and in some cases its justified, but the album wouldn't be the same without it in my opinion.
The sound on for example, is otherworldly! Totally agree, that's why I like the bombastic religious anthem style of Spector and quiet introspective acoustic style of demos just the same. Best example is, acoustic and full version. Both are fantastic. I can listen to either version depending on what my mood is, which is a great luxury to have. Castironshore said It's funny how people hear music differently eh? With 'let it roll' the piano playing and the way it leads the melody feels very lennonesque to my ears,and i'm sure he would have loved all the reverb on the track.
Lyrically speaking it isn't too far away from john either. 'i dig love' just reminds me of pauls solo cuts on 'the beatles' somehow, totally built from scratch in the studio.
The fall and rise sequence on electric piano strikes me as something he would have enjoyed messing with. I've always imagined him singing this one as it plays. But hey i may be totally wrong LOL. One is never totally wrong for what they hear/see/interpret. Music, like any other art form, is wide open for interpretation.
Thanks for your explanations. Next time I hear those songs, I'll see if I can listen to them through your ears. Said Recently fallen in love with this album all over again.
I know Spector gets shit for the sound on some of the songs, and in some cases its justified, but the album wouldn't be the same without it in my opinion. The sound on for example, is otherworldly! Not sure how could have ever fallen out of love with it ? Fortunately the site hung up on me so I didn't have to interrupt my rare uninterrupted listen of to listen to to confirm my opinion here.I think Spector was dead on here, making the sound match the lyrical meaning. I turned my son, who's a Catholic priest preseminarian, onto this song and he loves it (though he's not a big Beatles fan, he does have good taste in music - or is that a contradiction?).
We're going to see Willie Nelson and Old Crow Medicine Show together in a couple weeks, I can't wait - I haven't seen him all summer. Anyway, I ramble.I've spent all afternoon here, I've got to get ready to go ?.
Matt Busby said said Recently fallen in love with this album all over again. I know Spector gets shit for the sound on some of the songs, and in some cases its justified, but the album wouldn't be the same without it in my opinion. The sound on for example, is otherworldly! Not sure how could have ever fallen out of love with it ? Fortunately the site hung up on me so I didn't have to interrupt my rare uninterrupted listen of to listen to to confirm my opinion here.I think Spector was dead on here, making the sound match the lyrical meaning. I turned my son, who's a Catholic priest preseminarian, onto this song and he loves it (though he's not a big Beatles fan, he does have good taste in music - or is that a contradiction?). We're going to see Willie Nelson and Old Crow Medicine Show together in a couple weeks, I can't wait - I haven't seen him all summer. Anyway, I ramble.I've spent all afternoon here, I've got to get ready to go ? Haha.
It was more so that it had been out of the rotation for a while, I'll never stop loving this masterpiece! The spiritual nature of the song needed a massive production. Anything less would do the song a disservice. Have a good time with your son. Me and my Dad went to see Paul in May and it was one of the best days of my life, made better because we shared the experience together as Beatle and Paul fans! @Matt Busby proposed Silly Girl soliloquised I have a theory that the thing that's being let roll is, I dunno, love perhaps. Or are they the same thing?
Our esteemed member Zig's sig quotes a George song that may shed light on it - 'For the fountain of perpetual mirth, let it roll for all its worth'. I don't know, it just came to mind when I saw your theory. I always thought it probably referred to love.but I think yes, love and life are the same thing (in the best of all possible worlds). That quote is from the very song I was referring to. And if you'll pardon my Grammar Naziing, it's 'To the fountain of perpetual mirth, let it roll for all its worth'.
I think that detail is important as it can be interpreted in two different ways: it can either be that his 'Let it roll for all its worth' is addressed to the fountain of perpetual mirth, with the perpetual mirth being the thing that is let roll; or it establishes the fountain of perpetual mirth as just another place, along with 'across the floor' and 'out the door' and what-have-you, with 'it' being let roll still unspecified, in which case it's love/life. I prefer the latter interpretation, myself. Can you tell I love this song to pieces? Zig said Today, while reading: Behind The Locked Door, I discovered the song ' was written while he was visiting The Band and Bob Dylan in November 1968. He was enthralled with The Band's debut album Music From Big Pink that was released earlier that summer and wanted to write a song similar to 'The Weight'. It's very cool for me that one of my favorite bands inspired my favorite Beatle. The Band were great.
All great musicians but Levon Helm in particular - drums, mandolin, harmonica, bass, guitar, and vocals. In fact he sings several of the verses in The Weight (at least in The Last Waltz I think others sing a verse or two - surely Robbie Robertson would be one) - which is one of the greatest rock songs of all time imo (and has several famous mondegreens, 'take the load off Fanny' (or Annie.or myriad other similar words) being perhaps the most misunderstood.
To get slightly on a Beatley topic, he played in Ringo's All Starr band, 1989 edition (which had a tremendous lineup - Joe Walsh, Dr. John, Nils Lofgren, Billy Preston, Clarence Clemons, and Jim Keltner). It would never have occurred to me that was inspired by The Weight though.interesting to think about, thanks for posting that.
Silly Girl said I'm looking to purchase this album and I should like some advice; should I get the original or the 2001 remaster? I have both (bought the remaster and obtained the original in a torrent of the entire George solo collection).
I'm kind of a stuck up purist, so I'd recommend starting with the original (but getting the remaster as soon as possible thereafter ? However the remaster has some alternate versions of songs and is definitely more robust. Early Takes Volume 1 has some really interesting versions of songs too - I'd look to get that at some point too ? So to summarize: 1a) Original 1b) Remaster 2) Early Takes Hope this helps! Maybe you should try listening to both versions before you buy? (yes, it would be tempting to just d/l both versions and buy neither). I won't judge you, I have some illegally downloaded stuff, but I buy when I can.
Album artwork of the 2001 re-release of All Things Must Pass All Things Must Pass is a by English musician. Recorded and released in 1970, the album was Harrison's first solo work since in April that year, and his third solo album overall. It includes the hit singles ' and ', as well as songs such as ' and that had been turned down for inclusion on releases. The album reflects the influence of Harrison's musical activities with artists such as, and during 1968–70, and his growth as an artist beyond his supporting role to former bandmates and. All Things Must Pass introduced Harrison's signature sound, the, and the spiritual themes that would be present throughout his subsequent solo work.
The original vinyl release consisted of two of songs and a third disc of informal jams, titled Apple Jam. Several commentators interpret '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 in May 1970, with extensive overdubbing and mixing continuing through October. Among the large cast of backing musicians were and Delaney & Bonnie's Friends band – three of whom formed with Clapton during the recording – as well as, Preston, and.
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 1 on charts around the world. The album was co-produced by and employs his production technique to notable effect; Ben Gerson of described the sound as ', the music of mountain tops and vast horizons'. Reflecting the widespread surprise at the assuredness of Harrison's post-Beatles debut, 's likened the album to 's first role in a and declared: 'Garbo talks! – Harrison is free!'
According to, writing in the 2011 edition of his, All Things Must Pass is 'generally rated' as the best of all the former Beatles' solo albums. During the final year of his life, Harrison oversaw a successful reissue campaign to mark the 30th anniversary of the album's release. Following this reissue, in March 2001, the set was certified six-times platinum by the. Among its appearances in critics' best-album lists, All Things Must Pass was ranked 79th on ' 'The 100 Best Albums of All Time' in 1993, while Rolling Stone currently places it 433rd on the magazine's '. In January 2014, All Things Must Pass was inducted into the. Contents. Background Music journalist has identified the start of 's 'journey' to making All Things Must Pass as his visit to America in late 1968, following the acrimonious sessions for '.
Grammy Hall Of Fame
While in in November, Harrison established a long-lasting friendship with and experienced a creative equality among that contrasted sharply with and 's domination in the Beatles. Coinciding with this visit was a surge in Harrison's songwriting output, following his renewed interest in the guitar, after three years spent studying the Indian. As well as being one of the few musicians to co-write songs with Dylan, Harrison had recently collaborated with on ', which became a hit single for in the spring of 1969. Ad for Harrison's soundtrack (1968) Once back in London, and with his compositions continually overlooked for inclusion on releases by the Beatles, 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.
His activities during 1969 included producing signings and, two American singer-songwriters whose and roots proved as influential on All Things Must Pass as the music of the Band. He also recorded with artists such as and, and accompanied Clapton on a short tour with 's soul revue,. In addition, Harrison identified his involvement with the as providing 'another piece of a jigsaw puzzle' that represented the spiritual journey he had begun in 1966. As well as embracing the branch of, Harrison produced two hit singles during 1969–70 by the UK-based devotees, credited as. In January 1970, Harrison invited American producer to participate in the recording of Lennon's single ' This association led to Spector being given the task of salvaging the Beatles' rehearsal tapes, released officially as the album (1970), and later co-producing All Things Must Pass. Harrison first discussed the possibility of making a solo album of his unused songs during the ill-tempered Get Back sessions, held at in January 1969.
At on 25 February, his 26th birthday, Harrison recorded of ' and two other compositions that had received little interest from Lennon and McCartney at Twickenham. With the inclusion of one of these songs – ' – and ' on the Beatles' album in September 1969, music critics acknowledged that Harrison had bloomed into a songwriter to match Lennon and McCartney. Although he began talking publicly about recording his own album from the autumn of 1969, it was only after McCartney announced that he was leaving the Beatles, in April 1970, signalling the band's, that Harrison committed to the idea. Despite having already made (1968), a mostly instrumental soundtrack album, and the experimental (1969), Harrison considered All Things Must Pass to be his first solo album. Songs Main body. I went to George's Friar Park. And he said, 'I have a few ditties for you to hear.'
It was endless! He had literally hundreds of songs and each one was better than the rest. He had all this emotion built up when it was released to me. – Phil Spector, on first hearing Harrison's backlog of songs in early 1970 Spector first heard Harrison's stockpile of unreleased compositions early in 1970, when visiting his recently purchased home,. 'It was endless!'
Spector later recalled of the recital, noting the quantity and quality of Harrison's material. Harrison had accumulated songs from as far back as 1966; both ' and ' date from that year.
He co-wrote at least two songs with Dylan while in Woodstock, one of which, ', appeared on All Things Must Pass. Harrison wrote ' in late 1968 also. He introduced the Band-inspired 'All Things Must Pass', along with ' and 'Let It Down', at the Beatles' Get Back rehearsals, only to have them rejected by Lennon and McCartney. The tense atmosphere at Twickenham fuelled another All Things Must Pass song, ', which Harrison wrote in the wake of his temporary departure from the band on 10 January 1969. ' followed soon afterwards, its lyrics focusing on the failure of friendships within the Beatles amid the business problems surrounding their. Harrison's musical activities outside the band during 1969 inspired other compositions on the album: ' came to him while driving to a London session that spring for Preston's album; ' was Harrison's message of encouragement to Dylan, written the night before the latter's comeback performance at the; and Harrison began ' as an exercise in writing a gospel song during Delaney & Bonnie's stopover in Copenhagen in December 1969. ' resulted from Harrison's early experiments with, a technique that Bramlett had introduced him to, in order to cover for guitarist 's departure from the Friends line-up.
Other songs on All Things Must Pass, all written during the first half of 1970, include ', which reflected Harrison's adoption of chanting through his involvement with the Hare Krishna movement; ', a tribute to the original owner of Friar Park; and '. The latter was another composition influenced by Harrison's association with the Radha Krishna Temple, and was written while some of the devotees were staying with him at Friar Park. Shortly before beginning work on All Things Must Pass, Harrison attended a Dylan session in New York on 1 May 1970, during which he acquired a new song of Dylan's, '. Harrison wrote ', which was one of a number of Dylan-influenced compositions on the album, towards the end of production on All Things Must Pass, as a tribute to the who had kept a vigil outside the studios where he was working. 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.
While identifying, and 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'. The melodies of 'Isn't It a Pity' and 'Beware of Darkness' have aspects of, and on 'My Sweet Lord', Harrison combined the Hindu tradition with gospel. The recurrent lyrical themes on the album are Harrison's spiritual quest, as it would be throughout his solo career, and friendship, particularly the failure of relationships among the Beatles.
Rob Mitchum of describes the album as 'dark-tinged Krishna folk-rock'. Apple Jam On the original 's third disc, entitled Apple Jam, four of the five tracks – 'Out of the Blue', 'Plug Me In', 'I Remember Jeep' and 'Thanks for the Pepperoni' – are improvised built around minimal changes, or in the case of 'Out of the Blue', a single-chord. The title for 'I Remember Jeep' originated from the name of Clapton's dog, Jeep, and 'Thanks for the Pepperoni' came from a line on a comedy album. In a December 2000 interview with 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.' The only vocal selection on Apple Jam is 'It's Johnny's Birthday', sung to the tune of 's 1968 hit ', and recorded as a gift from Harrison to Lennon to mark the latter's 30th birthday. Like all the 'free' tracks on the bonus disc, 'It's Johnny's Birthday' carried a Harrison songwriting credit on the original UK release of All Things Must Pass, 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,. In December 1970, 'Congratulations' songwriters and claimed for royalties, with the result that the composer's credit for Harrison's track was swiftly changed to acknowledge Martin and Coulter.
Demo tracks and outtakes Aside from the seventeen compositions issued on discs one and two of the original album, 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 from the sessions. 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.' As well as 'Wah-Wah', 'Art of Dying' and others that would soon be developed in a band setting, Harrison's solo performance for Spector included the following songs, all of which remain unreleased:.
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'Window, Window' – another composition turned down by the Beatles in January 1969. 'Everybody, Nobody' – the melody of which Harrison adapted for 'Ballad of Sir Frankie Crisp'. 'Nowhere to Go' – a second Harrison–Dylan collaboration from November 1968, originally known as 'When Everybody Comes to Town'. 'Cosmic Empire', 'Mother Divine' and 'Tell Me What Has Happened to You'.
Also from this performance were two tracks that Harrison returned to in later years. ' appeared on his 1976 album, and the Dylan-written ' was Harrison's contribution to the soundtrack for (1985). During the main sessions for All Things Must Pass, Harrison taped or routined early versions of ', ' and '.
Harrison offered these three songs to in February 1971 for her proposed (and soon abandoned) on Apple Records. After releasing his own versions of 'Try Some, Buy Some' and 'You' between 1973 and 1975, he offered 'When Every Song Is Sung' (since retitled 'I'll Still Love You') to former bandmate for his 1976 album. ', written in December 1969 as his first slide-guitar composition, was another song that Harrison revisited on Thirty Three & 1/3. Harrison included ' as the only all-new bonus track on the of All Things Must Pass. 'Down to the River' remained unused until he reworked it as ' for his final studio album, the posthumously released (2002). Harrison recorded the following compositions during the All Things Must Pass sessions but they have never received an official release:. 'Dehradun' – written during in early 1968, and unveiled by Harrison in a brief performance on for the 1995 TV broadcast of.
'Gopala Krishna' – also known as 'Om Hare Om', with all- lyrics, and described by Simon Leng as a 'rocking companion' to 'Awaiting on You All'. 'Going Down to Golders Green' – a -era parody based on the melody of '. Contributing musicians. Jim Gordon, Carl Radle, Bobby Whitlock and Eric Clapton formed while participating in the sessions for All Things Must Pass. The precise line-up of contributing musicians is open to conjecture.
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. In 2002, music critic described it as 'a who's who of the decade's rock royalty', while Harris writes of the cast taking on 'a aspect'. The musicians included, and Dave Mason, all of whom had recently toured with Delaney & Bonnie. Along with Eric Clapton, there were also musicians whose link with Harrison went back some years, such as Ringo Starr and Billy Preston, and German bassist, formerly of and a friend since the Beatles'.
Handling much of the keyboard work with Whitlock was, who went on to collaborate regularly with Harrison throughout the 1970s. That was the great thing about the Beatles splitting up: to be able to go off and make my own record. And also to be able to record with all these new people, which was like a breath of fresh air.
– George Harrison, December 2000 From within Apple's stable of musicians, Harrison recruited the band, future drummer, and Beatles assistant on percussion. Badfinger drummer ' powerful tambourine work led to Spector giving him the nickname 'Mr Tambourine Man', after the, while bandmates, and provided rhythm acoustic-guitar parts that, in keeping with Spector's principles, were to be 'felt but not heard'. Orchestral arranger also sat in on the sessions, occasionally contributing on and.
Other guests included Nashville player, 's and a pre-. An uncredited played acoustic guitar on the country tracks featuring Drake. For contractual reasons, on UK pressings of All Things Must Pass, Clapton's participation on the first two discs of the album remained unacknowledged for many years, although he was listed among the musicians appearing on the Apple Jam disc in Britain. Harrison was unaware of Collins's contribution until putting together the 30th anniversary reissue of the album in 2000, at which point he offered Collins his belated thanks.
Clapton's former bandmate in Cream and, participated in the session for 'I Remember Jeep' only, according to the album's sleeve notes. Simon Leng consulted Voormann, Barham, Molland and Delaney Bramlett for his chapter covering the making of All Things Must Pass and credits as one of the keyboard players on both versions of 'Isn't It a Pity'. Unsubstantiated claims exist regarding possible guest appearances from John Lennon, and 's. 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'. Production Initial recording.
You could feel after the first few sessions that it was going to be a great album. – Klaus Voormann, 2003 The date for Harrison's run-through of songs for Spector, at Abbey Road Studios, is generally thought to have been 20 May 1970, the same day as the film's world premiere, with recording sessions beginning on 26 May. With assistance from former Beatles engineers and, Spector recorded most of the album's backing tracks live, in some cases featuring multiple drummers and keyboard players, and as many as five rhythm guitarists.
Abbey Road Studios, where Harrison recorded much of All Things Must Pass According to authors Chip Madinger and Mark Easter, the majority of these backing tracks were taped on at Abbey Road, with the first batch of sessions taking place from late May through to the second week of June. The first song recorded was 'Wah-Wah'; '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. The Apple Jam instrumentals 'Thanks for the Pepperoni' and 'Plug Me In', featuring Harrison, Clapton and Mason each taking extended guitar solos, were recorded later in June, at the Beatles', and marked the formation of Clapton, Whitlock, Radle and Gordon's short-lived band. Harrison also contributed on guitar to both sides of the band's debut single, ' and 'Roll It Over', which were produced by Spector and recorded at Apple on 18 June. The eleven-minute 'Out of the Blue' featured contributions from Keys and Price, both of whom began working with around this time.
Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete, recording, and mixing on All Things Must Pass lasted for five months, until late October. 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. Participants at the recording sessions identify Spector's erratic behaviour as another factor affecting progress on the album.
George Harrison
Harrison later referred to Spector needing 'eighteen ' before he could start work, a situation that forced much of the production duties onto Harrison alone. In July 1970, by which time sessions had resumed at, Spector fell over in the studio and broke his arm.
Early that month, 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. 's growing concerns regarding studio costs added to the pressure on Harrison, and a further complication, John Harris notes, was that Clapton had become infatuated with Harrison's wife, and adopted a habit as a means of coping with his guilt. Overdubbing In Spector's absence, Harrison had completed the album's backing tracks and preliminary overdubs by 12 August. He then sent early mixes of many of the songs to his co-producer, who was convalescing in Los Angeles, and Spector replied by letter dated 19 August with suggestions for further overdubs and final mixing. Among Spector's comments were detailed suggestions regarding 'Let It Down', the released recording of which Madinger and Easter describe as 'the best example of Spector running rampant with the 'Wall of Sound', and an urging that he and Harrison carry out further work on the songs at the superior, Trident Studios facility. Spector then returned to oversee conversion of the 8-track recordings to 16-track masters, a process that allowed for more freedom when overdubbing new instruments. John Barham's orchestrations were recorded during the next phase of the album's production, 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').
Leng recognises Barham's 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, while 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.' Harrison's style of slide guitar playing incorporated aspects of both Indian music and the tradition; 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 's'. Mixing and mastering.
If I were doing All Things Must Pass now, it would not be so produced. But it was the first record. And anybody who's familiar with Phil Spector's work – it was like sound. – George Harrison, January 2001 On 9 October, while carrying out final mixing at Abbey Road, Harrison presented Lennon with the recently recorded 'It's Johnny's Birthday'. The track featured Harrison on vocals, harmonium and all other instruments, and vocal contributions from Mal Evans and assistant engineer Eddie Klein.
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That same month, Harrison finished his production work on Starr's 1971 single ', the basic track for which they had recorded with Voormann in March at Trident. 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. 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. 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. Spector's signature production style gave All Things Must Pass a heavy, -oriented sound, which Harrison came to regret with the passage of time. Outtakes from the recording sessions became available on bootlegs in the 1990s. One such unofficial release, the three-disc The Making of All Things Must Pass, 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.
Artwork Harrison commissioned to design a hinged box in which to house the three vinyl discs, rather than have them packaged in a triple gatefold cover. Apple insider Tony Bramwell later recalled: 'It was a bloody big thing. You needed arms like an to carry half a dozen.' The packaging caused some confusion among retailers, who, at that time, associated boxed albums with opera or classical works. The stark black-and-white cover photo was taken on the main lawn at Friar Park by Wilkes' Camouflage Productions partner,. Commentators interpret the photograph – showing Harrison seated in the centre of, and towering over, four comical-looking – as representing his removal from the Beatles' collective identity. The gnomes had recently been delivered to Friar Park and placed on the lawn; seeing the four figures there, and mindful of the message in the album's title, Feinstein immediately drew parallels with Harrison's former band.
Author and music journalist has written that Lennon's initial negativity regarding All Things Must Pass was possibly because he was 'irritated' by this cover photo; Harrison biographer Elliot Huntley attributes this reaction to envy on Lennon's part during a time when 'everything Harrison touched turned to gold'. Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window. Wilkes had designed a more adventurous poster, but according to Beatles author, Harrison was uncomfortable with the imagery.
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'. Music should be used for the perception of God, not. – George Harrison, January 1971 EMI and its US counterpart, had originally scheduled the album for release in October 1970, and advance promotion began in September. An 'intangible buzz' had been 'in the air for months' regarding Harrison's solo album, according to, and 'for reasons other than still-potent loyalty to the Fab Four'. Harrison's stature as an artist had grown over the past year through the acclaim afforded his songs on Abbey Road, as well as the speculation caused by his and Dylan's joint recording session in New York.
Noting also Harrison's role in popularising new acts such as the Band and Delaney & Bonnie, and his association with Clapton and Cream, critic concluded in 1981: 'All in all, Harrison's credibility was building to a peak.' Trade ad for the 'What Is Life' single, February 1971 All Things Must Pass was released on 27 November 1970 in the United States, and on 30 November in Britain, with the rare distinction of having the same Apple catalogue number (STCH 639) in both countries. Often credited as 's first triple album, it was the first triple set of previously unissued music by a single act, the multi-artist live album having preceded it by six months. Adding to the commercial appeal of Harrison's songs, Clayson writes, All Things Must Pass appeared at a time when religion and spirituality had become 'a turn-of-the-decade craze' among Western youth, just as had been in 1960. Another factor behind the album's first weeks of release was Harrison's meeting with McCartney in New York, the failure of which led to McCartney filing suit in London's to dissolve the Beatles' legal partnership. Apple issued 'My Sweet Lord' as the album's first single, as a with 'Isn't It a Pity' in the majority of countries.
It was highly successful, topping singles charts around the world during the first few months of 1971, on its way to becoming the most performed song of that year. 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'. Issued in February 1971, the second single, 'What Is Life' backed with 'Apple Scruffs', was also successful. All Things Must Pass was number 1 on the UK's for eight weeks, although until 2006, chart records incorrectly stated that it had peaked at number 4. On '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. In America, All Things Must Pass spent seven weeks at number 1 on the chart, from 2 January until 20 February, and a similarly long period atop the listings compiled by and; for three of those weeks, 'My Sweet Lord' held the top spot on the.
Writing in the April 2001 issue of, managing editor 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 and Lennon's '. 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 repeated the achievement in June 1973. At the, All Things Must Pass was nominated for and 'My Sweet Lord' for, but Harrison lost out in both categories to. All Things Must Pass was awarded a by the on 17 December 1970 and it has since been certified six times platinum.
According to of, as of January 2011, All Things Must Pass had sold more than Imagine and McCartney and Wings' (1973) combined. Also writing in 2011, Lennon and Harrison biographer describes it as 'the most successful album ever released by an ex-Beatle'. In his 2004 book The 100 Best-Selling Albums of the 70s, Hamish Champ ranks it as the 36th best-selling album of that decade.
Critical reception Contemporary reviews All Things Must Pass received almost universal critical acclaim on release – 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. Beatles author Robert Rodriguez has written of critics' attention being 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.' 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, although recognises Apple Jam as further evidence of the album's 'bracing air of creative liberation'. Ben Gerson of deemed All Things Must Pass 'both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty' and referenced the three-record set as an 'extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the of rock and roll'. Gerson also lauded the album's production as being 'of classic Spectorian proportions, the music of mountain tops and vast horizons'. 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.'
Billboard magazine 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'. Melody Maker 's 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 first opened her mouth in a: Garbo talks! – Harrison is free!' In another review, for, 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'.
Of magazine described it as an 'expressive, classically executed personal statement. One of the outstanding rock albums in years', while Don Heckman wrote in: 'If anyone had any doubts that George Harrison was a major talent, they can relax.
This is a release that shouldn't be missed.' That the album sounded so contemporary in 1970 contributed to All Things Must Pass seeming dated and faddish later in the decade. Critic, having bemoaned in 1971 that the album was characterised by 'overblown fatuity' and uninteresting music, wrote in a 1981 review of its 'featurelessness', 'right down to the anonymity of the multitracked vocals'. In their book, and were likewise lukewarm in their assessment, criticising the 'homogeneity' of the production and 'the lugubrious nature of Harrison's composing'. Writing in The Beatles Forever in 1977, however, praised the album as the 'crowning glory' of Harrison 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'. Retrospective reviews and legacy Professional ratings Review scores Source Rating C 5/5 9.0/10 's views All Things Must Pass as 'Harrison's best. A very moving work', while Roger Catlin of describes the set as 'epic and audacious', its 'dense production and rich songs topped off by the extra album of jamming'. Magazine considers it to be an exemplary fusion of 'rock and religion', as well as 'the single most satisfying collection of any solo Beatle'. Filmmaker has written of the 'powerful sense of the ritualistic on the album', adding: 'I remember feeling that it had the grandeur of, of the bells used in ceremonies.'
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; in the same publication, Mikal Gilmore labelled the album 'the finest solo work any ex-Beatle ever produced'. In his July 2001 feature for, John Harris called it 'the inaugural solo album that still stands as the best Beatles solo record', while earlier that year the magazine's album review read in part: 'This 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.' George Harrison confronted the breakup head-on, with the graceful, philosophical All Things Must Pass.
A series of elegies, dream sequences, and thoughts on the limits of idealism, it is arguably the most fully realized solo statement from any of the Beatles. – Author Tom Moon, in (2008) In his PopMatters review, John Bergstrom likens All Things Must Pass to 'the sound of Harrison exhaling', noting: 'He was quite possibly the only Beatle who was completely satisfied with the Beatles being gone.' Bergstrom credits the album with heavily influencing bands such as, and, as well as helping bring about the phenomenon. 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.' In (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'.
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. Writing for in 2016, Jayson Green 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.' 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 ' chain of events' of life within the band and so added to the 'mythologized history' he was looking to escape. Ian Inglis notes 1970's place in an era marking 'the new supremacy of the singer-songwriter', through such memorable albums as 's, 's, 's and 's, but that none of these 'possessed the startling impact' of All Things Must Pass. 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'. All Things Must Pass features in music reference books such as, Robert Dimery's and Tom Moon's.
In 1999, All Things Must Pass appeared at number 9 on 's 'Alternative Top 100 Albums' list, where the editor described it as the 'best, mellowest and most sophisticated' of all the Beatles' solo efforts. In 2006, Pitchfork Media placed it at number 82 on the site's 'Top 100 Albums of the 1970s'. Six year later, it was voted 433rd on Rolling Stone magazine's list of the '. Front cover of the 2001 album booklet, reflecting Harrison's environmental concerns at the start of the 21st century; copyright Gnome Records 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. The reissue appeared on Gnome Records, a label specifically set up by him for the project. Harrison oversaw revisions to Wilkes and Feinstein's album artwork, which included a colorised 'George & the Gnomes' front cover 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. 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 that had been the dream of the sixties'.
Harrison launched a website dedicated to the reissue, which offered, in the description of Chuck Miller of magazine, 'graphics and sounds and little Macromedia-created gnomes dancing and giggling and playing guitars in a -esque world'. As a further example of his willingness to embrace modern media, Harrison prepared an, which he described as 'not exactly an EPK but it is a threat to world order as we know it'. Titled All Things Must Pass: 30th Anniversary Edition, the new album contained five bonus tracks, including 'I Live For You', two of the songs performed for Spector at Abbey Road in May 1970 (' and ') and ', a partial re-recording of Harrison's biggest solo hit. In addition, Harrison resequenced the content of Apple Jam so that the album closed with 'Out of the Blue', as he had originally intended. Assisting Harrison with overdubs on the bonus tracks were his son, singer and percussionist, all of whom contributed to the recording of Brainwashed around this time. With Harrison undertaking extensive promotional work, the 2001 reissue was a critical and commercial success.
Having underestimated the album's popularity, Capitol faced a back order of 20,000 copies in America. There, the reissue debuted at number 4 on Billboard 's chart and topped the magazine's Internet Album Sales listings.
In the UK, it peaked at number 68 on the national albums chart. Writing in Record Collector, Doggett described this success as 'a previously unheard-of achievement for a reissue'. 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. With the release on of much of the Harrison catalogue, in October 2007, the album re-entered the US Top Pop Catalog chart, peaking at number 3. 2010 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. Available via participating retailers, with each copy individually numbered, the release took place on 26 November 2010.
In what Bergstrom notes as a contrast to the more aggressive marketing campaign run simultaneously by John Lennon's estate, to commemorate Lennon's 70th birthday, a digitally remastered 24-bit version of the album was made available for download from Harrison's official website. Free zapfino font download truetype. The reissue coincided with the Harrison estate's similarly low-key release of the –George Harrison box set and 's reissue of, the long-unavailable documentary on Shankar that Harrison had helped release through in 1971.
2014 All Things Must Pass was remastered again for inclusion in the eight-disc Harrison box set, issued in September 2014. Also available as a separate, double CD release, the reissue reproduces Harrison's 2001 liner notes and includes the same five bonus tracks that appeared on the 30th anniversary edition. In addition, the box set's DVD contains the promotional film created for the 2001 reissue. Track listing All songs written by, except where noted. In conversation with Lennon, Harrison remarked that he already had enough compositions for the next ten years of Beatle releases, given his usual quota of two tracks per album and the occasional. This is a view held by biographers Leng and Joshua Greene also, as well as by music writers and critics such as John Harris, and.
'Isn't It a Pity' was another song passed over during these sessions, having similarly been turned down, by Lennon, for inclusion on the Beatles' album (1966). Soon after the tour, Harrison gave 'My Sweet Lord' and 'All Things Must Pass' to Preston, who released the songs on his album in September 1970, two months before Harrison's versions appeared. The 'separate label' was a face label that appeared on each side of disc three, containing a jam jar painted by designer to show a piece of fruit inside the jar and two apple leaves on the outside. To complete the literal pun on the words 'apple jam', Wilkes painted the title of the bonus disc on the jar's lid. In other interviews, Harrison similarly likened his situation to being 'constipated for years' artistically while in the Beatles.
Fifteen of these tracks are available unofficially on the Beware of!. For similar reasons regarding record companies being 'possessive' of their artists, the musician credits on Cream's album (1969), Jack Bruce's (1969) and Delaney & Bonnie's (1970) could only list Harrison under a pseudonym, 'L'Angelo Misterioso'. Like Barham, Tony Ashton had been a significant contributor to Harrison's Wonderwall Music album.
In March 1970, Harrison and Clapton participated in the recording of 'I'm Your Spiritual Breadman' by Ashton's new band,. In his liner notes accompanying the 2001 reissue of All Things Must Pass, however, Harrison gives the date for the run-through as 27 May. Drake also played on the bootlegged instrumental 'Pete Drake and His Amazing Talking Guitar', before returning to Nashville to gather material for Starr's country album, (1970), sessions for which began in the last week of June. This personal tragedy was the inspiration for a new Harrison composition, the 1971 '. Clapton's feelings for Boyd inspired many of his songs on Derek and the Dominos' only studio album, (1970). After Boyd rejected him in November 1970, Clapton descended into full-blown, which led to the break-up of the band in early 1971 and the sidelining of his career until 1974.
Session tapes reveal that Lennon was recording his song ' in one of the other studios there when Harrison arrived. The albums were released, respectively, as (1972), (1971), (1971) and Bobby Keys (1972). According to Harrison's recollection in a 1977 interview for magazine, Lennon first saw the artwork at Friar Park and remarked to a mutual friend of theirs that Harrison 'must be fucking mad' to be releasing a triple album, and described him as 'looking like an asthmatic Leon Russell' on the cover.
Later, in what author views as a case of 'needling Paul rather than praising George', Lennon told Rolling Stone editor that he 'preferred' All Things Must Pass to the 'rubbish' on McCartney's, released in April 1970. Part of this original poster was a painting of a bathing scene featuring naked women (one of whom was blonde, representing Pattie Boyd) and a 'mischievous', who had hidden the bathers' clothing in the branches of a nearby tree. Aside from the popularity of Harrison's recording, the song attracted a large number of cover versions in 1971. The widespread success of 'My Sweet Lord' worked against Harrison when a near-bankrupt music publisher, Bright Tunes, pursued an ultimately successful against him in the, for unauthorised copyright infringement of the 1963 song '. This error was due to a postal strike in Britain during February and March of 1971, when the national chart compiler failed to receive any sales data from retailers. In July 2006, the changed its records to show that All Things Must Pass was the top-selling album throughout that time. Immediately after Wings' success, Harrison again held both number 1 positions, with his ' single and its parent album,.
Aside from non-vocal albums such as Harrison's Wonderwall Music and Electronic Sound, and Lennon's experimental work with, beginning with (1968), the solo albums up to January 1971 were as follows: Lennon's (1969), Starr's (1970), McCartney, Beaucoups of Blues, All Things Must Pass, and (1970). EMI had scheduled the release for 21 November 2000, close to the true date for the anniversary, but the album was delayed for two months. In Britain, Gnome/EMI released the remastered album on vinyl also, the packaging for which contained four stages in this pictorial series compared with the three available in the CD box.
The revised artwork for All Things Must Pass was credited to WhereforeArt?. Adding to this ecological message, during promotion for the reissue, Harrison jokingly suggested that the title for his next studio album, the long-awaited follow-up to (1987), might be Your Planet Is Doomed – Volume One. The 2001 album booklet lists the musicians on these tracks straight after the song titles although publishing rights for all bar 'It's Johnny's Birthday' are with only. Inglis gives composers' credit to all the participants, while Leng acknowledges Harrison alone.
In Leng's book, Voormann claims it was him playing lead guitar with Harrison on 'Out of the Blue' and not Clapton, as credited by Harrison on the Apple Jam sleeve: 'George thought it was Eric, because I was playing a little thing like Eric.' References. Allison Jr., The Love There That's Sleeping: The Art and Spirituality of George Harrison, Continuum (New York, NY, 2006; ).
Keith Badman, The Beatles Diary Volume 2: After the Break-Up 1970–2001, Omnibus Press (London, 2001; ). The Beatles, The Beatles Anthology, Chronicle Books (San Francisco, CA, 2000; ). Nathan Brackett & Christian Hoard (eds), The New Rolling Stone Album Guide (4th edn), Fireside/Simon & Schuster (New York, NY, 2004; ). Roy Carr & Tony Tyler, The Beatles: An Illustrated Record, Trewin Copplestone Publishing (London, 1978; ). Harry Castleman & Walter J. Podrazik, All Together Now: The First Complete Beatles Discography 1961–1975, Ballantine Books (New York, NY, 1976; ).
Robert Christgau, Christgau's Record Guide: Rock Albums of the Seventies, Ticknor & Fields (Boston, MA, 1981; ). Alan Clayson, George Harrison, Sanctuary (London, 2003; ). 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), DPRO-7087-6-15950-2-4. Stephen Davis, Old Gods Almost Dead: The 40-Year Odyssey of the Rolling Stones, Broadway Books (New York, NY, 2001; ). Peter Doggett, You Never Give Me Your Money: The Beatles After the Breakup, It Books (New York, NY, 2011; ). The Editors of Rolling Stone, Harrison, Rolling Stone Press/Simon & Schuster (New York, NY, 2002; ). Michael Frontani, 'The Solo Years', in Kenneth Womack (ed.), Cambridge University Press (Cambridge, UK, 2009; ), pp. 153–82.
Gary Graff & Daniel Durchholz (eds), MusicHound Rock: The Essential Album Guide, Visible Ink Press (Farmington Hills, MI, 1999; ). Greene, Here Comes the Sun: The Spiritual and Musical Journey of George Harrison, John Wiley & Sons (Hoboken, NJ, 2006; ). John Harris, 'A Quiet Storm', July 2001, pp. 66–74. George Harrison, I Me Mine, Chronicle Books (San Francisco, CA, 2002; ). Olivia Harrison, George Harrison: Living in the Material World, Abrams (New York, NY, 2011; ). Bill Harry, The George Harrison Encyclopedia, Virgin Books (London, 2003; ). Mark Hertsgaard, A Day in the Life: The Music and Artistry of the Beatles, Pan Books (London, 1996; ).
Huntley, Mystical One: George Harrison – After the Break-up of the Beatles, Guernica Editions (Toronto, ON, 2006; ). Chris Ingham, The Rough Guide to the Beatles, Rough Guides/Penguin (London, 2006; 2nd edn; ). Ian Inglis, The Words and Music of George Harrison, Praeger (Santa Barbara, CA, 2010; ). Jim Irvin (ed.), The Mojo Collection: The Greatest Albums of All Time, Mojo Books (Edinburgh, 2001; ). Colin Larkin, The Encyclopedia of Popular Music (5th edn), Omnibus Press (London, 2011; ).
Peter Lavezzoli, The Dawn of Indian Music in the West, Continuum (New York, NY, 2006; ). Simon Leng, While My Guitar Gently Weeps: The Music of George Harrison, Hal Leonard (Milwaukee, WI, 2006; ).
Ian MacDonald, Revolution in the Head: The Beatles' Records and the Sixties, Pimlico (London, 1998; ). Chip Madinger & Mark Easter, Eight Arms to Hold You: The Solo Beatles Compendium, 44.1 Productions (Chesterfield, MO, 2000; ). Barry Miles, The Beatles Diary Volume 1: The Beatles Years, Omnibus Press (London, 2001; ). Tom Moon, 1,000 Recordings to Hear Before You Die, Workman Publishing (New York, NY, 2008; ). 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; ). Jan Reid, Layla and Other Assorted Love Songs by Derek and the Dominos, Rodale (New York, NY, 2006; ).
Robert Rodriguez, Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980, Backbeat Books (Milwaukee, WI, 2010; ). Patricia Romanowski & Holly George-Warren (eds), The New Rolling Stone Encyclopedia of Rock & Roll, Fireside/Rolling Stone Press (New York, NY, 1995; ).
Nicholas Schaffner, The Beatles Forever, McGraw-Hill (New York, NY, 1978; ). Bruce Spizer, The Beatles Solo on Apple Records, 498 Productions (New Orleans, LA, 2005; ). Doug Sulpy & Ray Schweighardt, Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster, St. Martin's Griffin (New York, 1997; ).
Gary Tillery, Working Class Mystic: A Spiritual Biography of George Harrison, Quest Books (Wheaton, IL, 2011; ). Richie Unterberger, The Unreleased Beatles: Music & Film, Backbeat Books (San Francisco, CA, 2006; ). Bobby Whitlock with Marc Roberty, Bobby Whitlock: A Rock 'n' Roll Autobiography, McFarland (Jefferson, NC, 2010; ). Richard Williams, Phil Spector: Out of His Head, Omnibus Press (London, 2003; ).
Bob Woffinden, The Beatles Apart, Proteus (London, 1981; ). Kenneth Womack, The Beatles Encyclopedia: Everything Fab Four, ABC-CLIO (Santa Barbara, CA, 2014; ). External links. at (streamed copy where licensed). at (list of releases).
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